Manufacturing_process photos on Flickr

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A green leaf is green because of the presence of a pigment known as chlorophyll, which is inside an organelle called a chloroplast. When they are abundant in the leaf's cells, as they are during the growing season, the chlorophylls' green color dominates and masks out the colors of any other pigments that may be present in the leaf. Thus the leaves of summer are characteristically green.[6]

In this leaf, the veins are still green while the other tissue is turning red. This produces a fractal-like pattern

Chlorophyll has a vital function: that of capturing solar rays and utilizing the resulting energy in the manufacture of the plant's food — simple sugars which are produced from water and carbon dioxide. These sugars are the basis of the plant's nourishment — the sole source of the carbohydrates needed for growth and development. In their food-manufacturing process, the chlorophylls themselves break down and thus are being continually "used up". During the growing season, however, the plant replenishes the chlorophyll so that the supply remains high and the leaves stay green.

In late summer, as daylight hours shorten and temperatures cool, the veins that carry fluids into and out of the leaf are gradually closed off as a layer of special cork cells forms at the base of each leaf. As this cork layer develops, water and mineral intake into the leaf is reduced, slowly at first, and then more rapidly. It is during this time that the chlorophyll begins to decrease.

Often the veins will still be green after the tissues between them have almost completely changed color.

Frida Kalho - Autorretrato en la frontera entre México y los Estados Unidas - Self-Portrait on the Borderline between Mexico and the United States - 1932 - Louisiana Museum of Modern Art by Jens Cederskjold

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Louisiana Museum og Modern Art: "Diego Rivera had been invited to Detroit to paint large-format frescoes portraying the industrial manufacturing process at the Ford Motor Company. Kahlo accompanied him, and in this early major work she describes the contrast between the countries, while standing om a pedestal in an elegant dress, a small Mexican flag and a cigarette in her hands. She has turned her head to the indigenous, nature-loving, lively Mexican side; she is quite obviously not interested in the technical American side. The generators on the American side are nonetheless supplied with energy by the roots of the Mexican plants, which in turn is delivered to the pedestal and thus to Frida Kahlo herself. The moon represents the female principle, the sun the male."

en.wikipedia.org/wiki/Frida_Kahlo

louisiana.dk/en/exhibition/fantastic-women/

louisiana.dk/en/

Ghirardelli Chocolate by Asad

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Ghirardelli Chocolate Company was incorporated in 1852, and is the second-oldest chocolate company in the United States], after Baker's Chocolate.

Ghirardelli is one of the few chocolate companies in the United States to control every aspect of its chocolate manufacturing process, rejecting up to 40% of the cocoa beans shipped in order to select what the company calls the"highest quality" beans. The company then roasts the cocoa beans in-house by removing the outer shell on the bean and roasting the inside of the bean, or the nibs. The chocolate is then ground and refined until the flakes are 19 micrometers in size.(wiki)

Lets forget about other things, i am so ready to eat Ghirardelli.You will even get a free piece of Ghirardelli when you visit Walt Disney World in Orlando.

Also to view more of my photos click below.

www.icampix.net/

Einrich MP 2.44 by EVFrost

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While the MP 1.21 was dependable and much liked by it's users it was also expensive, complex to manufacture and on the heavy side and so the MP 1.21's designer, Gustav Einrich then designed the MP 2.44.

Following the trend set by other designs such as the German MP-40, the British Sten and the American M3 the MP 2.44 is made mostly out of stamped steel.

To simplify production the MP 2.44 shares as many parts and manufacturing processes with it's predecessor, the MP 1.21.

The receiver, bolt and barrel are modified versions of that of the MP 1.21 and things like screws, springs and sears are the exact the same and are interchangeable.

The 9x19 mm cartridges are fed from either a straight 20 or 32 round magazine shared with the Mp 1.21 or from a curved 45 round magazine. The ability to use MP-40 magazines was not carried over since this caused too many misfeeds during testing.

The safety is a simple push through rod that locks the bolt and firing in either forward or back positions and also acts as the charging handle.

For all it's good point's the MP.244 also had it's share of problems. The grips were made out of plastic and had a tendency to crack easily in adverse conditions before a new plastic was made and the 45 round magazines spring could weaken and cause feed issues. The front grip only had a metal insert that was spot welded in to the relatively thin barrel shroud which was known to break off if handled too roughly.

Despite the early troubles the MP 2.44 was used extensively during Second World War and after it, all the way to the 1970s.

Credit: Shockwave - sling mount

Melody Smart Doll taking in the sights at Brooklyn Bridge by Danny Choo

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What is Smart Doll?

Smart Doll is a new standard in fashion doll that not only enables artists, designers and photographers to enhance their creativity, but to also enrich the lifestyles of folks who not only appreciate Japanese culture - but cute things too.

Designed by Danny Choo, the 1/3 scale (60 cm or 2 feet tall) Smart Doll encompasses Japanese cultural elements such as design philosophy, the Anime (Japanese animation) look and feel through to the traditional casting methods used in the manufacturing process right here in Japan.

This post contains a video, click here to view.

View more at www.dannychoo.com/en/post/27625/Smart+Doll.html

'Aussie Bear' factory, Thurlstane (Aust.) Pty. Ltd., Palmer Street Sydney by State Library of New South Wales

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'Aussie Bear' factory, Thurlstane (Aust.) Pty. Ltd., Palmer Street Sydney, ca. 1944-1945, by Milton Kent, for Repatriated Services Rehabilitation Department. Shows manufacturing process of "Aussie-Bear" Australia's toy koala, from vintage gelatin silver print, State Library of New South Wales, collection.sl.nsw.gov.au/record/1JkmNxrY/NgJ837W6qww6j PXA 1517

Former Tilling-Stevens Factory. Maidstone Barracks Station. by John K Thorne

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Summary

This former motor vehicle factory was built in 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, for Tilling-Stevens Ltd. It is an example of a factory designed using the Kahn Daylight System. The various sheds which adjoin the factory building to the south are not of special interest.

Reasons for Designation

The former Tilling-Stevens factory, 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, is designated at Grade II for the following principal reasons: * Historic interest: the building is the earliest surviving by the practice of Wallis, Gilbert and Partners, the foremost factory architects of the inter-war period; it is also one of few surviving examples of their early Daylight factories not to have undergone significant alteration; * Technical interest: the building is one of few surviving examples of a group of English factories built using the Kahn Daylight System, an adaptable, efficient and influential system of factory building, developed in America for the construction of automotive factories; * Architectural interest: the front elevation of this imposing building employs the compositional devices and decorative motifs which became synonymous with the work of Wallis, Gilbert and Partners; the powerful rationality of its other elevations expresses the modern approach to industrial architecture that its design, construction and layout embodies.

History

In 1916 Thomas Wallis (1872-1953) founded the architectural practice of Wallis, Gilbert and Partner (becoming Wallis, Gilbert and Partners the following year). In the early years of the practice it worked in close collaboration with Trussed Concrete Steel Limited (Truscon). Truscon's proprietary system of concrete reinforcement had been developed by the Kahn family, who had set up Truscon to exploit the system in America; an English branch of the company formed in 1907. In America the Kahn system had been applied to the creation of a particular model of factory design which was based on a regular grid of column, beam and slab, in which the concrete frame was fully exposed, and the external walls were glass-filled, it was called the 'Kahn Daylight System' of factory design. The best known and most influential American example is Henry Ford's Highland Park Ford Plant, Michigan, designed and built in 1908 by Albert Kahn. Truscon built several Daylight factories in Britian prior to the partnership with Wallis, Gilbert and Partners (including three in Scotland), but the only English one known to survive in anything like original condition is Enterprise House, Hayes, of 1912, listed Grade II.

Together, Wallis, Gilbert and Partners and Truscon designed and constructed of a number of Daylight factories in England, of which the Tilling-Stevens factory is the earliest surviving. Wallis Gilbert and Partners went on to great success as an architectural practice, designing many factories and commercial buildings in the interwar period. One of their best known works is the Grade II* listed former Hoover Factory (1932-35) in Ealing.

Tilling-Stevens Ltd was formed in 1915 after WA Stevens, inventor of the petrol-electric motor, met Richard Tilling of Thomas Tilling Ltd, London's oldest omnibus operator (established 1847). The men recognised the potential for petrol-electric transmission in motorised buses, and the companies went into partnership together, manufacturing their own vehicles. New premises were added to Stevens' Maidstone works (known as the Victoria Works) in 1912, and following the formation of Tilling-Stevens Limited the works were enlarged again with the construction of the Wallis Gilbert and Partners factory in 1917 to accommodate production for war requirements.

The original design for the factory was a five-storey hollow rectangle, with a central, glazed, single-storey space within the well, which would contain part of the assembly shop. It was designed to be built in stages, with the south and west sides of the rectangle shown on the plans as 'future extension' (J Skinner 1997, 50). It is thought likely that the decision only to build the north and east sides of the rectangle was taken at an early stage, as the attic storey is centred over the existing front elevation. The factory was designed so as to accommodate all the various manufacturing processes in a downward flow through the building, each level being linked by electric lifts. Power was supplied to work stations by shafted over-head motors suspended from the beams.

In the early 1950s Tilling-Stevens was taken over by the Rootes Group, which was itself taken over in the mid-1960s by Chrysler (UK) Ltd; the Tilling-Stevens factory closed in 1975.

Details

The factory is constructed of a regular reinforced concrete grid, expressed throughout the exterior of the building; the front elevation, also of concrete, is dressed to present a classically-styled composition to the street.

MATERIALS: the building is composed of a grid of exposed horizontal and vertical reinforced concrete members, which divide the building into 20' by 20' bays; on the outer faces of the building the bays are in-filled with panels of red brick and glazing. The original windows were multi-light steel casements however these have almost universally been replaced with uPVC casements.

PLAN: the building is five storeys high with a small attic storey. The factory floor is L-shaped in plan; the core is 3 bays wide by 16 bays deep, with a perpendicular wing to the rear, 3 bays wide by 3 deep, extending southwards. Another 3 bay by 3 bay wing projects to the north, which contains the main goods lift and stair; this was where the services and amenities for the building were housed. The front of the building is an additional two bays wide to the north, providing a vehicular access at street level. A roadway runs from this entrance, through the centre of the northerly service wing (where there is a weigh bridge), and down the side and rear of the building. To the rear there is a projecting stair and lift tower, and to the south there is a second projecting lift tower; this is later in date, but appears to use the same construction system. There is a third internal fire escape stair on the south side of the building which exits onto St Peter's Street at the front.

EXTERIOR: with the exception of the front, all elevations of the building are without architectural embellishment and form a regular pattern of concrete grid, brick, and glass. The concrete grid is also expressed on the front elevation, however here the concrete is also used decoratively to shape the elevation into a classical composition. There is a heavy cornice over the fourth storey, with recessed ribbing and nail-head corner stops; the fifth storey is treated as a classical attic, having smaller windows and a much plainer and shallower cornice above. The true attic storey is three bays wide, central to the elevation and set back from the front. The bays to the far left and right of the elevation are treated as towers, defined by slightly projecting pilaster-like verticals to either side. The 'capitals' of these pilasters take the form of a circular disk, flanked by triglyph-like elements. At ground floor there is a pedestrian and vehicular entrance/exit to either side of the elevation. These openings are framed by wide, flat, unmoulded architraves and above each of the vehicular openings is a framed panel (which once bore the name of the company) with a stylised tassel motif to either side. This panel with tassels motif is repeated within the parapet above the attic storey.

The exterior of the building is generally little altered, the most notable exception being the replacement of the windows. The largest windows to the front were originally 54-light windows, they are now 12-light windows, those to the sides and rear were mostly 45-light windows, these are now 8-light windows. On the front elevation a doorway has been inserted into the left-hand of the three central bays to give access into a site office from St Peter's Street.

INTERIOR: the interior is utilitarian; at each storey concrete pillars support beams and joists which support the floor above. The pillars get progressively smaller in cross-section at each storey up. Circular holes are cast into the joists, through which a conduit carrying electrical cable ran; in some places slots are cast into beams and joists to carry the motors which were suspended overhead, providing power to the factory machinery. The factory floors, which would have been completely open, are now divided into units with concrete block walls built between pillars. Fixtures and fittings which may have been associated with the service and amenity block (which included an office, boiler house, first-aid rooms, lavatories and rest rooms) do not survive.

KD tagged by Kevin Dooley

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I've been tagged. A big part of me is my work, so here are my 10 favorite papers I've published:

2009- The effects of repeat collaboration on creative abrasion

We developed a theory of why repeat collaboration in highly creative projects can lead to less creative outcomes, and suggested what teams can do about it.

2007- Dynamics of organizational emergence: Pace, punctuation, and timing in nascent entrepreneurship

We posited and empirically validated that successful entrepreneurial ventures have a certain “rhythm”; it’s all about momentum.

2006- An emergence event in new venture creation: Measuring the dynamics of nascent entrepreneurship

This was the first paper published in organizational theory that actually collected data and tested a complexity science model.

2003- Merger as marriage: Communication issues in post-merger integration

Not widely read, but I love how insightful the metaphor is.

2002- Studying complex discursive systems: Centering resonance analysis of organizational communication

This was the paper that explained the computerized text analysis method we invented, which then spun off into its own company.

2002- The dynamics of electronic media coverage

Our analysis of media coverage of 9-11.

2001- Supply networks and complex adaptive systems: Control versus emergence

This was the first paper published in supply chain management discussing the implications of complexity science. Most cited article.

1999- Explaining complex organizational dynamics

Here we laid out what randomness and chaos meant if you found them in organizational data.

1997- A complex adaptive systems model of organization change

My definition of a complex adaptive system in this paper is the one used in Wikipedia.

1986- An integrated quality systems approach to quality and productivity improvement in continuous manufacturing processes

My first published paper…

Autumn Frontier by Tom Lussier

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Historic Harpers Ferry, West Virginia is one of those places that have deep roots in America's growth. Early in it's life it was the start point of explorers Lewis & Clark, charged by Jefferson to explore and map the newly acquired Louisiana Purchase territory, find a practical route across the Western half of the continent, and establish an American presence in this territory before Britain and other European powers tried to claim it. Sounds easy. Not! Anyway, it's a beautifully restored and maintained place, abounding in period buildings, stone walls and two rivers merging. It had been way too long since I last visited and jumped at the suggestion from my brothers about where we should go to shoot.

Some interesting, and possibly surprising, facts about Harpers Ferry :

- visited by George Washington on his very first surveying expedition at the age of 17.

- was cited by Thomas Jefferson, after a visit, as such a beautiful spot that it was worth a trip across the Atlantic.

- was the starting place of the Lewis and Clarke expedition.

- was the site of the first crossing of the Potomac by a railroad, on the first structural steel bridge in the world.

- was the industrial town where using interchangeable parts in a manufacturing process was first invented and proven practical.

- was the site of the John Brown raid which precipitated the Civil War.

- was the first command of Stonewall Jackson, who raised and trained his famed Brigade here.

- was the site of three Civil War battles, the major one involving over 30,000 troops on both sides which resulted in the largest surrender of US troops until Bataan in WWII.

- was a bastion of elevating African Americans, with the first real academic college (Storer College) to educate freed slaves in all aspects of higher learning, rather than sewing and other trades.

- was the site of the Founding in the US of the Niagara movement, which later evolved into the NAACP.

- was a town which, despite unfortunate racism by some, way before its time encouraged African-American entrepreneurs, one of whom built and managed the fabled Hilltop House Hotel.

- was a major retreat center in the late nineteenth and early twentieth century for many notables, including seven presidents, Mark Twain, and many others.

- was cited by art history experts as the most "painted town" in America, because of its spectacular scenery.

Single exposure, Nikon D700, Nikkor 24-85, f/11, 1/125s, ISO 200, polarizer.

All of my images are protected by United States and international copyright laws. They may be reproduced only with written permission. Copyright © 2013 Tom Lussier Photography. All rights reserved.

While the photos are listed as "public", they are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law. If you want to use any of my images, for any reason, please send me an email first. Thank you.

66128 - Margam Moors Junction. by Kernow Ned

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Once a common sight across the country the coal train is now firmly on the endangered list. Leaving Margam Knuckle Yard with empties for Cwmbargoed is 66128. These wagons will be loaded with Welsh 'black gold' before returning here to Margam, then onwards to Earles Sidings, Hope. The product being used in the cement manufacturing process.

Iowa Landscape by Wolfgang Staudt

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Iowa is a state located in the Midwestern United States, an area often referred to as the "American Heartland." It derives its name from the Ioway people, one of the many American Indian tribes that occupied the state at the time of European exploration. Iowa was a part of the French colony of New France. After the Louisiana Purchase, settlers laid the foundation for an agriculture-based economy in the heart of the Corn Belt. Iowa is often known as the "Food Capital of the World", however Iowa's economy, culture, and landscape are diverse. In the mid and late 20th century, Iowa's agricultural economy transitioned to a diversified economy of advanced manufacturing, processing, financial services, biotechnology, and green energy production. Iowa has been listed as one of the safest states in which to live. Des Moines is Iowa's capital and largest city.

From Wikipedia, the free encyclopedia

Job done ... by Sony200boy

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The sun gives the Autumn leaves a last chance to show their beauty.

Autumn leaf color is a phenomenon that affects the normally green leaves of many deciduous trees and shrubs by which they take on, during a few weeks in the autumn season, one or many colors that range from red to yellow. The phenomenon is commonly called fall colors and autumn colors, while the expression fall foliage usually connotes the viewing of a tree or forest whose leaves have undergone the change. In some areas in the United States and Canada, "leaf peeping" tourism between the beginning of color changes and the onset of leaf fall, or scheduled in hope of coinciding with that period, is a major contribution to economic activity.

A green leaf is green because of the presence of a pigment known as chlorophyll. When they are abundant in the leaf's cells, as they are during the growing season, the chlorophylls' green color dominates and masks out the colors of any other pigments that may be present in the leaf. Thus the leaves of summer are characteristically green.

In this leaf, the veins are still green while the other tissue is turning red.

Chlorophyll has a vital function: that of capturing solar rays and utilizing the resulting energy in the manufacture of the plant's food—simple sugars which are produced from water and carbon dioxide. These sugars are the basis of the plant's nourishment—the sole source of the carbohydrates needed for growth and development. In their food-manufacturing process, the chlorophylls themselves break down and thus are being continually "used up." During the growing season, however, the plant replenishes the chlorophyll so that the supply remains high and the leaves stay green.

In late summer, the veins that carry fluids into and out of the leaf are gradually closed off as a layer of special cork cells forms at the base of each leaf. As this cork layer develops, water and mineral intake into the leaf is reduced, slowly at first, and then more rapidly. It is during this time that the chlorophyll begins to decrease.

Often the veins will still be green after the tissues between them have almost completely changed color.

Courtesy: Wikipedia: Autumn_leaf_color

Floor mosaics by Merja Attia

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Floor mosaics using tesserae made of minute stone cubes, ranging from one to four millimeters in the opus vermiculatum technique.

The Greeks used mosaics to decorate their floors in public places and private dwellings by using tesserae in many ways. Tesserae are the small pieces of stone, limestone, marble, glass or clay, which are cut in a small cubic form, hence their name. The Greek floor coverings became a complete tableau depicting plants, animals, geometrical designs and Greek/ Hellenistic motifs.

The Romans adopted also this art to cover their floors in homes and temples, as well as in their tombs. The Romans applied the same techniques as the Greeks. They also introduced new innovations in the manufacturing process.

Mosaic depicting two wrestlers BAAM 585 and

Mosaic depicting a sitting dog BAAM 859.

Hellenistic Period

Bbliotheca Alexanrina

NASA Additive Manufacturing Project Shapes Future for Agency, Industry Rocket Makers by NASA's Marshall Space Flight Center

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The widespread commercial adoption of additive manufacturing technologies, commonly known as 3D printing, is no surprise to design engineers at NASA’s Marshall Space Flight Center in Huntsville, Alabama whose research created stronger, lighter weight materials and new manufacturing processes to make rocket parts.

NASA’s RAMPT (Rapid Analysis and Manufacturing Propulsion Technology) project is on the cutting-edge of additive manufacturing – helping the agency and industry produce new alloys and additively manufactured parts, commonly referred to as 3D printing, according to Paul Gradl, the project’s co-principal investigator at NASA Marshall.

This image shows a hot-fire test at NASA’s Marshall Space Flight Center in Huntsville, Alabama. This 2,000-pound-force coupled thrust chamber assembly features a NASA HR-1 alloy nozzle. Manufacturing the hardware requires the directed energy deposition process with composite-overwrap for structural support, reducing weight by 40%. Industry, academic, and government partners are working with RAMPT engineers at Marshall and other NASA field centers to advance this revolutionary technology.

Image credit: NASA

#NASAMarshall #NASA #3dprinting #RAMPT

NASA Media Usage Guidelines

"Challenge-Pittsburgh Mural" 1985 by C.J. Peiffer

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Pittsburgh, Pennsylvania

Mural (10' X 96') in the underground pedestrian passage between the Steel Plaza subway station and the USX Building (formerly US Steel).

The mural was designed by Harold Shuler who first worked for the US Steel Corporation in 1956 as a structural draftsman.

Bio of Shuler: www.zoominfo.com/p/Harold-Shuler/723163419

The mural's steel-making theme depicts raw materials, manufacturing processes, uses of steel and its transportation by river barge, truck, and railroad.

US Steel never paid Shuler for his work of art. He was paid only his usual salary and no overtime for the hours he spent working in the walkway.

Shuler had two assistants, Scott Vradelis, a graduate student at CMU and, for three weeks, Shuler's daughter Susan Koenig.

Find more images and info about the mural including Shuler's own interesting tale of how it came to be, the type of paint used, and the process of creating it, including the method he calls "Pienture a la Plume-Carton": pghmurals.com/USX-tunnel.cfm

A 40 second You Tube video that scans the mural left-to-right can be found here:

www.youtube.com/watch?v=yoJIDmLcK3w

Shuler's Picasso connection:

Shuler created the drawing from Picasso's model from which the famous artist's huge sculpture of a woman was cast. Picasso approved the drawings without revision. The sculpture now stands in front on the Richard J. Daley Center in Chicago. Shuler was not formally recognized for his work, but when Picasso saw him behind the ropes at the dedication, he greeted him and brought him to the reviewing stand where he sat with the local dignitaries.

On my image above, the bottom-most image is an approximation of the entire mural. I took it with my camera's panorama option, but because the wall is curved it was highly distorted. I did my best to undistorted it without total success. Some parts of the image are scrunched, stretched, or missing. Above are sections of the mural, which again had to be slightly undistorted. The title plague is actually under the mural. Next time, I will take a video, which I believe will give a better representation of the entire image.

Production and Manufacture of Engine and Transmission by John Tikka

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Diego Rivera considered the Detroit Industry Murals his finest paintings. Produced in 1932-1933, they are the largest and most complex work of the Mexican muralist movement in America. They were commissioned by Edsel Ford, then president of the Ford Motor Company, with the encouragement of the Detroit Institute of Arts' director William Valentiner. Covering the four walls in an interior courtyard in the museum, they portray in detail the complex interplay of raw materials, manufacturing process, and human resources involved in the production and assembly of that emblem of modern culture, the automobile.

North Wall Scenes:

The scenes in the mural include (from upper left), Making mold patterns and mixing sand for molds; blast furnace (Top Center); Molten steel being poured into engine molds (Top Right). The large machines in the center are drilling and honing machines. The line on the bottom above the panels is a conveyer for engine assembly. On the far lower right (above the panels) is foundry and drilling operations for transmission housing.

www.ilr.cornell.edu/buffalo-co-lab/diego-riveras-detroit-...

smarthistory.org/diego-rivera-detroit-industry-murals/

ENCI cement factory by AurelioZen

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Europe, Netherlands, Zuid Limburg, Maastricht, Sint Pietersberg, ENCI cement factory, clinker storage building (uncut)

The ENCI cement factory at the edge of the limestone quarry. It produces klinker (clinker) and portland cement. Clinker is semi-finished cement produced by “heating limestone (calcium carbonate) with small quantities of other materials (such as clay) to 1450 °C in a kiln, in a process known as calcination”. Cement, the finished product, “is made by grounding the clinker with a small amount of gypsum into a powder to make 'Ordinary Portland Cement', the most commonly used type of cement (often referred to as OPC). Portland cement is a basic ingredient of concrete, mortar and most non-specialty grout. Portland cement may be grey or white.

The most common use for Portland cement is in the production of concrete. Concrete is a composite material consisting of aggregate (gravel and sand), cement, and water. As a construction material, concrete can be cast in almost any shape desired, and once hardened, can become a structural (load bearing) element.” (Source: Wikipedia). Through this it became the building material of choice of modernist architects. And in this era it still is.

The lime ENCI stone quarry will be closed in 2018 and as a consequence the klinker production will be stopped some time after it and the kiln etc will demolished. After that the quarry and demolished part of the industrial complex will be redeveloped. The quarry will become a park. For in-depth information about the transformation process the master plan (Dutch) is: here.

A preliminary step of this redevelopment process was already taken in 2008. The ‘Peutz-building’, an industrial building that lost its function when a part of the manufacturing process was moved to Rotterdam in the 80s was redeveloped as theatre and cultural centre AINSI in 2008. A clip about it from this period is: here and a recent one here

The facilities on display in the FG is the central clinker storage facility. In the BG is the other side of the valley of the river Maas.

Shot across the quarry .

A bird's eye view of the quarry and its industrial complex is: here. The site is about the redevelopment of the quarry.

Background info about ENCI (Dutch) is: here.

Ford Phaeton 1930 in Antigua, Guatemala by Priscilla Burcher

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Car used for a wedding in Antigua, Guatemala.

Guatemala offers a number of unique wedding venues. Recently four of Guatemala’s hotels were on a list of the 10 best hotels in Central America and the Caribbean by Condé Nast Traveler Magazine.

Ford Phaeton 1930:

From beginning to end of the manufacturing process, the 1930 Ford models were great looking vehicles.

The 1930 Ford models offered the consumer more fender flare, deeper radiator shells and a great fuel economy for the consumer market. An unusual feature of the new Ford model for 1930 was the use of rust-less steel for the radiator shell headlamps, hubcaps, cowl finish strip and radiator caps. For many years, nickel plating was used for those parts by automobile manufacturers.

The 1930 Ford models offered the consumer smaller wheels and larger tires, a shatterproof glass windshield, new style fenders and many other features that many consumers thoroughly had enjoyed.

The Phaeton model was a great looking car that many customers really enjoyed. The windshield could fold flat when desired and the top could be raised or lowered quickly and easily. The door panels were attractively embossed and the model offered the driver outstanding performances when driving.

www.motorcities.org/story-of-the-week/2017/looking-back-o...

www.daniellopezperez.com/destination-wedding-guatemala-15...

NASA Tests In-Flight Capability of Artemis Moon Rocket Engine by NASA's Marshall Space Flight Center

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NASA conducted the third RS-25 engine hot fire in a critical 12-test certification series Nov. 29, demonstrating a key capability necessary for flight of the SLS (Space Launch System) rocket during Artemis missions to the Moon and beyond.

NASA is conducting the series of tests to certify new manufacturing processes for producing RS-25 engines for future deep space missions, beginning with Artemis V. Aerojet Rocketdyne, an L3Harris Technologies Company and lead engines contractor for the SLS rocket, is incorporating new manufacturing techniques and processes, such as 3D printing, in production of new RS-25 engines.

Image credits: NASA\Danny Nowlin

#NASA #NASAMarshall #sls #spacelaunchsystem #nasasls #exploration #rocket #artemis #ssc #NASAStennis

Original image:

www.nasa.gov/sls/multimedia/gallery/sls-3d-injector-test....

Image credit: NASA/MSFC/David Olive

More about SLS:

www.nasa.gov/sls

More SLS graphics and concepts:

www.nasa.gov/exploration/systems/sls/multimedia/gallery/S...

Space Launch System Flickr album

www.flickr.com/photos/28634332@N05/sets/72157627559536895/

_____________________________________________

These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...

94 Ford by Brett Kannenberg

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An old friend of mine who collects older trucks once said to me the thing that fascinated him the most was the amount of butts that have sat in them. While this isn't the oldest car I have ever inventoried, (a 79 Tbird has that honor) it still is a rite of passage experience to release the clutch and give an engine that is older than you some go juice. This 4x4 short bed came equipped with the bulletproof 4.9 inline 6 and even though it wasn't the 5.0 V8 she still sounds much much better than her grandchildren 26 years later. And that isn't the only change that has happened in 26 years. It is truly a shame the path the auto industry has taken today, trying to squeeze every last penny out of the manufacturing process. Ford, GM, Fiat/Chrysler and every other car company is guilty of this, and with Fords recent recall on rupturing brake lines goes to show how even simple safety is subject to capitalisms greed. I am just happy that relics like these roam the pavement and can offer a short taste of "what once was".

~casa de los abuelos~ by Ute

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"The Grandparents House"... a traditional Mexican style kitchen at the hand painted Talavera-Tile factory store in PUerto Vallarta, Mexico!

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en.wikipedia.org/wiki/Talavera_(pottery)

Talavera pottery (and tiles) of Puebla, Mexico is a type of majolica pottery, which is distinguished by a milky-white glaze.[1] Authentic Talavera pottery only comes from the city of Puebla and the nearby communities of Atlixco, Cholula, and Tecali, because of the quality of the natural clay found there and the tradition of production which goes back to the 16th century.[2] Much of this pottery was decorated only in blue, but colors such as yellow, black, green, orange and mauve have also been used.[3] Majolica pottery was brought to Mexico by the Spanish in the first century of the colonial period.

The tradition has struggled since the Mexican War of Independence in the early 19th century, during which the number of workshops were less than eight in the state of Puebla. Later efforts by artists and collectors revived the craft somewhat in the early 20th century and there are now significant collections of Talavera pottery in Puebla, Mexico City and New York City. Further efforts to preserve and promote the craft have occurred in the late 20th century, with the introduction of new, decorative designs and the passage of the Denominación de Origen de la Talavera law to protect authentic, Talavera pieces made with the original, 16th century methods.[2][4]

Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work "Talavera." [9] Certification is issued by the Consejo Regulador de la Talavera, a special regulatory body. Only nine workshops have so far been certified: Uriarte Talavera, Talavera La Reyna, Talavera Armando, Talavera Celia, Talavera Santa Catarina, Talavera de la Nueva Espana, Talavera de la Luz, Talavera de las Americas, and Talavera Virglio Perez. Each of these needs to pass a twice-yearly inspection of the manufacturing processes. Pieces are subject to sixteen laboratory tests with internationally certified labs.[2] In addition, there is a test done by the Faculty of Sciences of the University of Puebla to ensure that the glaze does not have lead content of more than 2.5 parts per million or cadmium content of more than 0.25 parts per million, as many of the pieces are used to serve food.[3][10] Only pieces from workshops that meet the standards are authorized to have the signature of the potter, the logo of the workshop and the special hologram that certifies the piece's authenticity.[8]

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#941-3643-Chair-Study-Model by VFR Rider

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A paper working model of a chair. (see #940)

(From Rijksmuseum.nl):

Paper Bone Chair, Joris Laarman, Habith Modell- & Formenbau GmBH, 2006

lamineren, h 76cm × b 45cm × d 75.5cm. More details

The paper study model for the Bone Chair is composed of sheets of paper, joined together layer by layer. Each layer was printed by a computer. A three-dimensional computer model was used as the starting point for this laminated object manufacturing process, which is a form of rapid prototyping.

Paved with Amethysts by A.Davey

13 7

Astoria, Oregon.

Solarization of Glass

Many glassmakers through the centuries have attempted to produce clear, colorless glass. Impurities, especially iron oxide, in the batch ingredients that were melted to make the glass often resulted in glass that was greenish instead of the desired "water clear."

An interesting characteristic of colorless glasses which contain manganese dioxide as a decolorizer is their tendency to turn different shades of purple when exposed to the rays of the sun or to other ultra-violet sources. It is a photochemical phenomenon that is not yet perfectly understood. It is generally accepted that the ultra-violet light initiates an electron exchange between the manganese and iron ions. This changes the manganese compound into a form that causes the glass to turn purple.

It was in the mid 19th century that manganese dioxide, popularly called "glassmaker's soap," began to be used by American glass manufacturers as a decolorizer. By including a small amount of this ingredient in the melt, they could produce glass that appeared virtually colorless. An 1899 publication by Benjamin Biser remarked,

The especial use of manganese in glass is to mask or neutralize the greenish color imparted to the glass by the protoxide of iron. Manganese imparts to glass a pink or red tint, which being complementary to green, neutralizes the color and permits the glass to transmit white light. Pellat refuted this theory, and claimed that the green tint of iron was not neutralized by the pink of manganese, and thus subduing it; but by the iron taking another charge of oxygen from the manganese and becoming per-oxide of iron, and producing a reddish yellow tint, while the protoxide produces a green tint.

Glass scientists today generally agree with Apsley Pellat, explaining that an ion exchange between the iron and the manganese molecules changes the observed color of the glass.

This process is sometimes reversible by gently heating the glass to about 200°C.

In the early 20th century, changes in manufacturing processes, as well as more pure batch materials, dictated different ways to decolorize glass, and the use of manganese oxide for this purpose dwindled.

libanswers.cmog.org/faq/144135

Abercwmboi, August 1986 by David Rostance

38 1

English Electric Type 3 No. 37205 pulls away from Abercwmboi Phurnacite plant with a Speedlink working for Severn Tunnel Junction on 19th August 1986.

The Phurnacite plant, which shut in 1991, produced smokeless fuel in the form of briquettes for 50 years. At its peak over 1m briquettes were produced a year. In 2012 a group of former workers at the site successfully sued British Coal for the effects of the manufacturing process which resulted in a number of ailments including lung, skin and bladder cancers and chronic obstructive pulmonary disease.

229'8111

The Old Defiance Flour Mill (Fortitude Valley, Queensland) by Buddy Patrick

20

Crisp, O’Brien and Company was founded in 1898 in Toowoomba by Patrick and Ellen O’Brien and George Crisp. Crisp was a miller and former manager of the eminent Dominion Flour Company in Toowoomba; the O’Briens operated a produce and grocery store. Their first mill was built in Toowoomba in the same year. Success led to the company’s expansion into Brisbane and the renaming of the business as the Defiance Milling Company.

Wheat milling had been undertaken by the first European settlement in Moreton Bay, but did not become a commercial venture in Queensland until the 1890s. At that stage, Dominion was the dominant mill in Toowoomba and controlled most of the flour market in Queensland. Reputedly, Crisp, O’Brien and Company was set up in ‘defiance’ to Dominion: the O’Briens were responding to complaints they had received from wheat farmers, while Crisp was unhappy in his position at Dominion. Another possible origin of the business name is that it was named after a type of wheat.

The new milling venture was so profitable that the company expanded almost immediately. A second Toowoomba site was bought in 1901, now a State Heritage listed site [601306]. Expansion into Brisbane began with the purchase of the Constance-street property in October 1903. Tenders for the construction of the mill were called through November by Messrs. Marks and Sons. James and son Henry Marks had formed a Toowoomba-based architectural firm in the 1880s and designed several major buildings in Toowoomba in the Darling Downs region in the 1880s, including the State Heritage listed St Patrick’s Roman Catholic Cathedral (1889), Pigott’s Building (1910), the Royal Bank of Queensland, Imperial Hotel and St Stephen’s Presbyterian Church. Marks and Sons had also designed the Toowoomba mill for Defiance.

Smith and Trapp successfully tendered to build the four-storey brick mill, although two storerooms at the back, were built by T. Rees and tenders for the brick chimney shaft were advertised in May 1904. The mill was completed by mid 1904 and began processing wheat in October.

The Constance Street mill was well situated for success in the wheat trade. The railway line had been extended to the Valley in 1890, making the area much more accessible and attractive to industry. A rival company’s flour mill had been built in nearby Ballow Street in 1902 and, while most of the block on Constance Street

between Wickham Street and Alfred Street at the time was residential, Defiance’s new mill replaced an asphalt company and an artesian tubing company. Industry and trade had grown so much that by 1904 there were overcrowding problems in the extensive Brunswick Street rail yards. However, there were no such problems for Defiance. With the rail line backing the site and its own railway siding, the mill had easy export access to the sea (via the Eagle Farm line), inland areas (via the main line stretching from the Valley across Queensland) and local access to domestic supply stores from the Valley to Booroodabin, Albion, Lutwyche and surrounding areas. Constance Street itself was improved considerably in 1904, with electric lights installed from 1904, and the bus route extended along the street in the same year. The company’s auspicious position was assured with a contract for the supply of flour for the East in 1905.

The mill announced its arrival in the Valley three months after its completion with an open-day and tours conducted by the miller W.D. Nicholls, in December 1904. The public display drew over 350 people in a single day, despite the warning that no children could be admitted due to the working machinery. Visitors could see the offices to the right of the main building, four storeys of the latest style of machinery, including the first set of diagonal rollers installed in the Commonwealth, elevators, an engine room, and the two storerooms, each with 500-600 ton capacity. The mill produced a ton of flour per hour, which was stored in the flour store or shipped out the railway siding. Externally, the brick building featured impressive ornamentation, with red, white and blue arches over some of the windows, and the ‘Defiance’ lion on the top of the building. Further addition of a wood and iron grain store was approved in August 1905.

During its early years of operation in Brisbane, Defiance frequently emphasised its use of Queensland-grown flour, appealing to the patriotism of its customers. Defiance had been established in part as a response to the complaints of Queensland wheat farmers who could not always find a purchaser for their produce, and Defiance provided a guaranteed market for them. The quality of local wheat fluctuated and it was often cheaper for millers to purchase wheat from farmers in the southern states. Shortly after Defiance was established in the Valley, Queensland wheat improved and Defiance loyalty was not immediately tested.

Defiance achieved recognition for its flour, winning first prize in the Coronation Exhibition three years running, and receiving a gold medal for its flour in the Franco-British Exhibition in 1911. The company also boasted its position as one of the most up-to-date ten-sack milling plants in Australia.

However, the progress of the Defiance Milling Company was not marked entirely by success. The company suffered various setbacks in the early twentieth century. The death of Patrick O’Brien in 1906 left his wife Ellen with ten children and two mills in debt. She continued the company, borrowing money to pay for the new season’s wheat. In 1913, the new Toowoomba mill burnt down and had to be rebuilt. During the rebuilding period the Constance Street mill functioned full-time to fill the orders from Toowoomba. The 1915 Royal Commission Appointed to Inquire Into and Report Upon the Supply and Distribution of Wheat and Flour in the State of Queensland brought to light the closure of Defiance’s Brisbane mill in August 1914 ‘owing to Southern competition; it was not due to the war’. The O’Briens’ son,

Thomas (T.P.), took over as manager in 1918, and the Constance Street mill was leased to the Brisbane Milling Company, which had amalgamated with Dominion in 1906. In 1919, George Crisp relocated to Tasmania, leaving the Toowoomba mill without a manager. The creation of the Wheat Board in 1920 caused further problems for millers, when the Price Commissioner fixed flour prices at a rate which caused the closure of two mills in Warwick and the temporary closure of Defiance’s Toowoomba mill. While Defiance largely escaped criticism for its exclusive use of high-quality Queensland wheat, the associated costs created problems. Although the Constance Street mill was being used again in the early 1920s, with workers sustaining various accidents on site, Defiance appears to have decided to focus on the Toowoomba mill instead. A newly upgraded Toowoomba plant was announced in January 1922, at the cost of thousands of pounds, while the Constance Street mill was sold to the Brisbane Milling Company in 1922. The sale resulted in accusations from the Wheat Pool that O’Brien had built ‘one small mill in Brisbane and abandoned it’, but Defiance instead opened a mill in Dalby in 1924, which proved more successful. T.P. replaced his mother as chairman after her death in 1924. Defiance continued as a company until it was taken over in the 1980s, having re-entered Brisbane as the owner of the Albion flour mill.

Problems continued for millers in the 1930s. The Brisbane Milling company ran into trouble with the prices fixed by the Wheat Board, competition from southern manufacturers supplying cheaper flour and a Royal Commission inquiring into Certain Matters Relating to the Wheat and Flour Industries of Queensland in 1934. The Commission drew attention to the situation that had arisen: Queensland farmers exported their wheat, profiting less than they would by selling to Queensland millers, while millers from southern states who purchased the cheaper wheat from Queensland farmers, exported the flour to Queensland, undercutting the prices of Queensland millers.

In October 1943, the Defiance’s Mill was put into use for the 5th US Air Force Service Command. Known as ‘the Old Mill’, it housed the US servicemen, two of whom left writing on panels within the building. These were discovered by the tenant in 2001.

After the war, the site was owned by Robert Windsor and Son, who ran an engineering manufacturing process from the mill. Space in the building was leased to clothing manufacturers, sheet metal workers, upholsterers. Robert Windsor and Son owned the land until 1982. Part of the plant has since been replaced by the railway line and the main building is now occupied by Beckett Agencies. The smaller building alongside which may have been used as the engine room is now used as a wine cellar for ‘Fine Wine Cellars’.

Source: Brisbane City Council Heritage Register.

Polaroid Now Camera by Luminosity 7

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Yesterday I told the story of how the digital revolution in photography led to the bankruptcy of Polaroid - a giant in the industry. However, a group of loyal staffers and instant photography buffs pooled their resources to create "The Impossible Project". The aim was to recreate (as best as possible) the Polaroid experience.

They bought the last surviving Polaroid factory in The Netherlands, and planned to recreate the processing of instant film. One of the problems at the time, was that the trustees of the bankrupt Polaroid owned all the patents to this manufacturing process, and so effectively they would have to start from scratch.

Well to cut more than a decade of struggle down to a few short notes, not only did The Impossible Project manage to create their own instant film process, but by that time they had also come to an agreement to be able to take over the famous Polaroid name. Polaroid 2.0 had been reborn.

This Polaroid Now camera is nothing special. In many ways it operates in a way similar to a toy camera like the late lamented Holga. It is powered by a rechargeable battery (the old Polaroid had the battery in the film cassette). The Polaroid Now does have a basic autofocus, a flash that can be turned on and off, and even a timer (to help with those selfies). It looks neat and fits nicely in the hand. But it is no Polaroid SX-70, the landmark SLR Polaroid we saw in those commercials yesterday.

The other thing in relation to the film stock for these cameras (known as I-Type instant film), is that the process in not really instant. In fact it takes up to 15 minutes for these photos to develop (about half that time for black and white), and unlike the earlier Polaroid method they must be put in a dark space to do so. Remember the old Polaroids could develop very quickly in full light right in front of you.

There are several reasons for this different process, which is certainly not yet up to the level of the old Polaroid film (especially the SX-70 film). One of these has to do with the extremely toxic chemicals that Polaroid once used in the process. These are no longer ecologically sound. So the processing of I-Type film is different, and as I said, the quality is simply not yet up to what Polaroid was at its very best.

For instance, the new film is very sensitive to temperature (so best store it in the fridge like other film stock). It has a relatively short shelf life. Polaroid 2.0 will only guarantee their film for a period of 12 months from manufacture. After that it is regarded as expired film. It still works, but you get some interesting results. I happen to love some of these effects and will show you examples in the coming days.

Buying this film online to save a few dollars might not be your best option. For example, I saw some I-Type film advertised on Ebay at less than half the normal retail price. Tempting, until I saw that the seller lived in the tropical region of north Queensland. I knew that the chances of this film being really useful was marginal because it was probably not stored in cool conditions.

Of course, by now a number of different manufacturers have joined the instant photography revival. Fujifilm produce their Instax series, Lomography likewise with their Lomo'instant. Lomography is very popular with younger photographers looking to play around with toy cameras (that's a whole other field of interesting photography). But the real surprise packet is the Leica SOFORT 2. This combines digital photography with an opportunity to print out the photos Polaroid style. Of course with most things Leica, it is quite a bit more expensive than the other brands. leica-camera.com/en-AU/photography/cameras/sofort-2-red

P.S. The Polaroid multi-coloured strip logo was adopted by Steve Jobs at Apple and incorporated into their apple logo. Jobs acknowledged that one of his great inspirations was Edwin Land and Polaroid.

Indonesia - Java - Yogyakarta - Batik Artist Astuti - Volcano 1983 by Manfred Sommer

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Cotton - 120x90 cm - Picture taken in my Art Gallery

What do we see here?

First of all: this art looks like ordinary painting done with a brush. It is not. It is a totaly different and complicate process. If you don´t know already how to make batik, please read the article below to understand the difference to our thinking about painting. The batik-artist doesn´t draw with colours, he draws with wax and the colouring is done by dipping the whole peace of cloth into the desired colour liquet. Then removing the wax in boiling water and starting new for the next colour. And this so many times as the different colours in the finished batik. This takes month o finish. And you have to think opposit: you don´t draw the painting - you draw what will not be the painting!

That´s why this thousands of years old technic is declared as a

UNESCO Heritage Of Human Art.

You can see in his Batik Paintings elements of islamic art

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BATIK

Batik is a technique of wax-resist dyeing applied to the whole cloth. This technique originated from the island of Java, Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting, or by printing the resist with a copper stamp called a cap. The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired.

Batik is an ancient art form of Indonesia made with wax resistant dye on fabrics. Indonesian coastal batik (batik pesisir) made in the island of Java has a history of acculturation, a mixture of native and foreign cultures. It is a newer model compared to inland batik, and it uses more colors, though the patterns are a lot less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone.

Batik is very important to Indonesians and many people would wear it to formal or casual events. Batik is commonly used by Indonesians in various rituals, ceremonies, traditions, celebrations, and even in daily uses.

On October 2, 2009, UNESCO officially recognized the batik (written batik (batik tulis) and stamped batik (batik cap)) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik. Since then, Indonesia celebrates "the National Batik Day" (in Indonesian: Hari Batik Nasional) annually on October 2. Nowadays, Indonesians would wear batik in honor of this ancient tradition.

In the same year, UNESCO also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" as Masterpiece of Oral and Intangible Heritage of Humanity in Register of Good Safeguarding Practices List.

Batik is considered a cultural icon in modern Indonesia, where "National Batik Day" (in Indonesian: Hari Batik Nasional) is celebrated annually on October 2. Many Indonesians continue to wear batik on a daily basis for casual and formal occasions.

ETYMOLOY

The word batik is Javanese in origin. It comes from the Javanese ambatik that consist of amba means "wide" or "large", and tik or nitik means "dot" or "make a dot". The word bathikan also means "drawing" or "writing" in Javanese. When the word is absorbed to Malay (including both Indonesian and Malaysian standards), the "th-" sound is reduced to a "t-" sound more pronouncable to non-Javanese speakers.

The word batik is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled as battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms such as mbatik, mbatek, batik and batek. Batik known as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).

HISTORY

Batik is an ancient fabric wax-resist dyeing tradition of Java, Indonesia. The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available – cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since several regions in Indonesia such as Toraja, Flores, and Halmahera which were not directly influenced by Hinduism, have attested batik making tradition as well.

The existence of the oldest Batik activities came from Ponorogo which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that the batik produced by Ponorogo is generally dark black or commonly called batik irengan because it is close to magical elements. so that it was developed by the kingdoms in Central Java and Yogyakarta.

Based on the contents of the Sundanese Manuscript, Sundanese people have known about Batik since the 12th century. Based on ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step.

Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier. By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands, Siam, even as far as Mosul.

In Europe, the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.

In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.

In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.

In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[20] This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.

TECHNIQUES

Initially, batik making techniques only used "written batik" (batik tulis) techniques. This batik tulis is known as the original batik from generation to generation from the Indonesian nation's ancestors because the process and workmanship are still very traditional and manual. Then the technique developed with the discovery of the stamped batik (batik cap) technique which made batik work faster. The batik tulis and batik cap techniques are recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia because it still uses waxes in the making process.

WRITTEN BATIK (BATIK TULIS)

Written batik or batik tulis (Javanese script: ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon: باتيق توليس) is made by writing wax liquid on the surface of the cloth with a tool called canting. Canting made of copper with a handle made of bamboo or wood. The making of hand-written batik takes approximately 1–3 months depending on the complexity and detail of batik. Because the working techniques are still traditional and manual, making hand-written batik takes longer and is more complicated than other batik techniques. In addition, the fundamental difference between written batik compared to other batik is that there are differences in each pattern, for example, a number of points or curved lines that are not the same because they are made manually by hand. This characteristic of hand-written batik makes hand-written batik more valuable and unique compared to other batiks.Written batik technique is the most complicated, smooth, and longest process to work with, so a piece of original batik tulis cloth is usually sold at a higher price. However, this is the advantage of batik with the written process, which is more exclusive because it is purely handmade. In Indonesia, premium hand-written batik clothes are usually only worn by certain people at special events, in the form of long-sleeved shirts or modern batik dresses. The batik motif in Indonesia has developed depending on its history and place of origin.

STAMPED BATIK (BATIK CAP)

Stamped batik or batik cap (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a stamp tool. This stamp tool is made of copper plates which form a batik motif on one of its surfaces. Stamp tool or canting cap is made by people who are experts in that field. Making batik with cap works the same way as using a stamp, but using waxes, not ink. This experience process is not easy to do. To make one piece of batik cloth, the process of deepening is carried out several times depending on the number of colors desired. Cap is used to replacing the canting function so that it can shorten the manufacturing time. Batik cap is produced from the process of dyeing a tool made of copper which has been shaped in such a way on the cloth. The batik cap motif is considered to have less artistic value because all the motifs are exactly the same. The price of printed batik is cheaper than written batik because it can be made en masse. The distinctive feature of batik cap can be seen from the repeating pattern and/or ornament motif. Historically, this batik cap process was discovered and popularized by the brethren as a solution to the limited capacity of batik production if it was only processed with hand-written techniques (batik tulis). The process of making this type of batik takes approximately 2–3 days. The advantages of batik cap are easier, faster batik processing, and the most striking of which is the more neat and repetitive motifs. While the drawbacks of batik cap include the mainstream design because it usually goes into mass production, in terms of art it looks stiffer and the motifs are not too detailed, and what is certain is the possibility of having the same batik as other people is greater.

PAINTED BATIK (BATIK TULIS)

Painted batik, batik painting, or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or a combined medium like canting, brush, banana stalk, broomsticks, cotton, toothpicks, patchwork, or other media depending on the expression of a painter. Batik painting is the result of the development of batik art. The essence of batik painting is the process of making batik that does not use traditional motifs that are commonly found. The resulting motifs are the creation of the maker, usually producing contemporary (free) motifs or patterns with brighter, more striking colors, and more diverse color variations. The coloring in painted batik tends to be free and plays with many colors that are not often found in written batik (batik tulis). There are also gradation effects and other painting effects. The drawings are made as if painted batik is an ordinary painting poured on cloth using wax as the medium.

In principle, painted batik is almost the same way with written batik in the making process. Because of the development of classic written batik, painted batik still contains the same elements as written batik in the aspects of materials, processing, coloring, and highlighting (removing the wax). But there are also many differences due to the influence of modern painting, such as in terms of appearance, especially in motifs and colors. The most important thing in making painted batik is the combination of the batik work and coloring depending on the taste of the batik maker. Painted batik is popular because it has a very affordable price and a very creative manufacturing process. Painted batik can be used as decoration or ready-to-wear clothing (fashion). Painted batik which has human objects, landscapes, still objects, and other objects, are in high demand for display paintings.

MAKING PROCESS

The making of Indonesian batik is a labor-intensive process. The following are the stages in the process of making the original batik tulis cloth from the first steps to the last process: nyungging, njaplak, nglowong, ngiseni, nyolet, mopok, nembok, ngelir, nembok, the first nglorod, ngrentesi, nyumri, nyoja, and the second nglorod.

Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (Javanese pronunciation: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. Alternatively, a copper block stamp called a cap (Javanese pronunciation: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.

After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colours desired.

The most traditional type of batik, called written batik (batik tulis), is drawn using only the canting. The cloth needs to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik (batik cap).

CULTURE

Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons. Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified. Basically, the use of batik should not be arbitrary for both men and women because every element in Javanese clothing, especially batik, is always full of symbols and meanings.

Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Specific pattern requirement are often reserved for traditional and ceremonial contexts.

TRADITIONAL COSTUME IN THE JAVANESE ROYAL PALACE

Batik is the traditional costume of the royal and aristocratic families in Java for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace. The motifs of the Parang Rusak, semen gedhe, kawung, and udan riris are the batik motifs used by the aristocrats and courtiers in garebeg ceremonies, pasowanan, and welcoming honor guests. During the colonial era, Javanese courts issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved several patterns such as the Parang Rusak and Semen Agung for members of the Yogyakartan royalties and restricted commoners from wearing them.

TRADITIONAL DANCE COSTUMES

Batik is used for traditional dance performances in Java. Costume is one of the main things in presenting traditional Javanese dance. Kemben is a piece of cloth worn from the chest to the waist. Tapih is used to fasten the jarit of the dancers, it is decorated with a distinctive batik motif, and fastened with a stagen belt. Sampur is used by wrapping them around the dancer's body. This cloth is also known as Kancrik Prade which is usually dominated by yellow or red. Jarit is a subordinate, uses a long batik cloth. Some examples of Javanese dances include Bedhaya, Srimpi, Golek, Beksan, wayang wong, gambyong, and so on.

BIRTH CEREMONIES

In Javanese tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a mitoni ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths. The batik used has rules and is not just any batik. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality.

Prospective mothers must alternate wearing 6 batik cloths and 1 striated batik cloth. This batik substitution has a rule, that the last batik to be worn is the one with a simple motif. The motif rulers include:

Wahyu tumurun motif – This motif contains the hope that the baby will have a good position.

Cakar motif – This motif is expected to make the child diligent in seeking sustenance.

Udan liris motif – It is hoped that the child will have a tough character.

Kesatrian motif – It is hoped the child has a chivalrous nature.

Sidomukti motif – It is hoped that the child's life will be good and honorable.

Babon angrem motif – Motif depicting a hatchling hen, symbolizes the mother's love for her child.

Lurik lasem motif – The simplest motif. It has a philosophy that human life should be simple. There is also another philosophy, there are two lines in lurik lasem batik, namely the vertical line indicating the relationship between humans and God and the horizontal line indicating the relationship between humans and fellow humans.

WEDDING CEREMONIES

Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families. Such as the truntum motif (flower motif in the shape of the sun) is used for midodareni ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the panggih ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The truntum motif means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends.

Some of the batik motifs that can be used for weddings are the grompol motif (hopefully the bride and groom will get a blessing and a bright future), Sidho asih motif (hopefully that the bride and groom will love each other), Sidho luhur motif (hopefully that the bride will have a noble and praiseworthy character), and ceker ayam motif (hopefully the bride and groom have the spirit of being married and given prosperity).

DEATH CEREMONIES (LURUB LAYON)

In Javanese society batik cloth is also used for death ceremonies, namely as a cover for the body or what is known as the lurub layon ceremony. The batik motif that symbolizes grief is the slobok motif. This batik motif symbolizes the hope that spirits will find it easy and smooth on their way to God. The word slobog is taken from the Javanese word lobok, which means loose. This motif is a geometric triangular shape that is usually black and white. The basic color of this batik is often black or brown with a natural dye which is often called soga.

In Madurese society, one of the batik motifs used for the cloth covering the corpse from generation to generation is the biren rice tompah motif. This biren leaf motif is filled with spilled rice using natural dyes. The washing also uses natural ingredients, squeezed papaya leaves.

FORMAL AND INFORMAL DAILY DRESS

Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Besides that, now batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to various designs of batik clothes that are very elegant and meet the demands of a modern lifestyle.

In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. The day, 2 October 2009 has been stated by Indonesian government as National Batik Day, as also at the time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by the Indonesian Ministry of Research and Technology.

Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.

PATTERNS AND MOTIVS

The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is also believed the motif made the batik famous.

KAWUNG

The kawung motif originated in the city of Yogyakarta and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to also be a representation of a lotus flower with four blooming crown petals, representing purity. The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of sedulur papat lima pancer. As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The color scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whomever uses this motif would have a positive influence on the environment. Furthermore, the kawung batik motif is seen as a sign of power and justice. Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family. Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public.

PARANG

The word Parang comes from the word coral or rock. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. The parang motif's oblique construction is also a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. The size of the parang motif also represents the wearer's position in the royal family's hierarchy. The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. In general, the motif is meant to represent a person's strong will and determination. It also represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties. Since members of the royal family are the only ones who may wear the parang motif, the parang batik is often passed down among generations.

MEGA MENDUNG

The mega mendung pattern has become a symbol of the city of its origin, Cirebon, due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven color gradations. The motif's name means "the sky will rain", and the motif's seven color gradations are supposed to represent the seven layers of the sky. The term mendung, which means "cloudy", is used in the pattern's name to represent patience. This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should also be consistent, as the direction must be horizontal rather than vertical. The clouds must also be flat, as the cloud's purpose is to shield those beneath it from the scorching sun. As a result, the mega mendung design communicates that leaders must protect their people.

TUJUH RUPA

This pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. However, the embellishments on these motifs sometimes include brilliantly colored ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.

TRUNTUM

The Truntum pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion. The parents of the bride and groom usually use this motif on the wedding day. The hope is that the bride and groom would experience such steadfast love.

SOGAN

As the coloring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colors of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colors to represent the human nature: black, red, yellow, white, and green are the five colors. The color black is used to represent worldliness, while red represents anger, yellow represents desire, and white represents righteousness. Brown, on the other hand, is a hue associated with solemnity and the distinctiveness of the Javanese culture, which places a strong emphasis on the inner self as a means of expression and impression. Furthermore, the color brown can be viewed as a symbol of modesty and humility, signifying a closeness to nature, which in turn implies a connection to the people.

LASEM

Lasem batik is a form of coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'.[83] This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the color red in batik. As a result, the Lasem patterns and colors have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation.

SIDOMUKTI

The Sidomukti batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. On Sidomukti batik cloth, the color of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of various ornaments with different meanings and philosophies. A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana ornament, also known as the throne ornament, is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is also envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise.

SIDOMULYO

The Sidomulyo batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java.[90] Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future. Because the Sidomulyo and Sidolmukti batik motifs are essentially the same with the only difference being the minor color variations, the ornamentations and meanings of the two motifs are the same.

SEKAR JAGAD

The Sekar Jagad motif has been popular since the 18th century. The name Sekar Jagad is derived from the words kaart, meaning map in Dutch, and Jagad, meaning means world in Javanese, as the pattern resembles a map when viewed from above. As a result, Batik Sekar Jagad is intended to depict the beauty and diversity of the world's various ethnic groups. There are also others who claim that the Sekar Jagad motif is derived from the Javanese words sekar (flower) and jagad (world), as the motif could also symbolize the beauty of the flowers that are spread all over the world. The existence of curving lines matching the shape of islands that are adjacent to each other is one of the features of the Sekar Jagad motif, making it look like a map. This motif is distinct in that it is irregularly patterned, as opposed to other batik motifs that have a repeating pattern. The Sekar Jagad motif itself is also characterized by the presence of isen-isen in the island shaped lines of the motif that contains various motifs such as kawung, truntum, slopes, flora and fauna and others.

TERMINOLOGY

Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.

Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.

The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determine whether the cloth is kain panjang or sarong.

The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colours called pagi-sore ('dawn-dusk'). Brighter patterns are shown during the day, while darker pattern are shown in the evening. The alternating colours give the impression of two batik sets.

Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret.

TYPES

As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik). Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs.

JAVANESE BATIK

INLAND BATIK (BATIK PEDALAMAN)

Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colour[96] such as black, indigo, brown, and sogan (brown-yellow colour made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.

COASTAL BATIK (BATIK PESISIRAN)

Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading.[96] Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.

A notable sub-type of coastal batik called Jawa Hokoka is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.

Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city.

BLACKSTYLE BATIK (BATIK IRENGAN)

"Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik.

SUNDANESE BATIK

There are several types of batik that come from Sundanese land.

PARAHYANGAN BATIK

Sundanese or Parahyangan Batik is the term for batik from the Parahyangan region of West Java and Banten. Although Parahyangan batiks can use a wide range of colours, a preference for indigo is seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Parahyangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.

BANTENESE BATIK

Bantenese batik employs bright pastel colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified. It is said that tribal people used to wear it.

BADUY BATIK

Baduy batik only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.

MALAY BATIK

Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.

The batik from Bengkulu, a city on west coast of Sumatra, is called batik besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.

MINANGKABAU BATIK

The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora.

BALINESE BATIK

Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.

Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social status.

POPULARITY

The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of Indonesia. With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.

After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.

Batik is popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.

BATIK MUSEUMS

Indonesia as the origin and paradise of batik has several museums that store various types of batik cloth that are hundreds of years old and a collection of equipment for batik that is still well preserved and maintained. Here are some museums in Indonesia that hold various types of batik collections:

MUSEUM BATIK KERATON YOGYAKARTA

Museum Batik Keraton Yogyakarta is located inside the Palace of Yogyakarta Sultanate, Yogyakarta. The museum which was inaugurated by Sultan Hamengku Buwono X on 31 October 2005 has thousands of batik collections. Some of batik collections here include kawung, semen, gringsing, nitik, cuwiri, parang, barong, grompol, and other motifs.

These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII to Sultan Hamengkubuwono X. The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Not only batik, visitors can also see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. Unlike other museums in the Yogyakarta Palace complex, the Batik Museum management does not allow visitors to bring in cameras. This is in order to protect the batik from being photographed by irresponsible people, to then imitate the motive. This museum is part of a tour package offered by the Yogyakarta Palace. Open every day from 08.00–13.30 WIB, on Fridays at 08.00–13.00 WIB, and closes at the palace ceremony day.

MUSEUM BATIK YOGYAKARTA

Museum Batik Yogyakarta is located at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta. This museum is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. This museum occupies an area of 400 m2 and is also used as the owner's residence. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia. This museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and coloring materials, including wax. Its excellent collection consists of various batik fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen, as well as batik made in the 1700s. Yogyakarta Batik Museum also provides batik training for visitors who want to learn to make batik, which results can be taken home. The museum is open every Monday to Saturday at 09.00–15.00.

MUSEUM BATIK PEKALONGAN

Museum Batik Pekalongan is located at Jalan Jetayu No.1, Pekalongan, Central Java. This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber, and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java, and batik from various regions in Nusantara such as from Sumatra, Kalimantan, Papua, and batik technique type fabrics from abroad.

Not only displaying batik collections, but Museum Batik Pekalongan is also a batik training center and a batik learning center. Students and general visitors can learn to make batik or do research on batik culture. The museum opens every day from 08.00 to 15.00.

Museum Batik Danar Hadi is located on Jalan Slamet Riyadi, Solo City (Surakarta), Central Java. The museum, which was founded in 1967, offers the best quality batik collections from various regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik (Kudus, Lasem, and Pekalongan), Sumatran batik, and various types of batik. This museum has a collection of batik cloth reaching 1000 pieces and has been recognized by MURI (Indonesian Record Museum) as the museum with the largest collection of batik. Visitors can see the process of making batik and can even take part in batik making workshop in person. Museum Batik Danar Hadi is open every day from 09:00 WIB in the morning to 16:30 WIB in the afternoon.

MUSEUM BATIK INDONESIA

Museum Batik Indonesia which is located in Taman Mini Indonesia Indah (TMII), Cipayung, Jakarta is divided into six areas, namely the area of introduction, treasures, batik techniques, forms, and types of decoration, development of the batik world and the gallery of fame. Visitors can also enjoy the hundreds of batik motifs available in this place. The museum opens every day at 07.00 AM–10.00 PM.

MUSEUM TEKSTIL JAKARTA

Museum Tekstil Jakarta is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta. On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta. The initial collections collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1.914 collections.

The batik gallery is designed to showcase a number of ancient batik and batik developments (contemporary) from time to time. The batik gallery itself is the embryo of the National Batik Museum which is managed by the Indonesian Batik Foundation and the Jakarta Textile Museum. The museum opens on Tuesday–Sunday at 09.00–15.00.

Batik outside Indonesia

MALAYSIA

The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay peninsula.

Dr. Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the canting for intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours also tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.

INDIA

Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2,000 years.[when?][citation needed] Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.

SRI LANKA

Over the past century, batik making in Sri Lanka has become firmly established. The batik industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.

CHINA

Batik is done by the ethnic people in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.

AFRICA

Although modern history would suggest that the batik was introduced to Africa by the Dutch (especially in South Africa), the batik making process has been practiced in Africa long before the arrival of the colonial powers.[citation needed] One of the earlier sightings are to be found in Egypt, where batik-like material used in the embalming of mummies. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are used: adire eleso which involves tied and stitched designs and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The Bamana people of Mali use mud as a resist. Batik was worn as a symbol of status, ethnic origin, marriage, cultural events, etc.

The African wax prints (Dutch wax prints) was introduced during the colonial era, through Dutch's textile industry's effort to imitate the batik making process. The imitation was not successful in Europe, but experienced a strong reception in Africa instead. Nowadays batik is produced in many parts of Africa and it is worn by many Africans as one of the symbols of culture.

Nelson Mandela was a noted wearer of batik during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa, subsequently dubbed as a Madiba shirt based on Mandela's Xhosa clan name. There are many who claim the Madiba shirt's invention. But in fact, according to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt similar to Indonesian president Suharto's batik attire.

WIKIPEDIA

Patea's Ironsand Coastline by possumgirl2

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Ironsand also known as iron-sand and iron sand is a type of sand with heavy concentrates of iron. It is typically dark grey or blackish in colour.

Although it is found internationally, this occurs extensively on the west coast of NZ's North Island.

It is mined and used by NZ Steel to create steel, in a unique manufacturing process. A proposal by Iron Ore NZ Ltd for further ironsand mining off the coast of Taranaki face resistance from some Maori and others in 2005 in the wake of the NZ foreshore and seabed controversy. Ironsand was also used extensively in Japan for iron production, especially for traditional Japanese swords.

In Indonesia, ironsand is prevalent on the south coast of Java Island.

Ford Phaeton 1930 in Antigua, Guatemala by Priscilla Burcher

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Car used for a wedding in Antigua, Guatemala.

Guatemala offers a number of unique wedding venues. Recently four of Guatemala’s hotels were on a list of the 10 best hotels in Central America and the Caribbean by Condé Nast Traveler Magazine.

Ford Phaeton 1930:

From beginning to end of the manufacturing process, the 1930 Ford models were great looking vehicles.

The 1930 Ford models offered the consumer more fender flare, deeper radiator shells and a great fuel economy for the consumer market. An unusual feature of the new Ford model for 1930 was the use of rust-less steel for the radiator shell headlamps, hubcaps, cowl finish strip and radiator caps. For many years, nickel plating was used for those parts by automobile manufacturers.

The 1930 Ford models offered the consumer smaller wheels and larger tires, a shatterproof glass windshield, new style fenders and many other features that many consumers thoroughly had enjoyed.

The Phaeton model was a great looking car that many customers really enjoyed. The windshield could fold flat when desired and the top could be raised or lowered quickly and easily. The door panels were attractively embossed and the model offered the driver outstanding performances when driving.

www.motorcities.org/story-of-the-week/2017/looking-back-o...

www.daniellopezperez.com/destination-wedding-guatemala-15...

Aalto Theater 2018_1 by Henning P.

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"The Aalto Theatre, officially the Aalto-Musiktheater Essen, is a performing arts venue in Essen, Germany. It opened on 25 September 1988 with Richard Wagner's opera Die Meistersinger von Nürnberg and is mainly used for opera and ballet, but also for concerts and galas.

The design by the Finnish architect Alvar Aalto was the unanimous winner in a competition in 1959, but the building was begun only in 1983, seven years after Aalto's death. A feature of the auditorium's design is its asymmetrical layout and the indigo blue colour of the seats.

The artistic director (Intendant) and music director (Generalmusikdirektor) from 1997 until 2013 was Stefan Soltesz (de). He was succeeded by Hein Mulders (de).

Following a survey of 50 critics in 2008, the magazine Opernwelt declared the Aalto Theatre to be the best opera house in the German-speaking countries and awarded the title Opera House of the Year 2008."

"Hugo Alvar Henrik Aalto ; 3 February 1898 – 11 May 1976) was a Finnish architect and designer. His work includes architecture, furniture, textiles and glassware, as well as sculptures and paintings, though he never regarded himself as an artist, seeing painting and sculpture as "branches of the tree whose trunk is architecture." Aalto's early career runs in parallel with the rapid economic growth and industrialization of Finland during the first half of the twentieth century and many of his clients were industrialists; among these were the Ahlström-Gullichsen family. The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging from Nordic Classicism of the early work, to a rational International Style Modernism during the 1930s to a more organic modernist style from the 1940s onwards. What is typical for his entire career, however, is a concern for design as a Gesamtkunstwerk, a total work of art; whereby he – together with his first wife Aino Aalto – would design not just the building, but give special treatments to the interior surfaces and design furniture, lamps, and furnishings and glassware. His furniture designs are considered Scandinavian Modern, in the sense of a concern for materials, especially wood, and simplification but also technical experimentation, which led to him receiving patents for various manufacturing processes, such as bent wood. The Alvar Aalto Museum, designed by Aalto himself, is located in what is regarded as his home city Jyväskylä."

Quelle: Wikipedia

I tell people I'm just like my dog-- by bluewheels

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need to keep up with the front of the pack on every trail run no matter how much I redline, loves to roll in the snow, averse to snuggles unless it's the perfect person... But maybe she's actually just like me... You know, hypersensitive and paranoid, but doesn't have a FMEA, manufacturing process, or retirement account to stress about... so she takes it out on the kitchen floor. I suppose it could be worse, she still loves the snow.

Tunnel Systems by waterfallout

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One of the many different tunnels found inside the St. Thomas Assembly Plant in Southwold, Ontario, Canada. This particular tunnel was used in the painting process, from here the car bodies would have moved to a different tunnel with infrared heaters to quickly dry the fresh paint before moving on to the next step in the manufacturing process. At the time of it's closure in late 2011, this plant produced only three vehicles, the Ford Crown Victoria (which was commonly used for taxis and police patrol vehicles), Mercury Grand Marquis and the Lincoln Town Car. The final Crown Victoria to come off the assembly line at this plant was shipped to and sold in Saudi Arabia.

Hershey Chocolate Corporation - Hershey, Pennsylvania by Cardboard America™

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"Chocolate Town, U.S.A."

Visitors reception center at Hershey Chocolate Corporation, world's largest chocolate and cocoa plant. Educational displays depict the origin of raw materials and manufacturing processes of chocolate products.

Hershey Information Center

Mel Horst

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CAPA-018900

Lancia Hyena (1992 - Zagato) by Peter Blackert

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Lancia Hyena:

Overview:

ManufacturerZagato on Lancia mechanicals

Also calledLancia Delta Zagato Hyena

Production1992–1996

24 made

AssemblyRho, Milan

DesignerMarco Pedracini at Zagato

Body and chassis

ClassSports car

Body style2-door coupé

LayoutTransverse front-engine, four-wheel drive

RelatedLancia Delta Integrale "Evoluzione"

Powertrain

Engine2.0 L I4 (turbocharged petrol)

Transmission5-speed manual

The Lancia Hyena was a 2-door coupé made in small numbers by Italian coachbuilder Zagato on the basis of the Delta HF Integrale "Evoluzione".

History:

The Hyena was born thanks to the initiative of Dutch classic car restorer and collector Paul V.J. Koot, who desired a coupé version of the multiple World Rally Champion HF Integrale. He turned to Zagato, where Hyena was designed in 1990 by Marco Pedracini. A first prototype was introduced at the Brussels Motor Show in January 1992.

Decision was taken to put the Hyena into limited production. Fiat refused to participate in the project supplying bare HF Integrale chassis, which complicated the manufacturing process: the Hyena had to be produced from fully finished HF Integrales, privately purchased at Lancia dealers. Koot's Lusso Service took care of procuring and stripping the donor cars in the Netherlands; they were then sent to Zagato in Milan to have the new body built and for final assembly. All of this made the Hyena very expensive to build and they were sold for around 140,000 Swiss francs or $75,000 (£49,430).

A production run of 75 examples was initially planned, but only 25 Hyenas were completed between 1992 and 1993.

Specifications:

The Zagato bodywork made use of aluminium alloys and composite materials; the interior featured new dashboard, console and door cards made entirely from carbon fibre. Thanks to these weight saving measures the Hyena was some 150 kilograms (330 lb) lighter than the original HF Integrale, about 15% of its overall weight. The two-litre turbo engine was upgraded from 205 to 250 PS (184 kW), and the car could accelerate from 0–100 km in 5.4 seconds.

[Text from Wikipedia]

en.wikipedia.org/wiki/Lancia_Delta#Lancia_Hyena

This miniland-scale Lego Lancia Hyena (1992 - Zagato) has been created for Flickr LUGNuts' 92nd Build Challenge, - "Stuck in the 90's", - all about vehicles from the decade of the 1990s.

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