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"A nation that destroys its soils destroys itself. Forests are the lungs of our land, purifying the air and giving fresh strength to our people."
–Franklin Delano Roosevelt
Photo project for: 100x: The 2022 Edition.
This photo is part of a series for a Flickr Group called 100x: The 2022 Edition.
This is my second time participating in the 100x themed group. I have decided that since wherever and whenever, I go anywhere outdoors, whether just to the mailbox or for a walk in the woods, I see more and more disregard for our environment. So, my theme will be about documenting what I find and researching how the litter affects our environment.
*Maybe my project will inspire others to reduce consumerism that leads to waste, recycle, help pick up trash on the ground instead of walking by it, and/or stop littering.
www.calrecycle.ca.gov/publiced/earthday/what/
www.saveonenergy.com/material-decomposition/
theworks.org/the-science-behind-recycling/
Glass:
Glass is 100% and infinitely recyclable, meaning most glass products can be continuously recycled with very little loss of material throughout the recycling process. New, or virgin, glass is made from a combination of sand, soda ash, limestone, and feldspar – all natural resources that are limited and impact the environment to collect. Every ton of used glass that is recycled saves over one ton of these resources, as well as saving electricity, oil, and energy needed for manufacturing. For manufacturers, using recycled glass instead of making virgin glass lowers the energy and water required to make glass products and extends the life of furnaces and other equipment.
Most consumer-recycled glass is glass bottles or jars. When consumer glass is contaminated or unable to be made into new container glass products, there are other ways to reuse the glass in beneficial ways. Glass that cannot be made into new containers can be recycled into tile, filtration systems, concrete mixes, or even used for sandblasting in other manufacturing processes.
www.recyclart.org/2009/03/wood-stool-bench/
Part of the recent Brazil project that Covello has been involved with, this little bench and stool uses reclaimed wood married to a simple manufacturing process and uncluttered style, to create a very resourceful and thoughtful product.
++Cristina Covello
American Forces designation is F/A-18 Hornet.
Canadian Forces designation is CF-188B Hornet.
Also known as McDonnell Douglas CF-18 Hornet.
In the 1970s, the Air Force decided that a single multi-role fighter type would replace its CF-101 Voodoos , CF-104 Starfighters and CF-116 Freedom Fighters. The resulting New Fighter Aircraft competition culminated in the selection of the McDonnell-Douglas F/A-18 Hornet. Canada became the first export customer for the type in a contract worth $2.34 (Cdn) billion. A number of Canadian-unique modifications were incorporated into the aircraft design. These included changes for Canadian unique weapons, a 600,000 candle power searchlight in the starboard nose for night intercepts, a modified survival kit and a land based ILS system replacing the USN automatic carrier landing system. Deployed to Canadian air defence (NORAD) and NATO squadrons, the CF-18 Hornet has lived up to all expectations. The multi-role capability of the Hornet has been repeatedly proven in CF use and the aircraft have been operationally employed in the Gulf War and more recently, in the NATO campaign over Kosovo. In the Gulf War, the aircraft were employed in both CAP and conventional strikes. Flying from Aviano, Italy, in the skies over Kosovo and Serbia, the aircraft was primarily employed in the attack role dropping both conventional and precision guided munitions.
The need to upgrade the CF-18 was demonstrated during the Gulf War I deployment and during the 1998 Kosovo conflict as advances in technology had rendered some of the avionics on board the CF-18 obsolete and incompatible with NATO allies. In 2000, CF-18 upgrades became possible when the government increased the defence budget.
In 2001 the Incremental Modernization Project (IMP) was initiated. The project was broken into two phases over a period of eight years and was designed to improve air-to-air and air-to-ground combat capabilities, upgrade sensors and the defensive suite, and replace the datalinks and communications systems on board the CF-18 from the old F/A-18A and F/A-18B standard to the current F/A-18C and D standard. Boeing and L-3 Communications, was issued a contract for the modernization project starting in 2002. A total of 80 CF-18s, consisting of 62 single-seat and 18 dual-seat models were selected from the fleet for the upgrade program. The project along with the IMP II will extend the life of the CF-18 until around 2017 to 2020 when they are to be replaced by the F-35 Lightning II JSF.
Aircraft Specifications
CDN Reg: CF-188
US/NATO Reg.: F/A-18A
Manufacturer: McDonnell-Douglas Aircraft Corporation.
Crew / Passengers: 1 pilot (CF-18A) or 2 pilots (CF-18B).
Power Plant(s): 2 x General Electric F404-GE-400 low-bypass turbofans @ 16,000 lb (7,258 kg) thrust.
Performance: Max Speed: Mach 1.8 Service Ceiling: 49,000 ft (15,000 m) Unrefuelled Range: 2,300 mi (3,704 km) *(retractable air-to-air refueling probe fitted).
Weights: Empty: 23,400 lb (10,614 kg) Gross: 37,000 lb (16,783 kg) Maximum Take-off: 49,355 lb (22,387 kg).
Dimensions: Unfolded Span: 40 ft 5 in (12.32 m) (with missiles) Folded Span: 27 ft 6 in (8.38 m) Length: 56 ft 0 in (17.07 m) Height: 15 ft 3 in (4.66 m) Wing Area: 400 sq ft (37.16 sq m)
Armament: Internally mounted M61A1 20mm cannon & provisions for AIM9 Sidewinder and AIM7 Sparrow air-to-air missiles, Maverick air-to-ground missiles, conventional bombs and precision-guided bombs, unguided CRV7 rockets, fuel tanks etc.
Two CF-18 fighter squadrons are assigned the air defence role in North America. They maintain limited air-to-surface capability to provide support to maritime operations, as well as support to land operations in defence of Canada. They are also available for contingency operations anywhere in the world.
CFB Cold Lake - Cold lake, Alberta, Canada
■410 Cougar Tactical Fighter (Operational Training) Squadron
■409 Nighthawk Tactical Fighter Squadron*
CFB Bagotville - Bagotville, Quebec, Canada
■425 Alouétte Tactical Fighter Squadron**
*Detachment at CFB Comox, British Columbia, Canada
** Detachment at CFB Goosebay, Labrador, Canada
Note: Current operational aircraft strength is 60 aircraft with the additional 60 aircraft undergoing upgrading and rotation.
www.canadianwings.com/Aircraft/aircraftDetail.php?HORNET-37
www.aviation.technomuses.ca/collections/artifacts/aircraf...
en.wikipedia.org/wiki/McDonnell_Douglas_CF-18_Hornet
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Dassault Falcon 50EX.
Dassault Aviation was the first to create a private jet with intercontinental range: the Falcon 50. Seventeen years later, they re-created it, keeping the features that made it such a success, while modifying others with more advanced technology. The result is a private jet that looks and feels like its predecessor, but easily supersedes it. The Falcon 50EX cruises faster at high altitudes; flies further; burns less fuel; and generally outperforms the Falcon 50 in every respect.
The cabin of the Falcon 50EX is perhaps the part of the jet that has changed the least. It still has a height and width of 5.9 and 6.1 feet, respectively. At 23.5 feet in length the Falcon 50EX features a total cabin volume of 700 cubic feet. 115 cubic feet of baggage storage is available in internal compartments. Three closets in the cabin provide space for coats, suits, and briefcases. All baggage compartments are fully pressurized. A total of 2,205 pounds of bags can be stored.
The nine-passenger seating configuration is generally laid out in one four-seat club arrangement, and a separate section of two facing seats and a three-seat divan. Work tables fold out between facing seats so work can be completed in-flight. Power plugs are available for laptops and office equipment. Temperature control is separate for the cockpit and the cabin, so both parties are comfortable in-flight. Space and equipment for hot and cold food preparation come standard, including an oven, ice chest, and coffee maker.
The Falcon 50EX uses three Honeywell TFE731-40 turbofan engines, the second generation of the TFE731 series. They provide more thrust at cruise speeds and burn less fuel than the Falcon 50’s TFE731-3-1C engines. Providing the same amount of thrust for a sea level takeoff as the -3-1C engines, the -40s have an increased ambient temperature, meaning that they perform nearly the same at high altitudes and temperatures as they do at sea level. At an elevation of 5,000 feet and a temperature of 77°F, the -40 engines produce 3,440 pounds of thrust – 93% of the thrust produced at standard sea level conditions.
Furthermore, the -40 engines are equipped with FADEC (Full Authority N1-reference Digital Electronic Engine Control) systems, which automatically start and restart the engines on the ground, reducing pilot workload and optimizing fuel burn and performance. The engine manufacturing process used on the -40 engines is more precise, resulting in higher tolerances and reduced leakage.
The Falcon 50EX, like the Falcon 50, has great runway performance. It can take off in 4,935 feet at sea level and in 7,247 at an elevation of 5,000 feet and a temperature of 77°F. Its maximum takeoff weight (MTOW) has increased from 38,800 pounds to 39,700 pounds – a 900 pound increase. The Falcon 50EX can climb directly to an altitude of 37,000 feet in 17 minutes (13 minutes more quickly than the Falcon 50). It can cruise at 417 knots at an altitude of 43,000 feet for long range trips, or at 481 knots and an altitude of 39,000 feet for optimum speed. The maximum flight ceiling for the Falcon 50 is 49,000 feet.
The Falcon 50EX was designed using computer-molded fluid dynamics software and lightweight materials. Its primary structures are made of aluminum monocoque, while composites are used for some secondary structures. The aerodynamic design and materials slightly decrease the sound produced by the Falcon 50EX on takeoff to 83.8 EPNdB.
The three fuel tanks for the Falcon 50EX are regulated by electrical transfer pumps. These pumps can be used as emergency backup systems if both of the hydraulic systems that power the avionics fail. As unlikely as it would be to have all three systems fail, a fourth option is still available – all flight controls can be operated manually.
The avionics suite of the Falcon 50EX is based on the Collins Pro Line 4 suite. Four 7.25×7.25 inch screens display flight information. Flight controls are located close to the corresponding displays in an intuitive cockpit layout. The cockpit comes standard with a dual Pro Line II radio system, dual digital air-computers, a TWR-850 Doppler turbulence detection radar, an AlliedSignal dual Global GNS-XMS Flight Management System, and several other flight control and environmental awareness systems.
The Falcon 50 was a successful and high-performing private jet, but the Falcon 50EX outdoes it in every way. Everything from its cabin to its engines has been improved, resulting in a decidedly better private jet.
Lego is a line of plastic construction toys manufactured by the Lego Group, a privately held company based in Billund, Denmark. Lego consists of variously colored interlocking plastic bricks made of acrylonitrile butadiene styrene that accompany an array of gears, figurines called minifigures, and various other parts. Its pieces can be assembled and connected in many ways to construct objects, including vehicles, buildings, and working robots. Anything constructed can be taken apart again, and the pieces reused to make new things.
The Lego Group began manufacturing the interlocking toy bricks in 1949. Moulding is done in Denmark, Hungary, Mexico, and China. Brick decorations and packaging are done at plants in the former three countries and in the Czech Republic. Annual production of the bricks averages approximately 36 billion, or about 1140 elements per second.
Films, games competitions, and eight Legoland amusement parks have been developed under the brand. One of Europe's biggest companies, Lego is the largest toy manufacturer in the world by sales. As of July 2015, 600 billion Lego parts had been produced.
History
The Lego Group began in the workshop of Ole Kirk Christiansen (1891–1958), a carpenter from Billund, Denmark, who began making wooden toys in 1932. In 1934, his company came to be called "Lego", derived from the Danish phrase leg godt which means "play well". In 1947, Lego expanded to begin producing plastic toys. In 1949 the business began producing, among other new products, an early version of the now familiar interlocking bricks, calling them "Automatic Binding Bricks". These bricks were based on the Kiddicraft Self-Locking Bricks, invented by Hilary Page in 1939 and patented in the United Kingdom in 1940 before being displayed at the 1947 Earl's Court Toy Fair. Lego had received a sample of the Kiddicraft bricks from the supplier of an injection-molding machine that it purchased. The bricks, originally manufactured from cellulose acetate, were a development of the traditional stackable wooden blocks of the time.
The Lego Group's motto, "only the best is good enough" (Danish: det bedste er ikke for godt, literally "the best isn't excessively good") was created in 1936. Christiansen created the motto, still used today, to encourage his employees never to skimp on quality, a value he believed in strongly. By 1951, plastic toys accounted for half of the company's output, even though the Danish trade magazine Legetøjs-Tidende ("Toy Times"), visiting the Lego factory in Billund in the early 1950s, wrote that plastic would never be able to replace traditional wooden toys. Although a common sentiment, Lego toys seem to have become a significant exception to the dislike of plastic in children's toys, due in part to the high standards set by Ole Kirk.
By 1954, Christiansen's son, Godtfred, had become the junior managing director of the Lego Group. It was his conversation with an overseas buyer that led to the idea of a toy system. Godtfred saw the immense potential in Lego bricks to become a system for creative play, but the bricks still had some problems from a technical standpoint: Their locking ability was still limited, and they were not yet versatile. In 1958, the modern brick design was developed; it took five years to find the right material for it, ABS (acrylonitrile butadiene styrene) polymer. A patent application for the modern Lego brick design was filed in Denmark on 28 January 1958 and in various other countries in the subsequent few years.
The Lego Group's Duplo product line was introduced in 1969 and is a range of blocks whose lengths measure twice the width, height, and depth of standard Lego blocks and are aimed towards younger children. In 1978, Lego produced the first minifigures, which have since become a staple in most sets.
In May 2011, Space Shuttle Endeavour mission STS-134 brought 13 Lego kits to the International Space Station, where astronauts built models to see how they would react in microgravity, as a part of the Lego Bricks in Space program. In May 2013, the largest model ever created, made of over 5 million bricks, was displayed in New York City; a one-to-one scale model of a Star Wars X-wing fighter. Other record breakers include a 34-metre (112 ft) tower and a 4 km (2.5 mi) railway.
In February 2015, marketing consulting company Brand Finance ranked Lego as the "world's most powerful brand", overtaking Ferrari.
Lego bricks have acquired a reputation for causing extreme pain when stepped on.
Design
Lego pieces of all varieties constitute a universal system. Despite variations in the design and the purposes of individual pieces over the years, each remains compatible in some way with existing pieces. Lego bricks from 1958 still interlock with those made presently, and Lego sets for young children are compatible with those made for teenagers. Six bricks of 2 × 4 studs can be combined in 915,103,765 ways.
Each piece must be manufactured to an exacting degree of precision. When two pieces are engaged, they must fit firmly, yet be easily disassembled. The machines that manufacture Lego bricks have tolerances as small as 10 micrometres.
Primary concept and development work for the toy takes place at the Billund headquarters, where the company employs approximately 120 designers. The company also has smaller design offices in the UK, Spain, Germany, and Japan which are tasked with developing products aimed specifically at their respective national markets. The average development period for a new product is around twelve months, split into three stages. The first is to identify market trends and developments, including contact by the designers directly with the market; some are stationed in toy shops close to holidays, while others interview children. The second stage is the design and development of the product based on the results of the first stage. As of September 2008 the design teams use 3D modelling software to generate CAD drawings from initial design sketches. The designs are then prototyped using an in-house stereolithography machine. These prototypes are presented to the entire project team for comment and testing by parents and children during the "validation" process. Designs may then be altered in accordance with the results from the focus groups. Virtual models of completed Lego products are built concurrently with the writing of the user instructions. Completed CAD models are also used in the wider organisation for marketing and packaging.
Lego Digital Designer is an official piece of Lego software for Mac OS X and Windows which allows users to create their own digital Lego designs. The program once allowed customers to order custom designs with a service to ship physical models from Digital Designer to consumers; the service ended in 2012.
Manufacturing
Since 1963, Lego pieces have been manufactured from acrylonitrile butadiene styrene (ABS). As of September 2008, Lego engineers use the NX CAD/CAM/CAE PLM software suite to model the elements. The software allows the parts to be optimised by way of mould flow and stress analysis. Prototype moulds are sometimes built before the design is committed to mass production. The ABS plastic is heated to 232 °C (450 °F) until it reaches a dough-like consistency. It is then injected into the moulds using forces of between 25 and 150 tonnes and takes approximately 15 seconds to cool. The moulds are permitted a tolerance of up to twenty micrometres to ensure the bricks remain connected. Human inspectors check the output of the moulds to eliminate significant variations in colour or thickness. According to the Lego Group, about eighteen bricks out of every million fail to meet the standard required.
Lego factories recycle all but about 1 percent of their plastic waste from the manufacturing process. If the plastic cannot be re-used in Lego bricks, it is processed and sold on to industries that can make use of it. Lego, in 2018, set a self-imposed 2030 deadline to find a more eco-friendly alternative to the ABS plastic.
Manufacturing of Lego bricks occurs at several locations around the world. Moulding is done in Billund, Denmark; Nyíregyháza, Hungary; Monterrey, Mexico; and most recently in Jiaxing, China. Brick decorations and packaging are done at plants in the former three countries and in Kladno in the Czech Republic. The Lego Group estimates that in five decades it has produced 400 billion Lego blocks. Annual production of the bricks averages approximately 36 billion, or about 1140 elements per second. According to an article in BusinessWeek in 2006, Lego could also be considered the world's number-one tyre manufacturer; the factory produces about 306 million small rubber tyres a year. The claim was reiterated in 2012.
In December 2012, the BBC's More or Less radio program asked the Open University's engineering department to determine "how many Lego bricks, stacked one on top of the other, it would take for the weight to destroy the bottom brick?" Using a hydraulic testing machine, members of the department determined the average maximum force a 2×2 Lego brick can stand is 4,240 newtons. Since an average 2×2 Lego brick has a mass of 1.152 grams (0.0406 oz), according to their calculations it would take a stack of 375,000 bricks to cause the bottom brick to collapse, which represents a stack 3,591 metres (11,781 ft) in height.
Private tests have shown several thousand assembly-disassembly cycles before the bricks begin to wear out, although Lego tests show fewer cycles.
In 2018, Lego announced that it will be using bio-derived polyethylene to make its botanical elements (parts such as leaves, bushes and trees). The New York Times reported the company's footprint that year was "about a million tons of carbon dioxide each year" and that it was investing about 1 billion kroner and hiring 100 people to work on changes. The paper reported that Lego's researchers "have already experimented with around 200 alternatives." In 2020, Lego announced that it would cease packaging its products in single-use plastic bags and would instead be using recyclable paper bags. In 2021, the company said it would aim to produce its bricks without using crude oil, by using recycled polyethylene terephthalate bottles, but in 2023 it reversed this decision, having found that this did not reduce its carbon dioxide emissions.
Set themes
Since the 1950s, the Lego Group has released thousands of sets with a variety of themes, including space, pirates, trains, (European) castle, dinosaurs, undersea exploration, and wild west, as well as wholly original themes like Bionicle and Hero Factory. Some of the classic themes that continue to the present day include Lego City (a line of sets depicting city life introduced in 1973) and Lego Technic (a line aimed at emulating complex machinery, introduced in 1977).
Over the years, the company has licensed themes from numerous cartoon and film franchises and some from video games. These include Batman, Indiana Jones, Pirates of the Caribbean, Harry Potter, Star Wars, Marvel, and Minecraft. Although some of these themes, Lego Star Wars and Lego Indiana Jones, had highly successful sales, the company expressed in 2015 a desire to rely more upon their own characters and classic themes and less upon such licensed themes. Some sets include references to other themes such as a Bionicle mask in one of the Harry Potter sets. Discontinued sets may become a collectable and command value on the black market.
For the 2012 Summer Olympics in London, Lego released a special Team GB Minifigures series exclusively in the United Kingdom to mark the opening of the games. For the 2016 Summer Olympics and 2016 Summer Paralympics in Rio de Janeiro, Lego released a kit with the Olympic and Paralympic mascots Vinicius and Tom.
One of the largest commercially produced Lego sets was a minifig-scaled edition of the Star Wars Millennium Falcon. Designed by Jens Kronvold Fredericksen, it was released in 2007 and contained 5,195 pieces. It was surpassed by a 5,922-piece Taj Mahal. A redesigned Millennium Falcon retook the top spot in 2017 with 7,541 pieces. Since then, the Millennium Falcon has been superseded by the Lego Art World Map at 11,695 pieces, the Lego Titanic at 9,090 pieces, and the Lego Architect Colosseum at 9,036 pieces.
In 2022, Lego introduced its Eiffel Tower. The set consists of 10,000 parts and reaches a height of 149 cm, which makes it the tallest set and tower but the second in number of parts after the World Map.
Robotics themes
Main articles: Lego Mindstorms, Lego Mindstorms NXT, Lego Mindstorms NXT 2.0, and Lego Mindstorms EV3
The company also initiated a robotics line of toys called 'Mindstorms' in 1999, and has continued to expand and update this range ever since. The roots of the product originate from a programmable brick developed at the MIT Media Lab, and the name is taken from a paper by Seymour Papert, a computer scientist and educator who developed the educational theory of constructionism, and whose research was at times funded by the Lego Group.
The programmable Lego brick which is at the heart of these robotics sets has undergone several updates and redesigns, with the latest being called the 'EV3' brick, being sold under the name of Lego Mindstorms EV3. The set includes sensors that detect touch, light, sound and ultrasonic waves, with several others being sold separately, including an RFID reader.
The intelligent brick can be programmed using official software available for Windows and Mac computers, and is downloaded onto the brick via Bluetooth or a USB cable. There are also several unofficial programs and compatible programming languages that have been made to work with the brick, and many books have been written to support this community.
There are several robotics competitions which use the Lego robotics sets. The earliest is Botball, a national U.S. middle- and high-school competition stemming from the MIT 6.270 Lego robotics tournament. Other Lego robotics competitions include FIRST LEGO League Discover for children ages 4–6, FIRST LEGO League Explore for students ages 6–9 and FIRST Lego League Challenge for students ages 9–16 (age 9–14 in the United States, Canada, and Mexico). These programs offer real-world engineering challenges to participants. FIRST LEGO League Challenge uses LEGO-based robots to complete tasks, FIRST LEGO League Explore participants build models out of Lego elements, and FIRST LEGO League Discover participants use Duplo. In its 2019–2020 season, there were 38,609 FIRST LEGO League Challenge teams and 21,703 FIRST LEGO League Explore teams around the world. The international RoboCup Junior football competition involves extensive use of Lego Mindstorms equipment which is often pushed to its extreme limits.
The capabilities of the Mindstorms range have now been harnessed for use in Iko Creative Prosthetic System, a prosthetic limbs system designed for children. Designs for these Lego prosthetics allow everything from mechanical diggers to laser-firing spaceships to be screwed on to the end of a child's limb. Iko is the work of the Chicago-based Colombian designer Carlos Arturo Torres, and is a modular system that allows children to customise their own prosthetics with the ease of clicking together plastic bricks. Designed with Lego's Future Lab, the Danish toy company's experimental research department, and Cirec, a Colombian foundation for physical rehabilitation, the modular prosthetic incorporates myoelectric sensors that register the activity of the muscle in the stump and send a signal to control movement in the attachment. A processing unit in the body of the prosthetic contains an engine compatible with Lego Mindstorms, the company's robotics line, which lets the wearer build an extensive range of customised, programmable limbs.
In popular culture
Lego's popularity is demonstrated by its wide representation and usage in many cultural works, including books, films, and art. It has even been used in the classroom as a teaching tool. In the US, Lego Education North America is a joint venture between Pitsco, Inc. and the educational division of the Lego Group.
In 1998, Lego bricks were one of the original inductees into the National Toy Hall of Fame at The Strong in Rochester, New York.
"Lego" is commonly used as a mass noun ("some Lego") or, in American English, as a countable noun with plural "Legos", to refer to the bricks themselves, but as is common for trademarks, Lego group insists on the name being used as an adjective when referring to a product (as in "LEGO bricks").
Wotancraft's Traveler's Notebook and City Explorer Camera Bag Review - Part 1
Our job to find great stuffs from all over the world doesn't stop at product level, I believe understanding the concept and stories behind is far more important than product features. Only through digging deeper will I be able to bring true benefits to end users, in the process of doing this I learned a lot and makes my job an adventurous one. It is exactly this practice which sets us apart from a typical retail chain store.
This review is separated into two parts. Part 1 is a story in this post, Part 2 is a product review in the next post.
I first found Wotancraft from random searching on the net a year or so before, then I popped into a great store in Hong Kong called Annie Barton and found their products there. Admiring the quality and aesthetics I grew interest in the brand, I was scared away by the price though. So despite having the feeling that those bags suit my needs and in styles I adore, I found myself staring at them repeatedly on the net and never got myself one. What stopped me from getting one? The price tag and lack of knowledge about Wotancraft's true attention to details. Annie Barton told me each one of the bags were made by hand by those artisans in Taiwan, I couldn't believe it, no way, the bags are so well made I thought they were produced by professional mass producing bag maker. Judging from the details, each model requires literally hundreds of manufacturing processes and it was not possible to be made by just a few persons by hands. The story turned out entirely true when I got a chance to visit Taipei 20 days ago.
On the day I arrived Taipei, before other business engagements I shot right away to the Wotancraft showroom/shop. It was a huge disparity between what's inside the place and everything else surrounding it! Inside a dim florescent lit office building full of local trading businesses with zero taste and style decorations, I was still assuming Wotancraft a corporation you know, but once I entered the showroom, everything changed.
Surrounded by cozy fixtures made from aged wood and pig iron, products made from leather and canvas, I immediately felt homey. One side of the store was an open shelf displaying full product range and prototypes, while the other side is a service counter full of custom made leather straps for Panerai watches. I picked up the City Explorer series of bags and started examining each one of them until a friendly staff came out of the backyard and explained to me product details.
Soon I was unpacking my camera bag and started trying out almost every model possible. I guess camera bag to a guy is like fashion to a girl, you can spend hours enjoying the selection process in a setting like that. The staff noticed my Traveler's Notebook and some of my leather craft stuffs like camera case and straps. "James have the same notebook! He made crazy customization of it." That's when real conversation began.
By then I realized that each one of their bags were literally made by their own hands. Four artisans made up the entire Wotancraft company, the two I met in store were among them. It was not a corporation I presumed before, just a small bunch of people doing everything by themselves. Time to leave for a business engagement, hungered for more stories, I used Paypal to pay for the City Explorer 002 Ranger bag, left the showroom and determined to contact James about his Traveler's Notebook and come back a few days later. During my initial stay at the showroom, there were constant influx of Panerai fans looking for unique leather straps, but I'm not gonna cover that part of the story here.
3 days later, after a few email exchanges I finally met James, the soul behind Wotancraft. The company was created out of his pure passion in photography and watches, despite working as a bio-chemist after his graduation, he started to make his first prototype camera bag 5 years ago. Not satisfied with camera bags with trivial features and ugly looks, he explored different forms and materials and came up with a bag he would use. He was kind enough to show me all the thoughts he put into this City Explorer 002 Ranger bag, comparing it to his first prototype. I will cover the details in Part 2 in the next post.
Let's talk about James' Traveler's Notebook. In a typical Traveler's Notebook show me yours and I'll show you mine fashion, we exchanged our usage patterns. His cover is not the original but one made by himself, a very thoughtful implementation. There are two layers of leathers, a thicker one forms the shape while the outer thinner one gives its distinct Wotancraft look.
The thin leather on the cover is the same material James uses in his City Explorer series of camera bags. Stitched together on 3 sides, the notebook cover has an opening on one side doubling the cover as a pocket by itself. To increase the pocket size, James relocated the elastic string attachment point from the middle of the back to the edge, creating an inner space large enough for his stationery stuffs.
As a master of customization, he of course couldn't settle with a bookmark without his very own Wotancraft branded charm and leather tag. On typical day, James would use two types of notebooks inside - Traveler's Notebook lightweight paper for note taking, sketch paper for sketching. Inspecting his TN, I found inspirations common to creative people, not only would he take notes in meticulous details, he sketches out architectural structures purely out of his head, perhaps this keen practice is his way of precipitating his creativity into reality.
James' TN is so far the best Traveler's Notebook mod I've ever seen, functional and pleasing. I've got to make one myself someday :) Stay tuned for Part 2.
More on Scription blog: scription.typepad.com/blog/2012/03/wotancrafts-travelers-...
I have been holding on to these photos until this project went public.
THIS WAS SUBMITTED FOR A GREEN DESIGN COMPETITION AND COULD BENEFIT FROM YOUR VOTE!
www.core77.com/greenergadgets/entry.php?projectid=32#img92
Recompute is a new way of thinking about computers that layers sustainable ideas throughout its lifecycle to make an overall sustainable product that can be easily replicated. Recompute address sustainability along three main points during its life.
Manufacturing: Rather than making a large tower constructed from numerous materials (ABS plastic, aluminum, steel, etc.), hundreds of manufacturing processes, and dozens of individual components, the Recompute case is made of corrugated cardboard (recyclable and renewable). There are four low-impact manufacturing processes to assemble Recompute: Die cutting, gluing (with non-toxic white glue), printing and electronic assembly. Recompute uses only three major electronic components: A motherboard with processor & memory, power supply, and a hard drive.
Use: Recompute is designed to allow the user to take advantage of existing hardware. For example; use the keyboard from a previous computer. For additional flexibility, external hardware customization is easy via 8 USB ports.
Disposal: Electronic components need to be properly recycled as they contain toxic heavy metals. However, this is often skipped because dismantling of computers is difficult. Recompute can be disassembled without tools, so the electronics and case can be easily recycled individually.
Oh yes, Recompute is a real working computer.
(Project is by Brenden Macaluso)
I was surprised and pleased to see that some students at some Finnish universities wear informal uniforms to signify their status to one another and the public at large.
A century ago, there were similar traditions at American colleges and universities (e.g., freshmen beanies), but the upheavals of the Sixties killed them off.
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The outfits seen here are called student boiler suits (Swedish studentoverall or studenthalare, Finnish opiskelijahaalari),
Boilersuits widely used for specific events at universities and polytechnics in Sweden and Finland.
Typically, the suits are procured by the student associations of faculties or programmes.
At the major Swedish universities (like Lund or Uppsala) the use of boilersuits is limited to engineering students, but their use has spread to students in other fields at some of the smaller university colleges.
In Finland, boilersuits have also been foremost identified with engineering students, but see extensive use in all of the student organizations of Finnish institutions of higher learning, such as University of Helsinki and Aalto University.
Student coveralls have become one of the most conspicuous academic traditions at some educational institutions, despite its short history.
The use of overalls started in the Royal Institute of Technology in the late 1960s, and spread around Sweden and Finland during the 1970s.
Apparently protective clothing was needed in excursions to companies, which soon led to use at parties as a way to identify students of different fields and organizations. The height of the use of the overall was reached in the late 1990s.
Due to quick rise in popularity, most student organizations now offer the students a chance to purchase their own overalls during the freshman year.
Since the 1990s, the custom has remained popular although perhaps in slight decline as the overalls are sometimes viewed to signal a lifestyle bordering on alcoholism and drunken misbehavior, up to the point where some pubs and clubs even choose to ban the use of overall uniforms.
These boilersuits are not only seen in Europe. At McMaster University in Hamilton, Ontario, the McMaster Engineering faculty has had a group of representatives clad in red coveralls known as 'redsuits' for decades.
Unlike coveralls generally, the student boilersuit isn't used for work, but mostly for parties.
However, as the coveralls are meant to endure years of abuse, the wearer often being under the influence of alcohol, the coveralls are made of high quality fabric and usually at least somewhat waterproof.
Practical additions such as zippered pockets of various sizes and belt loops are added by the manufacturer, and as a part of the manufacturing process the coveralls are sometimes printed with the particular student organization's logo and ads of the various sponsoring companies, ranging from small local enterprises to national divisions of multinational corporations.
Often, the large corporations choose to sponsor the suits as a part of their recruitment campaign, ensuring that they have the attention of the graduating students when they enter the working life.
An engineering student of the University of Vaasa wearing a boilersuit and an engineering student cap.
The colour of the boilersuits is usually determined by the faculty or programme, which — the subjects being many and colours few — leads to quite spectacular colour combinations such as purple, turquoise or pink.
Multicolored variants exist, but typically the suits are of one color.
As it is customary to personalize the suits, they are almost invariably decorated with various badges, souvenirs and inexpensive gadgets.
Occasionally a boilersuit will tell of its owner's interests, political views, personal history and even military experience.
The time spent as a student can be seen from the amount of decorations one has added to his boilersuit, as all students start with blank boilersuits.
There's also a practice of swapping a part of the suit with another person, typically with a partner or a close friend. Badges are also readily swapped, especially amongst friends who are of different organizations. Rarity of a certain badge can be considered a bonus.
Certain traditions relating to the use of boilersuits exist. Typically, a new student will be given permission to use their boilersuit during the later half of their first academic year, often after certain amount of "freshman points" have been collected by participating in various social events like parties and contests held by the organizations.
During the first academic spring, the various engineering student organizations tend to host events during which the new students are officially taken as a members of their organization.
During these events, the students often volunteer to go through a minor rite that often includes diving into a pool, lake or river with their newly issued boilersuits as a "student baptism".
Typically in Finland these events are held around the largest student holiday of May 1 or Vappu, when thousands of students gather outdoors to celebrate. Lesser traditions can dictate that a student should sew his badges onto his boilersuit by hand, and that the boilersuit shouldn't be cleaned except either by swimming in the suit or by hosing it down. In some schools, two students who are dating exchange the overalls leg part with one another to show that they are taken.
Under UK law, no VAT is charged on biscuits and cakes — they are "zero rated". Chocolate covered biscuits, however, are subject to VAT at 17.5%. McVities classed its Jaffa Cakes as cakes, but in 1991, this was challenged by Her Majesty's Customs and Excise and the case ended up before the courts. This may have been because Jaffa Cakes are about the same size and shape as some types of biscuit. A question that the court asked itself was "what criteria should be used to class something as a cake?"
McVities defended its classification of Jaffa Cakes as cakes. In doing so it produced a giant Jaffa Cake to illustrate that its Jaffa Cakes were simply miniature cakes.
McVities argued that a distinction between cakes and biscuits is, inter alia, that biscuits would normally be expected to go soft when stale, whereas cakes would normally be expected to go hard. It was demonstrated to the Tribunal that Jaffa Cakes become hard when stale. Other factors taken into account by the Chairman, Mr Potter QC, included: name, ingredients, texture, size, packaging, marketing, presentation, appeal to children, and manufacturing process. Contrary to a commonly held belief, whether something is considered a 'luxury item' is not a test for VAT purposes.
Mr Potter ruled that the Jaffa Cake is a cake. McVities therefore won the case and VAT is not paid on Jaffa Cakes.
Lego is a line of plastic construction toys manufactured by the Lego Group, a privately held company based in Billund, Denmark. Lego consists of variously colored interlocking plastic bricks made of acrylonitrile butadiene styrene that accompany an array of gears, figurines called minifigures, and various other parts. Its pieces can be assembled and connected in many ways to construct objects, including vehicles, buildings, and working robots. Anything constructed can be taken apart again, and the pieces reused to make new things.
The Lego Group began manufacturing the interlocking toy bricks in 1949. Moulding is done in Denmark, Hungary, Mexico, and China. Brick decorations and packaging are done at plants in the former three countries and in the Czech Republic. Annual production of the bricks averages approximately 36 billion, or about 1140 elements per second.
Films, games competitions, and eight Legoland amusement parks have been developed under the brand. One of Europe's biggest companies, Lego is the largest toy manufacturer in the world by sales. As of July 2015, 600 billion Lego parts had been produced.
History
The Lego Group began in the workshop of Ole Kirk Christiansen (1891–1958), a carpenter from Billund, Denmark, who began making wooden toys in 1932. In 1934, his company came to be called "Lego", derived from the Danish phrase leg godt which means "play well". In 1947, Lego expanded to begin producing plastic toys. In 1949 the business began producing, among other new products, an early version of the now familiar interlocking bricks, calling them "Automatic Binding Bricks". These bricks were based on the Kiddicraft Self-Locking Bricks, invented by Hilary Page in 1939 and patented in the United Kingdom in 1940 before being displayed at the 1947 Earl's Court Toy Fair. Lego had received a sample of the Kiddicraft bricks from the supplier of an injection-molding machine that it purchased. The bricks, originally manufactured from cellulose acetate, were a development of the traditional stackable wooden blocks of the time.
The Lego Group's motto, "only the best is good enough" (Danish: det bedste er ikke for godt, literally "the best isn't excessively good") was created in 1936. Christiansen created the motto, still used today, to encourage his employees never to skimp on quality, a value he believed in strongly. By 1951, plastic toys accounted for half of the company's output, even though the Danish trade magazine Legetøjs-Tidende ("Toy Times"), visiting the Lego factory in Billund in the early 1950s, wrote that plastic would never be able to replace traditional wooden toys. Although a common sentiment, Lego toys seem to have become a significant exception to the dislike of plastic in children's toys, due in part to the high standards set by Ole Kirk.
By 1954, Christiansen's son, Godtfred, had become the junior managing director of the Lego Group. It was his conversation with an overseas buyer that led to the idea of a toy system. Godtfred saw the immense potential in Lego bricks to become a system for creative play, but the bricks still had some problems from a technical standpoint: Their locking ability was still limited, and they were not yet versatile. In 1958, the modern brick design was developed; it took five years to find the right material for it, ABS (acrylonitrile butadiene styrene) polymer. A patent application for the modern Lego brick design was filed in Denmark on 28 January 1958 and in various other countries in the subsequent few years.
The Lego Group's Duplo product line was introduced in 1969 and is a range of blocks whose lengths measure twice the width, height, and depth of standard Lego blocks and are aimed towards younger children. In 1978, Lego produced the first minifigures, which have since become a staple in most sets.
In May 2011, Space Shuttle Endeavour mission STS-134 brought 13 Lego kits to the International Space Station, where astronauts built models to see how they would react in microgravity, as a part of the Lego Bricks in Space program. In May 2013, the largest model ever created, made of over 5 million bricks, was displayed in New York City; a one-to-one scale model of a Star Wars X-wing fighter. Other record breakers include a 34-metre (112 ft) tower and a 4 km (2.5 mi) railway.
In February 2015, marketing consulting company Brand Finance ranked Lego as the "world's most powerful brand", overtaking Ferrari.
Lego bricks have acquired a reputation for causing extreme pain when stepped on.
Design
Lego pieces of all varieties constitute a universal system. Despite variations in the design and the purposes of individual pieces over the years, each remains compatible in some way with existing pieces. Lego bricks from 1958 still interlock with those made presently, and Lego sets for young children are compatible with those made for teenagers. Six bricks of 2 × 4 studs can be combined in 915,103,765 ways.
Each piece must be manufactured to an exacting degree of precision. When two pieces are engaged, they must fit firmly, yet be easily disassembled. The machines that manufacture Lego bricks have tolerances as small as 10 micrometres.
Primary concept and development work for the toy takes place at the Billund headquarters, where the company employs approximately 120 designers. The company also has smaller design offices in the UK, Spain, Germany, and Japan which are tasked with developing products aimed specifically at their respective national markets. The average development period for a new product is around twelve months, split into three stages. The first is to identify market trends and developments, including contact by the designers directly with the market; some are stationed in toy shops close to holidays, while others interview children. The second stage is the design and development of the product based on the results of the first stage. As of September 2008 the design teams use 3D modelling software to generate CAD drawings from initial design sketches. The designs are then prototyped using an in-house stereolithography machine. These prototypes are presented to the entire project team for comment and testing by parents and children during the "validation" process. Designs may then be altered in accordance with the results from the focus groups. Virtual models of completed Lego products are built concurrently with the writing of the user instructions. Completed CAD models are also used in the wider organisation for marketing and packaging.
Lego Digital Designer is an official piece of Lego software for Mac OS X and Windows which allows users to create their own digital Lego designs. The program once allowed customers to order custom designs with a service to ship physical models from Digital Designer to consumers; the service ended in 2012.
Manufacturing
Since 1963, Lego pieces have been manufactured from acrylonitrile butadiene styrene (ABS). As of September 2008, Lego engineers use the NX CAD/CAM/CAE PLM software suite to model the elements. The software allows the parts to be optimised by way of mould flow and stress analysis. Prototype moulds are sometimes built before the design is committed to mass production. The ABS plastic is heated to 232 °C (450 °F) until it reaches a dough-like consistency. It is then injected into the moulds using forces of between 25 and 150 tonnes and takes approximately 15 seconds to cool. The moulds are permitted a tolerance of up to twenty micrometres to ensure the bricks remain connected. Human inspectors check the output of the moulds to eliminate significant variations in colour or thickness. According to the Lego Group, about eighteen bricks out of every million fail to meet the standard required.
Lego factories recycle all but about 1 percent of their plastic waste from the manufacturing process. If the plastic cannot be re-used in Lego bricks, it is processed and sold on to industries that can make use of it. Lego, in 2018, set a self-imposed 2030 deadline to find a more eco-friendly alternative to the ABS plastic.
Manufacturing of Lego bricks occurs at several locations around the world. Moulding is done in Billund, Denmark; Nyíregyháza, Hungary; Monterrey, Mexico; and most recently in Jiaxing, China. Brick decorations and packaging are done at plants in the former three countries and in Kladno in the Czech Republic. The Lego Group estimates that in five decades it has produced 400 billion Lego blocks. Annual production of the bricks averages approximately 36 billion, or about 1140 elements per second. According to an article in BusinessWeek in 2006, Lego could also be considered the world's number-one tyre manufacturer; the factory produces about 306 million small rubber tyres a year. The claim was reiterated in 2012.
In December 2012, the BBC's More or Less radio program asked the Open University's engineering department to determine "how many Lego bricks, stacked one on top of the other, it would take for the weight to destroy the bottom brick?" Using a hydraulic testing machine, members of the department determined the average maximum force a 2×2 Lego brick can stand is 4,240 newtons. Since an average 2×2 Lego brick has a mass of 1.152 grams (0.0406 oz), according to their calculations it would take a stack of 375,000 bricks to cause the bottom brick to collapse, which represents a stack 3,591 metres (11,781 ft) in height.
Private tests have shown several thousand assembly-disassembly cycles before the bricks begin to wear out, although Lego tests show fewer cycles.
In 2018, Lego announced that it will be using bio-derived polyethylene to make its botanical elements (parts such as leaves, bushes and trees). The New York Times reported the company's footprint that year was "about a million tons of carbon dioxide each year" and that it was investing about 1 billion kroner and hiring 100 people to work on changes. The paper reported that Lego's researchers "have already experimented with around 200 alternatives." In 2020, Lego announced that it would cease packaging its products in single-use plastic bags and would instead be using recyclable paper bags. In 2021, the company said it would aim to produce its bricks without using crude oil, by using recycled polyethylene terephthalate bottles, but in 2023 it reversed this decision, having found that this did not reduce its carbon dioxide emissions.
Set themes
Since the 1950s, the Lego Group has released thousands of sets with a variety of themes, including space, pirates, trains, (European) castle, dinosaurs, undersea exploration, and wild west, as well as wholly original themes like Bionicle and Hero Factory. Some of the classic themes that continue to the present day include Lego City (a line of sets depicting city life introduced in 1973) and Lego Technic (a line aimed at emulating complex machinery, introduced in 1977).
Over the years, the company has licensed themes from numerous cartoon and film franchises and some from video games. These include Batman, Indiana Jones, Pirates of the Caribbean, Harry Potter, Star Wars, Marvel, and Minecraft. Although some of these themes, Lego Star Wars and Lego Indiana Jones, had highly successful sales, the company expressed in 2015 a desire to rely more upon their own characters and classic themes and less upon such licensed themes. Some sets include references to other themes such as a Bionicle mask in one of the Harry Potter sets. Discontinued sets may become a collectable and command value on the black market.
For the 2012 Summer Olympics in London, Lego released a special Team GB Minifigures series exclusively in the United Kingdom to mark the opening of the games. For the 2016 Summer Olympics and 2016 Summer Paralympics in Rio de Janeiro, Lego released a kit with the Olympic and Paralympic mascots Vinicius and Tom.
One of the largest commercially produced Lego sets was a minifig-scaled edition of the Star Wars Millennium Falcon. Designed by Jens Kronvold Fredericksen, it was released in 2007 and contained 5,195 pieces. It was surpassed by a 5,922-piece Taj Mahal. A redesigned Millennium Falcon retook the top spot in 2017 with 7,541 pieces. Since then, the Millennium Falcon has been superseded by the Lego Art World Map at 11,695 pieces, the Lego Titanic at 9,090 pieces, and the Lego Architect Colosseum at 9,036 pieces.
In 2022, Lego introduced its Eiffel Tower. The set consists of 10,000 parts and reaches a height of 149 cm, which makes it the tallest set and tower but the second in number of parts after the World Map.
Robotics themes
Main articles: Lego Mindstorms, Lego Mindstorms NXT, Lego Mindstorms NXT 2.0, and Lego Mindstorms EV3
The company also initiated a robotics line of toys called 'Mindstorms' in 1999, and has continued to expand and update this range ever since. The roots of the product originate from a programmable brick developed at the MIT Media Lab, and the name is taken from a paper by Seymour Papert, a computer scientist and educator who developed the educational theory of constructionism, and whose research was at times funded by the Lego Group.
The programmable Lego brick which is at the heart of these robotics sets has undergone several updates and redesigns, with the latest being called the 'EV3' brick, being sold under the name of Lego Mindstorms EV3. The set includes sensors that detect touch, light, sound and ultrasonic waves, with several others being sold separately, including an RFID reader.
The intelligent brick can be programmed using official software available for Windows and Mac computers, and is downloaded onto the brick via Bluetooth or a USB cable. There are also several unofficial programs and compatible programming languages that have been made to work with the brick, and many books have been written to support this community.
There are several robotics competitions which use the Lego robotics sets. The earliest is Botball, a national U.S. middle- and high-school competition stemming from the MIT 6.270 Lego robotics tournament. Other Lego robotics competitions include FIRST LEGO League Discover for children ages 4–6, FIRST LEGO League Explore for students ages 6–9 and FIRST Lego League Challenge for students ages 9–16 (age 9–14 in the United States, Canada, and Mexico). These programs offer real-world engineering challenges to participants. FIRST LEGO League Challenge uses LEGO-based robots to complete tasks, FIRST LEGO League Explore participants build models out of Lego elements, and FIRST LEGO League Discover participants use Duplo. In its 2019–2020 season, there were 38,609 FIRST LEGO League Challenge teams and 21,703 FIRST LEGO League Explore teams around the world. The international RoboCup Junior football competition involves extensive use of Lego Mindstorms equipment which is often pushed to its extreme limits.
The capabilities of the Mindstorms range have now been harnessed for use in Iko Creative Prosthetic System, a prosthetic limbs system designed for children. Designs for these Lego prosthetics allow everything from mechanical diggers to laser-firing spaceships to be screwed on to the end of a child's limb. Iko is the work of the Chicago-based Colombian designer Carlos Arturo Torres, and is a modular system that allows children to customise their own prosthetics with the ease of clicking together plastic bricks. Designed with Lego's Future Lab, the Danish toy company's experimental research department, and Cirec, a Colombian foundation for physical rehabilitation, the modular prosthetic incorporates myoelectric sensors that register the activity of the muscle in the stump and send a signal to control movement in the attachment. A processing unit in the body of the prosthetic contains an engine compatible with Lego Mindstorms, the company's robotics line, which lets the wearer build an extensive range of customised, programmable limbs.
In popular culture
Lego's popularity is demonstrated by its wide representation and usage in many cultural works, including books, films, and art. It has even been used in the classroom as a teaching tool. In the US, Lego Education North America is a joint venture between Pitsco, Inc. and the educational division of the Lego Group.
In 1998, Lego bricks were one of the original inductees into the National Toy Hall of Fame at The Strong in Rochester, New York.
"Lego" is commonly used as a mass noun ("some Lego") or, in American English, as a countable noun with plural "Legos", to refer to the bricks themselves, but as is common for trademarks, Lego group insists on the name being used as an adjective when referring to a product (as in "LEGO bricks").
(En) Founded in 1906, the Coking Plant of Anderlues was specialized in the production of coke for industrial use.
Coke was obtained by distillation of coal in furnaces and, thanks to its superior fuel coal properties, it was used afterwards to feed the blast furnaces in the steel manufacturing process.
Closed and abandoned since 2002, the site has since undergone many losses and damages, not including an important pollution. While some buildings have now been demolished, there are however still some important parts of the former coking plant.
Among them, the former coal tower, next to the imposing "battery" of 38 furnaces, where the coke was produced. Besides them, we still can see the administrative buildings, the power station with its cooling tower, and buildings for the by-products, which were obtained by recovering the tar and coal gas. There are also a gasometer north side, the coal tip east side and a settling basin south side.
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(Fr) Fondées en 1906, les Cokeries d'Anderlues étaient spécialisées dans la fabrication de coke à usage industriel.
Le coke était obtenu par distillation de la houille dans des fours et, grâce à ses propriétés combustibles supérieures au charbon, il servait par après à alimenter les hauts-fourneaux dans le processus de fabrication de l'acier.
Fermé et laissé à l'abandon depuis 2002, le site a depuis lors subi de nombreuses pertes et dégradations, sans compter la pollution qui y règne. Si certains bâtiments (comme l'ancien lavoir à charbon) ont aujourd'hui été démolis, on retrouve encore toutefois certaines parties importantes de cette ancienne cokerie.
Parmi celles-ci, l'ancienne tour à charbon suivie de près par l'imposante "batterie" de 38 fours, où était produit le coke. A côté d'eux, on découvre également les bâtiments administratifs, la centrale électrique avec sa tour de refroidissement, ainsi que les bâtiments des sous-produits, lesquels étaient obtenus par récupération du goudron et du gaz de houille. Et en périphérie, on retrouve un gazomètre côté nord, le terril à l'est et un bassin de décantation côté sud.
Lego is a line of plastic construction toys manufactured by the Lego Group, a privately held company based in Billund, Denmark. Lego consists of variously colored interlocking plastic bricks made of acrylonitrile butadiene styrene that accompany an array of gears, figurines called minifigures, and various other parts. Its pieces can be assembled and connected in many ways to construct objects, including vehicles, buildings, and working robots. Anything constructed can be taken apart again, and the pieces reused to make new things.
The Lego Group began manufacturing the interlocking toy bricks in 1949. Moulding is done in Denmark, Hungary, Mexico, and China. Brick decorations and packaging are done at plants in the former three countries and in the Czech Republic. Annual production of the bricks averages approximately 36 billion, or about 1140 elements per second.
Films, games competitions, and eight Legoland amusement parks have been developed under the brand. One of Europe's biggest companies, Lego is the largest toy manufacturer in the world by sales. As of July 2015, 600 billion Lego parts had been produced.
History
The Lego Group began in the workshop of Ole Kirk Christiansen (1891–1958), a carpenter from Billund, Denmark, who began making wooden toys in 1932. In 1934, his company came to be called "Lego", derived from the Danish phrase leg godt which means "play well". In 1947, Lego expanded to begin producing plastic toys. In 1949 the business began producing, among other new products, an early version of the now familiar interlocking bricks, calling them "Automatic Binding Bricks". These bricks were based on the Kiddicraft Self-Locking Bricks, invented by Hilary Page in 1939 and patented in the United Kingdom in 1940 before being displayed at the 1947 Earl's Court Toy Fair. Lego had received a sample of the Kiddicraft bricks from the supplier of an injection-molding machine that it purchased. The bricks, originally manufactured from cellulose acetate, were a development of the traditional stackable wooden blocks of the time.
The Lego Group's motto, "only the best is good enough" (Danish: det bedste er ikke for godt, literally "the best isn't excessively good") was created in 1936. Christiansen created the motto, still used today, to encourage his employees never to skimp on quality, a value he believed in strongly. By 1951, plastic toys accounted for half of the company's output, even though the Danish trade magazine Legetøjs-Tidende ("Toy Times"), visiting the Lego factory in Billund in the early 1950s, wrote that plastic would never be able to replace traditional wooden toys. Although a common sentiment, Lego toys seem to have become a significant exception to the dislike of plastic in children's toys, due in part to the high standards set by Ole Kirk.
By 1954, Christiansen's son, Godtfred, had become the junior managing director of the Lego Group. It was his conversation with an overseas buyer that led to the idea of a toy system. Godtfred saw the immense potential in Lego bricks to become a system for creative play, but the bricks still had some problems from a technical standpoint: Their locking ability was still limited, and they were not yet versatile. In 1958, the modern brick design was developed; it took five years to find the right material for it, ABS (acrylonitrile butadiene styrene) polymer. A patent application for the modern Lego brick design was filed in Denmark on 28 January 1958 and in various other countries in the subsequent few years.
The Lego Group's Duplo product line was introduced in 1969 and is a range of blocks whose lengths measure twice the width, height, and depth of standard Lego blocks and are aimed towards younger children. In 1978, Lego produced the first minifigures, which have since become a staple in most sets.
In May 2011, Space Shuttle Endeavour mission STS-134 brought 13 Lego kits to the International Space Station, where astronauts built models to see how they would react in microgravity, as a part of the Lego Bricks in Space program. In May 2013, the largest model ever created, made of over 5 million bricks, was displayed in New York City; a one-to-one scale model of a Star Wars X-wing fighter. Other record breakers include a 34-metre (112 ft) tower and a 4 km (2.5 mi) railway.
In February 2015, marketing consulting company Brand Finance ranked Lego as the "world's most powerful brand", overtaking Ferrari.
Lego bricks have acquired a reputation for causing extreme pain when stepped on.
Design
Lego pieces of all varieties constitute a universal system. Despite variations in the design and the purposes of individual pieces over the years, each remains compatible in some way with existing pieces. Lego bricks from 1958 still interlock with those made presently, and Lego sets for young children are compatible with those made for teenagers. Six bricks of 2 × 4 studs can be combined in 915,103,765 ways.
Each piece must be manufactured to an exacting degree of precision. When two pieces are engaged, they must fit firmly, yet be easily disassembled. The machines that manufacture Lego bricks have tolerances as small as 10 micrometres.
Primary concept and development work for the toy takes place at the Billund headquarters, where the company employs approximately 120 designers. The company also has smaller design offices in the UK, Spain, Germany, and Japan which are tasked with developing products aimed specifically at their respective national markets. The average development period for a new product is around twelve months, split into three stages. The first is to identify market trends and developments, including contact by the designers directly with the market; some are stationed in toy shops close to holidays, while others interview children. The second stage is the design and development of the product based on the results of the first stage. As of September 2008 the design teams use 3D modelling software to generate CAD drawings from initial design sketches. The designs are then prototyped using an in-house stereolithography machine. These prototypes are presented to the entire project team for comment and testing by parents and children during the "validation" process. Designs may then be altered in accordance with the results from the focus groups. Virtual models of completed Lego products are built concurrently with the writing of the user instructions. Completed CAD models are also used in the wider organisation for marketing and packaging.
Lego Digital Designer is an official piece of Lego software for Mac OS X and Windows which allows users to create their own digital Lego designs. The program once allowed customers to order custom designs with a service to ship physical models from Digital Designer to consumers; the service ended in 2012.
Manufacturing
Since 1963, Lego pieces have been manufactured from acrylonitrile butadiene styrene (ABS). As of September 2008, Lego engineers use the NX CAD/CAM/CAE PLM software suite to model the elements. The software allows the parts to be optimised by way of mould flow and stress analysis. Prototype moulds are sometimes built before the design is committed to mass production. The ABS plastic is heated to 232 °C (450 °F) until it reaches a dough-like consistency. It is then injected into the moulds using forces of between 25 and 150 tonnes and takes approximately 15 seconds to cool. The moulds are permitted a tolerance of up to twenty micrometres to ensure the bricks remain connected. Human inspectors check the output of the moulds to eliminate significant variations in colour or thickness. According to the Lego Group, about eighteen bricks out of every million fail to meet the standard required.
Lego factories recycle all but about 1 percent of their plastic waste from the manufacturing process. If the plastic cannot be re-used in Lego bricks, it is processed and sold on to industries that can make use of it. Lego, in 2018, set a self-imposed 2030 deadline to find a more eco-friendly alternative to the ABS plastic.
Manufacturing of Lego bricks occurs at several locations around the world. Moulding is done in Billund, Denmark; Nyíregyháza, Hungary; Monterrey, Mexico; and most recently in Jiaxing, China. Brick decorations and packaging are done at plants in the former three countries and in Kladno in the Czech Republic. The Lego Group estimates that in five decades it has produced 400 billion Lego blocks. Annual production of the bricks averages approximately 36 billion, or about 1140 elements per second. According to an article in BusinessWeek in 2006, Lego could also be considered the world's number-one tyre manufacturer; the factory produces about 306 million small rubber tyres a year. The claim was reiterated in 2012.
In December 2012, the BBC's More or Less radio program asked the Open University's engineering department to determine "how many Lego bricks, stacked one on top of the other, it would take for the weight to destroy the bottom brick?" Using a hydraulic testing machine, members of the department determined the average maximum force a 2×2 Lego brick can stand is 4,240 newtons. Since an average 2×2 Lego brick has a mass of 1.152 grams (0.0406 oz), according to their calculations it would take a stack of 375,000 bricks to cause the bottom brick to collapse, which represents a stack 3,591 metres (11,781 ft) in height.
Private tests have shown several thousand assembly-disassembly cycles before the bricks begin to wear out, although Lego tests show fewer cycles.
In 2018, Lego announced that it will be using bio-derived polyethylene to make its botanical elements (parts such as leaves, bushes and trees). The New York Times reported the company's footprint that year was "about a million tons of carbon dioxide each year" and that it was investing about 1 billion kroner and hiring 100 people to work on changes. The paper reported that Lego's researchers "have already experimented with around 200 alternatives." In 2020, Lego announced that it would cease packaging its products in single-use plastic bags and would instead be using recyclable paper bags. In 2021, the company said it would aim to produce its bricks without using crude oil, by using recycled polyethylene terephthalate bottles, but in 2023 it reversed this decision, having found that this did not reduce its carbon dioxide emissions.
Set themes
Since the 1950s, the Lego Group has released thousands of sets with a variety of themes, including space, pirates, trains, (European) castle, dinosaurs, undersea exploration, and wild west, as well as wholly original themes like Bionicle and Hero Factory. Some of the classic themes that continue to the present day include Lego City (a line of sets depicting city life introduced in 1973) and Lego Technic (a line aimed at emulating complex machinery, introduced in 1977).
Over the years, the company has licensed themes from numerous cartoon and film franchises and some from video games. These include Batman, Indiana Jones, Pirates of the Caribbean, Harry Potter, Star Wars, Marvel, and Minecraft. Although some of these themes, Lego Star Wars and Lego Indiana Jones, had highly successful sales, the company expressed in 2015 a desire to rely more upon their own characters and classic themes and less upon such licensed themes. Some sets include references to other themes such as a Bionicle mask in one of the Harry Potter sets. Discontinued sets may become a collectable and command value on the black market.
For the 2012 Summer Olympics in London, Lego released a special Team GB Minifigures series exclusively in the United Kingdom to mark the opening of the games. For the 2016 Summer Olympics and 2016 Summer Paralympics in Rio de Janeiro, Lego released a kit with the Olympic and Paralympic mascots Vinicius and Tom.
One of the largest commercially produced Lego sets was a minifig-scaled edition of the Star Wars Millennium Falcon. Designed by Jens Kronvold Fredericksen, it was released in 2007 and contained 5,195 pieces. It was surpassed by a 5,922-piece Taj Mahal. A redesigned Millennium Falcon retook the top spot in 2017 with 7,541 pieces. Since then, the Millennium Falcon has been superseded by the Lego Art World Map at 11,695 pieces, the Lego Titanic at 9,090 pieces, and the Lego Architect Colosseum at 9,036 pieces.
In 2022, Lego introduced its Eiffel Tower. The set consists of 10,000 parts and reaches a height of 149 cm, which makes it the tallest set and tower but the second in number of parts after the World Map.
Robotics themes
Main articles: Lego Mindstorms, Lego Mindstorms NXT, Lego Mindstorms NXT 2.0, and Lego Mindstorms EV3
The company also initiated a robotics line of toys called 'Mindstorms' in 1999, and has continued to expand and update this range ever since. The roots of the product originate from a programmable brick developed at the MIT Media Lab, and the name is taken from a paper by Seymour Papert, a computer scientist and educator who developed the educational theory of constructionism, and whose research was at times funded by the Lego Group.
The programmable Lego brick which is at the heart of these robotics sets has undergone several updates and redesigns, with the latest being called the 'EV3' brick, being sold under the name of Lego Mindstorms EV3. The set includes sensors that detect touch, light, sound and ultrasonic waves, with several others being sold separately, including an RFID reader.
The intelligent brick can be programmed using official software available for Windows and Mac computers, and is downloaded onto the brick via Bluetooth or a USB cable. There are also several unofficial programs and compatible programming languages that have been made to work with the brick, and many books have been written to support this community.
There are several robotics competitions which use the Lego robotics sets. The earliest is Botball, a national U.S. middle- and high-school competition stemming from the MIT 6.270 Lego robotics tournament. Other Lego robotics competitions include FIRST LEGO League Discover for children ages 4–6, FIRST LEGO League Explore for students ages 6–9 and FIRST Lego League Challenge for students ages 9–16 (age 9–14 in the United States, Canada, and Mexico). These programs offer real-world engineering challenges to participants. FIRST LEGO League Challenge uses LEGO-based robots to complete tasks, FIRST LEGO League Explore participants build models out of Lego elements, and FIRST LEGO League Discover participants use Duplo. In its 2019–2020 season, there were 38,609 FIRST LEGO League Challenge teams and 21,703 FIRST LEGO League Explore teams around the world. The international RoboCup Junior football competition involves extensive use of Lego Mindstorms equipment which is often pushed to its extreme limits.
The capabilities of the Mindstorms range have now been harnessed for use in Iko Creative Prosthetic System, a prosthetic limbs system designed for children. Designs for these Lego prosthetics allow everything from mechanical diggers to laser-firing spaceships to be screwed on to the end of a child's limb. Iko is the work of the Chicago-based Colombian designer Carlos Arturo Torres, and is a modular system that allows children to customise their own prosthetics with the ease of clicking together plastic bricks. Designed with Lego's Future Lab, the Danish toy company's experimental research department, and Cirec, a Colombian foundation for physical rehabilitation, the modular prosthetic incorporates myoelectric sensors that register the activity of the muscle in the stump and send a signal to control movement in the attachment. A processing unit in the body of the prosthetic contains an engine compatible with Lego Mindstorms, the company's robotics line, which lets the wearer build an extensive range of customised, programmable limbs.
In popular culture
Lego's popularity is demonstrated by its wide representation and usage in many cultural works, including books, films, and art. It has even been used in the classroom as a teaching tool. In the US, Lego Education North America is a joint venture between Pitsco, Inc. and the educational division of the Lego Group.
In 1998, Lego bricks were one of the original inductees into the National Toy Hall of Fame at The Strong in Rochester, New York.
"Lego" is commonly used as a mass noun ("some Lego") or, in American English, as a countable noun with plural "Legos", to refer to the bricks themselves, but as is common for trademarks, Lego group insists on the name being used as an adjective when referring to a product (as in "LEGO bricks").
When the tobacco factory was in operation, the Power Plant generated energy for the manufacturing process. Today, the Power Plant is home to the the Full Frame Theater, an art gallery and offices.
The all-new 2018 Alfa Romeo Stelvio is crucial to the Italian performance brand’s return to the U.S. The performance crossover is based on the Giulia midsize sedan introduced late last year, sharing the same 280-horsepower turbo engine, suspension, chassis, interior — just about everything, except the body. It is the brand’s third model since returning to the U.S. in 2015 after a 20-year absence, and follows the low volume but lovable 4C and 4C spider two-seat sports coupe.
Despite underwhelming sales against stalwart competitors such as the BMW 3-Series, Mercedes-Benz C-Class and the new Jaguar XE, Giulia came at a time when the premium compact sedan segment has shrunk as consumers opt for bigger, more versatile crossovers. Like the Jaguar F-Pace crossover, which became Jaguar’s best-selling model after just one year of sales, the Stelvio could help establish a new era of Alfa Romeo.
During the recent Stelvio drive program outside Nashville, Tenn., we talked with Reid Bigland, Head of Alfa Romeo, about the Stelvio and the brand. The interview has been edited for length and clarity.
Q: How important is the Stelvio to the brand?
A: It falls into the largest premium segment in the U.S. (25 percent of premium sales are midsize crossovers) so by being Alfa’s first SUV in our over 105-year history, it’s an important product offering for us.
Q: Does the success of the brand depend on the Stelvio?
A: No, I wouldn’t put all that pressure on the Stelvio. We’re in it for the long term. Any brand that can be in existence for 105 years must be doing something right. We’re focused on creating a driving experience that’s unlike any other vehicle in the marketplace. There’s a connectedness between driver and car that is really unique in today’s auto world.
Q: The Stelvio compares to the Jaguar F-Pace, which is now Jaguar’s best-selling model.
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News in 90 for July 8
A: With respect to the F-Pace, it shows how consumers are wired to SUVs. Look at Porsche. When I was a kid it was all 911. Porsche sales are 70 percent SUVs now. Maserati, Alfa’s sister company, introduced the Levante last year and it has become 50 percent of Maserati global sales already. Hopefully the Stelvio will have a similar impact for Alfa Romeo.
Q: Compared with how many models and trim levels are offered by BMW and Mercedes-Benz, Alfa’s portfolio feels narrow.
A: We believe there are people out there looking for an alternative to a good German car, and by taking driving dynamics to the next level and offering a little more emphasis on style, hopefully we can fill that void for consumers.
Q: How is Alfa addressing the old reputation of quality and mechanical problems?
A: We’re aware of the potential concern. All I can tell you is we have the most advanced manufacturing processes going on at the Cassino factory (in Italy), the quality control is exceptional, we have secondary checks when the vehicles hit the port of Baltimore, as well as in China, and we’re very focused on delivering the highest quality car that can be developed.
5 fast facts about the 2018 Alfa Romeo Stelvio
The 2018 Alfa Romeo Stelvio performance crossover follows the 4C and 4C Spider two-seat sports kart and the Giulia midsize sedan in the Italian brand’s return to the U.S. after a nearly 25-year absence. Based on the overwhelming popularity of crossovers, the Stelvio is crucial to the brand’s success.
Stelvio is based off the Giulia midsize sedan, sharing the same aluminum 2-liter direct injection four-cylinder turbo engine churning out 280 horsepower and 306 pound-feet of torque. Same eight-speed automatic transmission, same chassis, same suspension, same interior. Different body: Stelvio is 2 inches longer, 9 inches taller, and 2 inches higher off the ground. Stelvio can be equipped to tow up to 3,000 pounds. Stelvio comes standard with all-wheel drive, with a rear-wheel-drive bias, so 100 percent of torque can automatically shift to the rear wheels at highway cruising speeds when it’s most efficient, for instance. It gets an EPA-estimated 24 mpg combined, 2 mpg less than Giulia. On the other hand, for racing, four wheels planted on takeoff give it more grip, less slip. The Ti trim hits 60 mph in 5.4 seconds, with a top speed of 144 mph. Stelvio costs about $2,000 more than Giulia.
Stelvio is named for the famed Stelvio Pass in the Italian Alps on the northern border. The highest paved mountain pass in Italy includes 48 hairpin turns at an elevation of 9,000 feet, enabling Alfa to call Stelvio an “SUV for the S-curves.” Mechanically, it has perfect 50-50 weight distribution, which is always good for balance on the track and mountain passes. Alfa also claims the “the most direct steering ratio in its segment,” meaning that every degree turn of the steering wheel is matched by a degree turn of the wheels, at a ratio of 12 to 1. So a full turn of the steering wheel (360 degrees) results in a 30-degree turn of the wheels. Bottom line? More precise, direct steering.
The premium midsize crossover segment accounts for 25 percent of all premium vehicle sales, the most in the segment by a lot, according to Alfa Romeo. All premium marques have a performance crossover option, it seems, so Alfa has work to do to establish it from the competition. Competitors are the Porsche Macan, Audi Q5, BMW X3, Lexus NX and Mercedes-Benz GLC, but the vehicle most closely aligned with what Alfa is trying to do is the Jaguar F-Pace. Within a year of its release, the F-Pace became the best-selling Jaguar, and it is the hottest vehicle in the U.S., meaning it spends the least amount of time on dealer lots of any vehicle. Sedans aren’t selling. The Stelvio must.
It is a performance crossover with no pretense to off-road capability, aside from a hill descent button and an available towing package with a capacity of 3,000 pounds. The dashboard is spartan, the controls are simple, the design emphasis is on drivability and nothing more. This is sweet relief from Land Rover, Porsche and the German makes.
The Stelvio Quadrifoglio, with a 505-horsepower 2.9-liter twin-turbo V-6, is due in the first quarter of 2018. The Stelvio in Sport, Ti or Lusso trim levels hit dealers in the last week of June.
Queensbridge, Long Island City, Queens, New York City, New York, United States of America
The New York Architectural Terra Cotta Works Building is a unique vestige of one of the most important terra cotta manufacturing concerns in the Northeast. Built in 1892, the building served as the office headquarters of the New York Architectural Terra Cotta Company, New York's only major manufacturer of architectural terra cotta.
For some 50 years terra cotta was a major building material in the United States and one which has a significant impact on the shape and form of New York's architecture. The prominently-located headquarters building was calculated to display with great elegance the range and potential of the products manufactured by the company. It is a veritable catalogue of the company's art and the only one of its kind known to survive in the United States.
The New York Architectural Terra Cotta Company
Although the use of terra cotta in architecture dates back to ancient Greek and Roman times, architectural terra cotta was not generally accepted in the United States until the mid 1870s.
Architectural terra cotta gained popularity for its comparative low cost over stone, its ornamental possibilities, and its fireproof properties. Chicago had been the first American city to establish a manufacturing works for terra cotta. The Chicago manufacturer corresponded with J.M. Blashfield, founder of a major terra cotta plant in Stamford, England. As a result, James Taylor, Blashfield's plant superintendent, made contact with the Chicago company and joined the firm in 1870 when it was reorganized as the Chicago Terra Cotta Works.
Taylor was engaged as the superintendent, a position he held until 1877. The firm prospered after the fire of 1871, due to increased demand for fireproof building materials. The Chicago Company supplied terra cotta for two influential New York City buildings during Taylor's tenure there: a residence of 1877 on East 36th Street, designed by George C. Post; and the Morse Building (1878), at Nassau and Beekman Streets, the design of Silliman & Farnsworth, in which raised vertical joints were first used to point the masonry. In 1877, the A. Hall & Sons Fire and Bricks Works of Perth Amboy, New Jersey was reorganized to manufacture architectural terra cotta.
By 1879, the company was incorporated under the name Perth Amboy Terra Cotta Company, with James Taylor as its superintendent. After serving as superintendent of the Boston Terra Cotta Company from 1880 to 1886, he joined the newly-formed New York Architectural Terra Cotta Company as its superintendent in 1886. Taylor has been called the "father of architectural terra cotta" in the United States.
The New York Architectural Terra Cotta Company, which owed much of its success to Taylor's expertise, was established in 1886 by New York real estate magnate Orlando B. Potter, with his son-in-law, attorney Walter Geer. Taylor brought with him Carl Matherson, who had
worked with him in Boston and then' in Perth Amboy, to serve as his assistant, .manager, and W.T. McGregor, a celebrated sculptor and modeller, also from the Boston works.
The company offices were set up in the Potter Building at 38 Park Row. A six-story manufacturing building on the waterfront in the once rural Ravenswood area of Queens (now Long Island City), was built en the site of the Wallach estate.
The architect was Clarence B. Cutler of Troy, New York. The first kiln was set in operation at the works on April 29, 1886. The cellar of. the new factory contained clay pits, an engine, and machinery for burning clay.
The ground floor had kilns and offices. The second floor had a showroom , and molding rooms were located on the third and fourth floors. The top floor has a room: and modelling studios. The old Wallach mansion was used, for showrooms and offices. This manufacturing site was considered the most up-to-date in the area.
The community eagerly welcomed the .New York Architectural Terra Cotta Company, a new. industry which brought many skilled workers to the area. Less than three months after operations began, on a Saturday. evening (July 17, 1886), a fire swept through the plant and destroyed all but a portion of the walls. However, the fire had been so successful even in this short period of time that an additional 100 men had been hired to join the force of 150 at the manufacturing works.
Taylor announced that, "we shall rebuild without a moment's delay," and the management erected temporary sheds and set workers about filling orders .
After the fire the kilns were found with their contents preserved, and the boilers were salvaged. As a result of the loss of power, clay was prepared manually. By October of 1886, the plant, with a new automatic sprinkler system, was rebuilt, and a new dock was in place.
Four kilns were in use (one more than before the fire). The offices were moved from the Wallach mansion to the newly rebuilt manufacturing works, while Taylor and his family, who had previously resided in New Jersey, moved into the mansion.
The Long Island City community hailed this successful effort to continue manufacturing under emergency circumstances and to rise "Phoenix-like" from the ashes.'
The Manufacture and use of Architectural Terra Cotta
Architectural terra cotta was used in conjunction with brick to highlight and emphasize architectural detail. Beginning in the 1890s, it was also used for exterior cladding over steel-frame structures.
It gained popularity for several reasons. The material has -he-unique capability of achieving a variety of tints and contrasts. Its plasticity allows for artistic versatility, "it also allows architects to view actual full-sized details through various stages of design before final placement on a building. Taylor praised architectural terra cotta as a "recognized building materiel, having its own quality and purpose ...not an imitation of stone, or iron or wood.
The material or architectural terra cotta is burnt clay that derives its color from the constituent elements remaining after firing. The selection of raw material in the process of manufacturing architectural terra cotta is integral to the success of the endeavor, as each shade and tint calls for the mixing of clays from different localities.
The New York Architectural Terra Cotta Company used clays from northern and central New Jersey, and occasionally from other parts of the country. As related by Walter Geer in his 1891 pamphlet on terra cotta, the clay, after being mined, had to be properly seasoned before it was delivered to the factory.
Once received from the docks, it was crushed and ground or washed, then mixed with grit, and water. The clay was then piled in layers, each quality being in a separate layer, to attain as many as twelve strata. Perpendicular cuts were then taken from this mass, which was again tempered in pug mills or with rollers which mixed all the ingredients.
It was then formed into small cakes and sent to molding rooms. Using the architect's specifications, architectural details were formed into full-sized molds of plaster and clay in the modelling and molding rooms. When the molds were dried, they were sent to the pressing department where clay was pressed into molds, and when partially dry, the work was turned out on the floor. It was here that the carver or modeller would follow the often intricate tracing of the architect's designs to fit and trim each piece.
This stage required great precision, as only the joints could be chiselled down or trimmed to secure a proper fit after firing. The work was then placed on the drying floor and loaded into kilns, where it remained for seven days for burning and cooling. For practical reasons 'of manufacture and final installation, terra-cotta elements had to be of a size that would allow rot installation by no more than two workers. Large-scale designs were therefore created in segments,, carefully designed to fit into an integrated ensemble.
The New York Architectural Terra Cotta Company had a photographic department to reproduce architect's plans. Copies of the plans were, provided to every department head, to enable him to paint out in colored inks each portion of the work as it progressed.
These records were preserved in order to duplicate orders years hence, as well as to keep a graphic record of the progress of each item.
The facilities of the New York Architectural Terra Cotta Company were the largest of their kind in the country and were built, specifically for the manufacture of architectural terra cotta. In his 1891 pamphlet on terra cotta, Walter Geer noted that the company catalogue illustrated "the wonderful range of uses and diverse styles of design of which terra cotta, is capable." The company kept in stock a large assortment of molded brick, and details, of every kind, including chimney pots, wall copings, panels, tiles, moldings, sills, jambs, lintels, brackets, corbels, etc. for national sale. Thus an architect or builder had the option of ordering stock pieces or placing a special order.
Taylor noted the role of architects themselves in fostering the development of architectural terra cotta:
Having no precedent-, they made all kinds of demands, such as had not hithertofore been required or expected; but these very requirements have tended to lead the makers into new channels, which have produced successful results in regard to color, ornamentation, construction, and surface treatment, so that now there is no reasonable doubt that architectural terra cotta as it is designee and made and used in America is far better in many respects than the best products of European factories.
With its increasing popularity due in large part to its versatility, the material was being used in a majority of the masonry buildings constructed in New York by the turn of the. century.
The New York Architectural Terra Cotta Company supplied terra cotta for a host of prominent architects and numerous buildings. By 1891, the company had filled contracts in fifteen states as well as Canada. Some of the New York projects for which the company supplied terra cotta were: the Lincoln Building (1886), R.H. Robertson; the Corbin Building (1888). Francis K. Kimball; the Schermerhom Building (1889), H.J. Hardenbergh; the Old Grolier Club (1890), Charles V. Romeyn.; the Montauk Club (1891), Francis K. Kimball; Carnegie Hall (1891), William B. Tuthill; All Saints Church (1891), Renwich, Aspinwall L Russell; and the Ansonia Hotel (1904), Paul E.M. Duboy.
Through Walter Geer's writings, the company also made a significant contribution to the documentation of the material, itself. In 1891. Geer published Terra-Cotta in. Architecture and in 1920, he wrote The Story of Terra-Cotta.
The New York Architectural Terra Cotta Works Building
By 1892, with the growth of the company, a need was evidently felt for an, office facility-separate from the manufacturing plant, and the headquarters building was constructed. The New York Architectural Terra Cotta Works. Building is a fanciful, two-story structure that displays in its construction at: exuberant use of brick and terra cotta. Placed at the Easternmost end of the nearly two-acre site with a frontage of over 200 feet on the East River. the head-quarters building stood against a backdrop of the company's entire manufacturing, warehouse and shipping operation when built in 1892.
The entire complex was decs surrounded to the north, south and east by brick walls. All that remains on the site are a much-altered trick warehouse and segments of the brick walls which curve inward to reveal the mansion-like headquarters building.
The building, combining elements of the Renaissance and Tudor Revival styles in its design is rectangular in plan, with its longer sides running parallel to Vernon Boulevard.
The principal facade faces east, and has two entries of equal size at its north and south end. The gable ends of the roof terminate in stepped parapet;- with pyramidally-shaped coping stones of beige terra cotta.
The peaked roof is sheathed in semi-circular pantiles which have the appearance of slate shingles. It is pierced by the two chimneys, one at its southern end,-- and one atop a semi-circular projecting bay, placed slightly off-center toward the southern end of the facade. This bay has a conical roof, and its chimney flue, have Tudor Revival chimney pots, identical to those featured in the company's catalogue offerings.
The major facade elements stand out from the wall which is faced with light brown brick. To the south of the semi-circular bay are two windows each at the first and second stories.
To the north of the bay are four windows at the first story and three at the second story. A belt course of terra-cotta ornament in a Vitruvian scroll pattern runs the length of the entire facade, just below the level of the lintels of the first, story windows.
The flush window lintels, molded in beige, terra cotta, have drip moldings with foliate ornament on the keystones and ends. The sills, also of beige terra cotta, project slightly and have foliate patterns at their bases.
The entrances at either of the facade are approached by steps of beige terra cotta. Both entryways contain wood-panelled doors, and the doorways are flanked by pilasters with composite capitals and northern Renaissance-derived panel carvings with paired figures.
The pilasters support friezes of intricate leaf patterns, the design of which conceals masks to achieve a trompe l'oeil effect. The coronas have modified egg and dart motifs.
The southernmost entry carries the former street address (401 Vernon Boulevard; of the company on the frieze directly above it.
The frieze on the corresponding doorway of the north entry reads "Office." The focal point of the main facade is the asymmetrically Placed curved projecting bay. Its north and south side have windows which match in detail the trim of the other windows of the facade. The bay itself is faced with a darker, rock faced brick.
The center of the bay bears a rectangular plaque, giving the name of the company "Now York Architectural Terra. Cotta Works," in flowing letters, executed in relief against a terra-cotta background. The plaque, which approximates the size of the windows, is slightly recessed from the surface of the brick around it.
This plaque is flanked by fluted pilasters with composite capitals. The pilasters support a frieze in trompe l'oeiI design of leaves and masks which matches those of the entries, and is capped by a pediment. Centered above, at the second story level, is another smaller plaque, bearing "Anno Domini 1892" in a flowing scroll-like form, framed by an egg and dart trim.
A band of cast terra cotta with a foliate design runs the length of the facade, just below the roof line. Foliate consoles at the south and north ends of the facade intersect the stepped parapets.
The north elevation is partially obscured by a one-story addition, and the lower section of the southern elevation is obscured by a small, one-story shed.
The north facade has a central, circular window with two smaller openings flanking it. The west elevation which faced una factory, has a fenestration pattern matching that of the front facade, although its lintels and sills are of a more utilitarian design. The roof band is similar.
Conclusion
By 1915 the company was the fourth largest employer in Long Island City. The terra cotta company's business prospered into the 1920s when it acquired a second manufacturing site in Old Bridge, New Jersey, allowing for direct access to clay deposits. Shipments of 400 tons per barge were made twice weekly to Long Island City works from the Cheesquake, New Jersey area.) Walter Geer, Jr., the son of Walter Geer, continued the family involvement in the company until it went bankrupt in 1928-29.
Richard Dalton, who had beer, the president of the New York Architectural Terra Cotta Company from 1919 to 1928, formed the Eastern Terra Cotta Company in 1931, This company, combining the facilities of the New York and New Jersey companies, produced architectural terra cotta for New York's recreational facilities under the administration of Robert Moses and his architect Aymar Embury II in the 1930s.
Business continued into the mid-1940s. After its closing, Mr. Dalton used the headquarters building for his own construction company's offices until his death in 1968.
In 1968, the Helton family sold the building and property to Citibank. In 1976 the manufacturing works buildings were demolished.
Today only the New York Architectural Terra Cotta Works Building survives as a symbol of the material and industry which transformed the construction profession in the late 19th century. Built at a time when terra cotta was enjoying an unparalleled popularity, the building was a showpiece for the company and a major example of the quality and range of the company's products. As the headquarters of New York City's only major terra cotta manufacturer, it has special significance in the history of architecture and construction and is one of this country's few tangible links with this important manufacturing process.
- From the 1982 NYCLPC Landmark Designation Report
13.5.2015. The area at the front of Sheffield station was part of a multimillion pound regeneration scheme.
The 90metre long stainless 'Cutting Edge' was designed by Si Applied Ltd and was installed in 2007.
Water cascades over the inner surface of a huge 'bar' of steel, hammered flat as it would have been in many of the steel manufacturing processes.
I've used a bit of 'artistic' licence with the water - upping the saturation whilst making the rest of the image monochrome.
Momofuku Ando Instant Ramen Museum (インスタントラーメン発明記念館 Instant Ramen Hatsumei Kinenkan)
On August 25, 1958, Momofuku Ando invented the world’s first instant noodle product, “Chicken Ramen” after hours of research using common tools in a small shack which he had constructed in the backyard of his house in Ikeda. “The Momofuku Ando Instant Ramen Museum” conveys the importance of invention and discovery through the history of instant noodles, which have become a new food culture. There are many exhibitions to see including replica of the hat where the world’ first instant needle was invented, “Space Ram,” the instant noodles that travelled on the space shuttle Discovery, Cup Noodle Drama Theatre and Instant Noodle Tunnel. “Handmade Chicken Ramen Hands-On Workshop” is the world’s one and only workshop where you can reproduce the world’ first instant noodle product, “Chicken Ramen,” yourself.
You can experience the manufacturing process of Chicken Ramen, from mixing wheat flour, stretching the dough, steaming the noodles, flavouring the steamed noodles, up to the process of drying the noodles by “The Flash-Flying Method.” ¥500, 90 min, reservations required. At the “My Cup Noodle Factory,” you can design the cup, choose the soup flavour and add the ingredients you prefer (¥300, no reservations). Visitors can take home their original, one and only 'Cup Noodle” in the world.
Address: 8-25 Masumi-cho, Ikeda-shi, Osaka
Access: 5 min walk from Ikeda station (Hankyu Takarazuka Line)
Opening hours: 9:30am - 4pm, close on Tuesdays
Admission: free
1988 Vintage Canon EF 200mm f1.8 L USM lens.
This rare and stunning, legendary lens delivers wonderful bokeh with its f1.8 aperture and fixed 200mm length.
No longer made by Canon as it created too much waste lead in the glass manufacturing process.
Review quote:
"Supply and demand pricing was tilted toward demand in this case. Demand is high because this is the widest 200mm Canon AF lens ever made. With it's f/1.8 aperture combined with a relatively long focal length, this lens can capture shots that no other Canon lens can achieve. And for this reason, it is sure to bring a smile to your face - and to that of your family, friends and clients."
www.the-digital-picture.com/Reviews/Canon-EF-200mm-f-1.8-...
It does make you wonder whether the Hot Wheels Design Team took more than a cursory glance at this when designing their own newly released Series III Land-Rover. Modern manufacturing processes ensures theirs is better quality and more thoroughly detailed yet there is no denying the charm of this original Corgi Juniors equivalent. Any easy vehicle to replicate hence its wonderfully crisp looking front end and a non predictable body style in the form of this Tow Truck rear.
Part of a beautiful six vehicle set dating from the late 1970's or possibly very early 1980's. Mint and boxed.
SoulRider.222 / Eric Rider © 2020
Hoods and Trunks are made from 100% ISO-certified, Grade-A carbon fiber material. All VIS Carbon Fiber Hoods and Trunks are manufactured using a two-part construction design. The top layer is composed of carbon fiber material bonded to the hood surface with high-grade epoxy resin, and finished with an ultra-clear (Poly Shield), UV-protective polyurethane coating for a high gloss finish. A one-piece, smooth underside shell is fused to the top layer enhancing the product’s structural integrity. The edges are smoothed by hands to insure good quality finish all around. In 2014, we further improved on this manufacturing process by introducing the Vacuum Infusion Process (V.I.P.), which utilizes a single-mold vacuum to produce parts that are 10-20% lighter than before while improving durability. We are transitioning our full spectrum of carbon parts to use the VIP process so that our customers can enjoy these improved products without incurring a huge cost increase.
All VIS Carbon Fiber Hoods and Trunks come with a VIS badge of authenticity. Please be sure to look for the badge when purchasing. Due to the unknown nature of the intended uses of these products, hood pins are required. These products are intended for off-road use only, unless your local and state laws state otherwise.
At a glance: technical highlights* of the new Mercedes-Benz SLS AMG
Aluminium spaceframe: this design realised for the first time by Mercedes-Benz combines intelligent lightweight construction with great strength – thereby supporting the outstanding driving dynamics of the SLS AMG. The bodyshell weighs a mere 241 kilograms.
Standard
Adaptive front airbags: the front airbags can deploy in two stages, depending on the severity of the impact.
Standard
Aerodynamic balance: the SLS AMG combines optimum handling stability with a low drag coefficient and low wind noise.
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AMG alubeam silver: this new process - a world first - makes the paint finish shine like liquid metal, with specific light reflections that give even more life to the painted surface. Thius effect is made possible by microscopic, 30 to 50-nanometer small pigment particles.
Optional
AMG DRIVE UNIT: integrated into this are the rotary control for the transmission modes, the engine starter button and keys for the ESP® functions, the AMG memory function and the extendable rear aerofoil.
Standard
Bi-xenon headlamps: gas-discharge lamps for low and main beam improve safety at night.
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Carbon-fibre drive shaft: as in the Mercedes-Benz C-Class DTM racing touring cars, the drive shaft is of carbon-fibre. Although the shaft has to transfer 650 newton metres of torque from the engine to the double-declutch transmission, it weighs only 4.7 kilograms.
Standard
Differential lock: the mechanical multi-plate differential lock ensures improved traction in any road conditions.
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Diffusor: integrated into the rear bumper, the diffusor directs the airflow from the underfloor upwards, acting together with the aerofoil to prevent unwanted uplift at the rear axle.
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Double-declutch transmission: the AMG SPEEDSHIFT DCT 7‑speed sports transmission has four driving modes including the RACE START function. Other attributes: fast gearshift response with virtually no interruption in tractive power, a tailor-made control strategy and increased gearshifting comfort.
Standard
Double wishbone suspension: with this technology familiar from motor racing, the wheel location and suspension functions are separate.
Standard
E-SELECT lever: its shape is reminiscent of a jet plane's thrust control. The driver is conveniently able to change between R, N and D by touch-control of the drive-by-wire system.
Standard
3-stage ESP®: the three modes "ESP ON", "ESP SPORT" and "ESP OFF" are available at the touch of a button.
Standard
Flow-formed light-alloy wheels: the manufacturing process allows lower wall thicknesses in the area of the rim base, while improving long-term rigidity. The weight saving versus conventional light-alloy wheels is around 1.1 kilograms per wheel.
Standard
Gullwing doors: with an opening angle of 70 degrees, the unique gullwing doors allow convenient access and egress.
Standard
Front-mid-engine: the AMG V8 engine installed behind the front axle provides the ideal conditions for perfect handling dynamics, with precise self-steering characteristics, first-class agility, low inertia during fast directional changes and outstanding traction.
Standard
Generator management: whenever the engine is on the overrun, kinetic energy is used to charge the battery rather than being uselessly converted to heat in the usual way. Conversely, the generator is switched to load-free mode when accelerating, which relieves the engine load. The result is a reduction in fuel consumption.
Standard
Smooth underbody: the almost completely panelled underbody reduces aerodynamic drag and helps to avoid uplift at the rear axle.
Standard
Rear aerofoil: attractively integrated into the boot lid, the aerofoil extends at 120 km/h aus and avoids unwanted uplift at the rear axle.
Standard
High-performance composite braking system: with this composite technology derived from motor racing, the grey cast iron discs are mounted on an aluminium bowl. This ensures perfect heat conduction and first-class fade resistance even in the gruelling conditions of the racetrack.
Standard
LED gearshift indicator: seven LEDs coloured white, yellow and red indicate the need for an upshift if the SLS AMG driver has selected the manual transmission mode and the engine speed is approaching its maximum.
Standard
High-performance ceramic composite braking system: by virtue of their greater hardness, the ceramic brake discs have even higher temperature resistance, and also contribute the benefits of 40 percent less weight.
Optional
Kneebag: in the event of a frontal impact, an additional airbag can help to protect the legs of the vehicle occupants.
Standard
Twin-wire arc spray coating (LDS): the advantages of this technology patented and exclusively used by AMG are extremely low friction and wear, as well as long-term durability of the cylinder walls.
Standard
Magnesium backrests: the backrests of the sports seats are of magnesium, a high-tech material that excels with low weight and high strength. This has considerable advantages in terms of the weight balance and a lower centre of gravity.
Standard
Matt paint finishes: with their matt silk surface, "designo magno allanite grey" and "AMG monza grey magno" reinforce the sporty character of the Gullwing model through specific contouring of the crease lines.
Optional
Performance suspension: with an approx. ten percent stiffer spring setup and 30 percent stiffer damper setup, the Performance suspension is recommended for the racetrack.
Optional
Forged pistons: the eight forged pistons of the AMG M159 engine weight a total of 0.5 kilograms less than the cast pistons of the basic M156 engine.
Standard
Forged wheels: forged AMG light-alloy wheels are 14 percent lighter than the Flow Forming wheels fitted as standard, thereby reducing the unsprung mases even further.
Optional
Tubular steel exhaust headers: with their precisely coordinated tube lengths, these improve the gas cycles for a considerable increase in output and torque. These exhaust headers are another technology borrowed from motor sports.
Standard
Superplastic forming: this enables multi-part components to be dispensed with during the production process for the outer door skin and interior. This not only saves weight, but also simplifies the production process.
Standard
Surround sound system: the Bang & Olufsen BeoSound AMG surround sound system with Dolby Digital 5.1 provides an exclusive listening experience at the highest level. The system has an amplifier with a total output of 1000 watts, 11 loudspeakers and a digital sound processor.
Optional
Transaxle arrangement: locating the double-declutch transmission at the rear axle allows a weight distribution of 47 percent (front) and 53 percent (rear) which benefits handling dynamics.
Standard
Dry sump lubrication: this technology derived from motor racing allows a lower installed position for the V8 engine. As a positive side-effect, the engine is reliably lubricated even under the high lateral acceleration encountered on the racetrack.
Standard
Topology optimisation: the cast components of the aluminium spaceframe are specifically weight-optimised: ribbed structures precisely follow the force paths, and wall thicknesses are reduced to a minimum in less highly stressed areas.
Standard
Torque tube: this forms a rigid connection between the engine and transmission, ensuring the best possible transfer of forces.
Standard
Ultra-high strength, hot-formed steel: this is used in the A‑pillars to improve occupant safety even further.
Standard
Four-way lumbar supports: these provide the driver and passenger with effective lower back support.
Optional
Two-zone seat cushions: prominent side bolsters with a harder foam filling provide optimal lateral support, while the inner areas of the seat cushion and backrest are softer for a high level of comfort on long journeys.
Standard
via
Vendor: Creative Wall Clock
Type:
Price: 39.90
Type:Wall Clocks;Style:Modern;Material:Bamboo & Wooden;Motivity Type:Quartz;Display Type:Needle;Shape:circular;Length:300 mm;Diameter:30 cm;Pattern:Abstract;Applicable Placement:Living Room;Feature:Antique Style;Combination:Separates;Brand Name:The Vinyl Clock;Width:30 cm;Form:Single Face;Model Number:MZGZ-013;Body Material:Wood;Body Material:Wood;Wall Clock Type:Wood;
Polygonal Wall Clock
Aren’t you tired of the same old, boring clocks? Would you like to decorate your room with a unique, wooden clock? This elegant, wooden clock can be placed anywhere in your home.
The Greeks used the triangle as the delta symbol and saw it as a doorway. Aristotle used the triangle in his five elemental conceptions. The triangle is another of the oldest and most widely used symbols. It might be used more than other basic symbols because of how versatile it is.
Each wall clock is unique because it is made of a natural wood-veneer panel. Unique natural shell pattern never repeats. Each laser-cut clock base is hand-polished to meet the highest quality requirements. It will be a great mascot gift for wedding or housewarming.
Manufacturing process:
This model has been laser cut from birch plywood by 1/5" (5 mm) thick.
****BASIC INFORMATIONS****
Size -30cm (12") x 30 cm (12")
Thickness - 5 mm (1/5 ")
Clock colour - natural wood
The movement: is silent (non-ticking)
Requires one AA battery (not included)
Please keep in your mind that wood is a natural material and therefore all wooden clocks are little bit different in color and wood pattern; each clock is a unique piece of wood.
Laser cutting the designs into the plywood give each piece an unique smoky smell!
Japanese Cat Wall Clock With Swishing Tail Silhouette Cat Wags Its Tail Fun Design Modern Wall Clock Wall Watch Cat Lovers Gift USD 19.99/piece
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woodysigns.myshopify.com/products/polygonal-modern-geomet...
History of the Barber-Colman Company
Historically one of Rockford’s largest manufacturers.
Began with the founding of the Barber & Colman Company in 1894 – partnership between Howard Colman, an inventor and entrepreneur, and W. A. Barber, an investor. [Today he would probably be considered a venture capitalist.] Colman’s first patent and marketable invention was the Creamery Check Pump used to separate buttermilk and dispense skimmed milk.
Colman’s textile production inventions led the company on its rapid rise as a worldwide leader in the design and manufacture of diversified products. Specific items designed for the textile industry included the Hand Knotter and the Warp Tying Machine. Through these innovations, Barber & Colman was able to build its first plant on Rock Street in Rockford’s Water Power District, and to establish branch offices in Boston MA and Manchester, England.
Incorporated as Barber-Colman in 1904 and built 5 new major structures on their site by 1907.
Later innovations for the textile industry included an Automatic Winder, High Speed Warper and Automatic Spoolers. By 1931, the textile machinery division had branch production facilities in Framingham MA; Greenville SC; Munich, Germany; and Manchester. This part of the business flourished through the mid-1960s but then declined as other divisions expanded.
Branched out from the textile industry into machine tools in 1908 with Milling Cutters. Barber-Colman created machines used at the Fiat plant in Italy (1927) and the Royal Typewriter Co. outside Hartford CT. By 1931, the Machine Tool and Small Tool Division of Barber-Colman listed branch offices in Chicago, Cincinnati and Rochester NY.
As part of its commitment to developing a skilled work force, Barber-Colman began the Barber-Colman Continuation School for boys 16 and older shortly after the company was founded. It was a 3-year apprentice program that trained them for manufacturing jobs at Barber-Colman and paid them hourly for their work at rate that increased as their proficiency improved. The program was operated in conjunction with the Rockford Vocational School.
To foster continued inventions, an Experimental Department was established with the responsibility of continually developing new machines. A lab was first installed in 1914 and was divided into two parts – a chemistry lab to provide thorough analysis of all metals and their component properties, and a metallurgical lab to test the effectiveness of heat treatment for hardening materials. Innovations in the Experimental Department laid the groundwork for the company’s movement into the design and development of electrical and electronic products, and energy management controls.
BARBER-COLMAN became involved in the electrical and electronics industry in 1924 with the founding of the Electrical Division. First product was a radio operated electric garage door opener controlled from the dashboard of a car. Unfortunately, it was too expensive to be practical at the time. The division’s major product in its early years was Barcol OVERdoors, a paneled wood garage door that opened on an overhead track. Several designs were offered in 1931, some of which had the appearance of wood hinged doors. This division eventually expanded into four separate ones that designed and produced electronic control instruments and systems for manufacturing processes; small motors and gear motors used in products such as vending machines, antennas and X-ray machines; electronic and pneumatic controls for aircraft and marine operations; and electrical and electronic controls for engine-powered systems.
In the late 1920s, the Experimental Department began conducting experiments with temperature control instruments to be used in homes and other buildings and the Temperature Control Division was born. Over time, BARBER-COLMAN became known worldwide leader in electronic controls for heating, ventilating and air conditioning. These are the products that continue its name and reputation today.
The death of founder Howard Colman in 1942 was sudden but the company continued to expand its operations under changing leadership. Ground was broken in 1953 for a manufacturing building in neighboring Loves Park IL to house the overhead door division and the Uni-Flow division. Three later additions were made to that plant.
The divestiture of BARBER-COLMAN divisions began in 1984 with the sale of the textile division to Reed-Chatwood Inc which remained at BARBER-COLMAN’s original site on Rock Street until 2001. The machine tooldivision, the company’s second oldest unit, was spun off in 1985 to Bourn and Koch, another Rockfordcompany. At that time, it was announced that the remaining divisions of the BARBER-COLMAN Company would concentrate their efforts on process controls and cutting tools. These moves reduced local employment at BARBER-COLMAN’s several locations to about 2200. The remaining divisions were eventually sold as well, but the BARBER-COLMAN Company name continues to exist today as one of five subsidiaries of Eurotherm Controls Inc whose worldwide headquarters are in Leesburg VA. The Aerospace Division and the Industrial Instruments Division still operate at the Loves Park plant, employing 1100 workers in 2000. The historic complex on Rock Street was vacated in 2001 and the property purchased by the City of Rockford in 2002.
Extensive documentation from the Experimental Department was left at the Rock Street plant when the company moved out and was still there when the site was purchased by the City of Rockford. These documents are now housed at the Midway Village Museum.
Ynys-y-Pandy Slate Mill, Cwmystradllyn; Pont-y-pandy - February 16, 2015
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees.
It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct.
The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906.
Source: Haslam, Orbach and Voelcker (2009), The Buildings of Wales: Gwynedd. Pevsner Architectural Guide, page 362.
For further photos of the Welsh Slate Industry: www.jhluxton.com/Industrial-Archaeology/Slate-Industry-of...
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.
Mitsubishi J8M1 Shusui
Chino Planes Of Fame
The J8M1 was intended to be a licence-built copy of the Messerschmitt Me 163 Komet. Difficulties in shipping an example to Japan meant that the aircraft eventually had to be reverse-engineered from a flight operations manual and other limited documentation. A single prototype was tested before the end of World War II.
The Japanese were quite aware of the results of the strategic bombing of Germany, and knew that the B-29 Superfortress would be bombing Japan and the resultant problems which would arise from trying to combat this. Japanese military attachés had become aware of the Komet during a visit to the Bad Zwischenahn airfield of Erprobungskommando 16, the Luftwaffe evaluation squadron charged with service test of the revolutionary rocket-propelled interceptor. They negotiated the rights to licence-produce the aircraft and its Walter HWK 509A rocket engine. The engine license alone cost the Japanese 20 million Reichsmarks.[1]
The agreement was for Germany to provide the following by spring 1944:
Complete blueprints of the Me 163B Komet and the HWK 509A engine.
One complete Komet; two sets of sub-assemblies and components.
Three complete HWK 509A engines.
Inform Japan of any improvements and developments of the Komet.
Allow the Japanese to study the manufacturing processes for both the Komet and the engine.
Allow the Japanese to study Luftwaffe operational procedures for the Komet.
The broken-down aircraft and engine were sent to Kobe, Japan in early 1944. It is probable that the airframe was on the Japanese submarine RO-501 (ex-U-1224), which left Kiel, Germany on 30 March 1944 and was sunk in the mid-Atlantic on 13 May 1944 by the hunter-killer group based on the escort carrier USS Bogue. Plans and engines were on the Japanese submarine I-29, which left Lorient, France on 16 April 1944 and arrived in Singapore on 14 July 1944, later sunk by the submarine USS Sawfish on 26 July 1944, near the Philippines, after leaving Singapore.
The Japanese decided to attempt to copy the Me 163 using a basic instructional manual on the Komet in the hands of naval mission member Commander Eiichi Iwaya who had travelled to Singapore in the I-29 and flown on to Japan when the submarine docked.
From its inception, the project was a joint Imperial Japanese Army Air Service (JAAF)/Imperial Japanese Navy Air Service (JNAF) venture. The JAAF wanted a new design to be drawn up. The JNAF, on the other hand, felt the design should mimic the German Komet because it had already proven to be a stable aerodynamic body. It was the JNAF which won and issued the 19-shi specification in July 1944 for the design of the rocket-powered defence fighter. The contract went to Mitsubishi Jukogyo KK, which would produce both the JNAF version the J8M1 Shu-sui and the JAAF version Ki-200.
The project was headed by Mijiro Takahashi. The JAAF, however decided to undertake their own design to meet the 19-shi specifications, working at their Rikugun Kokugijitsu Kenkyujo (JAAF Aerotechnical Institute) in secret.
At the 1st Naval Air Technical Arsenal in Yokosuka, in association with Mitsubishi and Yokosuka Arsenal, work began to adapt the Walter HWK 509A engine to Japanese manufacturing capabilities and techniques. This was also where efforts were underway to produce a glider version of the J8M to provide handling data. While working on this glider, the MXY8 Akigusa (??, "Autumn Grass"), Mitsubishi completed a mock-up of the J8M1 in September 1944.
Both the JAAF and JNAF approved its design and construction and a prototype was built. In December 1944, the MXY8 was completed and, on 8 December 1944, at the Hyakurigahara Airfield, Lieutenant-Commander Toyohiko Inuzuka took the controls of the MXY8. Once in the air, Inuzuka found the MXY8 almost perfectly emulated the handling characteristics of the Komet. Two additional MXY8 gliders were constructed in the naval yard at Yokosuka, one being delivered to the Rikugun Kokugijitsu Kenkyujo (JAAF Aerotechnical Institute) at Tachikawa for evaluation. The JNAF initiated the construction another prototype, production designation Ku-13. This was to use water ballast to simulate the weight of an operational J8M complete with engine and weapons. This variant was to be built by Maeda Aircraft Institute, while the JAAF version was to be constructed by Yokoi Koku KK (Yoki Aircraft Co). The JNAF also proposed a more advanced trainer, designated the MXY9 Shu-ka (??, "Autumn Fire") which would be powered by a 441 lbf (1.96 kN) thrust Tsu-11 ducted-fan engine. The war, however, ended before this model could be built.
Mitsubishi and partners Nissan and Fuji proceeded with development of the airframe and Yokosuka Arsenal was adapting the engine for Japanese production, designated the Ro.2. The Japanese succeeded in producing prototypes that outwardly looked very much similar to the Komet. The J8M1 had a wet weight that was 900 lb (410 kg) lighter, the aircraft having a plywood main spar and wooden vertical tail. The designers had also dispensed with the armoured glass in the cockpit and the aircraft carried less ammunition and slightly less fuel.
The Ki-200 and the J8M1 differed only in minor items, but the most obvious difference was the JAAF's Ki-200 was armed with two 30 mm (1.18 in) Type 5 cannon (with a rate of fire of 450 rounds per minute and a muzzle velocity of 2,350 ft/s (720 m/s), while the J8M1 was armed with two 30 mm (1.18 in) Ho-105 cannon (rate of fire 400 rounds per minute, muzzle velocity 2,460 ft/s (750 m/s). The Ho-105 was the lighter of the two and both offered a higher velocity than the MK 108 cannon of the Me 163 (whose muzzle velocity was 1,705 ft/s (520 m/s). The Toko Ro.2 (KR10) rocket motor did not offer the same thrust rating as the original, and Mitsubishi calculated that the lighter weight of the J8M1 would not offset this. Performance would not be as good as that of the Komet, but was still substantial.[2]
The engine still used the German propellants of T-Stoff oxidizer and C-Stoff fuel (hydrogen peroxide/methanol-hydrazine), known in Japan as Ko and Otsu respectively.
A total of 60 of the training version (Ku-13, Ki-13, MXY-8, MXY-9) were produced by Yokosuka, Yokoi[disambiguation needed] and Maeda[disambiguation needed]. Seven of the operational version (J8M1/Ki-200) were built by Mitsubishi.
Operational history
J8M-17[clarification needed]
In 8 January 1945, one of the two J8M1 prototypes was towed aloft, water ballast added in place of the fuel tank and rocket engine to test its aerodynamics. The test flights confirmed the design. Training courses for JAAF and JNAF pilots began on the Ku-53 glider, which shared a similar configuration to the J8M1. The 312th Naval Air Group was selected to operate the first J8M1. Mitsubishi, Fuji Hikoki, and Nissan Jidosha all had tooling for mass production well into the advanced stages, ready to produce both the J8M1 and the J8M2 variant, which differed from the J8M1 in sacrificing one of the Type 5 cannon for a small increase in fuel capacity. The first J8M1 prototype to be equipped with the Toko Ro.2 (KR10) was ready in June 1945. They were then transferred from the Nagoya plant to Yokoku for final checks before powered flight testing, after final glide tests with the engine installed.
The J8M took to the air for its first powered flight on 7 July 1945,[3] with Lieutenant Commander Toyohiko Inuzuka at the controls; after his "sharp start" rocket-powered takeoff, Inuzuka successfully jettisoned the dolly upon becoming airborne and began to gain speed, climbing skywards at a 45° angle. At an altitude of 396 m (1,300 ft), the engine stopped abruptly and the J8M1 stalled. Inuzuka managed to glide the aircraft back, but clipped a small building at the edge of the airfield while trying to land, causing the aircraft to burst into flames. Inuzuka died the next day.[4] While Mitsubishi and naval technicians sought to find the cause of the accident, all future flights were grounded. The engine cutout had occurred because the angle of climb, coupled with the fuel tanks being half-filled for this first flight, caused a shifting of the fuel, which in turn caused an auto cutout device to activate because of an air lock in the fuel line. Requests to continue flight testing were denied pending the modification of the fuel pumps in the aircraft. The sixth and seventh prototypes were to be fitted with the modified Ro.2 engine.
Full scale production readiness was almost at hand and in fact, component construction was already underway. Flight testing was to resume, despite another explosion of the fuel mixture during a ground test days after the crash, in late August 1945 and the J8M2 design was finalized. But on 15 August 1945, the war ended for the Japanese and all work on the J8M ceased. The end of the war also spelled the end of the JAAF's Ki-202 Shu-sui-Kai (Modified Shusui), whose design had begun in secret months before. The Ki-202 was to offer improved flight endurance over the Ki-200 and was slated to be the priority fighter for the JAAF in 1946, but no metal was cut before Japan's surrender.
Germany tried to send another Komet in U-864, but the submarine was sunk near Bergen by British submarine HMS Venturer in February 1945.
Variants
J8M1
J8M2 Shu-sui Model 21(?)
Long-range version for Navy, identical to J8M1, but armament reduced to a single 30 mm (1.18 in) cannon.
J8M3 Shu-sui Model 22 (Rikugun Ki-202 Shu-sui-kai)
Long-range version for Army and Navy, with fuselage and wingspan lengthened to 7.10 m (23 ft 3 in) and 9.75 m (32 ft 0 in) respectively. Powered by 19.6 kN (4,410 lbf) Tokuro-3, projected maximum speed 900 km/h (560 mph).
Yokosuka MXY-8 "Akigusa" (Yokoi Ku-13)
Training glider using J8M airframe for Navy and Army.
Yokosuka MXY-9 "Shuka"
Training version using J8M airframe, powered by Tsu-11 thermojet engine.
Operators
Japan
Imperial Japanese Army Air Service
Imperial Japanese Navy Air Service
Survivors
The J8M1 at the Planes of Fame Museum.
In November 1945, two aircraft were taken from Yokosuka to the United States for evaluation aboard USS Barnes. FE-300/T2-300 (USA ident) (Japanese ident 403) is now exhibited at the Planes of Fame Museum in Chino, California. The other was at NAS Glenview in October 1946 (identity unknown), but was scrapped.
In the 1960s, a nearly complete (but badly damaged) fuselage was discovered in a cave in Japan. This was on display at a Japanese Air Self Defense Forces base near Gifu until 1999, when it was restored and completed by Mitsubishi for display in the company's internal Komaki Plant Museum.[5]
Specifications (J8M1/Ki-200)
Data from [6]
General characteristics
Crew: 1
Length: 6.03 m (19 ft 9 in) ;;;Ki 200
5.88 m (19 ft)
Wingspan: 9.47 m (31 ft 1 in)
Height: 2.68 m (8 ft 10 in)
Wing area: 17.72 m2 (190.7 sq ft) ;;;Ki 200
17.69 m2 (190.41 sq ft)
Empty weight: 1,445 kg (3,186 lb) ;;;Ki 200
1,505 kg (3,318 lb)
J8M2
1,510 kg (3,329 lb)
Gross weight: 3,000 kg (6,614 lb) ;;;J8M2
3,650 kg (8,047 lb)
Max takeoff weight: 3,870 kg (8,532 lb) ;;;J8M2
3,900 kg (8,598 lb)
Fuel capacity: ;;;Ko
1,181 l (260 imp gal) (T-Stoff = 80% Hydrogen Peroxide + 20% Oxyquinoline and Pyrophosphates)
O-tsu
522 l (115 imp gal) (C-Stoff = 30% Hydrazine Hydrate + 70% Methanol, Water and Potassium-Copper Cyanides)
Powerplant: 1 × Toku Ro.2 a.k.a. KR10 liquid-fuelled rocket engine, 14.71 kN (3,307 lbf) thrust
Performance
Maximum speed: 900 km/h (559 mph; 486 kn) at 10,000 m (32,808 ft)
Cruising speed: 699 km/h (434 mph; 377 kn) ;;;Ki 200
351 km/h (218 mph)
Stall speed: 150 km/h (93 mph; 81 kn)
Endurance: ;;;J8M1
5 minutes 30 seconds of powered flight
Ki 200
max - 7 minutes, full throttle - 2 minutes 30 seconds of powered flight,
Service ceiling: 12,000 m (39,370 ft)
Rate of climb: 50 m/s (9,800 ft/min)
Time to altitude: ;;;J8M1
2,000 m (6,562 ft) in 40 seconds
4,000 m (13,123 ft) in 2 minutes 8 seconds
8,000 m (26,247 ft) in 3 minutes 8 seconds
10,000 m (32,808 ft) in 3 minutes 50 seconds
Ki 200
10,000 m (32,808 ft) in 3 minutes 40 seconds
Wing loading: 219.22 kg/m² (44.90 lb/sq ft) ;;;J8M2
219.7kg/m² (44.998 lb/ft²)
Thrust/weight: 0.388
Armament
Guns: ;;;J8M1
2x Type 5 30mm cannon with 53 rounds per gun
J8M2
1x Type 5 30mm cannon with 53 rounds
Ki 200
2x Ho-155 30mm cannon or 2x Type 5 30mm cannon
Source Wikipedia
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 a 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 across the board. I am just happy that relics like these roam the pavement and can offer a short taste of "what once was".
Museu del Disseny / Design Museum Barcelona, Spain
The Museu del Disseny de Barcelona brings together, under one roof, the collections of the Museu de les Arts Decoratives, the Museu de Ceràmica, the Museu Tèxtil i d'Indumentària and the Gabinet de les Arts Gràfiques, to showcase its vast heritage of more than 70,000 objects.
The Museu del Disseny is based on a common theme «From the decorative arts to design», and is dedicated to the culture of the object, focusing on pieces that are often from the everyday sphere, their design, manufacturing process, use and distribution, aesthetic and functional obsolescence, all from a 21st-century perspective.
The Disseny Hub Barcelona building was designed by MBM architects. The building comprises two parts: an underground section made possible by the change in level caused by the redevelopment of the square; and a block at street level, which cantilevers out towards the Plaça de les Glòries, 14.5 metres above the ground. This block houses the venues for long- and short-term temporary exhibitions, as well as a hall for events and a large auditorium. Most of the building's floor space is located below this level and houses key areas such as the main exhibition gallery, the documentation centre, research rooms, the bar and restaurant and the shop. The entire project complies with high environmental quality and sustainability standards which are achieved through a large-scale, self-sufficient energy system.
As scanned from The Automobile (magazine) February 14, 1907 Vol XVI No 7. Weekly 10¢
Moon Motor Car Company (1905 - 1930) was an American automobile company that was located in St. Louis, Missouri. The company had a venerable reputation among the buying public, as it was known for fully assembled, easily affordable mid-level cars using high-quality parts. Often this meant the manufacturing process required more human intervention, leading to operating losses.
The company was founded by carriage maker Joseph W. Moon. Moon produced both cars and trucks. Moon Motor's peak production year was 1925 when the company produced 10,271 vehicles. From 1913 – 1919 (model A & B) Delivery, Light and Heavy Duty Trucks were produced.
History
In addition to the Moon name, Moons were sold under the Hol-Tan name in 1908. Moon produced the Diana via its subsidiary the Diana Motors Company in 1925 - 1928. Another subsidiary produced the Windsor in 1929-1930.
The firm also produced a cotton picker built under contract from the American Cotton Picker Corporation.
Beginning in 1924, Moon was increasingly unable to meet dealership orders. The company went out of business at the start of the Great Depression; the Moon factory was purchased by Ruxton automobile.
Moon automobiles are on display at the Missouri History Museum and Museum of Transportation in St. Louis, Missouri and Pioneer Village Foundation Museum in Minden, NE. The amusement park Six Flags St. Louis also features a ride using the Moon automobile body.
Walt Disney famously had to sell his Moon Roadster to help finance the production of Steamboat Willie in 1928.
Very sad news 14th May 2021 The Whitechapel Bell Foundry is to become a boutique hotel. thecritic.co.uk/the-final-toll/
Grade II* listed building. The foundry closed on 12 June 2017, after nearly 450 years of bell-making and 250 years at its Whitechapel site with the final bell cast given to the Museum of London along with other artefacts used in the manufacturing process, Many people are trying to save this wonderful building from becoming a "Boutique Hotel" www.savebritainsheritage.org/campaigns/recent/605/Whitech... This area has become so smart that shops that have been there for years are closing and being taken over by huge companies. It's so sad to watch this happening.
Whitechapel Bell Foundry, a complex established in the mid 18th century, with alterations of the 19 and 20th centuries, is listed at Grade II* for the following principal reasons: * Architectural interest: a distinctive, cohesive complex of domestic and industrial buildings spanning nearly 300 years of occupation including the dignified residence of the foundry owner at nos 32-34 Whitechapel Road, no 2 Fieldgate Street and the industrial ranges to the rear; * Historic interest: for the national cultural and industrial significance as the mid 18th century site of a specialised industry known to have been located elsewhere in Whitechapel since the medieval period, where well-known bells including Big Ben and the Liberty Bell, Philadelphia, were cast; * Degree of survival: nos 32 and 34 Whitechapel Road have a high level of exterior and interior intactness including the early-19th shop at no 34; * Interiors: distinctive for the mid-18th century plan-form, and the mid-18th century and early-19th century shop fittings, wall panelling, chimney pieces, stairs, ironmongery and joinery in nos 32 and 34 Whitechapel Road, industrial workshops containing specialist bell-founding equipment, and the timber crane on the Plumbers Row frontage; * Rarity: one of only two remaining bell foundries in England, the other being Taylor’s of Loughborough, also listed at Grade II*.
History of the Barber-Colman Company
Historically one of Rockford’s largest manufacturers.
Began with the founding of the Barber & Colman Company in 1894 – partnership between Howard Colman, an inventor and entrepreneur, and W. A. Barber, an investor. [Today he would probably be considered a venture capitalist.] Colman’s first patent and marketable invention was the Creamery Check Pump used to separate buttermilk and dispense skimmed milk.
Colman’s textile production inventions led the company on its rapid rise as a worldwide leader in the design and manufacture of diversified products. Specific items designed for the textile industry included the Hand Knotter and the Warp Tying Machine. Through these innovations, Barber & Colman was able to build its first plant on Rock Street in Rockford’s Water Power District, and to establish branch offices in Boston MA and Manchester, England.
Incorporated as Barber-Colman in 1904 and built 5 new major structures on their site by 1907.
Later innovations for the textile industry included an Automatic Winder, High Speed Warper and Automatic Spoolers. By 1931, the textile machinery division had branch production facilities in Framingham MA; Greenville SC; Munich, Germany; and Manchester. This part of the business flourished through the mid-1960s but then declined as other divisions expanded.
Branched out from the textile industry into machine tools in 1908 with Milling Cutters. Barber-Colman created machines used at the Fiat plant in Italy (1927) and the Royal Typewriter Co. outside Hartford CT. By 1931, the Machine Tool and Small Tool Division of Barber-Colman listed branch offices in Chicago, Cincinnati and Rochester NY.
As part of its commitment to developing a skilled work force, Barber-Colman began the Barber-Colman Continuation School for boys 16 and older shortly after the company was founded. It was a 3-year apprentice program that trained them for manufacturing jobs at Barber-Colman and paid them hourly for their work at rate that increased as their proficiency improved. The program was operated in conjunction with the Rockford Vocational School.
To foster continued inventions, an Experimental Department was established with the responsibility of continually developing new machines. A lab was first installed in 1914 and was divided into two parts – a chemistry lab to provide thorough analysis of all metals and their component properties, and a metallurgical lab to test the effectiveness of heat treatment for hardening materials. Innovations in the Experimental Department laid the groundwork for the company’s movement into the design and development of electrical and electronic products, and energy management controls.
BARBER-COLMAN became involved in the electrical and electronics industry in 1924 with the founding of the Electrical Division. First product was a radio operated electric garage door opener controlled from the dashboard of a car. Unfortunately, it was too expensive to be practical at the time. The division’s major product in its early years was Barcol OVERdoors, a paneled wood garage door that opened on an overhead track. Several designs were offered in 1931, some of which had the appearance of wood hinged doors. This division eventually expanded into four separate ones that designed and produced electronic control instruments and systems for manufacturing processes; small motors and gear motors used in products such as vending machines, antennas and X-ray machines; electronic and pneumatic controls for aircraft and marine operations; and electrical and electronic controls for engine-powered systems.
In the late 1920s, the Experimental Department began conducting experiments with temperature control instruments to be used in homes and other buildings and the Temperature Control Division was born. Over time, BARBER-COLMAN became known worldwide leader in electronic controls for heating, ventilating and air conditioning. These are the products that continue its name and reputation today.
The death of founder Howard Colman in 1942 was sudden but the company continued to expand its operations under changing leadership. Ground was broken in 1953 for a manufacturing building in neighboring Loves Park IL to house the overhead door division and the Uni-Flow division. Three later additions were made to that plant.
The divestiture of BARBER-COLMAN divisions began in 1984 with the sale of the textile division to Reed-Chatwood Inc which remained at BARBER-COLMAN’s original site on Rock Street until 2001. The machine tooldivision, the company’s second oldest unit, was spun off in 1985 to Bourn and Koch, another Rockfordcompany. At that time, it was announced that the remaining divisions of the BARBER-COLMAN Company would concentrate their efforts on process controls and cutting tools. These moves reduced local employment at BARBER-COLMAN’s several locations to about 2200. The remaining divisions were eventually sold as well, but the BARBER-COLMAN Company name continues to exist today as one of five subsidiaries of Eurotherm Controls Inc whose worldwide headquarters are in Leesburg VA. The Aerospace Division and the Industrial Instruments Division still operate at the Loves Park plant, employing 1100 workers in 2000. The historic complex on Rock Street was vacated in 2001 and the property purchased by the City of Rockford in 2002.
Extensive documentation from the Experimental Department was left at the Rock Street plant when the company moved out and was still there when the site was purchased by the City of Rockford. These documents are now housed at the Midway Village Museum.
Une étudiante travaille sur une Diode ÉlectroPhosphorescente Organiques (PhOLED) Diode électroluminescente
Crédit photographique : © École polytechnique - J.Barande
The United States Astronaut Hall of Fame, located inside the Kennedy Space Center Visitor Complex Heroes & Legends building on Merritt Island, Florida, honors American astronauts and features the world's largest collection of their personal memorabilia, focusing on those astronauts who have been inducted into the Hall. Exhibits include Wally Schirra's Sigma 7 space capsule from the fifth crewed Mercury mission and the Gemini IX spacecraft flown by Gene Cernan and Thomas P. Stafford in 1966.
In the 1980s, the six then-surviving Mercury Seven astronauts conceived of establishing a place where US space travelers could be remembered and honored, along the lines of halls of fame for other fields. The Mercury Seven Foundation and Astronaut Scholarship Foundation were formed, and have a role in the ongoing operations of the Hall of Fame. The foundation's first executive director was former Associated Press space reporter Howard Benedict.
The Astronaut Hall of Fame was opened on October 29, 1990, by the U.S. Space Camp Foundation, which was the first owner of the facility. It was located next to the Florida branch of Space Camp.
The Hall of Fame closed for several months in 2002 when U.S. Space Camp Foundation's creditors foreclosed on the property due to low attendance and mounting debt. That September, an auction was held and the property was purchased by Delaware North Park Services on behalf of NASA and the property was added to the Kennedy Space Center Visitor Complex. The Hall of Fame re-opened December 14, 2002.
The Hall of Fame, which was originally located just west of the NASA Causeway, closed to the public on November 2, 2015, in preparation for its relocation to the Kennedy Space Center Visitor Complex 6 miles (9.7 km) to the east on Merritt Island. Outside of the original building was a full-scale replica of a Space Shuttle orbiter named Inspiration (originally named "Shuttle To Tomorrow" where visitors could enter and view a program). Inspiration served only as an outdoor, full scale, static display which visitors could not enter. After the Hall of Fame was transferred to the KSC Visitor Complex, Inspiration was acquired by LVX System and was placed in storage at the Shuttle Landing Facility at the Kennedy Space Center; in 2016, the shuttle was loaded on to a barge to be taken for refurbishment before going on an educational tour.
The building was purchased at auction by visitor complex operator Delaware North and renamed the ATX Center, and for a time housed educational programs including Camp Kennedy Space Center and the Astronaut Training Experience. Those programs have since been moved to the KSC Visitor Complex, and as of December 2019, the structure was being offered for lease. In July 2020, Lockheed Martin announced it would lease the building to support work on the NASA Orion crew capsule.
Inductees into the Hall of Fame are selected by a blue ribbon committee of former NASA officials and flight controllers, historians, journalists, and other space authorities (including former astronauts) based on their accomplishments in space or their contributions to the advancement of space exploration. Except for 2002, inductions have been held every year since 2001.
As its inaugural class in 1990, the Hall of Fame inducted the United States' original group of astronauts: the Mercury Seven. In addition to being the first American astronauts, they set several firsts in American spaceflight, both auspicious and tragic. Alan Shepard was the first American in space and later became one of the twelve people to walk on the Moon. John Glenn was the first American to orbit the Earth and after his induction went on, in 1998, to become the oldest man to fly in space, aged 77. Gus Grissom was the first American to fly in space twice and was the commander of the ill-fated Apollo 1, which resulted in the first astronaut deaths directly related to preparation for spaceflight.
Thirteen astronauts from the Gemini and Apollo programs were inducted in the second class of 1993. This class included the first and last humans to walk on the Moon, Neil Armstrong and Eugene Cernan; Ed White, the first American to walk in space (also killed in the Apollo 1 accident); Jim Lovell, commander of the famously near-tragic Apollo 13; and John Young, whose six flights included a moonwalk and command of the first Space Shuttle mission.
The third class was inducted in 1997 and consisted of the 24 additional Apollo, Skylab, and ASTP astronauts. Notable members of the class were Roger Chaffee, the third astronaut killed in the Apollo 1 fire and the only unflown astronaut in the Hall; Harrison Schmitt, the first scientist and next-to-last person to walk on the Moon; and Jack Swigert and Fred Haise, the Apollo 13 crewmembers not previously inducted.
The philosophy regarding the first three groups of inductees was that all astronauts who flew in NASA's "pioneering" programs (which would include Mercury, Gemini, Apollo, Apollo Applications Program (Skylab), and Apollo-Soyuz Test Project) would be included simply by virtue of their participation in a spaceflight in these early programs. The first group (the inaugural class of 1990) would only include the original Mercury astronauts (most of whom would go on to fly in later programs). The second group of inductees would include those astronauts who began their spaceflight careers during Gemini (all of whom would go on to fly in later programs). The third group of inductees would include those astronauts who began their spaceflight careers during Apollo, Skylab, and ASTP (some of whom would go on to fly in the Space Shuttle program). Since it would not be practical (or meaningful) to induct all astronauts who ever flew in space, all subsequent inductees (Space Shuttle program and beyond) are considered based on their accomplishments and contributions to the human spaceflight endeavor which would set them apart from their peers.
Over four dozen astronauts from the Space Shuttle program have been inducted since 2001. Among these are Sally Ride, the first American woman in space; Story Musgrave, who flew six missions in the 1980s and 90s; and Francis Scobee, commander of the ill-fated final Challenger mission.
The 2010 class consisted of Guion Bluford Jr., Kenneth Bowersox, Frank Culbertson and Kathryn Thornton. The 2011 inductees were Karol Bobko and Susan Helms. The 2012 inductees were Franklin Chang-Diaz, Kevin Chilton and Charles Precourt. Bonnie Dunbar, Curt Brown and Eileen Collins were inducted in 2013, and Shannon Lucid and Jerry Ross comprised the 2014 class.
Those inducted in 2015 were John Grunsfeld, Steven Lindsey, Kent Rominger, and Rhea Seddon. In 2016, inductees included Brian Duffy and Scott E. Parazynski. Ellen Ochoa and Michael Foale were announced as the 2017 class of the United States Astronaut Hall of Fame. Scott Altman and Thomas Jones followed in 2018. The 2019 inductees were James Buchli and Janet L. Kavandi.
Michael López-Alegría, Scott Kelly and Pamela Melroy were the 2020 inductees, inducted in a November 2021 ceremony. The 2022 inductees were Christopher Ferguson, David Leestma, and Sandra Magnus. Roy Bridges Jr. and Mark Kelly were the 2023 inductees.
The Hall of Heroes is composed of tributes to the inductees. Among the Hall of Fame's displays is Sigma 7, the Mercury spacecraft piloted by Wally Schirra which orbited the Earth six times in 1962, and the Gemini 9A capsule flown by Gene Cernan and Thomas P. Stafford in 1966. An Astronaut Adventure room includes simulators for use by children.
The spacesuit worn by Gus Grissom during his 1961 Liberty Bell 7 Mercury flight is on display and has been the subject of a dispute between NASA and Grissom's heirs and supporters since 2002. The spacesuit, along with other Grissom artifacts, were loaned to the original owners of the Hall of Fame by the Grissom family when it opened. After the Hall of Fame went into bankruptcy and was taken over by a NASA contractor in 2002, the family requested that all their items be returned. All of the items were returned to Grissom's family except the spacesuit, because both NASA and the Grissoms claim ownership of it. NASA claims Grissom checked out the spacesuit for a show and tell at his son's school, and then never returned it, while the Grissoms claim Gus rescued the spacesuit from a scrap heap.
The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of human spaceflight. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC.[4] Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.
Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.
Additionally, the center manages launch of robotic and commercial crew missions and researches food production and In-Situ Resource Utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.
There are about 700 facilities and buildings grouped across the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex open to the public on site.
Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.
President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.
NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.
On November 29, 1963, the facility was given its current name by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.
Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.
The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S[39] at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.
Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery or through their more up-to-date Flickr gallery.
A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.
The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.
The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.
It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.
In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.
The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of American spaceflight, research, and technology. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC. Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.
Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.
Additionally, the center manages launch of robotic and commercial crew missions and researches food production and in-situ resource utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.
There are about 700 facilities and buildings grouped throughout the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex on site that is open to the public.
Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.
President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.
NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.
On November 29, 1963, the facility was named by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.
Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.
From 1967 through 1973, there were 13 Saturn V launches, including the ten remaining Apollo missions after Apollo 7. The first of two uncrewed flights, Apollo 4 (Apollo-Saturn 501) on November 9, 1967, was also the first rocket launch from KSC. The Saturn V's first crewed launch on December 21, 1968, was Apollo 8's lunar orbiting mission. The next two missions tested the Lunar Module: Apollo 9 (Earth orbit) and Apollo 10 (lunar orbit). Apollo 11, launched from Pad A on July 16, 1969, made the first Moon landing on July 20. The Apollo 11 launch included crewmembers Neil Armstrong, Michael Collins, and Buzz Aldrin, and attracted a record-breaking 650 million television viewers. Apollo 12 followed four months later. From 1970 to 1972, the Apollo program concluded at KSC with the launches of missions 13 through 17.
On May 14, 1973, the last Saturn V launch put the Skylab space station in orbit from Pad 39A. By this time, the Cape Kennedy pads 34 and 37 used for the Saturn IB were decommissioned, so Pad 39B was modified to accommodate the Saturn IB, and used to launch three crewed missions to Skylab that year, as well as the final Apollo spacecraft for the Apollo–Soyuz Test Project in 1975.
As the Space Shuttle was being designed, NASA received proposals for building alternative launch-and-landing sites at locations other than KSC, which demanded study. KSC had important advantages, including its existing facilities; location on the Intracoastal Waterway; and its southern latitude, which gives a velocity advantage to missions launched in easterly near-equatorial orbits. Disadvantages included: its inability to safely launch military missions into polar orbit, since spent boosters would be likely to fall on the Carolinas or Cuba; corrosion from the salt air; and frequent cloudy or stormy weather. Although building a new site at White Sands Missile Range in New Mexico was seriously considered, NASA announced its decision in April 1972 to use KSC for the shuttle. Since the Shuttle could not be landed automatically or by remote control, the launch of Columbia on April 12, 1981 for its first orbital mission STS-1, was NASA's first crewed launch of a vehicle that had not been tested in prior uncrewed launches.
In 1976, the VAB's south parking area was the site of Third Century America, a science and technology display commemorating the U.S. Bicentennial. Concurrent with this event, the U.S. flag was painted on the south side of the VAB. During the late 1970s, LC-39 was reconfigured to support the Space Shuttle. Two Orbiter Processing Facilities were built near the VAB as hangars with a third added in the 1980s.
KSC's 2.9-mile (4.7 km) Shuttle Landing Facility (SLF) was the orbiters' primary end-of-mission landing site, although the first KSC landing did not take place until the tenth flight, when Challenger completed STS-41-B on February 11, 1984; the primary landing site until then was Edwards Air Force Base in California, subsequently used as a backup landing site. The SLF also provided a return-to-launch-site (RTLS) abort option, which was not utilized. The SLF is among the longest runways in the world.
On October 28, 2009, the Ares I-X launch from Pad 39B was the first uncrewed launch from KSC since the Skylab workshop in 1973.
Beginning in 1958, NASA and military worked side by side on robotic mission launches (previously referred to as unmanned), cooperating as they broke ground in the field. In the early 1960s, NASA had as many as two robotic mission launches a month. The frequent number of flights allowed for quick evolution of the vehicles, as engineers gathered data, learned from anomalies and implemented upgrades. In 1963, with the intent of KSC ELV work focusing on the ground support equipment and facilities, a separate Atlas/Centaur organization was formed under NASA's Lewis Center (now Glenn Research Center (GRC)), taking that responsibility from the Launch Operations Center (aka KSC).
Though almost all robotics missions launched from the Cape Canaveral Space Force Station (CCSFS), KSC "oversaw the final assembly and testing of rockets as they arrived at the Cape." In 1965, KSC's Unmanned Launch Operations directorate became responsible for all NASA uncrewed launch operations, including those at Vandenberg Space Force Base. From the 1950s to 1978, KSC chose the rocket and payload processing facilities for all robotic missions launching in the U.S., overseeing their near launch processing and checkout. In addition to government missions, KSC performed this service for commercial and foreign missions also, though non-U.S. government entities provided reimbursement. NASA also funded Cape Canaveral Space Force Station launch pad maintenance and launch vehicle improvements.
All this changed with the Commercial Space Launch Act of 1984, after which NASA only coordinated its own and National Oceanic and Atmospheric Administration (NOAA) ELV launches. Companies were able to "operate their own launch vehicles" and utilize NASA's launch facilities. Payload processing handled by private firms also started to occur outside of KSC. Reagan's 1988 space policy furthered the movement of this work from KSC to commercial companies. That same year, launch complexes on Cape Canaveral Air Force Force Station started transferring from NASA to Air Force Space Command management.
In the 1990s, though KSC was not performing the hands-on ELV work, engineers still maintained an understanding of ELVs and had contracts allowing them insight into the vehicles so they could provide knowledgeable oversight. KSC also worked on ELV research and analysis and the contractors were able to utilize KSC personnel as a resource for technical issues. KSC, with the payload and launch vehicle industries, developed advances in automation of the ELV launch and ground operations to enable competitiveness of U.S. rockets against the global market.
In 1998, the Launch Services Program (LSP) formed at KSC, pulling together programs (and personnel) that already existed at KSC, GRC, Goddard Space Flight Center, and more to manage the launch of NASA and NOAA robotic missions. Cape Canaveral Space Force Station and VAFB are the primary launch sites for LSP missions, though other sites are occasionally used. LSP payloads such as the Mars Science Laboratory have been processed at KSC before being transferred to a launch pad on Cape Canaveral Space Force Station.
On 16 November 2022, at 06:47:44 UTC the Space Launch System (SLS) was launched from Complex 39B as part of the Artemis 1 mission.
As the International Space Station modules design began in the early 1990s, KSC began to work with other NASA centers and international partners to prepare for processing before launch onboard the Space Shuttles. KSC utilized its hands-on experience processing the 22 Spacelab missions in the Operations and Checkout Building to gather expectations of ISS processing. These experiences were incorporated into the design of the Space Station Processing Facility (SSPF), which began construction in 1991. The Space Station Directorate formed in 1996. KSC personnel were embedded at station module factories for insight into their processes.
From 1997 to 2007, KSC planned and performed on the ground integration tests and checkouts of station modules: three Multi-Element Integration Testing (MEIT) sessions and the Integration Systems Test (IST). Numerous issues were found and corrected that would have been difficult to nearly impossible to do on-orbit.
Today KSC continues to process ISS payloads from across the world before launch along with developing its experiments for on orbit. The proposed Lunar Gateway would be manufactured and processed at the Space Station Processing Facility.
The following are current programs and initiatives at Kennedy Space Center:
Commercial Crew Program
Exploration Ground Systems Program
NASA is currently designing the next heavy launch vehicle known as the Space Launch System (SLS) for continuation of human spaceflight.
On December 5, 2014, NASA launched the first uncrewed flight test of the Orion Multi-Purpose Crew Vehicle (MPCV), currently under development to facilitate human exploration of the Moon and Mars.
Launch Services Program
Educational Launch of Nanosatellites (ELaNa)
Research and Technology
Artemis program
Lunar Gateway
International Space Station Payloads
Camp KSC: educational camps for schoolchildren in spring and summer, with a focus on space, aviation and robotics.
The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.
Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery Archived December 6, 2020, at the Wayback Machine or through their more up-to-date Flickr gallery.
A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.
The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.
The Neil Armstrong Operations and Checkout Building (O&C) (previously known as the Manned Spacecraft Operations Building) is a historic site on the U.S. National Register of Historic Places dating back to the 1960s and was used to receive, process, and integrate payloads for the Gemini and Apollo programs, the Skylab program in the 1970s, and for initial segments of the International Space Station through the 1990s. The Apollo and Space Shuttle astronauts would board the astronaut transfer van to launch complex 39 from the O&C building.
The three-story, 457,000-square-foot (42,500 m2) Space Station Processing Facility (SSPF) consists of two enormous processing bays, an airlock, operational control rooms, laboratories, logistics areas and office space for support of non-hazardous Space Station and Shuttle payloads to ISO 14644-1 class 5 standards. Opened in 1994, it is the largest factory building in the KSC industrial area.
The Vertical Processing Facility (VPF) features a 71-by-38-foot (22 by 12 m) door where payloads that are processed in the vertical position are brought in and manipulated with two overhead cranes and a hoist capable of lifting up to 35 short tons (32 t).
The Hypergolic Maintenance and Checkout Area (HMCA) comprises three buildings that are isolated from the rest of the industrial area because of the hazardous materials handled there. Hypergolic-fueled modules that made up the Space Shuttle Orbiter's reaction control system, orbital maneuvering system and auxiliary power units were stored and serviced in the HMCF.
The Multi-Payload Processing Facility is a 19,647 square feet (1,825.3 m2) building used for Orion spacecraft and payload processing.
The Payload Hazardous Servicing Facility (PHSF) contains a 70-by-110-foot (21 by 34 m) service bay, with a 100,000-pound (45,000 kg), 85-foot (26 m) hook height. It also contains a 58-by-80-foot (18 by 24 m) payload airlock. Its temperature is maintained at 70 °F (21 °C).[55]
The Blue Origin rocket manufacturing facility is located immediately south of the KSC visitor complex. Completed in 2019, it serves as the company's factory for the manufacture of New Glenn orbital rockets.
Launch Complex 39 (LC-39) was originally built for the Saturn V, the largest and most powerful operational launch vehicle until the Space Launch System, for the Apollo crewed Moon landing program. Since the end of the Apollo program in 1972, LC-39 has been used to launch every NASA human space flight, including Skylab (1973), the Apollo–Soyuz Test Project (1975), and the Space Shuttle program (1981–2011).
Since December 1968, all launch operations have been conducted from launch pads A and B at LC-39. Both pads are on the ocean, 3 miles (4.8 km) east of the VAB. From 1969 to 1972, LC-39 was the "Moonport" for all six Apollo crewed Moon landing missions using the Saturn V, and was used from 1981 to 2011 for all Space Shuttle launches.
Human missions to the Moon required the large three-stage Saturn V rocket, which was 363 feet (111 meters) tall and 33 feet (10 meters) in diameter. At KSC, Launch Complex 39 was built on Merritt Island to accommodate the new rocket. Construction of the $800 million project began in November 1962. LC-39 pads A and B were completed by October 1965 (planned Pads C, D and E were canceled), the VAB was completed in June 1965, and the infrastructure by late 1966.
The complex includes: the Vehicle Assembly Building (VAB), a 130,000,000 cubic feet (3,700,000 m3) hangar capable of holding four Saturn Vs. The VAB was the largest structure in the world by volume when completed in 1965.
a transporter capable of carrying 5,440 tons along a crawlerway to either of two launch pads;
a 446-foot (136 m) mobile service structure, with three Mobile Launcher Platforms, each containing a fixed launch umbilical tower;
the Launch Control Center; and
a news media facility.
Launch Complex 48 (LC-48) is a multi-user launch site under construction for small launchers and spacecraft. It will be located between Launch Complex 39A and Space Launch Complex 41, with LC-39A to the north and SLC-41 to the south. LC-48 will be constructed as a "clean pad" to support multiple launch systems with differing propellant needs. While initially only planned to have a single pad, the complex is capable of being expanded to two at a later date.
As a part of promoting commercial space industry growth in the area and the overall center as a multi-user spaceport, KSC leases some of its properties. Here are some major examples:
Exploration Park to multiple users (partnership with Space Florida)
Shuttle Landing Facility to Space Florida (who contracts use to private companies)
Orbiter Processing Facility (OPF)-3 to Boeing (for CST-100 Starliner)
Launch Complex 39A, Launch Control Center Firing Room 4 and land for SpaceX's Roberts Road facility (Hanger X) to SpaceX
O&C High Bay to Lockheed Martin (for Orion processing)
Land for FPL's Space Coast Next Generation Solar Energy Center to Florida Power and Light (FPL)
Hypergolic Maintenance Facility (HMF) to United Paradyne Corporation (UPC)
The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.
It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.
In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.
Historic locations
NASA lists the following Historic Districts at KSC; each district has multiple associated facilities:
Launch Complex 39: Pad A Historic District
Launch Complex 39: Pad B Historic District
Shuttle Landing Facility (SLF) Area Historic District
Orbiter Processing Historic District
Solid Rocket Booster (SRB) Disassembly and Refurbishment Complex Historic District
NASA KSC Railroad System Historic District
NASA-owned Cape Canaveral Space Force Station Industrial Area Historic District
There are 24 historic properties outside of these historic districts, including the Space Shuttle Atlantis, Vehicle Assembly Building, Crawlerway, and Operations and Checkout Building.[71] KSC has one National Historic Landmark, 78 National Register of Historic Places (NRHP) listed or eligible sites, and 100 Archaeological Sites.
Further information: John F. Kennedy Space Center MPS
Other facilities
The Rotation, Processing and Surge Facility (RPSF) is responsible for the preparation of solid rocket booster segments for transportation to the Vehicle Assembly Building (VAB). The RPSF was built in 1984 to perform SRB operations that had previously been conducted in high bays 2 and 4 of the VAB at the beginning of the Space Shuttle program. It was used until the Space Shuttle's retirement, and will be used in the future by the Space Launch System[75] (SLS) and OmegA rockets.
Sandia National Laboratories researcher Bradley Jared sits in front of a new selective laser melting machine at Sandia for metal additive manufacturing as he holds two prototype housings designed through a technology called topology optimization. Sandia researchers who are exploring additive manufacturing for nuclear weapons and other national security needs say they need to understand how additive manufacturing processes affect the properties of materials that are generated.
Read more at bit.ly/2Z3dvp5.
Photo by Randy Montoya.
An image of the British Steel Corporation, Chemicals Division, Coke Ovens and By-Products Works, at Orgreave, on 23/09/1990, just two weeks after closure of the works.
The image portrays the tracks which provided access to and from the top end of the works, or the Handsworth end of the works, down to the bottom end of the works, or the Treeton end of the works. The tracks which have just descended, in a curving loop, from the former Great Central Railway, at Orgreaves Colliery Junction, and have just passed over the top railway weigh bridge. The track on the left-hand-side of the photograph serviced the end-wagon tippler. The set of lines on the right-hand-side of the photograph, which will shortly split into two sets of lines, were the through running roads.
The large structure visible on the left-hand-side of the photograph is one of the coal blending units. The collection of vertical, cylindrical, and horizontal, cylindrical structures on the right-hand-side of the photograph, are part of the gas scrubbing unit, whereby the raw coke oven gas, produced as a by-product of the coke manufacturing process, was firstly ‘washed’, prior to further processing. Beyond the gas scrubbing unit, and not visible in this photograph, lay the Ammonium Sulphate House. In the background of the photograph can be seen No.6 coke oven battery chimney, and beyond that, No.4-5 coke oven battery chimney.
COPYRIGHT RETAINED; N. JORDAN - I would ask that you please note that the copyright of this image is fully retained by N. Jordan. Should you wish to either copy this image, for anything other than for private research purposes, or you wish to reproduce and publish this image elsewhere, then I would be obliged, if you would be good enough to seek and secure my express written agreement beforehand.
Welding is a manufacturing process that joins two separate sections of material together. There are various welding methods being used to construct the Orion spacecraft, such as friction stir welding, which was used to assemble the crew module pressure vessel, and orbital tube welding, which is used to weld the propellant and life support system lines. Friction stir welding is not the same standard welding that you see on bridges and buildings, but rather looks more like blending the metals.
PRESS RELEASE
Date
28 Feb 2019
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Maserati at the 89th edition of the Geneva International Motor Show
Levante Trofeo V8 Launch Edition premieres at the Show: a limited edition of 100 units
An interactive journey through selected Italian excellences: Maserati presents the first step towards personalization
The stand features the entire MY19 Range, in the GranLusso and GranSport trims
Quattroporte S Q4 GranLusso and Levante S Q4 GranSport MY19 customized with Zegna PELLETESSUTA™
In order to showcase the sporty DNA of the Trident brand, the GranTurismo MC in the Grigio Lava Matte colour, in an exclusive new configuration, is on display
The future of the historic manufacturing plant in Modena defined
Modena, 28 February 2019 – Maserati is highlighting in the first and most important exhibition of the year in Europe
the Levante Trofeo SUV in the Launch Edition, a limited edition of 100 units, which will be the protagonist of the stand, along with the other models of the MY19 range. Another premiere of the Geneva Show are the new interiors in PELLETESSUTA™, an exclusive new material made by Ermenegildo Zegna exclusively for Maserati. To recall the Brand’s sporty DNA, Maserati will exhibit a GranTurismo MC (acronym for Maserati Corse), for the first time with an exterior in Grigio Lava Matte colour combined with interiors in carbon fibre. Maserati announced start of sales in Europe of the Levante Trofeo and Levante GTS.
Another new development will be revealed at the opening of the show, one that exemplifies Maserati’s ability to construct customized automobiles: an exciting one-off model, created according to the requests of a particular customer.
LEVANTE TROFEO LAUNCH EDITION - A LIMITED EDITION
To launch the new model in the market, Maserati is presenting the Levante Trofeo Launch Edition, a limited edition of 100 units. The Levante Trofeo Launch Edition will be available not only in the Blu Emozione Matte colour presented at the Geneva International Motor Show but also in the unique paints Giallo Modenese and Rosso Magma. The interior features sports seats with a premium full-grain "Pieno Fiore” natural leather, with contrasting stitching and a "Trofeo" logo embroidered on the headrest, available in blue, red or yellow. The exclusive carbon fibre inserts on the bumpers, side skirts and specially designed bonnet stand out.
The 22" Orione rims can be matte or glossy black finish, while the brake calipers are available in silver, blue, yellow or red.
The Levante Trofeo is equipped with one of the most powerful engines ever fitted in a Maserati road car. This is the 3.8 litre Twin Turbo V8, calibrated to mate perfectly with the Q4 Intelligent All-Wheel Drive system, providing it with a new crankcase design, specific crankshaft assembly, new oil pump and auxiliary belt and a different wiring layout.
Like all Maserati petrol engines, this V8 is assembled by Ferrari in Maranello. In terms of 0-100km/h acceleration, it stops the chronometer at 4.1”, while the maximum speed is close to the 300 km/h threshold.
The Levante Trofeo is fitted with the eight-speed ZF automatic gearbox used on all the Levante versions, acclaimed for its versatility and sporty character.
The “Corsa" driving mode with Launch Control functionality (in addition to the existing Normal, I.C.E., Sport and Off Road modes) has been adopted to enhance the sporty character of the ultimate Maserati SUV. “Corsa” driving mode further improves engine response and opens exhaust valves in acceleration, as well as providing faster gear shifting, lower air suspension height levels, sportier Skyhook damping and optimized Q4 Intelligent All-Wheel Drive settings. It also interacts with the Traction Control and ESP systems to maximize driving pleasure.
The Levante features the Integrated Vehicle Control (IVC) system for impressive driving dynamics, better performance, and a genuine Maserati driving experience, by helping to prevent vehicle instability, instead of correcting “driver mistakes” as a traditional Electronic Stability Program (ESP) system does.
The ideal 50:50 weight balance and the low centre of gravity - common to all Levante models, in combination with the finely tuned double-wishbone front / Multi Link rear suspension, as well as the wider 22-inch rear tyres on forged aluminium alloy wheels, provide the new Trofeo with perfectly balanced handling and lateral stability.
The unmistakable Levante design has reached new levels of sportiness in this model like the lower splitter, the side blades in the front air intakes, the side skirt inserts and the rear extractor, made of ultralight high-gloss carbon fibre.
At the front, the Levante Trofeo has Full Matrix LED adaptive headlights, a front grille with double vertical bars in Black Piano finish, lower honeycomb mesh fascia, body colour door handles and high-performance brake calipers available in red, blue, black, silver or yellow. And to cap it off, the “Saetta” Trofeo logo adorns the iconic C-pillar of the coupé styled Levante.
Inside the Levante Trofeo cabin is a wealth of elegant features which create an environment of pure luxury. “Pieno Fiore” is like no other leather used in the automotive industry for its natural, soft feel and for the unique character it develops throughout the years.
This amazing Levante's quintessentially sporty personality is highlighted by new details in "3D Touch" matt carbon fibre, the specific instrument cluster graphics, floor mats with metal Trofeo badges, and a Maserati clock with a unique dial. The on-board set up is completed by a 1,280-watt, 17-speaker Bowers & Wilkins premium surround sound audio system for a concert hall sound experience.
The Levante Trofeo is the first ever Maserati equipped with 22-inch forged aluminium wheels, so Maserati cooperated with Continental to provide the new SportContact™ 6 tyre as standard equipment. The new ultra-sport tyre has substantially contributed to achieving the excellent and balanced handling and outstanding cornering performance of the most powerful Maserati in production today.
PERSONALIZATION
The special things about the Maserati stand at this 89th edition of the Geneva International Motor Show is the way it focuses on highlighting a distinctive Italianness and the process of craftsmanship and customization, considerations that have prompted Maserati to host on their stand - together with Ermenegildo Zegna, a longstanding partner and a leader in the field of men’s luxury clothing, two other leading artisanal firms in their field: Giorgetti, the internationally renowned Italian woodworking company, known for its furniture and unique design pieces, and De Castelli, a leading metalworking firm, specializing in the production of unique home design accessories, custom surfaces and projects.
At Maserati tradition becomes innovation, combining fine craftsmanship, advanced technology and sophisticated design for the sort of exclusive, unique mix only Maserati knows how to apply to its cars.
The stand provides an instructive tour through three different dedicated thematic areas. Each area will feature a display of tools, materials and components that, specially crafted by Zegna, De Castelli and Giorgetti, bear witness to the unending quest for excellence, style and originality, typical of products designed and Made in Italy, and therefore typical of Maserati.
Speaking of innovation and design, when it comes to customizing the stand, for the first time ever Maserati is taking advantage in the Customization Area of a D-Table, the only interactive table which combines the latest-generation software and elegant, sophisticated design.
ERMENEGILDO ZEGNA
Zegna is a longstanding partner of Maserati and for the Geneva show will be presenting the world premiere of its new car interiors in PELLETESSUTA™, a special woven nappa leather, the product of pioneering research by Ermenegildo Zegna, seeking to create a luxurious, innovative, lightweight and soft fabric that is versatile and well suited for the creation of products, ranging from home design complements to multimedia accessories.
The bond between Zegna and Maserati grows stronger with each passing year, in no small part due to the historical similarities of the two brands.
The Ermenegildo Zegna Group is one of the most distinguished businesses in all of Italy. Founded back in 1910 in Trivero, in the Biellese Alps, by a young entrepreneur named Ermenegildo, whose vision was to ethically produce the most sumptuous fabrics in the world by means of innovation and the utilization of the best luxury fibres, sourced directly in their countries of origin, the company is currently guided by the fourth generation of the Zegna family. The Group, which since the late 80’s has been implementing a strategy of vertical integration, has created a global luxury brand which currently offers fabrics, clothing and accessories. Today there are 504 single-label stores in over 100 countries, of which 272 are company-owned.
GIORGETTI
The Giorgetti cabinet-making tradition started in Brianza in 1898, and more than 120 years later is still continuing to evolve and innovate. The company looks to the future, how to convey and stay on top of all the changes in a dynamically transforming world. Giorgetti’s approach to interior design involves interpreting behaviours and tastes in various different markets, creating pieces that are free of all formal conventions, capable of coexisting harmoniously in any context, dissolving cultural and temporal distances.
The products made by Giorgetti epitomize the best in the proud catchline, “Made and Manufactured in Italy”. Starting from design, creativity and style, and all the way to the actual manufacture of a finished product, the entire manufacturing process is completely carried out in Italy by highly qualified personnel, boasting consummate skill in the furniture sector.
The craft-based means of production associated with the phrase, Made in Italy, transcends the rationale of standardized, mass-produced products, guaranteeing high levels of product customization.
The indispensable work of master craftsmen is capable of imbuing Giorgetti projects with that magical allure of unique, handmade pieces.
DE CASTELLI
True to its commitment to restore metal’s privileged role in projectual experimentation, De Castelli is grafting a craft-based concept and approach to work onto typically industrial processes, a bold synthesis that leads to unprecedented results. The encounter with design engenders an approach to the material founded on respect for its vast potential, including the less obvious possibilities, the ones that gradually emerge in a collection of mass-produced products that are, at the same time, unique. Not only because the hand creating them is unique, but due to the uniqueness of the cultural process that puts the main emphasis on the aesthetic value - rather than purely functional ones - of the primal material with which De Castelli shapes living spaces. One thus overturns the dictum that confines the coldness of metal to the outer margins of interior design project, bringing steel, brass and copper, in their multiple variations and finishes, to the centre of a a completely renovated scenario where they can finally glow in self-generated radiance.
Delabré is the name of an artisanal finish conceived of and realized by De Castelli. It consists in the manual oxidation of materials like steel, copper and brass, capable of imbuing them with unique, unrepeatable chromatic effects.
THE OTHER MODELS IN THE MASERATI RANGE: GRANTURISMO MC, QUATTROPORTE AND GHIBLI
Visitors to the Geneva International Motor Show will find on display the GranTurismo MC (acronym for Maserati Corse) which perfectly represents the sporty DNA of the Modena company. The GranTurismo MC boasts an exclusive new configuration, for the first time ever with the Grigio Lava Matte as the exterior colour and “Nerissimo Carbon Pack” trim with the Black Chrome contrasting finishes for the various details: the upper portion of the grille with black vertical slats, the profiles of the boot, the lettering on the tailgate, the logo on the pillars, the side air intakes, exhaust outlets and window frames. With the Nerissimo Carbon pack the door handles, mirror caps, front splitter, and rear spoiler are in Carbon fibre. The same material will be available for the interior customization packs.
The stand also features various different Maserati models, including a Levante S Q4 GranSport in an exclusive trim with the exterior in a Bronze colour, which boasts interiors in Zegna PELLETESSUTA™. The car sports 21” polished Helios rims. For the first time in the history of this longstanding partnership with Zegna, the customization has been extended to also include the GranSport trims of the Maserati range. An especially sophisticated combination for this Levante, the first SUV in the more than one-hundred year history of Maserati.
On display, the Maserati Quattroporte S Q4 GranLusso with its Blu Sofisticato coloured body combined with interiors in PELLETESSUTA™ Zegna, an extremely elegant configuration to once again underscore the exclusive, luxurious character of this Italian manufacturer flagship, whose origins date back to Series I designed in 1963 to be the fastest sedan in the world. The 21” Atlante alloy rims with blue brake calipers and the sport seats underscore the dual nature of this model.
Two Maserati Ghibli S Q4 (GranSport and GranLusso trims), 430 hp, can be viewed on the stand. The GranSport trim is equipped with metallic Grigio Maratea paint on the outside and Nerissimo pack with a red interior in full-grain “Pieno Fiore” leather and black stitching, plus roof lining in black Alcantara. The rims are 21” in Glossy Black Titanium, which imbue the Maserati sedan, boasting Q4 Intelligent All-Wheel Drive system, with a unique, unmistakable character. The elegance of the GranLusso trim is highlighted by the tri-coat exterior Bianco Alpi paint and by the 20” Teseo rims; on the inside the full-grain “Pieno Fiore” black leather has been combined with Oak trim and roof lining in grey Alcantara.
The entire MY19 range, composed of Ghibli, Quattroporte and Levante models, has benefited from a luxurious restyling which combined targeted interventions in terms of both style and new contents.
Both the sedans and the SUV with MY19 specifications are equipped with a redesigned shorter-travel gearshift lever featuring a more intuitive shift pattern and improved operation.
The Maserati Levante Trofeo for the European market is capable of delivering 580 hp at 6,250 rpm, achieving extremely high peak rotation, maintaining the same torque of 730 Nm, usable in a wide range between 2,500 and 5,000 rpm. The Levante Trofeo therefore displays the characteristic of immediately providing high levels of torque even at low revs, a feature that is appreciated by the customers of this type of SUV. Thanks to new turbochargers with increased flow, a redesigned cylinder head with specific camshafts and valves, new pistons and new connecting rods, the Levante Trofeo is able to achieve impressive power peaks, in combination with specific engine calibration mapping.
The new Levante Trofeo features Full Matrix LED adaptive headlights as standard. Compared to Bi-Xenon headlamps, LED technology offers 20% better visibility, 32% cooler light and headlights that last twice as long.
The full LED headlights utilize a digital camera mounted behind the rear-view mirror that supports the Glare-free High Beam detection system, allowing the driver to keep the high beam on without dazzling oncoming drivers. The system is able to create a “zone of shade” around other vehicles switching dynamically on and off the LED matrixes. The full Matrix LED headlights can create up to four light tunnels simultaneously with each tunnel as large as the obstacle.
The Brembo braking system deals superbly with the high performance of the Levante Trofeo. The front brakes have adopted 6-piston aluminium monobloc calipers working on 380 mm x 34 mm drilled discs, while 4-piston aluminium monobloc calipers with 330 mm x 28 mm ventilated drilled discs are fitted at the rear. The ABS has undergone a specific setup for the Trofeo version.
Levante, Ghibli and Quattroporte share the same MTC+ infotainment system, which is based on a high resolution 8.4” multi-touch screen and a double rotary knob on the centre console.
For MY19 there is a choice of nine body colours for the Quattroporte and 10 for each of the Ghibli and Levante models. A new tri-coat colour is now available, born to enhance the design of each: the elegant Blu Nobile.
In the wide collection of alloy wheels designed specifically for every single Maserati model, there are five brand new designs in the MY19 catalogue in 20 and 21-inch sizes, two for each of the Levante and Quattroporte models and one for the Ghibli.
THE HISTORIC MODENA PLANT
Speaking of the historic Modena plant, recently Maserati announced that it reconfirms its strategic mission. The plant will be dedicated to the manufacturing of special high performance, high technology sports cars, in line with the tradition and values of the Brand, which has been present at Modena since 1939.
This will exploit the know-how and experience of the staff involved in the production of the cars, which require a very special fabrication cycle: a fully-fledged synergy of craftsmanship and innovation, scrupulous attention to detail and the highest quality standards, resulting in the manufacture of unique, exclusive products which represent the very best of the “Made in Italy” brand worldwide.
The current production lines will be upgraded, indeed, totally renewed, starting this Autumn: the first pre-series production of a new model, a characteristically Maserati sports car, will roll off the lines in the first half of next year.
Octo Maserati GranLusso and GranSport by Bulgari
Maserati's prestige partnership with Bulgari, launched in 2012, has led to the creation of two exclusive wristwatches: Octo Maserati GranLusso and Octo Maserati GranSport by Bulgari Specifically intended for owners of the Brand's cars, they feature the spectacular dial (with retrograde minutes and jumping hours) resembling the rpm-counter of a Maserati, while the stitched leather strap recalls the upholstery of Trident cars.
Ermenegildo Zegna Maserati Capsule Collection for Spring Summer 2019
At the Geneva Motor Show, Ermenegildo Zegna and Maserati are delighted to present the new Maserati Capsule Collection for Spring Summer 2019: an exquisite collection of leather goods, travel clothing and elegant accessories, displaying all the excellence for which these two iconic Italian brands are famed. Building on a well-established partnership launched early in 2013, Maserati and Zegna offer products of unrivalled quality of details, performance and design, made to measure for those wishing to surround themselves with luxury. The Maserati Capsule Collection is available in selected Ermenegildo Zegna stores worldwide and on Zegna.com
Maserati S.p.A.
Maserati produces a complete range of unique cars with an amazing personality, immediately recognisable anywhere. With their style, technology and innately exclusive character, they delight the most discerning, demanding tastes and have always been an automotive industry benchmark. Ambassadors of this heritage are the Quattroporte flagship, the Ghibli sports sedan, the Levante, Maserati’s very first SUV, and the GranTurismo and GranCabrio sports cars. A range complete as never before, with petrol and diesel engines, rear or all-wheel drive, the finest materials and outstanding engineering. A tradition of successful cars, each of them redefining what makes an Italian sports car in terms of design, performance, comfort, elegance and safety.
Factory floor at a steel mill.
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
Truly great luxury sports cars are few and far between. In a world where innovation is all too often hampered by compromise, pure performance is a rarity available only to the genuinely discerning. Designed as the ultimate driving experience, the Aston Martin DBS bridges the gap between road and track – DB9 and DBR9. Equally at home on a twisting mountain circuit as on the open road, the DBS is a true thoroughbred.
The Aston Martin DBS is a 6.0-litre V12 powered, race-bred, two-seater shaped by the aerodynamic demands of high performance, with an exquisite interior that marries beautifully hand-finished materials with the very latest in performance technology. A combination of elegant design, innovative manufacturing processes, race-derived materials and components and Aston Martin’s unrivalled hand-build expertise makes the DBS a luxury sports car without equal.
When I walked to the supermarket this morning i stumbled on this gorgious Aston Martin. She stood on the sidewalk on a little bridge and was just screaming to get some shots taken of her.
The Aston Martin DBS is the most beautiful Aston in my opinion, I really love the combination of classic and atletic lines.
Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones. It is planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the west gable windows have at some time had window frames or shutters.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday it was producing over 2,000 tons per annum, but later production was down to 25 tons per annum due to poor quality of the quarried slate and the business went into liquidation in 1871. The roof was removed around 1906.
An image of the British Steel Corporation, Chemicals Division, Coke Ovens and By-Products Works, at Orgreave, on 30/09/1990, just three weeks after closure of the works, and track-lifting has begun in earnest.
The image portrays the tracks which formerly provided access to and from the top end of the works, or the Handsworth end of the works, down to the bottom end of the works, or the Treeton end of the works. The tracks which have just descended, in a curving loop, from the former Great Central Railway, at Orgreaves Colliery Junction, have just passed over the top railway weigh bridge.
The set of three, branching into four tracks on the left-hand-side of the photograph, and disappearing behind the row of vertical, cylindrical storage tanks formerly serviced the side-wagon tippler, and the coke screens. The set of two tracks, branching into three tracks on the right-hand-side of the photograph and running in front of the row of vertical, cylindrical storage tanks formerly serviced the end-wagon tippler and the two through running roads.
To the left-hand-side of the photograph and in the distance, can be seen No.7 coke oven battery chimney, and No.7 coke oven battery quenching tower in front of the chimney.
The large structure visible and rising beyond the row of vertical, cylindrical storage tanks is one of the coal blending units.
Just visible on the extreme right-hand-side of the photograph, can be seen part of the gas scrubbing unit, whereby the raw coke oven gas, produced as a by-product of the coke manufacturing process, was firstly ‘washed’, prior to further processing.
COPYRIGHT RETAINED; N. JORDAN - I would ask that you please note that the copyright of this image is fully retained by N. Jordan. Should you wish to either copy this image, for anything other than for private research purposes, or you wish to reproduce and publish this image elsewhere, then I would be obliged, if you would be good enough to seek and secure my express written agreement beforehand.
Thomas Foster Hamilton (July 28, 1894 – August 12, 1969) was a pioneering aviator and the founder of the Hamilton Standard Company.[1]
Since 1930, Hamilton Standard (now Hamilton Sundstrand) was involved with revolutionizing propulsion technology of propeller-driven aircraft, prior to World War II. The introduction of Frank Caldwell's variable-pitch propeller made Hamilton Standard one of the leading aerospace companies of today. But, there is little known about the first name sake of this company – Thomas Foster Hamilton. Hamilton contributed a great deal in shaping the aviation industry into what it is today. He was involved in the early beginnings of aviation inventions and development. Hamilton was gifted at an early age in the understanding of technical concepts and their application into aircraft designs and manufacturing. He was also a very good businessman and marketer, known in social and political settings, and a devoted family man.
Contents
1 Life
1.1 Early aircraft designs
1.2 Military interest
1.3 Propeller manufacturing
1.4 All-metal aircraft
1.5 Hamilton Metalplane H-18
1.6 Hamilton Metalplane H-18 Helicopter Experiment
1.7 Hamilton Metalplane H-45 and H-47
1.8 Consolidation
1.9 Build-up to war
1.10 Return to the US
2 Death
3 References
Life
Hamilton was born on July 28, 1894.[2] He spent most of his childhood in Seattle, Washington. He was the older of two boys (his brother, Edgar Charles Hamilton, born later) to his parents (Thomas Luther and Henrietta Hamilton). Hamilton's early interests in aviation began when he was around 10 years old. His mother had taken a trip to see the 1904 St. Louis Exposition, where there was a display of gliders organized by Octave Chanute and, somehow on her return, Hamilton became more focused on aeronautics. Mrs. Hamilton may have made a connection with Chanute at the fair since the young Tom Hamilton did not make the long trip with her. Because, some years later, Hamilton indicated that he often wrote to Chanute concerning technical matters related to his early aircraft. However, currently, no record has been found mentioning the young Hamilton in Chanute's letter collection currently located at the Library of Congress and more research is being conducted since the collection is so vast.
During the 1909 Alaskan-Yukon Exposition, held in Seattle (held on the site of the present-day University of Washington), the young Hamilton, now at the age of 14, had a job of repairing hot-air balloons. This job would also allow him to ride what he repaired (possibly a type of insurance policy to insure the balloons were fixed properly) which helped fuel his continuing interest in aviation.[3] Also, during this time, Hamilton and a school friend, Paul J. Palmer established a partnership and called their company “Hamilton and Palmer”. Their office and factory were located in their respective parents' garage and kitchen tables. The two built and experimented with various biplane glider designs of the time. The two quickly gained a better understanding of the principles of how aircraft worked and were put together. Three gliders were actually built and flown around the steep hills around their neighborhood in Seattle called Leschi which was on the west shores of Lake Washington. There was only one mishap. The second glider jerked out of the hands of Palmer and soared away and crashing into pieces blocks away. Many years later, Hamilton would recall that even though he got a scar on his left hand from one of the flights, he had learned how to fly from those tests.
In 1910, after finishing their experiments with the gliders they moved on to building propeller-driven aircraft. At this point, there was a disagreement between Palmer and Hamilton and the former was no longer involved with the company and was totally removed from the partnership. It seems this split was so severe that Hamilton changed the name of the company to the “Hamilton Aero Manufacturing Co”.
Early aircraft designs
In 1911, he teamed up with Ted Geary a young yacht designer to create a number of unique seaplane designs that were seen around Seattle's Lake Washington and various aerial demonstrations of the day. The total number of known aircraft built by Hamilton's Seattle Company is estimated to be around 10 to 25 aircraft. Yet more research is required to get a more accurate account of his aircraft built during the 1909 to 1914 period. His designs were a combination of other designs of the era and his own unique ideas incorporated into the aircraft. Those early years for Hamilton were very much building years for this remarkable individual. Even at an early age he was able to comprehend and build complicated flying machines. Although he dropped out of high school, and did not have any formal education after that, he was able to manufacture and sell these aircraft all before he was 16 years old. This was done prior to William E. Boeing taking his first flight and setting up his operation in Seattle, which is the Boeing Company of today. Incidentally, Hamilton and Boeing became friends during this time and their friendship lasted throughout the years both professionally and personally. It has been recorded that in 1914, Hamilton introduced Bill Boeing to Conrad Westervelt (a young Navy lieutenant commander) at a club in Seattle that was the start of the Boeing Company.
Also in 1914, a number of wealthy businessmen from Vancouver, British Columbia, approached Hamilton. They were looking for someone to build airplanes for the non-profit and private “BC Aviation School Ltd.” that would teach their Canadian sons to fly in the Great War being fought over in Europe. Hamilton accepted the invitation and immediately moved his whole operation up to Vancouver and established the “Hamilton Aero Manufacturing Ltd.”.[4] The contract was to build four planes to be used in training purposes for the school. However, only one airplane was ever completed. It was a biplane patterned after a Curtiss tractor design, with two seats, a six-cylinder engine, and a tricycle landing gear. Unfortunately, the aircraft was not successful because it crashed in a muddy field out side of Vancouver. Out of the 12 students, two were able to graduate and went on to fight in the War with the RFC (Royal Flying Corps – the precursor to the RAF). The rest were integrated into other aviation training programs and transferred to the war. In the mean time, Hamilton had become very interested in the physics of propellers and had started making inquires about his possible involvement in the war effort for the United States. This was around 1917; at this point the U.S. just entered the war and needed experienced people, especially in aviation to help the country establish an aviation industry in support of the war overseas in Europe.
Military interest
The US military was very interested in Hamilton's background and requested that he come out east. The military leaders at the time wanted to keep most of their aviation resources closer to Washington D.C., and not in the remote Pacific Northwest. A Milwaukee woodworking firm, the Matthews Brothers Furniture Company, needed an experienced person to run their new aviation division since a large military contract was signed to produce wood propellers for the Navy and Army. Hamilton became their director of aviation in 1918.[5] However, once the war ended Hamilton bought their entire inventory of wood propellers and again started his own company called the Hamilton Aero Manufacturing Company in Milwaukee. Around this time, Hamilton met and married Ethel Inez Hughes, from Milwaukee. The Hamiltons spent ten years in Milwaukee, where it was established as one of the nation's major aviation hubs in the 1920s.[6]
Propeller manufacturing
Propellers were the first to be manufactured by the “Hamilton Manufacturing Company” in Milwaukee. Hamilton and his company (as well as others) were aware of specific limitations using wood as a material for aircraft propellers. As the propeller revolutions increased, the wood and laminate would lose their bond at a certain speed and cause the propeller to disintegrate. Pontoons were the second product to be manufactured by the company. Again, wood was also used in the manufacturing of pontoons and again there were specific limitations to this material being used in pontoons as with propellers. The problem with wood and water is that it disintegrates faster even though it floats.[5] Even with all preservatives used to cover and protect the pontoon. It still had a tendency to rot because it attracted worms that would burrow into the wood, especially in the South American and Caribbean climates, and allowed the material to decay faster. It was understood throughout the industry and the scientific community that metal would soon be the choice for these devices. In the mid-1920s, metal was introduced into the manufacturing processes because the material was stronger but not yet lighter. This changed with the introduction of aluminum. Specifically, an aluminum alloy called Duralumin, which allowed for the material to be lighter and stronger. Duralumin was the biggest technological advantage of the time because it is a high strength aluminum forging alloy with 3.5% copper, 1.25% Iron, 1.25% silicon, and 1.25% manganese, which gave it high strength and a low weight ratio than aluminum.[7] It was also able to take the centrifugal forces a propeller would generate, withstand the strong impacts with landing on water and flying, and would be able to resist some of nature's pests which could destroy a wood float quickly.
All-metal aircraft
New processes and manufacturing techniques were devised at the factory for these new materials. For in the mid-1920s, the German company, Junkers Transport Company founded by Hugo Junkers, was the first to manufacture an all metal, mono wing, airplane called the Junkers F.13. In turn, William Bushnell Stout's (a pioneer builder of all-metal aircraft) company was bought by the Ford Motor Corporation, and developed a similar aircraft called the Ford tri-motor or as it was affectionately called the “Tin Goose”. Like the Junkers aircraft, it too had the same cantilevered high wing and corrugated metal skin design built with the focus of hauling mail and passengers. In response, Hamilton and a number of shareholders in the Milwaukee community decided to build an aircraft out of metal, too. The result was a new company called the “Hamilton Metalplane Company”.
Hamilton Metalplane H-18
And the first all-metal aircraft built by this company was the Hamilton Metalplane H-18 christened the “Maiden Milwaukee” in 1927. Its design came from the chief designer of the “Metalplane Company” of the time – James McDonnell. McDonnell had worked for Stout and Ford and incorporated similar features and new ideas into the construction of the metal “Maiden”. The Hamilton H-18 used a tubular frame with corrugated skin, a thick mono wing projecting out of the fuselage underneath the open cockpit, at the front was the 200 HP J-4 Wright Radial engine, and using a Hamilton propeller (metal) as a means of propulsion. The “Maiden Milwaukee” was the first plane produced by the Hamilton Metalplane Company and it achieved a number of awards. It first came in second during the Ford Air Tour of 1927 and it won the Spokane Air Races of the same year. It was also given the distinction of being the first US air certificate for an all-metal airplane in the United States. Specifically, it was a plane designed to haul mail with the passengers as an extra revenue bonus for the airline. The design reflects this for the wing root came right out of the center of the fuselage and hardly any passengers could fit.
Hamilton Metalplane H-18 Helicopter Experiment
One of the interesting concepts, was when the designers took the H-18 and fitted two large downward facing propellers (i.e. on under each wing at midpoint) driven by a small engine mounted in the fuselage. It was claimed that this conversion resulted in an aircraft that could take off in a very short distance. Very little else is known about the conversion of an H.18 to this mode.[8]
Hamilton Metalplane H-45 and H-47
The aircraft was redesigned and these modifications were introduced in the sequential new models of the Metalplane called the H-45 and H-47. The aircraft now could accommodate passengers and mail. But to do this, they had to specifically change the aircraft such as: moving the wing above the fuselage so six seats could be added; enclosing the cockpit and adding windows and leather padding the interior of the aircraft for the passengers' comfort. Offering different type of radial engines that could be incorporated per the customers' request (both Wright and Pratt & Whitney) and different types of landing gear that could be fitted too (such as skis, wheels and pontoons). Since most of the Hamilton Metalplanes used most of the products generated from the other Hamilton factory it was a cheaper than the Ford Tri-Motor.[9] The Hamilton Metalplane was definitely a plane of its time, for it was the era when airlines were being developed with cargo/mail in mind instead of passengers. Both the Hamilton Metalplane and the Ford tri-motors started to change this trend. Northwest Airlines started by purchasing a number of Hamiltons to be used in their first passenger run throughout their routes in the Northwest. Ralph Sexton bought a number of Hamiltons to be used for his Panamanian airline called Isthmian Airways. And a few went to Alaska and Canada for use in the Arctic. As with Hamilton's earlier aircraft in Seattle, it is not known the exact figure of how many Hamiltons were built but it is estimated to be between 27 to 40 aircraft. More research is currently being conducted to get an accurate count and history of each Hamilton Metalplane. Unfortunately, the Hamilton Metalplanes were not as successful as the Ford Tri-Motors. For Ford was successful at their marketing strategy of stating it is safer to fly on three engines than on one. For this reason, the Hamilton Metal plane struggled in the market, for it was a good airplane developed ahead of time and introduced too soon.
Consolidation
In 1929, a holding company called the “United Aircraft and Transport Company” incorporated a number of aviation companies under one control. This resulted in the “Metalplane Company” becoming part of the “Boeing Company” as a separate division for a short time. Eventually, it was absorbed into the “Boeing Company” with all its patents and other assets becoming a part of the Boeing enterprise. It has been suggested that Boeing used these items from the “Hamilton Metalplane Company” in the development of their Boeing 247 (Boeing's first all metal monoplane) but more research needs to be conducted on this subject.
In the meantime, Hamilton became president of United Airports (a division of UA&T) and he was in charge of building the new Burbank airport in California. He also moved some of his propeller operations out west and established a West Coast propeller factory at that Burbank site. Even his whole family moved to Beverly Hills and eventually built a house out at Lake Arrowhead, California, where he established a permanent residence. Meanwhile, the UA&T Company decided to merge the “Hamilton Aero Manufacturing Company” with the Pittsburgh propeller firm “Standard Steel Propeller Company” and the entire Milwaukee operation was moved to that location.[10] Both Hamilton and the owner of Standard Steel had been intense business rivals. According to Eugene Wilson (who took over the propeller operation for UA&T) the “Standard Steel Company” had the patent rights to the Reed propeller design and there was concern about a lawsuit. As a compromise, it was decided to move the propeller operation to Pittsburgh and combined the names of the companies to be called the Hamilton Standard Company. A year later, the propeller operation moved again to Connecticut and as been there since. Incidentally, Hamilton did not receive the news of the merger right away, which was a little unsettling to him. As a compromise, Hamilton agreed to the merger only if his name took precedence in the new trademark and was called Hamilton Standard.
Build-up to war
After the Burbank Airport opened with a big fanfare in 1930, Hamilton then became a foreign representative for the “United Aircraft Export Company” in Europe of which he would be come a leading individual for the survival of several aviation companies. In 1934, President Franklin D. Roosevelt and his New Deal policies started actively working on an anti-monopoly campaign against the aviation industry. This legislation resulted in the UA&T being reorganized into new companies: United Aircraft (later to be called United Technologies), United Airlines, and the Boeing Company. The timing of this governmental legislation was poor at best for most of the United States and the World was under the black cloud of the Great Depression. United Aircraft had to rely on foreign sales to survive as a company for the domestic market in the US was depressed. Hamilton started with the “United Aircraft Export Company” as a sales representative and was very successful and by 1936 he was president of that corporation. Eugene Wilson described Hamilton as the “Yankee Peddler” and felt that he was a man that was full of “ salesmanship” and was a “master-entertainer”. It was this kind of man they needed for the moment to help with the financial situation of the time. Hamilton had set up his headquarters in Paris' The George V Hotel and he represented companies like Hamilton Standard, Sikorsky Aviation, Chance Vought Aircraft, and Pratt & Whitney. During the time from 1936–1940, Hamilton was successful in getting licensing rights for foreign countries to build “Pratt & Whitney” engines and “Hamilton Standard” variable pitch propellers. According to Wilson, it was a fight for survival as an American company. He also mentioned there was a kind of naivete when it came to dealing with countries like Germany, Japan and Russia. For example, a deal was set up with BMW (Bavarian Motor Works) to license them to build a number of Pratt & Whitney engines and it was approved by the United States Congress. This was granted because neither the US businessmen nor governmental officials expect any war in Europe. Because of this thinking, Hamilton was able to successfully sell these wanted aviation goods at the high levels of business because no one expected war. Hamilton knew what was going on, as Wilson stated, “thanks to Mr. Thomas F. Hamilton moving around through these different ministries, could appraise this situation more clearly than most people. And he came back from one trip and in a meeting of the executive committee of our company he said, ‘Don't discount this fellow Hitler.’ ‘To you, he's got a Charlie Chaplin mustache, but whatever he may look on the outside, either he or somebody behind him has a strategic insight and a political foresight that is not available anywhere else in the world that I know of’ ”.[11] It has also been suggested that Hamilton also tried to convince the US congress of the seriousness of doing business with countries like Germany, Japan and Russia. More research is needed to verify some these suggestions. However, at the time business interests came first and Hamilton was asked to continue in his position until the fall of France in 1940. At which time, Hamilton and his staff had to make an unorthodox route out of Europe through Spain.
Return to the US
Once back in the United States, Hamilton found a different sort of career in the hotel and entertaining business. He started developing a resort on the coast of British Columbia, Canada, at the entrance of Princess Louisa Inlet, called the Malibu Club in Canada (named after his yacht that had been designed by Ted Geary). It officially opened in July 1941 and catered to yachters, the wealthy, and the Hollywood crowd.[12] However, the attack on Pearl Harbor changed Hamilton's plans and he again went back into the aviation industry to run Hardman aircraft (which made nacelles for the B-17 bombers) in Southern California during World War 2 for only a dollar a year. After the War, he reopened Malibu and also started an airline in support of the resort called “Malibu SeaAero” with a single war-surplus Grumman Goose. After a few years, the resort did not become a financial success. And Malibu was abandoned and sold. During his final years, he was involved with the Early Bird Organization where he would attend every function until his death. Hamilton also loved to paint and spent many years in Paris working on his craft. He was also the technical assistant to the 1966 movie “Those Magnificent Men in their Flying Machines”.
“Gloria in excelsis Deo,” Glory to God in the Highest, often used by The Royal Order of Scotland is seen on both of the badges to the left. These two badges offer slightly differing designs. The relative position, or relationship between the Emblazoned Equal Armed Cross and the Continuos Nine Pointed Star are slightly different on the two badges. This difference is likely a result of manufacturing process. The top points and the bottom point of the Continuos Nine Pointed Star can be set around the Cross such as to create a more balanced reference between the two icons. The outer Blazing Star of each badge has seven fiery illuminating triangular points. The five points of the inner motif on the Equal Armed Cross is another slight difference as is the Star set after Deo and before Gloria in the rendering of, “Gloria in excelsis Deo.”
The Ancient and Accepted Scottish Rite are known to have the double-headed eagle as icon of duality embody in unity. The two eagles in union offer a token of the balance of Day and Night, of Good and Evil, of the embodiment of Light and of the embodiment of Dark, of the Spiritual and the Material all taken upon for the Checker Board to the highest pinnacle of Masonry. In 1758 the Council of Emperors of the East and West confirmed the double-headed eagle as the official emblem for the 33rd Degree. The double-headed eagle has been used for many centuries, it is now given as one of the motifs of 32nd Scottish Rite Freemasonry. From establishment of the Scottish Rite the double-headed eagle has been an official Emblem. Wings reaching below being 32nd Degree and Wings rising above being 33rd Degree. Active Emeritus Members of the Supreme Council are granted the accolade of wearing the all encompassing reach of the upward outstretched full embracing of the rising wings as seen on this Jewel.
These pictures range from 1/8000 of a Second, to 8 Seconds and then to 15 Seconds. There are two versions of the 15 Seconds exposure. One has been De-noised and the other has not. The titles mention the De-Noise 3 of 4 No De-Noise and 4 of 4 De-Noise.
These pictures are taken with a Full Spectrum Camera.
The wavelengths visible to other than human eyes can be explored with a Full Spectrum Camera. My friend who loaned me this camera and a set of lenses and filters describes the experience of dogs that cannot easily discern between a red ball and the green of the grass on which it sits.
A Full Spectrum Digital Camera is often a modified camera that can record light beyond the human visible spectrum. By capturing ultraviolet (UV) and infrared (IR) light the images reveal a now visible representation of the sight given in the wider wavelengths. This can be achieved by removing the built-in UV/IR cut filter found in standard cameras, this allows for a wider range of light to reach the sensor and to be recorded in a manner visible to the human eye. With the addition of either external filters to the lens, or clip in to the sensor, photographers can choose to block certain wavelengths. These additional filters can be used to isolate ultraviolet UV, infrared IR, or human visible light to achieve specific effects that include using the camera for lowlight photography.
© PHH Sykes 2025
phhsykes@gmail.com
Wendy's Natural Cut Fries: Better Tasting, Yes. Natural, No
The fries do succeed in taste tests, even beating those at McDonald's, according to the company's research.
Wendy's New "Natural" Fries Using Chemical Stew
Fast food companies are facing increasing pressure these days to improve the quality of their food. Whether its McDonald's Corp. (MCD) heating their coffee to super-hot temperatures to try to disguise their weak brew and subsequently getting sued for burning a customer -- or Taco Bell Corp. (YUM) getting hit with a suit of its own when its taco "meat" turned out to be a bit lacking in the meat department, people these days aren't putting up with shenanigans at the drive-thru.
Wendy's Arby's Group Inc. (WEN) has become the latest fast food giant to be exposed for flaws in its hasty fare.
The company last fall introduced a new product at Wendy's restaurants -- Natural Cut Fries With Sea Salt. The product is now in the limelight thanks to a new string of commercials. The new fries are noticeable as they leave part of the potato skin on.
Wendy's describes them, writing [press release]: Wendy's new fries, launched nationally in November 2010, were developed specifically to meet consumers' demand for a better-tasting, higher-quality French fry. They're made from 100% Russet potatoes and sliced "natural-style" with the skin on for additional texture and taste, then cooked in proprietary oil that has 0 grams trans fat per serving. They are finished with a dusting of natural sea salt to further enhance the flavor.
And they're doing great. In a national blind taste test by an independent firm hired by Wendy's, 56 percent of people preferred the new fries, while 39 percent preferred McDonald's fries (5% had no preference). And at the 6,600 Wendy's joints worldwide, orders of fries have soared up 10 percent.
But a BNET blogger has poked a hole in Wendy's claims of the fries being "natural". According to the report, the fries use a stew of exotic laboratory chemicals to improve the fries' appearance, flavor, and ease of cooking.
The fries do away with the steam skinning -- ironically, one of the most "natural" parts of the average fast food company's fry manufacturing process.
Chopped, the fries begin their chemical journey with a dip in sodium acid pyrophosphate. They're also powdered with slightly more natural D-glucose (crystallized from corn). Together the two components prevent the fries from browning during their first fry at the factory and their second fry at the restaurant.
As BNET points out, this makes Wendy's fries less "natural" than some competitors. For example Five Guys' fries are only fried once and are made from fresh potatoes -- thus they don't suffer from the same browning issues, eliminating the need for the chemical dip.
Five Guys and pretty much every other large chain burger joint use a special chemical called dimethylpolysiloxane that prevents the oil from foaming, even after countless batches of fries. And guess what? Wendy's "natural" fries use this non-naturally occurring chemical, as well.
Wendy's emphasizes that the fries are made from "100% Russet potatoes." But according to John Keeling of the National Potato Council, "Virtually all processed French fries are Russets."
Even Wendy's Chief Market Officer, Ken Caldwell, so much as admits the "natural" fries aren't 100 percent natural. He states in an interview with BNET, "People are saying they want high integrity ingredients, things their grandmother would have used, that don’t look like they came out of a chemistry lab. But they’re also saying I’ve got a family to feed and can only afford to spend about $4 on my lunch, and I’ve only got about a minute or two to eat it."
"We’re taking it product line by product line to make our food closer to this real ingredients story. Over time, you’ll see our ingredient labels getting shorter and more of those high integrity ingredients. It just takes time."
Health-wise the fries are a mixed bag. They add a grab of dietary fiber -- which promotes good digestion. But they also bump sodium content 43 percent. That's a bit problematic -- excess sodium can cause heart problems, and Americans tend to get too much in their diet already.
Important: this is a modified version of the original batik!
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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 batik into the desired colour. 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.[38] 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.[68] 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).[9] 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
Important: this is a modified version of the original batik!
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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 batik into the desired colour. 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.[38] 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.[68] 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).[9] 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
Wool is the textile fiber obtained from sheep and other animals, including cashmere and mohair from goats, qiviut from muskoxen, angora from rabbits, and other types of wool from camelids.
Wool has several qualities that distinguish it from hair or fur: it is crimped and elastic.
CHARACTERISTICS
Wool is produced by follicles which are small cells located in the skin. These follicles are located in the upper layer of the skin called the epidermis and push down into the second skin layer called the dermis as the wool fibers grow. Follicles can be classed as either primary or secondary follicles. Primary follicles produce three types of fiber, Kemp (wool), medullated fibers and true wool fibers. Secondary follicles only produce true wool fibers. Medullated fibers share nearly identical characteristics to hair and are long but lack crimp and elasticity. Kemp fibers are very coarse and shed out.
Wool's scaling and crimp make it easier to spin the fleece by helping the individual fibers attach to each other, so they stay together. Because of the crimp, wool fabrics have greater bulk than other textiles, and they hold air, which causes the fabric to retain heat. Wool has a high specific heat coefficient, so it impedes heat transfer in general. This effect has benefited desert peoples, as Bedouins and Tuaregs use wool clothes for insulation.
Felting of wool occurs upon hammering or other mechanical agitation as the microscopic barbs on the surface of wool fibers hook together.
The amount of crimp corresponds to the fineness of the wool fibers. A fine wool like Merino may have up to 100 crimps per inch, while coarser wool like karakul may have as few as one or two. In contrast, hair has little if any scale and no crimp, and little ability to bind into yarn. On sheep, the hair part of the fleece is called kemp. The relative amounts of kemp to wool vary from breed to breed and make some fleeces more desirable for spinning, felting, or carding into batts for quilts or other insulating products, including the famous tweed cloth of Scotland.
Wool fibers readily absorb moisture, but are not hollow. Wool can absorb almost one-third of its own weight in water. Wool absorbs sound like many other fabrics. It is generally a creamy white color, although some breeds of sheep produce natural colors, such as black, brown, silver, and random mixes.
Wool ignites at a higher temperature than cotton and some synthetic fibers. It has a lower rate of flame spread, a lower rate of heat release, a lower heat of combustion, and does not melt or drip; it forms a char which is insulating and self-extinguishing, and it contributes less to toxic gases and smoke than other flooring products when used in carpets. Wool carpets are specified for high safety environments, such as trains and aircraft. Wool is usually specified for garments for firefighters, soldiers, and others in occupations where they are exposed to the likelihood of fire.
Wool is considered by the medical profession to be allergenic.
PROCESSING
SHEARING
Sheep shearing is the process by which the woolen fleece of a sheep is cut off. After shearing, the wool is separated into four main categories: fleece (which makes up the vast bulk), broken, bellies, and locks. The quality of fleeces is determined by a technique known as wool classing, whereby a qualified person called a wool classer groups wools of similar gradings together to maximize the return for the farmer or sheep owner. In Australia before being auctioned, all Merino fleece wool is objectively measured for micron, yield (including the amount of vegetable matter), staple length, staple strength, and sometimes color and comfort factor.
SCOURING
Wool straight off a sheep, known as "greasy wool" or "wool in the grease", contains a high level of valuable lanolin, as well as the sheep's dead skin and sweat residue, and generally also contains pesticides and vegetable matter from the animal's environment. Before the wool can be used for commercial purposes, it must be scoured, a process of cleaning the greasy wool. Scouring may be as simple as a bath in warm water or as complicated as an industrial process using detergent and alkali in specialized equipment. In north west England, special potash pits were constructed to produce potash used in the manufacture of a soft soap for scouring locally produced white wool.
In commercial wool, vegetable matter is often removed by chemical carbonization. In less-processed wools, vegetable matter may be removed by hand and some of the lanolin left intact through the use of gentler detergents. This semigrease wool can be worked into yarn and knitted into particularly water-resistant mittens or sweaters, such as those of the Aran Island fishermen. Lanolin removed from wool is widely used in cosmetic products such as hand creams.
QUALITY
FINENESS AND YIELD
Raw wool has many impurities; vegetable matter, sand, dirt and yolk which is a mixture of suint (sweat), grease, urine stains and dung locks. The sheeps body yields many types of wool, with differing strengths, thicknesses, length of staple and impurities. The raw wool (greasy) is processed into 'top'. 'Worsted top' requires strong straight and parallel fibres.
The quality of wool is determined by its fiber diameter, crimp, yield, color, and staple strength. Fiber diameter is the single most important wool characteristic determining quality and price.
Merino wool is typically 3–5 inches in length and is very fine (between 12 and 24 microns). The finest and most valuable wool comes from Merino hoggets. Wool taken from sheep produced for meat is typically more coarse, and has fibers 1.5 to 6 in (38 to 152 mm) in length. Damage or breaks in the wool can occur if the sheep is stressed while it is growing its fleece, resulting in a thin spot where the fleece is likely to break.
Wool is also separated into grades based on the measurement of the wool's diameter in microns and also its style. These grades may vary depending on the breed or purpose of the wool.
Any wool finer than 25 microns can be used for garments, while coarser grades are used for outerwear or rugs. The finer the wool, the softer it is, while coarser grades are more durable and less prone to pilling.
The finest Australian and New Zealand Merino wools are known as 1PP, which is the industry benchmark of excellence for Merino wool 16.9 microns and finer. This style represents the top level of fineness, character, color, and style as determined on the basis of a series of parameters in accordance with the original dictates of British wool as applied today by the Australian Wool Exchange (AWEX) Council. Only a few dozen of the millions of bales auctioned every year can be classified and marked 1PP.
In the United States, three classifications of wool are named in the Wool Products Labeling Act of 1939. "Wool" is "the fiber from the fleece of the sheep or lamb or hair of the Angora or Cashmere goat (and may include the so-called specialty fibers from the hair of the camel, alpaca, llama, and vicuna) which has never been reclaimed from any woven or felted wool product". "Virgin wool" and "new wool" are also used to refer to such never used wool. There are two categories of recycled wool (also called reclaimed or shoddy wool). "Reprocessed wool" identifies "wool which has been woven or felted into a wool product and subsequently reduced to a fibrous state without having been used by the ultimate consumer". "Reused wool" refers to such wool that has been used by the ultimate consumer.
HISTORY
Wild sheep were more hairy than woolly. Although sheep were domesticated some 9,000 to 11,000 years ago, archaeological evidence from statuary found at sites in Iran suggests selection for woolly sheep may have begun around 6000 BC, with the earliest woven wool garments having only been dated to two to three thousand years later.[19] Woolly-sheep were introduced into Europe from the Near East in the early part of the 4th millennium BC. The oldest known European wool textile, ca. 1500 BC, was preserved in a Danish bog. Prior to invention of shears - probably in the Iron Age - the wool was plucked out by hand or by bronze combs. In Roman times, wool, linen, and leather clothed the European population; cotton from India was a curiosity of which only naturalists had heard, and silks, imported along the Silk Road from China, were extravagant luxury goods. Pliny the Elder records in his Natural History that the reputation for producing the finest wool was enjoyed by Tarentum, where selective breeding had produced sheep with superior fleeces, but which required special care.
In medieval times, as trade connections expanded, the Champagne fairs revolved around the production of wool cloth in small centers such as Provins. The network developed by the annual fairs meant the woolens of Provins might find their way to Naples, Sicily, Cyprus, Majorca, Spain, and even Constantinople. The wool trade developed into serious business, a generator of capital. In the 13th century, the wool trade became the economic engine of the Low Countries and central Italy. By the end of the 14th century, Italy predominated, though Italian production turned to silk in the 16th century. Both industries, based on the export of English raw wool, were rivaled only by the 15th-century sheepwalks of Castile and were a significant source of income to the English crown, which in 1275 had imposed an export tax on wool called the "Great Custom". The importance of wool to the English economy can be seen in the fact that since the 14th century, the presiding officer of the House of Lords has sat on the "Woolsack", a chair stuffed with wool.
Economies of scale were instituted in the Cistercian houses, which had accumulated great tracts of land during the 12th and early 13th centuries, when land prices were low and labor still scarce. Raw wool was baled and shipped from North Sea ports to the textile cities of Flanders, notably Ypres and Ghent, where it was dyed and worked up as cloth. At the time of the Black Death, English textile industries accounted for about 10% of English wool production; the English textile trade grew during the 15th century, to the point where export of wool was discouraged. Over the centuries, various British laws controlled the wool trade or required the use of wool even in burials. The smuggling of wool out of the country, known as owling, was at one time punishable by the cutting off of a hand. After the Restoration, fine English woolens began to compete with silks in the international market, partly aided by the Navigation Acts; in 1699, the English crown forbade its American colonies to trade wool with anyone but England herself.
A great deal of the value of woolen textiles was in the dyeing and finishing of the woven product. In each of the centers of the textile trade, the manufacturing process came to be subdivided into a collection of trades, overseen by an entrepreneur in a system called by the English the "putting-out" system, or "cottage industry", and the Verlagssystem by the Germans. In this system of producing wool cloth, until recently perpetuated in the production of Harris tweeds, the entrepreneur provides the raw materials and an advance, the remainder being paid upon delivery of the product. Written contracts bound the artisans to specified terms. Fernand Braudel traces the appearance of the system in the 13th-century economic boom, quoting a document of 1275. The system effectively bypassed the guilds' restrictions.
Before the flowering of the Renaissance, the Medici and other great banking houses of Florence had built their wealth and banking system on their textile industry based on wool, overseen by the Arte della Lana, the wool guild: wool textile interests guided Florentine policies. Francesco Datini, the "merchant of Prato", established in 1383 an Arte della Lana for that small Tuscan city. The sheepwalks of Castile shaped the landscape and the fortunes of the meseta that lies in the heart of the Iberian peninsula; in the 16th century, a unified Spain allowed export of Merino lambs only with royal permission. The German wool market – based on sheep of Spanish origin – did not overtake British wool until comparatively late. The Industrial Revolution introduced mass production technology into wool and wool cloth manufacturing. Australia's colonial economy was based on sheep raising, and the Australian wool trade eventually overtook that of the Germans by 1845, furnishing wool for Bradford, which developed as the heart of industrialized woolens production.
Due to decreasing demand with increased use of synthetic fibers, wool production is much less than what it was in the past. The collapse in the price of wool began in late 1966 with a 40% drop; with occasional interruptions, the price has tended down. The result has been sharply reduced production and movement of resources into production of other commodities, in the case of sheep growers, to production of meat.
Superwash wool (or washable wool) technology first appeared in the early 1970s to produce wool that has been specially treated so it is machine washable and may be tumble-dried. This wool is produced using an acid bath that removes the "scales" from the fiber, or by coating the fiber with a polymer that prevents the scales from attaching to each other and causing shrinkage. This process results in a fiber that holds longevity and durability over synthetic materials, while retaining its shape.
In December 2004, a bale of the then world's finest wool, averaging 11.8 microns, sold for AU$3,000 per kilogram at auction in Melbourne, Victoria. This fleece wool tested with an average yield of 74.5%, 68 mm long, and had 40 newtons per kilotex strength. The result was A$279,000 for the bale. The finest bale of wool ever auctioned was sold for a seasonal record of AU$2690 per kilo during June 2008. This bale was produced by the Hillcreston Pinehill Partnership and measured 11.6 microns, 72.1% yield, and had a 43 newtons per kilotex strength measurement. The bale realized $247,480 and was exported to India.
In 2007, a new wool suit was developed and sold in Japan that can be washed in the shower, and which dries off ready to wear within hours with no ironing required. The suit was developed using Australian Merino wool, and it enables woven products made from wool, such as suits, trousers, and skirts, to be cleaned using a domestic shower at home.
In December 2006, the General Assembly of the United Nations proclaimed 2009 to be the International Year of Natural Fibres, so as to raise the profile of wool and other natural fibers.
PRODUCTION
Global wool production is about 2 million tonnes per year, of which 60% goes into apparel. Australia is a leading producer of wool which is mostly from Merino sheep, but has recently been eclipsed by China in terms of total weight. New Zealand is now (2016) the third-largest producer of wool, and the largest producer of crossbred wool. Breeds such as Lincoln, Romney, Drysdale, and Elliotdale produce coarser fibers, and wool from these sheep is usually used for making carpets.
In the United States, Texas, New Mexico, and Colorado have large commercial sheep flocks and their mainstay is the Rambouillet (or French Merino). Also, a thriving home-flock contingent of small-scale farmers raise small hobby flocks of specialty sheep for the hand-spinning market. These small-scale farmers offer a wide selection of fleece.
Organic wool is becoming more and more popular. This wool is very limited in supply and much of it comes from New Zealand and Australia. It is becoming easier to find in clothing and other products, but these products often carry a higher price. Wool is environmentally preferable (as compared to petroleum-based nylon or polypropylene) as a material for carpets, as well, in particular when combined with a natural binding and the use of formaldehyde-free glues.
Animal rights groups have noted issues with the production of wool, such as mulesing.
MARKETING
AUSTRALIA
About 85% of wool sold in Australia is sold by open cry auction. "Sale by sample" is a method in which a mechanical claw takes a sample from each bale in a line or lot of wool. These grab samples are bulked, objectively measured, and a sample of not less than 4 kg is displayed in a box for the buyer to examine. The Australian Wool Exchange conducts sales primarily in Sydney, Melbourne, Newcastle, and Fremantle. About 80 brokers and agents work throughout Australia.
About 7% of Australian wool is sold by private treaty on farms or to local wool-handling facilities. This option gives wool growers benefit from reduced transport, warehousing, and selling costs. This method is preferred for small lots or mixed butts to make savings on reclassing and testing.
About 5% of Australian wool is sold over the internet on an electronic offer board. This option gives wool growers the ability to set firm price targets, reoffer passed-in wool, and offer lots to the market quickly and efficiently. This method works well for tested lots, as buyers use these results to make a purchase. About 97% of wool is sold without sample inspection; however, as of December 2009, 59% of wool listed had been passed in from auction. Growers through certain brokers can allocate their wool to a sale and at what price their wool will be reserved.
Sale by tender can achieve considerable cost savings on wool clips large enough to make it worthwhile for potential buyers to submit tenders. Some marketing firms sell wool on a consignment basis, obtaining a fixed percentage as commission.
Forward selling: Some buyers offer a secure price for forward delivery of wool based on estimated measurements or the results of previous clips. Prices are quoted at current market rates and are locked in for the season. Premiums and discounts are added to cover variations in micron, yield, tensile strength, etc., which are confirmed by actual test results when available.
Another method of selling wool includes sales direct to wool mills.
OTHER COUNTRIES
The British Wool Marketing Board operates a central marketing system for UK fleece wool with the aim of achieving the best possible net returns for farmers.
Less than half of New Zealand's wool is sold at auction, while around 45% of farmers sell wool directly to private buyers and end-users.
United States sheep producers market wool with private or cooperative wool warehouses, but wool pools are common in many states. In some cases, wool is pooled in a local market area, but sold through a wool warehouse. Wool offered with objective measurement test results is preferred. Imported apparel wool and carpet wool goes directly to central markets, where it is handled by the large merchants and manufacturers.
YARN
Shoddy or recycled wool is made by cutting or tearing apart existing wool fabric and respinning the resulting fibers. As this process makes the wool fibers shorter, the remanufactured fabric is inferior to the original. The recycled wool may be mixed with raw wool, wool noil, or another fiber such as cotton to increase the average fiber length. Such yarns are typically used as weft yarns with a cotton warp. This process was invented in the Heavy Woollen District of West Yorkshire and created a microeconomy in this area for many years.
Rag is a sturdy wool fiber made into yarn and used in many rugged applications such as gloves.
Worsted is a strong, long-staple, combed wool yarn with a hard surface.
Woolen is a soft, short-staple, carded wool yarn typically used for knitting. In traditional weaving, woolen weft yarn (for softness and warmth) is frequently combined with a worsted warp yarn for strength on the loom.
USES
In addition to clothing, wool has been used for blankets, horse rugs, saddle cloths, carpeting,insulation and upholstery. Wool felt covers piano hammers, and it is used to absorb odors and noise in heavy machinery and stereo speakers. Ancient Greeks lined their helmets with felt, and Roman legionnaires used breastplates made of wool felt.
Wool has also been traditionally used to cover cloth diapers.[citation needed] Wool fiber exteriors are hydrophobic (repel water) and the interior of the wool fiber is hygroscopic (attracts water); this makes a wool garment suitable cover for a wet diaper by inhibiting wicking, so outer garments remain dry. Wool felted and treated with lanolin is water resistant, air permeable, and slightly antibacterial, so it resists the buildup of odor. Some modern cloth diapers use felted wool fabric for covers, and there are several modern commercial knitting patterns for wool diaper covers.
Initial studies of woolen underwear have found it prevented heat and sweat rashes because it more readily absorbs the moisture than other fibers.
Merino wool has been used in baby sleep products such as swaddle baby wrap blankets and infant sleeping bags.
As an animal protein, wool can be used as a soil fertilizer, being a slow-release source of nitrogen.
Researchers at the Royal Melbourne Institute of Technology school of fashion and textiles have discovered a blend of wool and Kevlar, the synthetic fiber widely used in body armor, was lighter, cheaper and worked better in damp conditions than Kevlar alone. Kevlar, when used alone, loses about 20% of its effectiveness when wet, so required an expensive waterproofing process. Wool increased friction in a vest with 28–30 layers of fabric, to provide the same level of bullet resistance as 36 layers of Kevlar alone.
CARBON FOOTPRINT
The carbon footprint of woolen products is difficult to determine and varies considerably according to factors ranging from the conditions in which sheep are bred to the processes used to manufacture the products.
The average greenhouse gas footprint of wool in manufacturing carpets estimated at 5.48 kg CO2 equivalent per kg, when produced in Europe.
The carbon footprint of a 264.85g woolly jumper made from New Zealand merino wool averages about 1.667 kg CO2 equivalent at the point of purchase by a consumer, implying a carbon footprint of around 6 kg per kg of finished woolen product.
EVENTS
A buyer of Merino wool, Ermenegildo Zegna, has offered awards for Australian wool producers. In 1963, the first Ermenegildo Zegna Perpetual Trophy was presented in Tasmania for growers of "Superfine skirted Merino fleece". In 1980, a national award, the Ermenegildo Zegna Trophy for Extrafine Wool Production, was launched. In 2004, this award became known as the Ermenegildo Zegna Unprotected Wool Trophy. In 1998, an Ermenegildo Zegna Protected Wool Trophy was launched for fleece from sheep coated for around nine months of the year.
In 2002, the Ermenegildo Zegna Vellus Aureum Trophy was launched for wool that is 13.9 microns or finer. Wool from Australia, New Zealand, Argentina, and South Africa may enter, and a winner is named from each country. In April 2008, New Zealand won the Ermenegildo Zegna Vellus Aureum Trophy for the first time with a fleece that measured 10.8 microns. This contest awards the winning fleece weight with the same weight in gold as a prize, hence the name.
In 2010, an ultrafine, 10-micron fleece, from Windradeen, near Pyramul, New South Wales, won the Ermenegildo Zegna Vellus Aureum International Trophy.
Since 2000, Loro Piana has awarded a cup for the world's finest bale of wool that produces just enough fabric for 50 tailor-made suits. The prize is awarded to an Australian or New Zealand wool grower who produces the year's finest bale.
The New England Merino Field days which display local studs, wool, and sheep are held during January, in even numbered years around the Walcha, New South Wales district. The Annual Wool Fashion Awards, which showcase the use of Merino wool by fashion designers, are hosted by the city of Armidale, New South Wales, in March each year. This event encourages young and established fashion designers to display their talents. During each May, Armidale hosts the annual New England Wool Expo to display wool fashions, handicrafts, demonstrations, shearing competitions, yard dog trials, and more.
In July, the annual Australian Sheep and Wool Show is held in Bendigo, Victoria. This is the largest sheep and wool show in the world, with goats and alpacas, as well as woolcraft competitions and displays, fleece competitions, sheepdog trials, shearing, and wool handling. The largest competition in the world for objectively measured fleeces is the Australian Fleece Competition, which is held annually at Bendigo. In 2008, 475 entries came from all states of Australia, with first and second prizes going to the Northern Tablelands, New South Wales fleeces.
WIKIPEIDA
Important: this is a modified version of the original batik!
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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 batik into the desired colour. 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.[38] 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.[68] 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).[9] 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.
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