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The Open-Air Gallery of Avenida Prestes Maia
Avenida Prestes Maia, the beating heart of São Paulo, has been transformed into an impressive vertical art gallery. From north to south, this iconic axis that connects to the 23 de Maio now displays monumental murals that bring an air of renewal, color, and modernity to the urban landscape.
In a dialogue between the sacred and the contemporary, the majestic "Goddess Isis" opens her protective wings on the façade opposite the historic Mosteiro de São Bento. Created by the talent of artist Gabriel Mena, the work carries the universal message "We Are All One", becoming one of the largest graffiti pieces in Latin America.
Following the course of the avenue, the Edifício Comandador Armando Rossi is adorned by the grace of the "Japanese Koi Fish". This work is a fusion of styles by renowned graffiti artists Binho Ribeiro, a pioneer of the national scene, and Suiko, who brings the influence of Japanese culture to his art. The Koi fish, a symbol of perseverance and luck in Japanese tradition, swims gracefully across the façade, representing the strength of the metropolis.
Together, these colorful giants, painted at great heights by world-famous artists, not only beautify the city but tell stories of union, resilience, and the power of public art to revitalize and give new soul to urban spaces.
A Galeria a Céu Aberto da Avenida Prestes Maia
A Avenida Prestes Maia, coração pulsante de São Paulo, transformou-se em uma impressionante galeria de arte vertical. De norte a sul, este icônico eixo que se conecta à 23 de Maio agora exibe murais monumentais que conferem um ar de renovação, cor e modernidade à paisagem urbana.
Em um diálogo entre o sagrado e o contemporâneo, a majestosa "Deusa Ísis" abre suas asas protetoras na fachada em frente ao histórico Mosteiro de São Bento. Criada pelo talento do artista Gabriel Mena, a obra carrega a mensagem universal "Somos Todos Um", tornando-se um dos maiores grafites da América Latina.
Seguindo o curso da avenida, o Edifício Comandador Armando Rossi é embelezado pela graça das "Carpas Japonesas". Esta obra é uma fusão de estilos dos consagrados grafiteiros Binho Ribeiro, um pioneiro da cena nacional, e Suiko, que traz em sua arte a influência da cultura nipônica. O peixe Koi, símbolo de perseverança e sorte na tradição japonesa, nada graciosamente pela fachada, representando a força da metrópole.
Juntos, esses gigantes coloridos, pintados nas alturas por artistas de fama mundial, não apenas embelezam a cidade, mas contam histórias de união, resiliência e a potência da arte pública em revitalizar e dar nova alma aos espaços urbanos.
La Galleria a Cielo Aperto di Avenida Prestes Maia
L'Avenida Prestes Maia, cuore pulsante di San Paolo, si è trasformata in una impressionante galleria d'arte verticale. Da nord a sud, questo iconico asse che si collega alla 23 de Maio espone ora murales monumentali che conferiscono un'aria di rinnovamento, colore e modernità al paesaggio urbano.
In un dialogo tra il sacro e il contemporaneo, la maestosa "Dea Iside" apre le sue ali protettive sulla facciata di fronte all' storico Monastero di San Benedetto. Creata dal talento dell'artista Gabriel Mena, l'opera reca il messaggio universale "Siamo Tutti Uno", diventando uno dei graffiti più grandi dell'America Latina.
Proseguendo il corso del viale, l'Edifício Comandador Armando Rossi è abbellito dalla grazia delle "Carpe Giapponesi". Quest'opera è una fusione di stili dei celebrati artisti di graffiti Binho Ribeiro, pioniere della scena nazionale, e Suiko, che porta nella sua arte l'influenza della cultura nipponica. Il pesce Koi, simbolo di perseveranza e fortuna nella tradizione giapponese, nuota con grazia sulla facciata, rappresentando la forza della metropoli.
Insieme, questi giganti colorati, dipinti in altezza da artisti di fama mondiale, non solo abbelliscono la città ma raccontano storie di unione, resilienza e la potenza dell'arte pubblica nel rivitalizzare e donare nuova anima agli spazi urbani.
La Galería al Aire Libre de la Avenida Prestes Maia
La Avenida Prestes Maia, el corazón palpitante de São Paulo, se ha transformado en una impresionante galería de arte vertical. De norte a sur, este eje icónico que se conecta con la 23 de Mayo ahora exhibe murales monumentales que confieren un aire de renovación, color y modernidad al paisaje urbano.
En un diálogo entre lo sagrado y lo contemporáneo, la majestuosa "Diosa Isis" abre sus alas protectoras en la fachada frente al histórico Monasterio de São Bento. Creada por el talento del artista Gabriel Mena, la obra lleva el mensaje universal "Somos Todos Uno", convirtiéndose en uno de los grafitis más grandes de América Latina.
Siguiendo el curso de la avenida, el Edifício Comandador Armando Rossi está embellecido por la gracia de las "Carpa Japonesa". Esta obra es una fusión de estilos de los consagrados grafiteros Binho Ribeiro, un pionero de la escena nacional, y Suiko, que trae en su arte la influencia de la cultura nipona. El pez Koi, símbolo de perseverancia y suerte en la tradición japonesa, nada gracefulmente por la fachada, representando la fuerza de la metrópolis.
Juntos, estos gigantes coloridos, pintados a gran altura por artistas de fama mundial, no solo embellecen la ciudad sino que cuentan historias de unión, resiliencia y la potencia del arte público para revitalizar y dar un nuevo alma a los espacios urbanos.
La Galerie en Plein Air de l'Avenue Prestes Maia
L'Avenue Prestes Maia, cœur battant de São Paulo, s'est transformée en une impressionnante galerie d'art verticale. Du nord au sud, cet axe iconique qui relie le 23 de Maio expose désormais des muraux monumentaux qui confèrent un air de renouveau, de couleur et de modernité au paysage urbain.
Dans un dialogue entre le sacré et le contemporain, la majestueuse "Déesse Isis" ouvre ses ailes protectrices sur la façade en face du historique Monastère de São Bento. Créée par le talent de l'artiste Gabriel Mena, l'œuvre porte le message universel "Nous ne faisons qu'Un", devenant l'une des plus grandes fresques graffiti d'Amérique latine.
En suivant le cours de l'avenue, l'Edifício Comandador Armando Rossi est embelli par la grâce des "Carpes Japonaises". Cette œuvre est une fusion des styles des graffeurs renommés Binho Ribeiro, un pionnier de la scène nationale, et Suiko, qui apporte dans son art l'influence de la culture nippone. Le poisson Koi, symbole de persévérance et de chance dans la tradition japonaise, nage avec grâce sur la façade, représentant la force de la métropole.
Ensemble, ces géants colorés, peints en hauteur par des artistes de renommée mondiale, n'embellissent pas seulement la ville mais racontent des histoires d'union, de résilience et de la puissance de l'art public pour revitaliser et donner une nouvelle âme aux espaces urbains.
Die Freiluft-Galerie der Avenida Prestes Maia
Die Avenida Prestes Maia, der pulsierende Herzschlag São Paulos, hat sich in eine beeindruckende vertikale Kunstgalerie verwandelt. Von Nord nach Süd zeigt diese ikonische Achse, die mit dem 23. Mai verbindet, monumentale Wandgemälde, die dem Stadtbild eine Aura der Erneuerung, Farbe und Modernität verleihen.
In einem Dialog zwischen dem Heiligen und dem Zeitgenössischen öffnet die majestätische "Göttin Isis" ihre schützenden Flügel an der Fassade gegenüber dem historischen Mosteiro de São Bento. Geschaffen vom Talent des Künstlers Gabriel Mena, trägt das Werk die universelle Botschaft "Wir sind alle Eins" und wurde zu einem der größten Graffiti-Kunstwerke Lateinamerikas.
Weiter die Allee entlang wird das Edifício Comandador Armando Rossi durch die Anmut der "Japanischen Koi-Karpfen" verschönert. Dieses Werk ist eine Fusion der Stile der gefeierten Graffiti-Künstler Binho Ribeiro, einem Pionier der nationalen Szene, und Suiko, der in seiner Kunst den Einfluss der japanischen Kultur einbringt. Der Koi-Fisch, ein Symbol für Ausdauer und Glück in der japanischen Tradition, schwimmt anmutig über die Fassade und repräsentiert die Stärke der Metropole.
Zusammen verschönern diese farbenfrohen Riesen, die in schwindelerregender Höhe von weltberühmten Künstlern gemalt wurden, nicht nur die Stadt, sondern erzählen Geschichten von Vereinigung, Widerstandsfähigkeit und der Kraft öffentlicher Kunst, städtische Räume zu revitalisieren und ihnen neue Seele einzuhauchen.
De Openluchtgalerij van de Avenida Prestes Maia
De Avenida Prestes Maia, de kloppend hart van São Paulo, is veranderd in een indrukwekkende verticale kunstgalerij. Van noord naar zuid toont deze iconische as, die verbinding maakt met de 23 de Maio, monumentale muurschilderingen die een gevoel van vernieuwing, kleur en moderniteit aan het stadslandschap geven.
In een dialoog tussen het sacrale en het hedendaagse opent de majestueuze "Godin Isis" haar beschermende vleugels op de gevel tegenover het historische Mosteiro de São Bento. Gemaakt door het talent van kunstenaar Gabriel Mena, draagt het werk de universele boodschap "We Zijn Allemaal Een", en werd het een van de grootste graffiti-werken in Latijns-Amerika.
Verderop wordt het Edifício Comandador Armando Rossi opgefleurd door de gratie van de "Japanse Koi Karper". Dit werk is een fusie van stijlen door de gevierde graffiti-kunstenaars Binho Ribeiro, een pionier in de nationale scene, en Suiko, die in zijn kunst de invloed van de Japanse cultuur meeneemt. De Koi-vis, een symbool van volharding en geluk in de Japanse traditie, zwemt sierlijk over de gevel en vertegenwoordigt de kracht van de metropool.
Samen verbeteren deze kleurrijke reuzen, geschilderd op grote hoogte door wereldberoemde artiesten, niet alleen de stad, maar vertellen ze verhalen over verbinding, veerkracht en de kracht van publieke kunst om stedelijke ruimtes te revitaliseren en een nieuwe ziel te geven.
معرض الهواء الطلق في أفينيدا بريستيس مايا
أصبحت أفينيدا بريستيس مايا، قلب ساو باولو النابض، معرضًا فنيًا عموديًا مذهلاً في الهواء الطلق. من الشمال إلى الجنوب، يعرض هذا المحور الأيقوني المتصل بجادة 23 دي مايو لوحات جدارية ضخمة تمنح دفعة من التجديد واللون والحداثة للمشهد الحضري.
في حوار بين المقدس والمعاصر، تفتح "الإلهة إيزيس" المهيبة جناحيها الواقيين على الواجهة المقابلة لدير ساو بينتو التاريخي. أنشأها الفنان غابرييل مينا، وتحمل اللوحة الرسالة العالمية "نحن جميعًا واحد"، لتصبح واحدة من أكبر أعمال الغرافيتي في أمريكا اللاتينية.
باتجاه الأمام على الجادة، تزين "أسماك الكوي اليابانية" واجهة مبنى كوماندادور أرموندو روسي. هذا العمل هو مزيج من أساليب فنانين مرموقين هما بينيو ريبيرو، رائد المشهد المحلي، وسويكو، الذي يجلب لتلك الفنون تأثير الثقافة اليابانية. سمكة الكوي، رمز المثابرة والحظ في التقاليد اليابانية، تسبح بأناقة على الواجهة، ممثلة قوة المدينة.
معًا، لا تزين هذه العمالقة الملونة، التي رسمها فنانون مشهورون عالميًا على ارتفاعات شاهقة، المدينة فحسب، بل تحكي قصصًا عن الاتحاد والمرونة وقوة الفن العام في إحياء ونهضة الأماكن الحضرية.
プレステス・マイア大通りの屋外ギャラリー
サンパウロの鼓動であるプレステス・マイア大通りは、印象的な垂直のアートギャラリーへと変貌を遂げました。南北に延びるこの象徴的な通りは「23 de Maio」通りに接続しており、都市景観に刷新、色彩、現代性をもたらす記念碑的な壁画を展示しています。
神聖なものと現代的なものとの対話の中で、威厳ある 「女神イシス」 が歴史あるサン・ベント修道院の向かいのファサードでその保護の翼を広げています。アーティスト ガブリエル・メナ の才能によって生み出されたこの作品は、 「我々はすべて一つ」 という普遍的なメッセージを携え、ラテンアメリカで最大級のグラフィティアートの一つとなりました。
大通りを進むと、コマンダドール・アルマンド・ロッシビルは、優雅な 「日本のコイ」 によって彩られています。この作品は、国内シーンのパイオニアであるグラフィティアーティスト ビーニョ・リベイロ と、日本文化の影響をアートに取り入れる 酢井子 という、著名な2人のアーティストのスタイルが融合したものです。日本の伝統において忍耐と幸運の象徴であるコイは、ファサードを優雅に泳ぎ、大都市の強さを表現しています。
これらの色彩豊かな巨人たちは、世界的に有名なアーティストによって高い場所に描かれており、都市を美しくするだけでなく、結束、レジリエンス、公共芸術が都市空間を活性化し新たな魂を吹き込む力の物語を語りかけています。
普雷斯特斯·马亚大道的露天画廊
普雷斯特斯·马亚大道，圣保罗跳动的心脏，已转变为一座令人印象深刻的垂直艺术画廊。从北到南，这个连接着"五月二十三"大道的标志性轴线，如今展示着巨大的壁画，为城市景观带来了焕然一新、色彩和现代感。
在一场神圣与当代的对话中，庄严的 "伊西斯女神" 在历史悠久的圣本托修道院对面的外墙上展开她保护的双翼。由艺术家 加布里埃尔·梅纳 创作，这幅作品承载着 "我们是一体" 的普世信息，成为拉丁美洲最大的涂鸦作品之一。
沿着大道的方向，指挥官阿曼多·罗西大楼被优雅的 "日本锦鲤" 所美化。这件作品是著名涂鸦艺术家风格的融合：Binho Ribeiro（国内场景的先驱）和 Suiko（他的艺术带有日本文化的影响）。锦鲤，日本传统中毅力与幸运的象征，优雅地游动在外墙上，代表着大都市的力量。
这些色彩缤纷的巨作由世界著名的艺术家在高处绘制，它们共同美化了城市，更讲述了关于团结、韧性的故事，并展现了公共艺术在复兴和赋予城市空间新灵魂方面的力量。
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Aveiro in Portugal, is perhaps one of the country’s most unique and inspiring cities, and yet it remains a hidden gem. This is a city quite unlike any other, a place where urban sophistication and modernity meet and merge with the unique marine environment in which Aveiro, Portugal, has its ancient roots. No visit to Aveiro would be complete without taking the time to explore the expansive lagoon and canals that weave their way around and through the city. There is something about a city set amongst water that adds a certain charm and magic, and Aveiro is no exception. Indeed, Aveiro has been hailed as the Venice of Portugal for its pretty maritime setting. Aveiro canals and the lagoon have been the centre of its industry and economy for hundreds of years, and simply taking the time to wander along their banks is like taking a journey through history. Lined with a mixture of grand buildings and former fishermen’s houses, the canals are a festival of colour, with brightly coloured paintwork and attractive azulejo panels for which Portugal is renowned. However, it is the bobbing fishing boats, or moliceiros as they are known locally, which really bring the Aveiro canals to life.
The moliceiros are shaped long and narrow boats, with a styled bow and stern which are often highly decorated, with ornate images demonstrating tongue-in-cheek humour about everyday situations. Moliceiros were traditionally used to harvest seaweed, although they are more commonly used these days for tourist activity, and hopping in one to take a tour round the city from the water’s perspective is the perfect way of whiling away an hour or two during your stay.
Aveiro is door de kleurrijke huizen, gondels, kanaaltjes en prachtige stranden een ideale bestemming voor iedereen die de Atlantische kust van Portugal wil ervaren. Toeristen die belanden in het oude havenstadje Aveiro denken soms wel eens in het verkeerde land te zijn aangekomen. Met talrijke kanaaltjes, gondels, een lagune en zeer kleurrijke architectuur heeft het inderdaad wel wat weg van het Italiaanse Venetië. Voeg daar ook nog aan toe de prachtige stranden van de Costa da Prata, wat vertaald kan worden als de Portugese zilverkust, en je zult begrijpen waarom het kleine, rustgevende Aveiro erg populair is bij zowel Portugese als internationale bezoekers. Niet ver van grotere steden zoals Porto of Coimbra, leent het zich bij uitstek voor hen die enkele dagen aan de kust willen doorbrengen. Wij hadden alleen de hele dag regen. Wat Aveiro echter het meest bijzonder maakt zijn de kanaaltjes welke de stad via de lagune verbinden met de Atlantische Oceaan, Hoewel niet helemaal te vergelijken met het veel grotere Venetië, is een rondvaart in een moliceiro zoals de gondels hier heten zonder meer aan te raden.
cohabitation (tradition and modernity), Tokyo, Japan
just for EXHIBITION.
Thanks for the visit, and favorites.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any forms or by any means, including electronic, mechanical, photocopying & recording without my written permission.
2015©jesuscm. All rights reserved.
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Tbilisi is the capital and largest city of Georgia, situated in the eastern part of the country on the banks of the Kura River. With a rich history spanning over 1,500 years, Tbilisi has been shaped by numerous cultures and civilizations over the centuries. The old part of Tbilisi, known for its charming architecture and unique atmosphere, is one of the most captivating areas of the city. In contrast, the Peace Bridge is a strikingly modern architectural marvel and one of Tbilisi’s most recognizable landmarks. Completed in 2010, the bridge was designed by Italian architect Michele de Lucchi, with lighting by French designer Philippe Martinaud. It spans the Kura River, connecting the old town with the newer districts, and serves as an important pedestrian route and a symbol of the city. The bridge’s design is particularly remarkable, featuring a glass canopy that curves gracefully over the walkway. Often compared to a giant glass wave or a sea creature, the canopy is made of steel and glass and is illuminated at night by thousands of LED lights. These lights create a breathtaking visual display and are programmed to transmit messages in Morse code, conveying universal symbols of life and peace. The Bridge of Peace is not only a functional structure but also a symbolic monument. It embodies the connection between the old and modern parts of Tbilisi and serves as a metaphor for the city’s progress toward peace and unity. The bridge is a popular spot for both locals and tourists, offering stunning views of the city, including the nearby Narikala Fortress and the Presidential Palace.
The Peace Bridge in Tbilisi, Georgia, is located in the heart of the city, spanning the Kura River. Its futuristic design stands in sharp contrast to the surrounding historic architecture, making it a powerful symbol of Tbilisi’s dynamic blend of tradition and modernity.
Tbilisi is de hoofdstad en grootste stad van Georgië, gelegen in het oosten van het land aan de oevers van de rivier de Koera. De stad heeft een rijke geschiedenis die meer dan 1.500 jaar teruggaat en heeft door de eeuwen heen vele invloeden ondergaan van diverse culturen en beschavingen. Het oude gedeelte van Tbilisi, bekend om zijn charmante architectuur en unieke sfeer, is een van de meest fascinerende delen van de stad. De Vredesbrug is daar in tegen erg modern. Een modern architectonisch wonder en een van de meest herkenbare bezienswaardigheden van de stad. De brug, voltooid in 2010, is ontworpen door de Italiaanse architect Michele de Lucchi, met de verlichting ontworpen door de Franse lichtontwerper Philippe Martinaud. De brug overspant de rivier de Kura en verbindt de oude stad met de nieuwere wijken. Het is een voetgangersbrug en dient als een belangrijk symbool voor de stad. Het ontwerp van de brug is bijzonder opvallend, met een glazen overkapping die sierlijk over het wandelpad buigt. Deze overkapping, die vaak wordt vergeleken met een gigantische glazen golf of een zeewezen, is gemaakt van staal en glas en wordt 's nachts verlicht door duizenden LED-lichten. Deze verlichting creëert een adembenemend visueel spektakel en is zo geprogrammeerd dat het boodschappen in morsecode uitzendt, waarbij universele symbolen van leven en vrede worden weergegeven. De Vredesbrug is niet alleen een functioneel bouwwerk, maar ook een symbolisch monument. Het staat voor de verbinding tussen het oude en het moderne deel van Tbilisi en is een metafoor voor de vooruitgang van de stad naar vrede en eenheid. De brug is een populaire plek voor zowel de lokale bevolking als toeristen en biedt prachtige uitzichten over de stad, waaronder het nabijgelegen Narikala-fort en het presidentiële paleis. Het futuristische ontwerp van de brug contrasteert sterk met de historische architectuur eromheen, waardoor het een symbool is van Tbilisi's dynamische mix van traditie en moderniteit.
For Lancia, the Aprilia, produced from 1937 - 1949, simultaneously marked the end of one era and the beginning of another. Technologically speaking, this was a supremely refined model, with a load-bearing body, a compact narrow V engine, independent suspension on all four wheels and extremely innovative aerodynamic lines.
During the 1920s, the invention of wind tunnels allowed industrial designers to seek new levels of performance for motor vehicles by improving their aerodynamics. In the United States, “streamline design” was all the rage, a trend for producing sinuous and aerodynamic lines, starting with airplanes, then trains and then cars, increasing their speed but also emphasizing their extravagant stylistic features.
This movement reached Italy in the 1930s when streamlining, a symbol of modernity, inspired the lines of the new Lancia Aprilia. But compared to the American style, Vincenzo Lancia’s trusted designer Battista Falchetto - who had shared the honors for the stunning design of the Lambda - created a car with fewer frills and more concrete lines, aimed at improving aerodynamics. The grille and windscreen were therefore slightly inclined, and the egg shape - considered at the time the most efficient profile from an aerodynamic point of view - gave character to the rear part. The compact and streamlined bonnet was made possible by the small size of the narrow V engine... an authentic concentrate of technology. It consisted of a light alloy monobloc with cast iron barrels, V valves controlled by rockers moved by an overhead camshaft and a hemispherical top on the combustion chamber. With only 1,352 cc it generated 48 HP which, thanks also to a total weight of only 850 kg, plus an excellent aerodynamic coefficient of just 0.47, thrust the Aprilia up to 125 km/h.
The Aprilia was a true Piedmontese aristocrat, refined and precise in every detail. Its famous four pillarless doors, a true Lancia icon, also have an extraordinary curved profile and invisible hinges. The famous click - the sound of the doors closing - underlined the scrupulous attention to the smallest details in design and assembly which typified Lancia’s outstanding modus operandi, providing an unforgettable grace note. The interiors, especially in the Luxury version, featured a classy geometric instrument panel on a grey background with black and white graphics: the square speedometer and clock perfectly matched with the rectangles chosen for the thermometer and the fuel gauge. The Lancia cloth upholstery (available on request in leather), the door panels, the roof covering and the rubber mats were the final touches of a creation which was the closest possible motorcar version of the classic Turin interiors of the period.
Its extremely low weight was mainly due to the load-bearing body: a Lancia patent - first seen in the 1920s on the Lambda - which, by overcoming the classic architecture which kept the chassis and bodywork separate, improved torsional rigidity and significantly reduced volumes. The independent suspension on all four wheels, with rear transversal leaf spring and front coil springs, enabled the Lancia Aprilia to offer road grip and passenger comfort that was much superior to most of its contemporary rivals.
The Lancia Aprilia contained all the most innovative and refined technical solutions that were so dear to Vincenzo Lancia. It constituted a pinnacle of motorcar production, carried out under the direct supervision of the founder of the Turin company. The name of the car came from that of an ancient Lazio town: a characteristic that linked it to its predecessors, the Artena and the Astura.
The Lancia Aprilia was presented to the public at the thirtieth edition of the Paris Motor Show, in October 1936. On February 15, 1937 its creator had a sudden and fatal heart attack, just before the car went into production. He was only 55 years old. Thus the Aprilia became universally seen as the spiritual testament of Vincenzo Lancia, becoming a huge commercial success, which continued even after the adversities of the second World War.
The first series of the Lancia Aprilia was produced from 1937 to 1939 in 10,354 units: a Sedan in standard and Luxury trims, to which were added 4,350 chassis for custom-made versions, on which the best Italian coachbuilders reveled in producing streamlined and elegant spiders and cabriolets. Pinin Farina's aerodynamic coupé was highly original, with its characteristic flattened muzzle, the central position of the 2 + 2 passenger compartment and an elegant tail.
Two years after the start of production, the second series was born, characterized by the increase in displacement to 1,486 cc. The power remained unchanged, but this improved the elasticity of the engine and the maximum speed. Despite a weight increase to 950 kg, it gained 1 km/h. In the decade from 1939-1949, 11,082 sedans were produced plus 2,252 chassis for coachbuilders.
The production of the Aprilia continued - with a further 703 exemplars - even after the Second World War, a period in which the model, despite being almost ten years old, could still be proud of its highly modern mechanics and settings. It held its place in the market right up to the last days of production, and in racing it remained the undisputed dominator of the Tourism class up to 1500 cc for years: it also triumphed in the Mille Miglia of 1947 thanks to its powerful acceleration and peerless road holding.
To this day, more than eighty years after its presentation, the Aprilia is considered a timeless pioneering car which, by gathering all the best of Lancia’s innovative philosophy, inaugurated a new era in motoring. Vincenzo Lancia was usually hypercritical about his cars, but after test driving the Aprilia prototype he spontaneously exclaimed: "What a magnificent car!".
Article credit: Heritage
amidst the architectural marvels of valencia's ciudad de las artes y las ciencias, a solitary figure stands, embodying the contrast between human presence and grand design. the sweeping curves and towering structures create a backdrop of futuristic elegance, while the lone woman, cloaked in shadows and light, invites contemplation. her presence adds a touch of humanity to the cold, imposing lines of modernity, emphasizing the scale and beauty of our built environment. this moment, captured in monochrome, reflects the quiet introspection amidst urban grandeur.
After the Swedes have seen everything at Haapamäki, the departure time arrives as the afternoon progresses. The type Dm7 dieselrailcar number 4216 is now heading to Jyväskylä where the Swedes shall enjoy lunch, and after that the day should be finished in Mikkeli in the evening. Haapamäki is left behind and before the 4216 can enter in the scenes of only vast forrest and some lakes, it passes scenes that still have the lack of modernity in terms of human touch.
For some,modernity resulted in an increasing feeling is alienation as people began moving through spaces at a faster pace.Edward Hopper captured this transitory nature of modern life in paintings infused with a sense of isolation and estrangement.
Completed at the height of Hooper's career, this painting shows Macomb's Dam Bridge,which connects Manhattan and Bronx.There are no signs of life in the city.Instead,an eerie stillness pervades the scene,resulting in a disquieting mood
At Nan Lian Garden near Diamond Hill in Hong Kong, lies a classical Tang Dynasty style Chinese garden that is somewhat well hidden in the concrete jungle all around it. It is indeed an example of how well traditions can blend in modernity, such as the Pavilion of Absolute Perfection shown here.
La grande mosquée à Abu Dhabi: un lieu fascinant où la modernité fait un clin d'oeil à l'histoire.
115e Exposition de la SPAQ
Mention
UNDER THE GAZE OF ALLAH
The Great Mosque in Abu Dhabi: a fascinating place where modernity makes a wink to history.
This photograph captures an urban corner in Grenoble, France, with an interesting blend of old and new elements. The wall features a mix of materials: large, roughly hewn stones form the corner structure, contrasting with the smoother, modern plastered surfaces that surround it. The stones appear aged, hinting at a historical building or perhaps remnants of an old structure. The color contrast between the light beige plaster and the grayish stones draws the eye to the transition between old and new.
On the left side of the corner, graffiti in bold red and black lines adds a layer of urban character to the scene. The shapes are abstract, with swirling red strokes that stand out against the neutral-colored wall, giving the otherwise plain surface a touch of rebellious modernity. Above the graffiti, there is a small, unique figure attached to the wallâa tiny purple and gold sculpture, adding a whimsical and unexpected detail to the image.
Additionally, there are some urban fixtures that complete the scene. A "No Entry" adds a pop of color and reinforces the urban setting. A bollard with pink graffiti stands in the foreground, adding another layer of texture and color to this eclectic corner in Grenoble, blending art, history, and urban elements into one cohesive, gritty scene.
RX_03842_20240523_Grenoble
Walking along the streets of the city, I saw this window with an old toy ornament made of a wooden rocking horse. The light reflecting in the glass decorated the whole with a color and a hint of fairy-tale.
I liked this difference in the flood of street windows that compete with each other with cool modernity
Underneath, always ready to revert to primitive patterns of behaviour, eager to deny the complexity of reality, often downright dangerous. Edited in Luminar
The Zollverein Coal Mine is the unique structural expression of the industrial modernity of the 20th century. It was constructed between 1928 and 1932 by the architects Fritz Schupp and Martin Kremmer on behalf of the United Steelworks Inc. according to the maxim of ‘form follows function’. The coal mine had a daily output of 12,000 tons of coal. For decades, it was the coal mine with the greatest output in the world. Since its closure in 1986, the Zollverein Coal Mine has been a listed building and was placed on the UNESCO World Cultural Heritage List in 2001 together with the Zollverein Coking Plant as a “representative example for the development of heavy industry in Europe”.
photo rights reserved by B℮n
Betlemi Street, located in the heart of Tbilisi's historic Old Town, is a charming and picturesque neighborhood that reflects the city's rich cultural heritage. The narrow, winding streets are lined with traditional Georgian houses featuring wooden balconies, many of which are adorned with intricate carvings and vibrant colors. The area is named after the nearby Betlemi Church, which is a key religious site for both locals and visitors. This neighborhood is known for its peaceful, almost timeless atmosphere, offering stunning views of the city from its higher vantage points. The streets are steep and often lead to hidden courtyards and small squares that capture the old-world charm of Tbilisi. Betlemi Street is also a cultural hotspot, where art galleries, cafes, and boutique shops sit alongside historical landmarks, creating a unique blend of tradition and modernity. Visitors strolling through this area experience the essence of Tbilisi's past while being surrounded by the lively spirit of the present.
The Betlemi Street district is known for its peaceful, almost timeless atmosphere, with stunning views of the city from its higher vantage points. The streets are steep and often lead to hidden courtyards and small squares that capture Tbilisi’s old-world charm. Betlemi Street is also a cultural hotspot, where art galleries, cafes, craft workshops and boutiques sit alongside historical landmarks, creating a unique blend of tradition and modernity. Visitors who stroll through this area experience the essence of Tbilisi’s past while being surrounded by the vibrant spirit of the present.
Betlemi Street, gelegen in het hart van de historische oude binnenstad van Tbilisi, is een charmante en pittoreske wijk die het rijke culturele erfgoed van de stad weerspiegelt. De smalle, kronkelende straatjes worden omzoomd door traditionele Georgische huizen met houten balkons, waarvan er veel zijn versierd met ingewikkelde houtsnijwerken en levendige kleuren. Het gebied is vernoemd naar de nabijgelegen Betlemi-kerk, een belangrijke religieuze plek voor zowel de lokale bevolking als bezoekers. Deze wijk staat bekend om zijn vredige, bijna tijdloze sfeer en biedt een prachtig uitzicht over de stad vanaf de hogere uitkijkpunten. De straten zijn steil en leiden vaak naar verborgen binnenplaatsen en kleine pleinen die de ouderwetse charme van Tbilisi vastleggen. Betlemi Street is ook een culturele hotspot, waar kunstgalerijen, cafés en boetiekjes naast historische bezienswaardigheden liggen, wat een unieke mix van traditie en moderniteit creëert. Bezoekers die door dit gebied slenteren, ervaren de essentie van het verleden van Tbilisi terwijl ze worden omringd door de levendige geest van het heden.
The awkwardness of the perspective and the modernity of the image composition are fascinating.
The Stories of the True Cross are a cycle of frescoes preserved in the main chapel of the Basilica of St. Francis in Arezzo, Zuscany, Italy.
Begun by Bicci di Lorenzo, it was painted mainly by Piero della Francesca between 1452 and 1466, who made it one of the masterpieces of Renaissance painting.
Theme of this fresco
Discovery of the three crosses and verification of the Cross
Constantine's mother, Helena, had the ground on Golgotha excavated and found the cross of Jesus and those of the two thieves. Unable to understand which one Christ had been nailed to, Helena had all three placed above the body of a young man who had just died, who miraculously rose from the dead when he came into contact with the sacred relic. At that point, Helena and her entourage knelt in adoration.
Deutsch
Faszinierend die Unbeholfenheit in der Perspektive und die Modernität der Bildgestaltung !
In der Hauptchorkapelle der Kirche San Francesco hat Piero della Francesca von 1453 bis mindestens 1459, möglicherweise bis 1466, einen zehnteiligen Freskenzyklus die Legende vom Wahren Kreuz geschaffen.
Er stellt die Geschichte vom Kreuz Christi nach der Legenda aurea des Jacobus de Voragine dar, die mit dem Tod Adams beginnt und bis zum Triumphzug des Herakleios nach Jerusalem im Jahr 628 erzählt wird.
Auftraggeber war die in Arezzo lebende Familie Bacci, die das Patrozinium über diese Kapelle innehielt. Sie hatte sich mit dem Wunsch nach einem Freskengemälde zunächst an Bicci di Lorenzo gewandt, der jedoch 1452 starb.
Piero della Francesca, der zunächst „notgedrungen“ eingesprungen war, übertraf indes die Erwartungen der Auftraggeber und gestaltete ein Werk, das zu den Hauptwerken der italienischen Frührenaissance zählt.
Thema dieses Freskos
Entdeckung der drei Kreuze und Überprüfung des Kreuzes
Konstantins Mutter Helena ließ den Boden auf Golgatha ausgraben und fand das Kreuz Jesu und die Kreuze der beiden Diebe. Da sie nicht erkennen konnte, an welches Kreuz Christus genagelt worden war, ließ Helena alle drei über den Leichnam eines jungen Mannes legen, der gerade gestorben war und auf wundersame Weise von den Toten auferstand, als er mit der heiligen Reliquie in Berührung kam. An diesem Punkt knieten Helena und ihre Begleiter in Anbetung nieder.
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The Zollverein Coal Mine is the unique structural expression of the industrial modernity of the 20th century. It was constructed between 1928 and 1932 by the architects Fritz Schupp and Martin Kremmer on behalf of the United Steelworks Inc. according to the maxim of ‘form follows function’. The coal mine had a daily output of 12,000 tons of coal. For decades, it was the coal mine with the greatest output in the world. Since its closure in 1986, the Zollverein Coal Mine has been a listed building and was placed on the UNESCO World Cultural Heritage List in 2001 together with the Zollverein Coking Plant as a “representative example for the development of heavy industry in Europe”.