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Playing host to the rescheduled Foo Fighters concert at Wembley (that was cancelled after frontman Dave Grohl broke his leg falling off stage at a show in Gothenburg, Sweden), the National Bowl in Milton Keynes came alive on Sunday, September 6, 2015 with the sound of 65,000 screaming fans. Following sets from rock duo Royal Blood and the eclectic propo-punk icon Iggy Pop, the Foos knew they had to deliver. From the moment the curtain sucked into a black hole vortex to the end of the show, it was obvious it was going to be one hell of a night to remember. Debra, Karl and I had arrived relatively early for the show and, being among the first to enter the MK Bowl, were offered "Inner Pit" passes. Issued on a first-come-first-serve basis, these gave fenced-off access to the stage and were an excellent surprise. We had a great view of the day's action and I was well positioned for photographs. "All My Life" opened the two and a half hour set, with Grohl spending the entire show seated on a most gloriously over-the-top throne, designed by Grohl himself and adorned by guitar necks. It transported the front-man up and down the runway, and was in itself a crowd pleaser! I have wanted to see the Foo Fighters for about two decades - and desperate to do so since "Wasting Light"- and they did not disappoint. A shredding version of "White Limo" alone justified the ticket price, and the rest was a wonderful (and sometimes nostalgic) tour through their back-catalogue. All in all, it was a triumphant, heart-warming singalong set that showed why, for so many, the Foo Fighters have been the soundtrack to the last two decades. Here's the Foo Fighters' set list for the Milton Keynes "Broken Leg" concert.
If I was desperate to see the Foo Fighters, I was absolutely aching to see 69 year old rock legend, Iggy Pop. I narrowly missed one of his gigs in Amsterdam at the end of 1978 and, after this initial disappointment, Iggy stayed on my Bucket List through the late-80's in London, the 90's in Prague and the naughties in the UK. When he was in town, I was always travelling, had other commitments or just had bad luck (i.e. the cancellation of the Foo's concert at Wembley in June where Iggy was on the supporting bill). Well, I finally got to see James Newell Osterberg, Jr. in full, topless, action in Milton Keynes on a fine evening in September 2015! Iggy brought his old school punk snarl to the party, prompting mass singalongs to classic tunes, some of which he penned with his old mate David Bowie in Berlin in the 70's. If I'm still as active as Iggy when I'm almost 70, I'll be more than happy! He made fine use of the runway before him, skipping, kicking, twisting and turning as only Iggy can. He took a breather every now and then, but Iggy still has more energy than any new breed act you care to mention. Fucking hell - he's the man that wrote "Lust for Life"! The snot-noses in the audience didn't know what hit them :-) FYI, here's the Iggy Pop's set list for the night.
A wonderful, sunny day and balmy evening with my family, and a fine way to celebrate the 32nd anniversary of my first date with my future-wife on September 7, 1983.
Personnel[edit]
Stephen Kettle's 2007 statue of Alan Turing
Commander Alastair Denniston was operational head of GC&CS from 1919 to 1942, beginning with its formation from the Admiralty's Room 40 (NID25) and the War Office's MI1b.[12] Key GC&CS cryptanalysts who moved from London to Bletchley Park included John Tiltman, Dillwyn "Dilly" Knox, Josh Cooper, and Nigel de Grey. These people had a variety of backgrounds – linguists, chess champions, and crossword experts were common, and in Knox's case papyrology. The British War Office recruited top solvers of cryptic crossword puzzles, as these individuals had strong lateral thinking skills.[13]
On the day Britain declared war on Germany, Denniston wrote to the Foreign Office about recruiting "men of the professor type".[14] Personal networking drove early recruitments, particularly of men from the universities of Cambridge and Oxford. Trustworthy women were similarly recruited for administrative and clerical jobs.[15] In one 1941 recruiting stratagem The Daily Telegraph was asked to organise a crossword competition, after which promising contestants were discreetly approached about "a particular type of work as a contribution to the war effort".[16]
Denniston recognised, however, that the enemy's use of electromechanical cipher machines meant that formally trained mathematicians would also be needed;[17] Oxford's Peter Twinn joined GC&CS in February 1939;[18] Cambridge's Alan Turing[19] and Gordon Welchman[20] began training in 1938 and reported to Bletchley the day after war was declared, along with John Jeffreys. Later-recruited cryptanalysts included the mathematicians Derek Taunt,[21] Jack Good, Bill Tutte,[22] and Max Newman; historian Harry Hinsley, and chess champions Hugh Alexander and Stuart Milner-Barry.[23] Joan Clarke (eventually deputy head of Hut 8) was one of the few women employed at Bletchley as a full-fledged cryptanalyst.[24][25]
This eclectic staff of "Boffins and Debs"[26] caused GC&CS to be whimsically dubbed the "Golf, Cheese and Chess Society",[27] with the female staff in Dilwyn Knox's section sometimes termed "Dilly's Fillies".[28] These "Dilly's girls" included Margaret Rock, Jean Perrin, Clare Harding, Rachel Ronald, Elisabeth Granger; and Mavis Lever – who made the first break into the Italian naval traffic and later, along with Margaret Rock, solved a German code.[29] During a September 1941 morale-boosting visit, Winston Churchill reportedly remarked to Denniston: "I told you to leave no stone unturned to get staff, but I had no idea you had taken me so literally."[30] Six weeks later, having failed to get sufficient typing and unskilled staff to achieve the productivity that was possible, Turing, Welchman, Alexander and Milner-Barry wrote directly to Churchill. His response was "Action this day make sure they have all they want on extreme priority and report to me that this has been done."[31]
After initial training at the Inter-Service Special Intelligence School set up by John Tiltman (initially at an RAF depot in Buckingham and later in Bedford – where it was known locally as "the Spy School")[32] staff worked a six-day week, rotating through three shifts: 4 p.m. to midnight, midnight to 8 a.m. (the most disliked shift), and 8 a.m. to 4 p.m., each with a half-hour meal break. At the end of the third week, a worker went off at 8 a.m. and came back at 4 p.m., thus putting in sixteen hours on that last day. The irregular hours affected workers' health and social life, as well as the routines of the nearby homes at which most staff lodged. The work was tedious and demanded intense concentration; staff got one week's leave four times a year, but some "girls" collapsed and required extended rest.[33] A small number of men (e.g. Post Office experts in Morse code or German) worked part-time.
In January 1945, at the peak of codebreaking efforts, some 10,000 personnel were working at Bletchley and its outstations.[34] A substantial percentage of personnel at Bletchley Park, 75%,[34] were women; among them were Jane Hughes who processed information leading to the last battle of the Bismarck; and Mavis Batey and Margaret Rock, who were credited for the Abwehr break.[35][35] Their work achieved official recognition only in 2009.[36] Many of the women came from middle-class backgrounds[36] and held degrees in the areas of mathematics, physics and engineering; they were given entry into STEM programs due to the lack of men, who had been sent to war. They performed complex calculation and coding and hence were integral to the computing processes.[37] Eleanor Ireland worked on the Colossus computers.[38]
Rozanne Colchester was a translator at Bletchley Park. She worked there from April 1942 until January 1945 mainly for the Italian air forces Section.[39] Like most of the 'Bletchleyettes', she came from the higher middle class, her father, Air Vice-Marshal Sir Charles Medhurst, being an air attaché in Rome. Before joining the Workforce of the Park, Colchester was moving in high circles “she had met Hitler and been flirted with by Mussolini at an embassy party” writes Sarah Rainey. She joined the Park because she found it thrilling to 'fight'/work for her country.[40] Cicely Mayhew was recruited straight from university, having graduated from Lady Margaret Hall, Oxford in 1944 with a First in French and German, after only two years. She worked in Hut 8, translating decoded German Navy signals.[41]
Ruth Briggs (later called Mrs. Oliver Churchill)[42] worked within the Naval Section and was known as one of the best cryptographers. She was also a German scholar. wikipedia
and the republicans said, screw the humanists!
1. arnold m. picker (united artists exec.)
2. alexander e. barkan (leader of the working class/afl-cio)
3. ed guthman (reporter/editor, seattle times/la times)
4. maxwell dane (advertising exec)
5. charles dyson (philanthropist)
6. howard stein (progressive/financier)
7. allard lowenstein (congressman)
8. morton halperin (poss. whistleblower of nixon's cambodian mass murder)
9. leonard woodcock (uaw leader)
10. s. sterling munro jr. (senate aide)
11. bernard t. feld (scientist)
12. sidney davidoff (mayoral aide)
13. john conyers (congressman)
14. samuel m. lambert (nat'l education assoc.)
15. stewart rawlings mott (philanthropist)
16. ronald dellums (congressman, humanitarian)
17. daniel schorr (emmy winning journalist and author)
18. s. harrison dogole (detective, humphrey supporter)
19. paul newman (great american actor/citizen, humanitarian)
20. mary mcgrory (pulitzer prize winning columnist)
Miami est. 1896, pop. 2.6MM • Coral Gables est. 1925, pop. 50K
• aka La Puerta del Sol (Gate of the Sun) • main entrance to Coral Gables when arriving from Miami • patterned after entrances to Spanish walled cities • original plans to incorporate a Spanish village w/shops, apartments, townhouses aborted by 1926 FL Land Bust
• of the 8 planned architectural entrances, this is one of the 5 completed • others are Granada, Country Club Prado, Commercial (Alhambra) & Coral Way Entrances
• Mediterranean Revival design by architects Walter DeGarmo (1876-1951), Phineas Paist (1873-1937) & artist/illustrator Denman Fink (1880-1956) • contractor was John B. Orr (1886-1935), nationally known for exploring artistic possibilities of plaster, stucco & cement • goal was authenticity of design & material based on Spanish/ Mediterranean architecture
• 90’ tower & 40' arch, which leads to 250’ plaza w/ village square atmosphere • tower designed to hold water supply for neighborhood, now houses cooling equipment • apartments featured wood-burning fireplaces, high-beamed ceilings, wrought iron balconies
• in 60’s, building slated for demolition to make way for supermarket & parking lot • public opposition to plan & formation of Douglas Village Association instrumental in saving building • Wikipedia • National Register # 72000305, 1972
• city of Coral Gables (1925) created by Duxbury, MA transplant George E. Merrick (1886–1942) on family's 3K acre plantation • Merrick's vision of a "Riviera of the Tropics" influenced by City Beautiful Movement • $100MM one of the 1st planned communities in US
• unifying theme was "castles in Spain made real," expressed in "Mediterranean Revival" architecture, a term said to have been coined by Merrick cousin, architect H. George Fink (1891-1975) • the French/Italian inspired architecture was, “a combination of what seemed best in each, with an added touch of gaiety to suit
the Florida mood.” -George Merrick
• Merrick's team: architects, landscape planner, artistic advisor, real estate officer, engineers • Supervisor of Color Phineas Paist (1873-1937) became supervising architect, responsible for ensuring aethetic consistency through codes, established Board of Architects Review Panel that still functions • Paist bio • Phineas Paist & the Architecture of Coral Gables (pdf)
• opened with strong sales, Merrick invested profits in expansion, founded U. of Miami • for unknown reasons, Merrick decided to diverge from consistent Mediterranean aesthetic at peak of land boom in 1925 • sold former OH governor Meyers Y. Cooper (1873-1958) hundreds of acres for express purpose of building houses/villages in traditional designs of other states, nations • goal was authenticity, not imitation, each of 14 planned villages to be designed by architect familiar with chosen style
• "Seven Miami architects and five New York architects are uniting in working out the details of the great planning of house construction. Thirteen styles are being used, drawn from various regions and nations which harmonize with the Mediterranean style now in use." -Meyers Y. Cooper • before 1926 Great Miami Hurricane & land bust ended construction, 7 villages completed: Dutch South African, Chinese, French Normandy, Florida Pioneer/Colonial, French Country, French City, Italian • fewer than 80 of the 1000 planned residences built
• Florida Land Bust broke Merrick, removed from Coral Gables commission, moved to Matacumbe Key, to run wife's resort • returned to Gables to be county postmaster 2 yrs. before death
• 1926 photo -Bittrex • Villages of Coral Gables -The Devoted Classicist • Remnants of a Dream in Coral Gables -Global Site Plans • George Merrick Villages -Bittrex
started in 1991 with the ultrafast exhibition
20 years later :
2011 :the Now Museum came
Delay Museum ? Art = Retard ?
if you are interest in the original format Emergency Room contact 1@colonel.dk
----------Now Museum press text :----
What do museums of contemporary art stand for today? The last two decades has seen an unimaginable diversification of the museum as a place for exhibiting art and telling history, producing innovative education models, promoting international collaborations, forming alternative archives, and facilitating new productions.
This conference aims to tackle key questions around the museum as an institutional entity and contemporary art as an art historical category. Speakers will provide an overview of developments across the Americas, Europe, Asia, Africa, and the Middle East. Particular attention will be paid to the construction of historical narratives (or their abandonment) through collection displays, the role of research in relation to contemporary art, the alternative models that are already having an impact, and their relationship to more traditional museum infrastructures.
Presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum.
Schedule
Thursday, March 10 | 7–9 p.m. | New Museum
7:15 p.m. "Exhibition Machines"
A conversation with artist Paul Chan and Philippe Vergne, Director, Dia Art Foundation, New York.
Friday, March 11 | 10 a.m.–6 p.m. | CUNY Graduate Center
10:15 a.m. "Revisiting The Late Capitalist Museum"
A panel discussion with Bruce Altshuler, Director, Program in Museum Studies, New York University; Manuel Borja-Villel, Director, Museo Nacional Reina Sofia, Madrid; and Beatriz Colomina, Professor, Department of Architecture, Princeton University.
Chaired by Johanna Burton, Director, Bard Center for Curatorial Studies.
12 p.m. "Sources of the Contemporary Museum"
A conversation with Carlos Basualdo, Curator of Contemporary Art at the Philadelphia Museum of Art, and Curator at MAXXI, Rome, and Pamela M. Lee, Professor, Department of Art and Art History, Stanford University.
2:30 p.m. "The Artist's Perspective"
A conversation with artist Dara Birnbaum and Ute Meta Bauer, Associate Professor and Director, Visual Arts Program, MIT.
3:40 p.m. "Contemporanizing History/Historicizing the Contemporary"
A panel discussion with Okwui Enwezor, Director, Haus der Kunst, Munich; Annie Fletcher, Curator, Van Abbe Museum, Eindhoven; Massimiliano Gioni, Associate Director and Director of Exhibitions, New Museum, New York; and Terry Smith, Professor of Contemporary Art History and Theory, University of Pittsburgh.
Chaired by Claire Bishop, Associate Professor of Art History, CUNY Graduate Center.
Saturday, March 12 | 12–6 p.m. | New Museum
12:15 p.m. "Extending Infrastructures, Part I: Platforms & Networks"
A panel discussion with Zdenka Badovinac, Director, Moderna Galerija, Ljubljana; Anthony Huberman, Distinguished Lecturer, Hunter College and Director, The Artist's Institute, New York; Maria Lind, Director, Tensta Konsthall, Stockholm; and Lu Jie, Director and Chief Curator, Long March Project, Beijing.
Chaired by Kate Fowle, Director, Independent Curators International, New York.
2:30 p.m. "Extending Infrastructures, Part II: Bricks & Mortar"
A panel discussion with Richard Armstrong, Director, Solomon R. Guggenheim Foundation; curator and artist Gabi Ngcobo, Johannesburg; and Gabriel Pérez-Barreiro, Director, Colección Patricia Phelps de Cisneros, New York and Caracas.
Chaired by Eungie Joo, Director and Curator of Education and Public Programs, New Museum.
4:45 p.m. "What does the museum stand for now?"
Responses by Katy Siegel, Professor, Department of Art, Hunter College and Dominic Willsdon, Curator of Education and Public Programs, San Francisco Museum of Modern Art.
Sunday, March 13 | 2–6 p.m. | New Museum
2 p.m. "Graduate Students Respond"
A graduate student symposium co-chaired by Claire Bishop, Kate Fowle, and Martin Grossmann, Professor, School of Art and Communications, University of São Paulo.
CUNY Graduate Center
365 Fifth Avenue
New York, NY 10016
Independent Curators International
New Museum
235 Bowery
New York, NY 10002
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is the second-largest city in Missouri, United States. It sits near the confluence of the Mississippi and the Missouri Rivers, on the western bank of the latter. As of 2020, the city proper had a population of around 301,500, while the bi-state metropolitan area, which extends into Illinois, had an estimated population of over 2.8 million, making it the largest metropolitan area in Missouri, the second-largest in Illinois, the seventh-largest in the Great Lakes Megalopolis, and the 20th-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. St. Louis was founded on February 14, 1764, by French fur traders Gilbert Antoine de St. Maxent, Pierre Laclède and Auguste Chouteau, who named it for Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain. In 1800, it was retroceded to France, which sold it three years later to the United States as part of the Louisiana Purchase; the city was then the point of embarkation for the Corps of Discovery on the Lewis and Clark Expedition. In the 19th century, St. Louis became a major port on the Mississippi River; from 1870 until the 1920 census, it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. St. Louis had a brief run as a world-class city in the early 20th century. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
A "Gamma" global city with a metropolitan GDP of more than $160 billion in 2017, metropolitan St. Louis has a diverse economy with strengths in the service, manufacturing, trade, transportation, and tourism industries. It is home to nine of the ten Fortune 500 companies based in Missouri. Major companies headquartered or with significant operations in the city include Ameren Corporation, Peabody Energy, Nestlé Purina PetCare, Anheuser-Busch, Wells Fargo Advisors, Stifel Financial, Spire, Inc., MilliporeSigma, FleishmanHillard, Square, Inc., U.S. Bank, Anthem BlueCross and Blue Shield, Federal Reserve Bank of St. Louis, U.S. Department of Agriculture, National Geospatial-Intelligence Agency, Centene Corporation, and Express Scripts.
Major research universities include Saint Louis University and Washington University in St. Louis. The Washington University Medical Center in the Central West End neighborhood hosts an agglomeration of medical and pharmaceutical institutions, including Barnes-Jewish Hospital.
St. Louis has three professional sports teams: the St. Louis Cardinals of Major League Baseball, the St. Louis Blues of the National Hockey League, and the St. Louis BattleHawks of the newly formed XFL. In 2019, the city was awarded a Major League Soccer franchise, St. Louis City SC, which is expected to begin play upon the completion of a 22,500-seat stadium in the city's Downtown West neighborhood in 2023. Among the city's notable sights is the 630-foot (192 m) Gateway Arch in the downtown area. St. Louis is also home to the St. Louis Zoo and the Missouri Botanical Garden, which has the second-largest herbarium in North America.
Source: saintlouisautoshow.com/show-history/
It’s time to start your engines and gear up for the future at the 2021 St. Louis Auto Show. Whether you consider yourself a car enthusiast or not, this event has something for everyone — including children. As the largest automobile event in the St. Louis area, the Saint Louis Auto Show features more than 500 new cars, pickup trucks and SUVs from over 25 manufacturers all under one roof. The 2021 St. Louis Auto Show lets you preview the latest models, learn about new safety technology and preview some of the world’s most expensive vehicles, all without the pressure of making a vehicle purchase!
2021 STL Auto Show
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
(sorry we're late with the photo; it got soaked in the rain on our ride)
100 cyclists who rode to Washington DC to lobby for action on climate change, unfurled this 100 foot-long banner in the South Street Seaport.
photo: Ashley Hunt-Martorano
The Khwae Yai River, also known as the Si Sawat, is a river in western Thailand. It has its source in the Tenasserim Hills and flows for about 380 kilometres through Sangkhla Buri, Si Sawat, and Mueang Districts of Kanchanaburi Province, where it merges with the Khwae Noi to form the Mae Klong River at Pak Phraek subdistrict.
The famous bridge of the Burma Railway crosses the river at Tha Makham Subdistrict of the Mueang District. However this is not the same bridge as depicted in The Bridge over the River Kwai by Pierre Boulle and in its film adaptation. A bridge was built of wood approximately 100 metres upriver from the current bridge, during the construction of the iron and concrete bridge and also rebuilt in 1945 when the iron bridge was bombed.
No remnants of the wooden bridge remain. That wooden bridge was also not the bridge depicted in the film as the river was not called the Kwai Yai at that time. A wooden trestle bridge was built over the Kwai Noi many miles upstream in the jungle and it would more closely resemble the bridge in the film. However, the film is really a fictional depiction of the events with many inaccuracies and neither bridge can really be said to be that depicted in the film.
Up until the 1960s, the river was considered part of the Mae Klong itself, but this part of the Mae Klong was then renamed Khwae Yai to bring geographical fact more in line with the fictional association with the name 'River Kwai'. en.wikipedia.org
SHOPPERS DRUG MART Weekend to End Women’s Cancers benefitting the BC Cancer Foundation
Join TEAM FINNS fight against Cancer! Put Yourself in the picture visit Team Finn.org
photos by Team Finn, PacBlue Printing and Ron Sombilon Gallery
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fr.wikipedia.org/wiki/Palais_de_la_musique_catalane
es.wikipedia.org/wiki/Palau_de_la_Música_Catalana
en.wikipedia.org/wiki/Palau_de_la_Música_Catalana
english
The Palau de la Música Catalana (Palace of Catalan Music) is a concert hall in Barcelona, Catalonia, Spain. Designed in the Catalan modernista style by the architect Lluís Domènech i Montaner, it was built between 1905 and 1908 for the Orfeó Català, a choral society founded in 1891 that was a leading force in the Catalan cultural movement that came to be known as the Renaixença (Catalan Rebirth) (Benton 1986, 56; Fahr-Becker 2004, 199). It was inaugurated February 9, 1908.
The project was financed primarily by the society, but important financial contributions also were made by Barcelona's wealthy industrialists and bourgeoisie. The Palau won the architect an award from the Barcelona City Council in 1909, given to the best building built during the previous year. Between 1982 and 1989, the building underwent extensive restoration, remodeling, and extension under the direction of architects Oscar Tusquets and Carles Díaz (Carandell et al. 2006, 138).
In 1997, the Palau de la Música Catalana was declared a UNESCO World Heritage Site along with Hospital de Sant Pau. Today, more than half a million people a year attend musical performances in the Palau that range from symphonic and chamber music to jazz and Cançó (Catalan song).
Español
El Palacio de la Música Catalana es un auditorio de música situado en la calle Sant Pere més Alt en el barrio de la Ribera de Barcelona, España. Fue proyectado por el arquitecto barcelonés Lluís Domènech i Montaner, uno de los máximos representantes del modernismo catalán. La construcción se llevó a cabo entre los años 1905 y 1908, con soluciones en la estructura muy avanzadas con la aplicación de grandes muros de cristal y la integración de todas las artes, escultura, mosaicos, vitrales y forja.1 El edificio, sede central del "Orfeón Catalán", fundado en 1891 por Lluís Millet y Amadeo Vives, fue sufragado por industriales y financieros catalanes, ilustrados y amantes de la música, estamento que sesenta años antes ya había financiado el teatro de ópera y ballet Gran Teatro del Liceo.
En 1997 la Unesco incluyó el edificio en su relación del Patrimonio de la Humanidad.
Français :
Le palais de la musique catalane (catalan : Palau de la Música Catalana) est une salle de concert située dans le quartier Saint-Pierre de Barcelone. C'est l'œuvre de Lluís Domènech i Montaner, l'un des principaux représentants du modernisme catalan.
Les travaux se déroulent de 1905 à 1908 et font appel à des structures avancées telles que l'utilisation de nouveaux profils laminaires, une structure métallique centrale stabilisée par des contreforts et des voûtes d'inspiration gothiques. L'architecte innove par l'utilisation de murs-rideaux et fait appel à une grande variété de techniques artistiques : sculptures, mosaïques, vitraux et ferronneries.
L'édifice est une commande de l'association « l'Orféo catalan » qui désire en faire son siège social. Comme pour la construction du Liceu 60 ans auparavant, les fonds proviennent du mécénat : industriels, financiers, notables et amateurs de musique financent la construction.
La vocation première de la salle est de recevoir des concerts de musique chorale, de la musique symphoniques et des récitals. Elle est utilisée aujourd'hui pour tous les types de musiques, depuis les styles classiques jusqu'aux concerts modernes.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
First views of the castle.
Panoramic
A visit to Beaumaris Castle on the Isle of Anglesey in Wales. Our 2nd visit in around 20 years.
The first steps leads up the the Gunners Walk.
Beaumaris Castle (Welsh: Castell Biwmares), located in the town of the same name on the Isle of Anglesey in Wales, was built as part of Edward I's campaign to conquer the north of Wales after 1282. Plans were probably first made to construct the castle in 1284, but this was delayed due to lack of funds and work only began in 1295 following the Madog ap Llywelyn uprising. A substantial workforce was employed in the initial years under the direction of James of St George. Edward's invasion of Scotland soon diverted funding from the project, however, and work stopped, only recommencing after an invasion scare in 1306. When work finally ceased around 1330 a total of £15,000 had been spent, a huge sum for the period, but the castle remained incomplete.
Beaumaris Castle was taken by Welsh forces in 1403 during the rebellion of Owain Glyndŵr, but was recaptured by royal forces in 1405. Following the outbreak of the English Civil War in 1642, the castle was held by forces loyal to Charles I, holding out until 1646 when it surrendered to the Parliamentary armies. Despite forming part of a local royalist rebellion in 1648 the castle escaped slighting and was garrisoned by Parliament, but fell into ruin around 1660, eventually forming part of a local stately home and park in the 19th century. In the 21st century the ruined castle is managed by Cadw as a tourist attraction.
Historian Arnold Taylor described Beaumaris Castle as Britain's "most perfect example of symmetrical concentric planning". The fortification is built of local stone, with a moated outer ward guarded by twelve towers and two gatehouses, overlooked by an inner ward with two large, D-shaped gatehouses and six massive towers. The inner ward was designed to contain ranges of domestic buildings and accommodation able to support two major households. The south gate could be reached by ship, allowing the castle to be directly supplied by sea. UNESCO considers Beaumaris to be one of "the finest examples of late 13th century and early 14th century military architecture in Europe", and it is classed as a World Heritage site.
Grade I listed building
History
Beaumaris Castle was begun in 1295, the last of the castles built by Edward I to create a defensive ring around the N Wales coast from Aberystwyth to Flint. The master mason was probably James of St George, master of the king's works in Wales, who had already worked on many of Edward's castles, including Harlech, Conwy and Caernarfon. Previously he had been employed by Philip of Savoy and had designed for him the fortress palace of St Georges d'Esperanche.
Unlike most of its contemporaries, Beaumaris Castle was built on a flat site and was designed on the concentric principle to have 4 defensive rings - moat, outer curtain wall, outer ward and inner curtain wall. It was originally intended to have 5 separate accommodation suites. In the event they were not built as work ceased c1330 before the castle was complete. A survey made in 1343 indicates that little has been lost of the fabric in subsequent centuries, despite being besieged during the revolt of Owain Glyndwr. However it was described as ruinous in 1539 and in 1609 by successive members of the Bulkeley family, who had settled in Anglesey and senior officials at Beaumaris from the C15, although they were probably unaware that the castle had never been finished. During the Civil War the castle was held for the king by Thomas, Viscount Bulkeley, who is said to have spent £3000 on repairs, and his son Colonel Richard Bulkeley. After the Restoration it was partly dismantled. The castle was purchased from the crown by the 6th Viscount Bulkeley in 1807, passing to his nephew Sir Richard Bulkeley Williams-Bulkeley in 1822. Sir Richard opened the castle grounds to the public and in 1832 Princess Victoria attended a Royal Eisteddfod held in the inner ward. Since 1925 it has been in the guardianship of the state, during which time the ruins have been conserved and the moat reinstated.
Exterior
A concentrically planned castle comprising an inner ward, which is square in plan, with high inner curtain wall incorporating gatehouses and towers, an outer ward and an outer curtain wall which is nearly square in plan but has shallow facets to form an octagon. The outer curtain wall faces the moat. The castle is built mainly of coursed local limestone and local sandstone, the latter having been used for dressings and mouldings. Openings have mainly shouldered lintels.
The main entrance was the S side, or Gate Next the Sea. This has a central gateway with tall segmental arch, slots in the soffit for the drawbridge chains, loop above it and machicolations on the parapet. The entrance is flanked by round gatehouse towers which, to the L, is corbelled out over a narrower square base set diagonally, and on the R is corbelled out with a square projecting shooting platform to the front. The towers have loops in both stages, and L-hand (W) tower has a corbelled latrine shaft in the angle with the curtain wall. The shooting platform has partially surviving battlements, and is abutted by the footings of the former town wall, added in the early C15. On the R side of the gatehouse is the dock, where the curtain wall has a doorway for unloading provisions. The dock wall, projecting at R angles further R has a corbelled parapet, a central round tower that incorporated a tidal mill and, at the end, a corbelled shooting platform, perhaps for a trebuchet, with machicolations to the end (S) wall. The E side of the dock wall has loops lighting a mural passage.
The curtain walls have loops at ground level of the outer ward, some blocked, and each facet to the E, W and N sides has higher end and intermediate 2-stage round turrets, and all with a corbelled parapet. The northernmost facet of the W side and most of the northern side were added after 1306 and a break in the building programme. The towers at the NW and NE corners are larger and higher than the other main turrets. On the N side, in the eastern facet, is the N or Llanfaes Gate. This was unfinished in the medieval period and has survived much as it was left. The gateway has a recessed segmental arch at high level, a portcullis slot and a blocked pointed arch forming the main entrance, into which a modern gate has been inserted. To the L and R are irregular walls, square in plan, of the proposed gatehouse towers, the N walls facing the moat never having been built. Later arches were built to span the walls at high level in order to facilitate a wall walk. The NE tower of the outer curtain wall has a corbelled latrine shaft in the angle with the E curtain wall, and in the same stretch of wall is a corbelled shaft retaining a gargoyle. The SE tower also has a corbelled latrine shaft in the angle with the E curtain wall.
In the Gate Next the Sea the passage is arched with 2 murder slots, a loop to either side, and a former doorway at the end, of which draw-bar slots have survived. In the R-hand (E) gatehouse is an irregular-shaped room with garderobe chamber. On its inner (N) side are mural stair leading to the wall walk and to a newel stair to the upper chamber. The upper chamber has a fireplace with missing lintel, and a garderobe. The L-hand (W) gatehouse has an undercroft. Its lower storey was reached by external stone steps against the curtain wall, and retains a garderobe chamber and fireplace, formerly with projecting hood. The upper chamber was reached from the wall walk.
On the inner side facing the outer ward, the outer curtain wall is corbelled out to the upper level, except on the N side where only a short section is corbelled out. To the W of the gatehouse are remains of stone steps to the gatehouse, already mentioned, and stone steps to the wall walk. Further R the loops in the curtain wall are framed by an arcade of pointed arches added in the mid C14. The curtain wall towers have doorways to the lower stage, and were entered from the wall walk in the upper stage. In some places the wall walk is corbelled out and/or stepped down at the entrances to the towers. On the W side, the southernmost facet has a projecting former garderobe, surviving in outline form on the ground and with evidence of a former lean-to stone roof. Just N of the central tower on the W side are the footings of a former closing wall defining the original end of the outer ward before the curtain wall was completed after 1306. Further N in the same stretch of wall are stone steps to the wall walk. The NW corner tower has a doorway with draw-bar socket, passage with garderobe chamber to its L, and a narrow fireplace which formerly had a projecting hood. The upper stage floor was carried on a cross beam, of which large corbels survive, and corbel table that supported joists. In the upper stage details of a former fireplace have been lost.
In the Llanfaes Gate the proposed gatehouses both have doorways with ovolo-moulded surrounds. The L-hand (W) doorway leads to a newel stair. The NE curtain wall tower is similar to the NW tower, with garderobe, fireplaces and corbels supporting the floor of the upper stage. Both facets on the E side have remains of garderobes with stone lean-to roofs, of which the northernmost is better preserved. The SE tower was heated in the upper stage but the fireplace details are lost. In the dock wall, a doorway leads to a corbelled mural passage.
The inner ward is surrounded by higher curtain walls with corbelled parapets. It has S and N gatehouses, and corner and intermediate round towers in the E and W walls. The towers all have battered bases and in the angles with the curtain walls are loops lighting the stairs. The curtain walls have loops lighting a first floor mural passage, and the S and N sides also have shorter passages with loops in the lower storey. The inner curtain wall has a more finely moulded corbel table than the outer curtain wall, and embattlements incorporating arrow loops. The main entrance to the inner ward was by the S Gatehouse. It has an added barbican rectangular in plan. The entrance in the W end wall has a plain pointed arch, of which the voussoirs and jamb are missing on the L side. The S wall has 3 loops and 2 gargoyles, the L-hand poorly preserved, and has a single loop in the E wall. Inside are remains of stone steps against the E wall leading to the parapet. The 2-storey S gatehouse has a 2-centred arch, a pointed window above, retaining only a fragment of its moulded dressings, spanned by a segmental arch with murder slot at high level. The towers to the R and L are rounded and have loops in the lower stage, and square-headed windows in the middle stage.
The SW, W (Middle) and NW towers have similar detail, a loop in the lower stage and blocked 2-light mullioned window in the middle stage. The 3-storey N Gatehouse, although similar in plan and conception to the S Gatehouse, differs in its details. It has a central 2-centred arch and pintles of former double gates. In the middle storey is a narrow square-headed window and in the upper storey a 2-light window with cusped lights and remains of a transom. A high segmental arch, incorporating a murder slot, spans the entrance. The rounded towers have loops in the lower stage. The R-hand (W) has a window opening in the middle storey, of which the dressings are missing, and in the upper storey a single cusped light to the N and remains of a pair of cusped lights, with transom, on the W side. The L-hand (E) tower has a single square-headed window in the middle storey (formerly 2-light but its mullion is missing) and in the upper storey a single cusped light and square-headed window on the E side. The NE and SE towers are similar to the towers on the W side. In the middle of the E curtain wall is the chapel tower, which has 5 pointed windows in the middle storey.
The S gateway has a well-defended passage. The outer doorway has double draw-bar sockets, followed by a portcullis slot, 4 segmental arches between murder slots, loops in each wall, then another portcullis slot and a segmental arch where the position of a doorway is marked by double draw-bar sockets. Beyond, the passage walls were not completed, but near the end is the position of another doorway with draw-bar socket and the base of a portcullis slot.
The gatehouses have a double depth plan, but only the outer (S) half was continued above ground-floor level. The N side has the footings of guard rooms, each with fireplaces and NE and NW round stair turrets, of which the NW retains the base of a newel stair. Above ground floor level the N wall of the surviving building, originally intended as a dividing wall, has doorways in the middle storey. Both gatehouses have first-floor fireplaces, of which the moulded jambs and corbels have survived, but the corbelled hood has been lost.
Architectural refinement was concentrated upon the N gatehouse, which was the principal accommodation block, and the chapel. The S elevation of the N gatehouse has a central segmental arch to the entrance passage. To its R is a square-headed window and to its L are 2 small dressed windows, set unusually high because an external stone stair was originally built against the wall. In the 5-bay middle storey are a doorway at the L end and 4 windows to a first-floor hall. All the openings have 4-centred arches with continuous mouldings, sill band and string course at half height. The R-hand window retains a transom but otherwise no mullions or transoms have survived. Projecting round turrets to the R and L house the stairs, lit by narrow loops. To the N of the R-hand (E) stair tower the side wall of the gatehouse has the segmental stone arch of a former undercroft.
The N gate passage is best described from its outer side, and is similar to the S gate. It has a doorway with double draw-bar sockets, portcullis slot, springers of former arches between murder slots, loops in each wall, another portcullis slot, a pointed doorway with double draw-bar sockets, doorways to rooms on the R and L, and a 3rd portcullis slot. The gatehouses have, in the lower storey, 2 simple unheated rooms. The first-floor hall has pointed rere arches, moulded C14 corbels and plain corbel table supporting the roof, a lateral fireplace formerly with corbelled hood, and a similar fireplace in the E wall (suggesting that the hall was partitioned) of which the dressings are mostly missing. Rooms on the N side of the hall are faceted in each gatehouse, with fireplaces and window seats in both middle and upper storeys. Stair turrets have newels stairs, the upper portion of which is renewed in concrete on the W side.
The Chapel tower has a pointed rubble-stone tunnel vault in the lower storey. In the middle storey is a pointed doorway with 2 orders of hollow moulding, leading to the chapel. Above are 2 corbelled round projections in the wall walk. The chapel doorway opens to a small tunnel-vaulted lobby. Entrance to the chapel itself is through double cusped doorways, which form part of a blind arcade of cusped arches with trefoiled spandrels, 3 per bay, to the 2-bay chapel. The chapel has a polygonal apse and rib vault on polygonal wall shafts. The W side, which incorporates the entrance, also has small lancet openings within the arcading that look out to the mural passage. Windows are set high, above the arcading. The W bay has blind windows, into which small windows were built that allowed proceedings to be viewed from small chambers contained within the wall on the N and S sides of the chapel, reached from the mural passage and provided with benches.
The SW, NW, NE, SE and the Middle tower are built to a standard form, with round lower-storey rooms, octagonal above. They incorporate newel stairs, of which the NW has mostly collapsed, and the SW is rebuilt in concrete at the upper level. The lower storey, which has a floor level lower than the passage from the inner ward, was possibly used as a prison and has a single inclined vent but no windows. Upper floors were supported on diaphragm arches, which have survived supporting the middle storeys of the Middle and SE towers, whereas the SW and NE towers retain only the springers of former arches, and the NE tower has a diaphragm arch supporting the upper storey. In the middle storey of each tower is the remains of a fireplace with corbelled hood.
Each section of curtain wall contains a central latrine shaft, with mural passages at first-floor level incorporating back-to-back garderobes. The N and S walls also have short mural passages in the lower storey to single garderobes in each section of wall. Mural passages have corbelled roofs. The S side is different as it has tunnel-vaulted lobbies adjacent to the towers, between which are short sections of corbelled passage with garderobes. The wall walk also incorporates back-to-back latrines, in this case reached down stone steps.
There is evidence of buildings within the inner ward. Footings survive of a building constructed against the E end of the N wall. In the curtain wall are 2 fireplaces, formerly with corbelled hoods, to a first-floor hall. On the S side of the chapel tower is the stub wall of a larger building. On the N side of the W curtain wall are the moulded jambs of a former kitchen fireplace, and adjacent to it against the N wall is the base of a bake oven. On the E side of the S curtain wall the wall is plastered to 2-storey height.
Reasons for Listing
Listed grade I as one of the outstanding Edwardian medieval castles of Wales.
Scheduled Ancient Monument AN001
World Heritage Site
Sign
Stills from VJ projects performed last night at the Mighty Gallery to Bitshifter's gameboy-driven audio.
All visuals were run as Processing-exported OSX applications controlled live with an M-Audio Trigger Finger. Someone buy me a Lemur so I can do this properly.
Journal of the Academy of Natural Sciences of Philadelphia
Philadelphia :Academy of Natural Sciences of Philadelphia,1817-1918.
Source: en.wikipedia.org/wiki/Stockholm
Stockholm is the capital and most populous urban area of Sweden. 972,647 people live in the municipality, approximately 1.6 million in the urban area, and 2.4 million in the metropolitan area. The city stretches across fourteen islands where Lake Mälaren flows into the Baltic Sea. Outside the city to the east, and along the coast, is the island chain of the Stockholm archipelago. The area has been settled since the Stone Age, in the 6th millennium BC, and was founded as a city in 1252 by Swedish statesman Birger Jarl. It is also the county seat of Stockholm County.
Stockholm is the cultural, media, political, and economic centre of Sweden. The Stockholm region alone accounts for over a third of the country's GDP, and is among the top 10 regions in Europe by GDP per capita. It is an important global city, the largest in Scandinavia and the main centre for corporate headquarters in the Nordic region. The city is home to some of Europe's top ranking universities, such as the Stockholm School of Economics, Karolinska Institute and KTH Royal Institute of Technology. It hosts the annual Nobel Prize ceremonies and banquet at the Stockholm Concert Hall and Stockholm City Hall. One of the city's most prized museums, the Vasa Museum, is the most visited non-art museum in Scandinavia. The Stockholm metro, opened in 1950, is well known for the decor of its stations; it has been called the longest art gallery in the world. Sweden's national football arena is located north of the city centre, in Solna. Ericsson Globe, the national indoor arena, is in the southern part of the city. The city was the host of the 1912 Summer Olympics, and hosted the equestrian portion of the 1956 Summer Olympics otherwise held in Melbourne, Victoria, Australia.
Stockholm is the seat of the Swedish government and most of its agencies, including the highest courts in the judiciary, and the official residencies of the Swedish monarch and the Prime Minister. The government has its seat in the Rosenbad building, the Riksdag (Swedish parliament) is seated in the Parliament House, and the Prime Minister's residence is adjacent at Sager House. Stockholm Palace is the official residence and principal workplace of the Swedish monarch, while Drottningholm Palace, a World Heritage Site on the outskirts of Stockholm, serves as the Royal Family's private residence.
Source: en.wikipedia.org/wiki/Gamla_stan
Gamla stan ("The Old Town"), until 1980 officially Staden mellan broarna ("The Town between the Bridges"), is the old town of Stockholm, Sweden. Gamla stan consists primarily of the island Stadsholmen. Officially, but not colloquially, Gamla stan includes the surrounding islets Riddarholmen, Helgeandsholmen and Strömsborg.
The town dates back to the 13th century, and consists of medieval alleyways, cobbled streets, and archaic architecture. North German architecture has had a strong influence in the Old Town's construction.
Stortorget is the name of the scenic large square in the centre of Gamla Stan, which is surrounded by old merchants' houses including the Stockholm Stock Exchange Building. The square was the site of the Stockholm Bloodbath, where Swedish noblemen were massacred by the Danish King Christian II in November, 1520. The following revolt and civil war led to the dissolution of the Kalmar Union and the subsequent election of King Gustav I.
As well as being home to the Stockholm Cathedral, the Nobel Museum, and the Riddarholm church, Gamla stan also boasts Kungliga slottet, Sweden's baroque Royal Palace, built in the 18th century after the previous palace Tre Kronor burned down. The House of Nobility (Riddarhuset) is on the north-western corner of Gamla stan.
The restaurant Den gyldene freden is located on Österlånggatan. It has been in business, continuously, since 1722 and according to the Guinness Book of Records is the longest operated restaurant with an unchanged environment and is one of the oldest restaurants in the world. It is now owned by the Swedish Nobel Academy that have their "Thursday luncheons" there every week. A statue of St. George and the Dragon (sculpted by Bernt Notke) can be found in the Stockholm Cathedral, while Riddarholmskyrkan is the royal burial church. Bollhustäppan, a small courtyard at Slottsbacken behind the Finnish Church, just south of the main approach to the Royal Palace, is home to one of the smallest statues in Sweden, a little boy in wrought iron. The plaque just below the statue says its name "Järnpojken" ("The Iron Boy"). It was created by Liss Eriksson in 1967.
From the mid-19th century to the early-mid 20th century Gamla stan was considered a slum, many of its historical buildings left in disrepair, and just after World War II, several blocks together five alleys were demolished for the enlargement of the Riksdag (see Brantingtorget). From the 1970s and 80s, however, it has become a tourist attraction as the charm of its medieval, Renaissance architecture and later additions have been valued by later generations.
While the archaeology of the 370 properties in Gamla stan remains poorly documented, recent inventories done by volunteers have shown many buildings previously dated to the 17th and 18th centuries, can be up to 300 years older.
Source: www.visitstockholm.com/see--do/attractions/gamla-stan/
Gamla Stan, the Old Town, is one of the largest and best preserved medieval city centers in Europe, and one of the foremost attractions in Stockholm. This is where Stockholm was founded in 1252.
All of Gamla Stan and the adjacent island of Riddarholmen are like a living pedestrian-friendly museum full of sights, attractions, restaurants, cafés, bars, and places to shop. Gamla Stan is also popular with aficionados of handicrafts, curious, and souvenirs. The narrow winding cobblestone streets, with their buildings in so many different shades of gold, give Gamla Stan its unique character. Even now cellar vaults and frescoes from the Middle Ages can be found behind the visible facades, and on snowy winter days, the district feels like something from a storybook.
There are several beautiful churches and museums in Gamla Stan, including Sweden’s national cathedral Stockholm Cathedral and the Nobel Prize Museum. The largest of the attractions in the district is the Royal Palace, one of the largest palaces in the world with over 600 rooms. In addition to the reception rooms, there are several interesting museums in the Palace, including the Royal Armory, with royal costumes and armor. Don't miss the parade of soldiers and the daily changing of the guard.
Västerlånggatan and Österlånggatan are the district’s main streets. The city wall that once surrounded the city ran inside these streets along what is now Prästgatan. In the middle of Gamla Stan is Stortorget, the oldest square in Stockholm. Stortorget is the central point from which runs Köpmangatan, the oldest street in Stockholm, which was mentioned as early as the fourteenth century. Mårten Trotzigs gränd (Mårten Trotzigs alley) is hard to find. It’s the narrowest alley in Gamla Stan, only 90 centimeters wide at its narrowest point. Make sure not to miss Riddarholmen and the Riddarholmen Church. The church is a royal burial church and was built as a Franciscan monastery for the so-called Grey Brother monks in the thirteenth century.
Source: en.wikipedia.org/wiki/Norstedts_f%C3%B6rlag
Norstedts Förlag is a book publishing company in Sweden. Norstedt's is Sweden's oldest publishing house and one of the largest in the country. It was founded in 1823 by Per Adolf Norstedt, under the name P. A. Norstedt & Söner ("P. A. Norstedt & Sons").
Atlanta, Georgia, USA.
1 September 2018.
▶ The fountain sits dry and in relative disrepair at a former entrance to the park at Cherokee Avenue SE and Ormond Street SE (Google maps). Ther, the fountain can be accessed from the street but is fenced off from the rest of the park.
▶ More photos from Grant Park: here.
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HISTORY
▶ "The Erskine Memorial Fountain was gifted to the city of Atlanta in 1896 by Mrs. Willard P. Ward in honor of her father, Judge John Erskine. She commissioned a respected sculptor, John Massey Rhind, for the project."
▶ "The fountain was originally located at the intersection of Peachtree and West Peachtree streets and was a popular meeting spot and landmark. However, it was not maintained, and, in 1912, the roads were regraded, leaving it 4 feet above sidewalk level. When the city announced that it might be 'disposed of,' local citizens got involved and moved it to this site, formerly an entrance to Grant Park with an overlook of Lake Abana. However, the lake was later drained, the overlook closed, and the fountain fell into disrepair again."
▶ "Efforts to restore the Erskine Memorial Fountain are being undertake by the Friends of Erskine [Erskine Fountain Fund], the Grant Park Conservancy, the Atlanta Preservation Center, and the Grant Park Neighborhood Association."
▶ "Judge John Erskine (Sept. 13, 1813 - Jan. 27, 1895) was born in Strabane County, Tyrone, Ireland. As a young man, he traveled the globe as a sailor on British ships and eventually moved to the United States. He taught school in Florida for four years and then began studying law. By 1846, he was admitted to the Florida Bar. Erskine married in 1851, moved to Newnan, Georgia, and then to Atlanta. He quickly became a leading lawyer in the city. When the Civil War began, he stayed in Atlanta despite his opposition to the Confederacy. After the war, President Andrew Jackson appointed him to the Federal court for the District of Georgia. It was a complex time for a federal judge in the recently defeated South, but historical sources indicate he was fair and full of integrity. He was a moderate voice during a difficult time for the region and the country. Judge John Erskine served as a federal judge for almost 17 years until he retired in December 1883. He died in 1895 and is buried in Oakland Cemetery in Atlanta."
▶ "The Erskine Memorial Fountain was the first public fountain in the city of Atlanta. The fountain originally had an upper bowl and bronze drinking cups attached with chains. The bench is made of Georgia marble and is carved with the 12 signs of the zodiac. The animals on the fountain's bowl are kelpies, mythical Irish water creatures which often appear as horses.* The ocean theme of the fountain, showing fish, crabs, and dolphins, is in homage to Judge John Erskine's love of the sea. The fountain was relocated from its original location to Grant Park in 1912, but there are no reports or photos to offer proof that it ever operated in this location..
— Historical marker in front of fountain.
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▶ * Most sources ascribe kelpies, NOT to the Irish, but the Scots. Per Wikipedia: "Kelpie, or water kelpie, is the Scots name given to a shape-shifting water spirit inhabiting the lochs and pools of Scotland."
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▶ Photo by Yours For Good Fermentables.com.
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▶ For a larger image, type 'L' (without the quotation marks).
▶ Camera: Olympus Pen E-PL1.
---> Lens: Canon 50mm ƒ/1.4 FD
---> Focal length: 100 mm
---> FotoDiox adapter
----> Aperture: ƒ/8.0
---> Shutter speed: 1/100
---> ISO: 200
▶ Commercial use requires explicit permission, as per Creative Commons.
A visit to see the Leaning Tower of Pisa in the Field of Miracles in Pisa.
Piazza del Duomo (Cathedral Square).
It was an amazing site to see! The whole area was packed with tourists!
The Leaning Tower of Pisa (Italian: Torre pendente di Pisa) or simply the Tower of Pisa (Torre di Pisa [ˈtorre di ˈpiːza]) is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa, known worldwide for its unintended tilt. The tower is situated behind the Pisa Cathedral and is the third oldest structure in the city's Cathedral Square (Piazza del Duomo), after the cathedral and the Pisa Baptistry.
The tower's tilt began during construction in the 12th century, caused by an inadequate foundation on ground too soft on one side to properly support the structure's weight. The tilt increased in the decades before the structure was completed in the 14th century. It gradually increased until the structure was stabilized (and the tilt partially corrected) by efforts in the late 20th and early 21st centuries.
The height of the tower is 55.86 metres (183.27 feet) from the ground on the low side and 56.67 metres (185.93 feet) on the high side. The width of the walls at the base is 2.44 m (8 ft 0.06 in). Its weight is estimated at 14,500 metric tons (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. Prior to restoration work performed between 1990 and 2001, the tower leaned at an angle of 5.5 degrees, but the tower now leans at about 3.99 degrees. This means the top of the tower is displaced horizontally 3.9 metres (12 ft 10 in) from the centre.
There has been controversy about the real identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano, a well-known 12th-century resident artist of Pisa, famous for his bronze casting, particularly in the Pisa Duomo. Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast bearing his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. A 2001 study seems to indicate Diotisalvi was the original architect, due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa.
Construction of the tower occurred in three stages over 199 years. Work on the ground floor of the white marble campanile began on August 14, 1173 during a period of military success and prosperity. This ground floor is a blind arcade articulated by engaged columns with classical Corinthian capitals.
The tower began to sink after construction had progressed to the second floor in 1178. This was due to a mere three-metre foundation, set in weak, unstable subsoil, a design that was flawed from the beginning. Construction was subsequently halted for almost a century, because the Republic of Pisa was almost continually engaged in battles with Genoa, Lucca, and Florence. This allowed time for the underlying soil to settle. Otherwise, the tower would almost certainly have toppled. In 1198, clocks were temporarily installed on the third floor of the unfinished construction.
In 1272, construction resumed under Giovanni di Simone, architect of the Camposanto. In an effort to compensate for the tilt, the engineers built upper floors with one side taller than the other. Because of this, the tower is curved. Construction was halted again in 1284 when the Pisans were defeated by the Genoans in the Battle of Meloria.
The seventh floor was completed in 1319. The bell-chamber was finally added in 1372. It was built by Tommaso di Andrea Pisano, who succeeded in harmonizing the Gothic elements of the bell-chamber with the Romanesque style of the tower. There are seven bells, one for each note of the musical major scale. The largest one was installed in 1655.
After a phase (1990–2001) of structural strengthening, the tower is currently undergoing gradual surface restoration, in order to repair visible damage, mostly corrosion and blackening. These are particularly pronounced due to the tower's age and its exposure to wind and rain.
Views next to the Cathedral.
Pisa Cathedral (Italian: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy. It is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. It is the seat of the Archbishop of Pisa.
Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.
The church was erected outside Pisa's high middle age-era walls, to show that Pisa that was so powerful, it had no fear of being attacked. The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria. Buscheto's grand new church, was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.
In 1092 the cathedral was declared a primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.
In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.
The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the facade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blesseds and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original facade statues (presently in the cathedral museum) and their replacement with copies.
Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of the monument to Henry VII made by Lupo di Francesco that was found in front of the door of San Ranieri and later substituted by a simpler, symbolic version.
Title: Bell Boeing tilt wing helicopter above runway NHHS Photo
Catalog #: 13_000003
NHHS #: None
Subject: Bell Boeing tilt wing helicopter above runway
Format: BW Glossy Photo
Type: NHHS Photo
Repository: San Diego Air and Space Museum Archive
AHS Ames High School Alumni Assoc - Ames, IA
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA
21st annual Ames High School All Class Holiday Gathering get-together held Saturday December 26, 2015 at Olde Main Restaurant, Ames, Iowa. 200+ classmates attended the 2015 Holiday get-together, it was a lot of fun, like a small all school reunion. Went through 160 name tags by 9pm.
December 26, 2015 #photobyEdH #photobyEdHendricksonJr
Olde Main Restaurant
Ames, Iowa
200+ attendance
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Kim Anne Corieri Boeke Obituary
Kim Corieri Obituary
1953 - 2020
www.hamiltonsfuneralhome.com/services/services_detail.asp...
On November 7, 2020, Kim Corieri Boeke listened to Joe Biden and Kamala Harris speak after becoming President Elect and Vice President Elect of the United States. As a proud Democrat who had been active in party politics for years, she was overjoyed with the results of the election. Sometime later that night, Kim passed away. Although she had struggled with health issues for many years, and most recently with concerns about her heart, no one sensed that her death was imminent.
Kim was born in Des Moines, Iowa in 1953. A second generation Italian-American, her family lived many places in central Iowa, but she was a graduate of Ames High School. Kim was a woman of many passions, including an abiding love of California, cats, playing pool, and the color purple. She also deeply treasured her friendships and put great effort into staying connected with friends who were distant in time or place. Many of her greatest relationships came from the 12-1/2 years she worked at Commtron/Ingram. Over the years, she maintained and nurtured the friendships she made with co-workers and even some of her customers. In 2001, Kim had to leave the job and friends she loved so much due to the onset of the depression and anxiety she struggled with for the remainder of her life. Although she hoped to feel well enough to return to Commtron/Ingram, that was not to be...yet her friendships continued.
In August, 1996, Kim married John Boeke who was her devoted husband and steadfast beloved companion for the remainder of her life. Together they were avid Iowa State Cyclone fans and attended as many sports games as they could. Women’s basketball was a special favorite. Kim attended many Boeke family get togethers, always welcomed and welcoming to new members of the clan. She was especially fond of her mother-in-law, Bobbie Boeke. Together, she and John traveled to visit distant relatives and see the wonders of our country. In November of 2017, they even moved to San Jose, CA so Kim could live out her dream of living in the Bay Area. For several months they relished exploring the region, and Kim was able to walk along the beach at Half Moon Bay at sunset. However, they missed being near their family and dear friends so John and Kim returned home to Iowa.
Recently they had moved to a new apartment in Grimes, Iowa and they were just getting settled into their new place. After losing their 20 year-old cherished cat, Britteney, this summer, they had welcomed two new cats, Mercedes and kitty Jayden, into their home. The recent election had turned out the way they hoped.....there was a lot to look forward to.
Kim was preceded in death by her parents, Bud and Retha Corieri; and adored cats, Britteney, Prince, and Princess. She is survived by her husband, John Boeke; stepdaughter, Elizabeth Boeke; step-granddaughter, Kylie Boeke; siblings, Rosalind Paige, Leslie Corieri, and Kelly White.
There is currently no memorial service planned. Memorial contributions in her honor can be made to the Ames High School Theater Department, 1921 Ames High Drive in Ames, IA, 50010.
Online condolences may be expressed at www.HamiltonsFuneralHome.com.
The tribute video for Kim Corieri Boeke will be available here shortly.
--- 2nd obituary
www.echovita.com/us/obituaries/ia/des-moines/kim-boeke-11...
Kim Boeke Obituary
1953-2020
It is always difficult saying goodbye to someone we love and cherish. Family and friends must say goodbye to their beloved Kim Boeke (Des Moines, Iowa), who passed away on November 7, 2020. You can send your sympathy in the guestbook provided and share it with the family.
She was predeceased by : her parents, Bud Corieri and Retha Corieri; and her pets, Britteney, Prince and Princess.
She is survived by : her husband John Boeke; her step-daughter Elizabeth Boeke; her step-granddaughter Kylie Boeke; and her siblings, Rosalind Paige, Leslie Corieri and Kelly White.
Memorial contributions in her honor can be made to the Ames High School Theater Department, 1921 Ames High Drive, Ames, IA, 50010.
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AHSAA Ames High School Alumni Association Ames, IA
pyxis
www.britishmuseum.org/research/collection_online/collecti...
Object typepyxis
Museum number1874,0512.1
DescriptionPottery: red-figured pyxis with lid, decorated with marriage preparations.
(a) Toilet scene (?). The locality is indicated by a pair of folding doors, divided into panels by three horizontal bands with double rows of nails; in the upper panels are knocker and keyhole. In front of this, slightly to the left, two painted vases in the form of a lebes on a tall stand, which has a heart-shaped aperture in the upper part, and containing sprigs of myrtle (?), for sprinkling water (aspergilla), are placed together on a plinth. On the left stands a woman, Galene, in a long chiton with diplois, earrings, and a necklace, her hair knotted behind with a fillet, holding on both her forearms a square box decorated with two bands of black and zigzags. Over her is her name, ΓΑΛΕΝΕ, Γαλήνη. Beside her is a box or table on three legs terminating in lions' paws, on which stand a pyxis and an oinochoe with tall handle and neck (loutrophoros ?), also containing sprigs of laurel. On the left, on a diphros, a woman (Kymothea) is seated to the left in a mourning attitude; her legs are crossed, the left over the right, her head is bowed forward resting on her right hand; her right elbow and left fore-arm rest on her lap; she is dressed like the last figure, but has also a mantle around her lower limbs, sandals, and bracelets; over her is inscribed ΚΥΜΟΘΕΑ, Κυμοθέα. She seems to watch the action of a diminutive girl in a long undertied chiton, with long hair, who is occupied in tying the cord of her left sandal. Next is Kymodoke, in long chiton and mantle, necklace with pendant gilt bead, and hair looped up with a beaded fillet; above her, ΚΥΜΟΔΩKΕ, Κυμοδόκη. She holds in her left hand an alabastron of glass (indicated by zigzag lines of pattern around it), and with her right offers a square box to Thaleia, who is seated on the left in a chair confronting her, and holds out her right to receive it, her left resting on her lap; she is dressed as Kymothea, except that she has no sandals, and her long hair falls unconfined down her back, and forms in the drawing a background for her profile. Above her, ΘΑΛΕΙΑ, Θαλεια. Behind her stands Glauke, dressed as Galene, her hair knotted behind with a radiated fillet, holding up in both hands a string with pendant beads; above her, ΓΛΑΥΚΕ, Γλαύκη. The scene is closed on the left by a group of two women confronted. Doso, dressed exactly as Kymodoke, except that she wears a plain fillet wound thrice round her knotted hair, holds in her right, hanging in front of her, a flower with gilt centre; with her left she holds an edge of drapery at her side. Above her is inscribed; ΔΟΣΩ, Δώσω. She looks at Pontomedeia, who holds extended on her left thumb and right fore-finger a magic wheel fastened to a cord. She wears a Doric chiton schistos, of which the back part, instead of having its upper edge fastened on the shoulders, is fastened lower down, and the upper edge is passed over the back of the head; her hair falls loose like that of Thaleia, and she wears a necklace with pendant bead and bracelets. Above her is inscribed, ΠΟΝΤΟΜΕΔΕΙΑ, Ποντομεδεία. In the field, above Thaleia and Kymothea, hang two mirrors. The vases in this scene are decorated with figures in black silhouette. The subjects are difficult to determine; that on the right-hand lebes seems to be a bridal procession, representing a figure leading another by the hand, preceded by a figure holding two torches; on the stand perhaps a Maenad with thyrsos and a bearded satyr. The other lebes appears to have a scene like that of the pyxis itself, with a man and woman below. The loutrophoros has on the body two figures walking to right, one of them holding a torch (?), and on the neck a figure walking to right with a staff.
(b) Around the knob on the lid, a frieze composed of two pairs of a lion and boar running towards each other.
Very fine miniature drawing. Gilding is used for the jewellery, mirrors, pyxis, flower, studs, and the disk on the cord, also for the central dots of the chequers in the border. Purple inscriptions, tendril of flower, and aspergilla. Eye in profile. Below the design on the body a band of maeanders running alternately to right and left, separated by chequered squares with a central bead.
Less
Producer nameAttributed to: The Eretria Painter biography
Culture/periodAttic term details
Date440BC-415BC
Production placeMade in: Attica(Europe,Greece,Attica (Greece))
Materialspottery term detailsgold term details
WareRed figure term details
Techniquepainted term detailsgilded term details
DimensionsHeight: 11.4 centimetresDiameter: 9.5 centimetres
Inscriptions
Inscription Type
inscription
Curator's commentsBM Cat. VasesDumont and Chaplain, pl. 9; Heydemann, Comment. Mommseni, p. 171; Kretschmer, Vaseninschr. p. 201, no. 13.
The subject of (a) may have reference to the preparations for a wedding, to which the introduction of the loutrophoros, the aspergilla, and the subject, if rightly identified, of the right-hand lebes would be suitable. The names have no mythological significance (Nereids?) (cf. Frohner, van Branteghem Coll. no. 85; a similar scene on a skyphos in Naples Cat. 2296; and the names of some of the figures in Polygnotos' picture of the under-world). The figure of Kymothea resembles in some respects the type of Penelope (Ant. Denkm. i, pl. 31). For the motive of fastening the sandal, see Jahrbuch, ii, p. 173. For the magic wheel, see also Jahn in Ber. d. sachs. Gesellsch. 1854, p. 256.
For the magic wheel, see BM Vase F223.
Less
BibliographyVase E774 bibliographic details
LocationOn display: G69/dc1
Subjectssatyr term detailsmarriage/wedding term detailsdeity term detailsclassical mythology term details
Acquisition namePurchased from: Prof Athanasios Rhousopoulos biography
Acquisition date1874
DepartmentGreek & Roman Antiquities
Registration number1874,0512.1
Source: en.wikipedia.org/wiki/New_York_City
New York City (NYC), often called the City of New York or simply New York (NY), is the most populous city in the United States. With an estimated 2018 population of 8,398,748 distributed over about 302.6 square miles (784 km2), New York is also the most densely populated major city in the United States. Located at the southern tip of the U.S. state of New York, the city is the center of the New York metropolitan area, the largest metropolitan area in the world by urban landmass. With almost 20 million people in its metropolitan statistical area and approximately 23 million in its combined statistical area, it is one of the world's most populous megacities. New York City has been described as the cultural, financial, and media capital of the world, significantly influencing commerce, entertainment, research, technology, education, politics, tourism, art, fashion, and sports. Home to the headquarters of the United Nations, New York is an important center for international diplomacy.
Situated on one of the world's largest natural harbors, New York City is composed of five boroughs, each of which is a county of the State of New York. The five boroughs—Brooklyn, Queens, Manhattan, the Bronx, and Staten Island—were consolidated into a single city in 1898. The city and its metropolitan area constitute the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. New York is home to more than 3.2 million residents born outside the United States, the largest foreign-born population of any city in the world as of 2016. As of 2019, the New York metropolitan area is estimated to produce a gross metropolitan product (GMP) of $2.0 trillion. If greater New York City were a sovereign state, it would have the 12th highest GDP in the world. New York is home to the highest number of billionaires of any city in the world.
New York City traces its origins to a trading post founded by colonists from the Dutch Republic in 1624 on Lower Manhattan; the post was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, the Duke of York. New York was the capital of the United States from 1785 until 1790, and has been the largest U.S. city since 1790. The Statue of Liberty greeted millions of immigrants as they came to the U.S. by ship in the late 19th and early 20th centuries and is a symbol of the U.S. and its ideals of liberty and peace. In the 21st century, New York has emerged as a global node of creativity and entrepreneurship and environmental sustainability, and as a symbol of freedom and cultural diversity. In 2019, New York was voted the greatest city in the world per a survey of over 30,000 people from 48 cities worldwide, citing its cultural diversity.
Many districts and landmarks in New York City are well known, including three of the world's ten most visited tourist attractions in 2013. A record 62.8 million tourists visited New York City in 2017. Times Square is the brightly illuminated hub of the Broadway Theater District, one of the world's busiest pedestrian intersections, and a major center of the world's entertainment industry. Many of the city's landmarks, skyscrapers, and parks are known around the world. Manhattan's real estate market is among the most expensive in the world. New York is home to the largest ethnic Chinese population outside of Asia, with multiple distinct Chinatowns across the city. Providing continuous 24/7 service and contributing to the nickname The City that Never Sleeps, the New York City Subway is the largest single-operator rapid transit system worldwide, with 472 rail stations. The city has over 120 colleges and universities, including Columbia University, New York University, Rockefeller University, and the City University of New York system, which is the largest urban public university system in the United States. Manhattan is home to the world's two largest stock exchanges by total market capitalization, namely the New York Stock Exchange, located on Wall Street in the Financial District of Lower Manhattan, and NASDAQ, headquartered in Midtown Manhattan.
UNESCO Tentative List;
whc.unesco.org/en/tentativelists/5406/
Aphrodisias lies in southwestern Turkey, in the fertile valley of the Dandalas River, a tributary of the Meander, about 150 kilometres east (inland) of the Aegean Sea. It is situated at the base of the Babadag mountain range, at 500 m above sea level. The city was the capital of the ancient Roman province of Caria.
The ancient city of Aphrodisias is one of the most important archaeological sites of the Greek and Roman periods in Turkey. Famous in antiquity for its sanctuary of Aphrodite, the city's patron goddess, Aphrodisias enjoyed a long and prosperous existence from the second century B.C. through the sixth century A.D. Today, many of the city's ancient monuments remain standing, and excavations have unearthed numerous fine marble statues and other artifacts. The great beauty and extraordinary preservation of this site combine to bring the civic culture of the Greco-Roman world vividly to life.
Aphrodisias was founded on the site of an ancient local sanctuary in the second century B.C., according to the date of the earliest coins and inscriptions found in the site. In the late first century B.C., the city came under the personal protection of the Roman emperor Augustus, and a long period of growth and good fortune ensued. The first several centuries A.D. were especially prosperous, and most of the surviving buildings of the city date to this period. In the fourth century, Aphrodisias became the capital of the Roman province of Caria. The cosmopolitan character of the age is demonstrated by the presence in this city of an active Jewish community, attested in a famous inscription listing benefactors of the local Synagogue.
The first systematic excavations at the site were begun in 1961 under the aegis of New York University, and yielded many remains of the city's central monuments. In addition to the Temple of Aphrodite, major areas of investigation included the Bouleuterion or Council House, and the Sebasteion. The Sebasteion, a religious sanctuary dedicated to Aphrodite and the Roman emperors, is one of the most remarkable discoveries of Roman archaeology. It is one of the best-preserved examples of a Roman imperial cult complex, and is decorated with an extraordinary series of life-size marble reliefs (originally almost 200), which depict Roman emperors and imperial family members from ca. A.D. 20 to 60, as well as, personifications of the subject peoples of the Roman empire, and mythological heroes and gods. The reliefs provide an unparalleled insight into how Roman imperial power was understood from a local perspective. Other important public buildings are the Theatre, the Hadrianic Baths, and the Stadium; the latter seated 30,000 people, and is the best-preserved of all ancient stadiums. The buildings of the site are remarkable not only for the preservation of their architecture, but also for the many inscriptions, statues, reliefs, and other objects associated with them.
Aphrodisias is well-known for its fine sculpture. Good marble quarries are located only a few kilometres away from the city, and by the Late Hellenistic period, a strong local tradition of marble sculpture had already taken root. In later generations, Aphrodisian sculptors are known to have worked abroad on prestigious commissions, for example, at Hadrian's villa at Tivoli. The sculpture from the site is characterized by virtuosity and variety. Excavation has uncovered statues of, for example, gods, heroes, emperors, orators, philosophers, and boxers, as well as a great range of ornamental and figured relief. The finds range from grave reliefs of the second century B.C. to statues of the last Roman governors of the sixth century A.D. Many sculptures from the site already occupy key positions in the history of ancient art.
The studies for a site management plan were started according to a protocol between the Ministry of Culture and Tourism and the Geyre Foundation dated to 08.11.2007.
www.nyu.edu/projects/aphrodisias/home.ti.htm
en.wikipedia.org/wiki/Aphrodisias
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Amazing and Beautiful image!
At Penarth Pier in Penarth.
Penarth Pier is a Victorian era pier in the town of Penarth, Vale of Glamorgan, South Wales.
First opened in 1895, it has had various modifications since.
Grade II listed building
Penarth Pier (Including Pavilion & Shops) the Esplanade, Penarth
Exterior
13355
Entrance on The Esplanade opposite Bridgeman Road.
History: Built in 1894 to the design of H F Edwards, completed February 1895. Landing stage rebuilt in 1926 in ferro-concrete. Pavilion completed in May 1929, when the landward end of the pier was rebuilt in concrete. On August Bank Holiday 1931, a Ballroom on the E end of the pier burnt down, destroying wooden decking and all other buildings on the pier except the present pavilion. Further rebuilding following ship collision in 1947.
Description: Approx. 200 m long, and 15 m wide at landing stage end. Central (original) section on cast iron piles with wooden decking, landward and landing stage ends have concrete piles and decking. Cast iron traceried balcony railings, and lamp standards. At seaward end, steamer ticket office of boarded wooden construction. On central section, 2 shelters of boarded wooden construction, with overhanging eaves.
At landward end, facing Bridgeman Road, pavilion in reinforced concrete, in Indian style popular for entertainment buildings in the 1920's. By M F Edwards, architect, designed 1927. Main block has tapering corner towers, with corner pilasters, and capped with pinnacled Moghul Style roofs having deeply overhanging bracketed eaves. Towers have large windows with diaper grilles and beneath these, 2 tiers of smaller paired windows, some retaining original diaper glazing.
West (landward) end at ground level flanked by concave wings (containing shops, kiosks etc.) in classical style with Roman Doric columns. Convex entrance lobby with 3 doorways separated by piers with niches. Adamesque ceiling decoration to interior. Between towers, parapet with pierced diaper decoration. On second floor, door with flanking square windows. First floor convex bay with three large glazed openings giving access to terrace over entrance.
Seaward (W) elevation similar to landward but with glazed convex classical colonnade to 'Captain's Bar'.
Side elevations of 11 bays articulated by concrete ribs to barrel-vaulted roof. Four tall windows (modern small-pane glazing) with segmental-headed architraves and linked by cornice continue upward the line of lower walls whilst roof recedes behind and is crowned by longitudinal ventilators at ridge.
Group value.
References: R Head, The Indian Style, London,1986, pp 87-88.
Western Mail, May 17, 1921
Western Mail, May 20, 1921
Western Mail, August 4, 1931
Reason for Listing
References
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
From the end of the pier to the start of it.
Source: en.wikipedia.org/wiki/Chicago
Chicago, officially the City of Chicago, is the most populous city in the U.S. state of Illinois, and the third-most-populous city in the United States. With an estimated population of 2,705,994 (2018), it is also the most populous city in the Midwestern United States. Chicago is the county seat of Cook County, the second-most-populous county in the US, with a small portion of the northwest side of the city extending into DuPage County near O'Hare Airport. Chicago is the principal city of the Chicago metropolitan area, often referred to as Chicagoland. At nearly 10 million people, the metropolitan area is the third most populous in the United States.
Located on the shores of freshwater Lake Michigan, Chicago was incorporated as a city in 1837 near a portage between the Great Lakes and the Mississippi River watershed and grew rapidly in the mid-19th century. After the Great Chicago Fire of 1871, which destroyed several square miles and left more than 100,000 homeless, the city made a concerted effort to rebuild. The construction boom accelerated population growth throughout the following decades, and by 1900, less than 30 years after the great fire, Chicago was the fifth-largest city in the world. Chicago made noted contributions to urban planning and zoning standards, including new construction styles (including the Chicago School of architecture), the development of the City Beautiful Movement, and the steel-framed skyscraper.
Chicago is an international hub for finance, culture, commerce, industry, education, technology, telecommunications, and transportation. It is the site of the creation of the first standardized futures contracts, issued by the Chicago Board of Trade, which today is the largest and most diverse derivatives market in the world, generating 20% of all volume in commodities and financial futures alone. Depending on the particular year, the city's O'Hare International Airport is routinely ranked as the world's fifth or sixth busiest airport according to tracked data by the Airports Council International. The region also has the largest number of federal highways and is the nation's railroad hub. Chicago was listed as an alpha global city by the Globalization and World Cities Research Network, and it ranked seventh in the entire world in the 2017 Global Cities Index. The Chicago area has one of the highest gross domestic products (GDP) in the world, generating $689 billion in 2018. In addition, the city has one of the world's most diversified and balanced economies, with no single industry employing more than 14% of the workforce. Chicago is home to several Fortune 500 companies, including Allstate, Boeing, Caterpillar, Exelon, Kraft Heinz, McDonald's, Mondelez International, Sears, United Airlines Holdings, and Walgreens.
Chicago's 58 million domestic and international visitors in 2018 made it the second most visited city in the nation, as compared with New York City's 65 million visitors in 2018. The city was ranked first in the 2018 Time Out City Life Index, a global quality of life survey of 15,000 people in 32 cities. Landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, the Art Institute of Chicago, Museum Campus, the Willis (Sears) Tower, Grant Park, the Museum of Science and Industry, and Lincoln Park Zoo. Chicago's culture includes the visual arts, literature, film, theatre, comedy (especially improvisational comedy), food, and music, particularly jazz, blues, soul, hip-hop, gospel, and electronic dance music including house music. Of the area's many colleges and universities, the University of Chicago, Northwestern University, and the University of Illinois at Chicago are classified as "highest research" doctoral universities. Chicago has professional sports teams in each of the major professional leagues, including two Major League Baseball teams.
Source: en.wikipedia.org/wiki/Museum_of_Science_and_Industry_(Chicago)
The Museum of Science and Industry (MSI) is a science museum located in Chicago, Illinois, in Jackson Park, in the Hyde Park neighborhood between Lake Michigan and The University of Chicago. It is housed in the former Palace of Fine Arts from the 1893 World's Columbian Exposition. Initially endowed by Julius Rosenwald, the Sears, Roebuck and Company president and philanthropist, it was supported by the Commercial Club of Chicago and opened in 1933 during the Century of Progress Exposition.
Among the museum's exhibits are a full-size replica coal mine, German submarine U-505 captured during World War II, a 3,500-square-foot (330 m2) model railroad, the command module of Apollo 8, and the first diesel-powered streamlined stainless-steel passenger train (Pioneer Zephyr).
David R. Mosena has been president and CEO of the private, non-profit museum since 1998.
AHS Ames High School Alumni Assoc - Ames, IA.
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA
AHS Ames High School Class of 1977 45th reunion downtown Ames Iowa at the Ames on the Half Shell event at Bandshell Park Friday June 24 2022.
#AmesHighClassof1977
#photobyEdHendricksonJr
#ahs1977
The AHS Class of 1977 celebrated their 45th year class reunion over the weekend of June 24, 2022. Classmates from across the globe traveled to Ames to rejoice, rekindle, reconnect and revel with one another. The first night, Friday, the group met at Bandshell Park just off of downtown Ames Iowa Main Street.
See you all again in the blink of an eye for our 50th in 2027. Ames Hi Aims High!
www.AmesHigh.org/reunion/2022/1977/
AHS Ames High School Alumni Assoc - Ames, IA.
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA