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L to R: David Jefferson, Candace Hoke, Matt Bishop, Tom Stanionis, Doug Kellner, Debra Bowen and Tom Wilkey
Panel Discussion with (from the left) Gunnar Oom, State Secretary Sweden, Raine Vasanoja, Director, Invest in Finland, Jan Hassel, Investinor and Fredrik Karlström, Minister for Enterprise, Åland.
Molly Chavers facililated a panel discussion on how to be a great civic leader, featuring JLI Sustainers Marnie Maxwell, Susan Brooks, and Maribeth Smith
Molly Chavers facililated a panel discussion on how to be a great civic leader, featuring JLI Sustainers Marnie Maxwell, Susan Brooks, and Maribeth Smith
From above, the panels are a lot more visible. Again, I'm glad the bottoms are white so they aren't so obvious from the ground.
In the background are four old curtain panels, shabby and tattered, that I hope to use in my old camper makeover! :)
A religion panel discussing interfaith with guests Paul Knitter, Malcolm Nazareth, and Najeeba Syeed. Photos by Sarah Bauer '18
“Live Cinema as an Extension of classical Cinema? Actual Positions in the area of conlict in Live Cinema.” Guests: János Can Togay (Director .CHB), Mia Makela (Media Artist //SOLU, Live Cinema Protagonist), Sandra Naumann (Media Historian, HGB Leipzig).
Moderation: Aude Francoise (Curation, Video Artist //narrative performance),
David Szauder (Media Artist //generative performance).
Photo: Krisztina Turna //CHB
Anglicans and Lutherans join in a panel discussion on "going beyond the fortress." Photo by Ali Symons/General Synod Communications.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
A panel discussing how to navigate disagreement at an interpersonal level within the Luther Community was held in Valders 206 on April 29, 2016. Photo by: Annie Goodroad '19
This lined and interlined Tuscany Panel is made of a poly-silk paisley fabric with a glass bead trim. It is a stationary panel that utilizes Italian Stringing to hold the folds in place and is designed to have the unstructured "waterfall" look.
A panel discussing how to navigate disagreement at an interpersonal level within the Luther Community was held in Valders 206 on April 29, 2016. Photo by: Annie Goodroad '19
Solar panels can be mounted on the roof, or on poles elsewhere on the property. A solar analysis by Solar Energy World will help determine which is right for you. www.solareworld.com
Esta ala de Ballena me llamo la atencion porque aqui se informa del recorrido, sitios a ver y tarifas....
Interior Panels 081535351000 INDOORIOR adalah material komposit untuk interior yang terbuat dari komposit, dengan kualitas awet puluhan tahun, ringan, kuat, anti air, anti rayap.Dengan finishing airbrush paint, warna disesuaikan dengan keinginan Anda sehingga tampak mewah dan kuat.
Dikerjakan dengan seni kualitas tinggi, dengan detail yang sangat rapi, berpengalaman mengerjakan DA VINCI PENTHOUSE Jakarta.
Hubungi INDOORIOR PANELS
Ajun
081535351000
One of the late medieval bench ends in the nave at Yelvertoft.
All Saints' at Yelvertoft dates mainly from the 14th century and stands secluded from the village by it's peaceful tree-enclosed churchyard. It is an unusual building with certain distinctive peculiarities, most noticeably the extra south aisle which, judging by it's south porch with it's fine ballflower-adorned doorway, appears to be roughly contemporary with the rest of the church and makes it an unsually wide building. The aisle windows on both north and south sides appear to have been reworked in simplified form at some point in the 17th century, perhaps an enlargement of their predesscors to admit more light.
Inside the extra aisle's arcade and columns are apparent and make for a more complex layout. The interior on first sight seems quite plain, finished throughout in a subtle ochre colour which brightens it up whilst giving it a rather over restored feel. But there are old features to admire, particularly the pews which though Victorian nearly all preserve the medieval carved panels from the original 15th century benches, mostly geometric architectural and foliage designs, but of good quality.
The chancel contains the finest features; the two Victorian stained glass windows are nothing special (the east window having lost nearly all it's paintwork, thus looking much older, more 'time-worn' than it is) but the 15th century sedilia is very fine, it's spindly columns dramatically worn away to a very fragile-looking state (reputedly by the sharpening of weapons in the Civil War).
But most impressive of all is the priest's tomb that balances it on the north side, a fine example of late medieval design with it's rich display of carving and panelling surrounding the effigy in it's arched recess. This monument, from the early 1500s, is uniquely echoed on the corresponding exterior wall where the ornamentation continues rather bizarrely in just this isolated section of the chancel's north wall.
Stained glass panel by Lorraine Crocker. (please excuse the low res images, unfortunately I haven't got any better images of these panels, photography was so rationed in pre-digital days!).
Three years of study at the Architectural Stained Glass Department at Swansea culminated in the degree show, with each student (usually fewer in number by now than at the start!) allocated a window space in the building to display their work, with a mixture of panels representing the various techniques explored and styles developed by each individual.
I usually took a full set of photos of each show (I was known for being obsessive compulsive with a camera even then!) and felt uploading the full set best represents the range of talents and ideas, in many cases of people who never worked in the medium in post-college life.
If any of my contemporaries are looking in I hope they will be flattered and see this as a tribute to their achievements. If for any reason anyone is unhappy about their work being shared online do please let me know.
Thank you to everyone who joined us for our Entertainment Panel to soak up wisdom from amazing industry successes!
<p>MORRIS & COMPANY, London<br>
<em>Britain, 1861–1940</em></p>
<p>William MORRIS, designer<br>
<em>Britain, 1834–1896</em></p>
<h4>Daisy tile panel<br>
<em>c. 1870s, designed c. 1862<br>
hand-painted on earthenware Dutch blank<br>
98.5 x 30.2 x 3.5 cm<br>
Mrs Mary Overton Gift Fund 2002<br>
Art Gallery of South Australia, Adelaide</em><br>
</h4>
<p>The Swan and Daisy designs were originally produced in the Morris, Marshall, Faulkner and Co. London workshops, with Dutch blanks. The popular designs were still being produced in the 1880s, when they were made by Dutch tile companies.<br>
</p>
Tile panel depicting two peacocks
By William de Morgan (1837-1917)
De Morgan had a factory at Sands End (the site is now marked by De Morgan Road), 1888-1907.
Photography by John W. Rogers