1979

 

January 5, 1979

It was reported that the 1st Annual Bill McNeill Memorial Hockey Tournament was a big success. Over 600 players took part in the event. Kanata Standard, January 5, 1979:1.

 

January 5, 1979

Marianne Wilkinson, in her Commentary, announced that Kanata City Council had passed a resolution officially designating the names of the five existing communities in the City of Kanata. They were Bridlewood, Glen Cairn, Katimavik/Hazeldean, Beaverbrook, and March. Kanata Standard, January 5, 1979:1.

 

January 5, 1979

It was reported that the Kinette Club had donated a cart to a Glen Cairn family who had a young boy in a body cast. Robbie Boileau was due to be in the body cast another three weeks. Kanata Standard, January 5, 1979:2.

 

January 5, 1979

The newly formed Kanata Ski Club membership exceeded 100 families and a number of singles. Kanata Standard, January 5, 1979:3.

 

January 10, 1979

The first meeting of the Kanata Beaverbrook Community Association in 1979 was held. Approximately 30 residents attended. Newton Steacy stated: “The caliber of the executive and the new cluster directors is impressive.” The business of the meeting included a strongly supported motion to deliver the Standard to Glen Cairn for a four-month period. It was seen that this would allow time for the editorial board to urge Glen Cairn residents to submit articles and participate in the publication of a “community-owned” newspaper. Kanata Standard, January 16, 1979:2,6.

 

January 13, 1979

The Kanata Theatre presented “Everything in the Garden” to a large audience. Kanata Standard, January 19, 1979:15.

 

January 16, 1979

Kanata City Council decided to hold the first meeting of each month in different communities with the City of Kanata. Kanata Standard, January 19, 1979:1.

 

January 16, 1979

A debate continued in Kanata City Council over the appointment of an alderman to serve as Acting Mayor in the possible absence of Mayor Wilkinson. Alderman Rogers and Kingham were both nominated. The issue was resolved when Alderman Kingham withdrew from the contest, leaving Charles Rogers as Acting Mayor. Kanata Standard, January 19, 1979:1.

 

January 16, 1979

Kanata City Council discussed the Commissioners’ Report and decided to establish a Transportation Advisory Committee composed of a representative from each ward. Council agreed to the appointments of those representatives where only one name had been put forward. The balance was to be dealt with at the next meeting. Kanata Standard, January 19, 1979:1.

 

January 16, 1979

Kanata City Council agreed to hire a consultant to carry out a management study of the City of Kanata. Its purpose was to assist the municipality in detailing the numbers of employees required for 1979. Kanata Standard, January 19, 1979:6.

 

January 19, 1979

In a Standard feature article, Alan Seward reported that planning for a library branch in Glen Cairn was well under way. A temporary library was put in place for the time being. Kanata Standard, January 19, 1979:1.

 

January 19, 1979

Marianne Wilkinson, in her Commentary, announced that the Logo for the City of Kanata Contest would end on January 31. Kanata Standard, January 5, 1979:1.

 

January 19, 1979

The municipalities and hydro commissions in the Regional Municipality of Ottawa-Carleton agreed to carry out a Restructuring Study on their hydro service. Kanata Standard, January 19, 1979:6.

 

January 19, 1979

Dogbone Park family skating rink opened for its first season. Kanata Standard, January 19, 1979:6.

 

January 19, 1979

The March Sailing Club held a successful Annual General Meeting. New Directors were Harry Holdsworth, Gerry Holt, John Perry, Gary Caple, Harry Adderly, Keith Hooey, and Robert Wilkinson. Kanata Standard, January 19, 1979:11.

 

January 20, 1979

The Kanata Singles held a very successful dance, with more than 100 members and guests attending. Kanata Standard, February 2, 1979:5.

 

January 28, 1979

Tow truck drivers at Gallagher’s Garage were awakened by two nearby wolves. One of the wolves was shot and the other disappeared. Kanata Standard, February 2, 1979:1.

 

January 29, 1979

At a joint meeting of the March and Glen Cairn Soccer Clubs was held. Both clubs were both dissolved to form a new Kanata City Soccer Club. The Board of Directors and Executive for the newly formed club were Allan Wilson, Sid Johnson, Jim Burrows, Bart Jones, John Brunette, John Dowell, Barry Felstead, Norbett Hendrycks, Lloyd Mason, John Rahim, Keith Richardson, Norbett Riester, Phil Shea, and Alan Waltho. Kanata Standard, January 19, 1979:8; Kanata Standard, February 2, 1979:16.

 

January 31, 1979

Kanata City Council decided that a consulting engineering firm would be used to investigate structural problems in the Glen Cairn Community Centre. There had been crumbling walls in the building. Alderman Lund was upset that this could happen, and expressed the need to find the cause of the damage. Kanata Standard, February 2, 1979:2.

 

February 2, 1979

Stephanie Paul reported that progress on the Town Centre may be slowed due to a lack of a major retail tenant for the first portion of the development. Many recognized the importance of the construction of the centre, due the unique history of Kanata and the fact that it had grown “from the outside in,” and as a result had no real centre. Kanata Standard, February 2, 1979:1

 

February 2, 1979

The editors of the Kanata Standard announced that a new system of sub-editors was created to make the paper better and to “spread the activities of the paper to more helpers.” Kanata Standard, February 2, 1979:2.

 

February 2, 1979

Al Craig wrote an article for the Standard on SS No. 1, March Public School. Kanata Standard, February 2, 1979:2.

 

February 2, 1979

The results of two months of polling by the Glen Cairn Community Association executive indicated that a majority of the residents of Glen Cairn rejected the Kanata Standard. At the time, the Standard was a publication of the Kanata Beaverbrook Community Association. Kanata Standard, February 2, 1979:10.

 

February 2, 1979

Events and activities for the City of Kanata Winter Carnival 1979 were published in the Standard. Kanata Standard, February 2, 1979:20.

 

February 2, 1979

Doug Foster reported that the Winter Carnival ‘79 Duchess would be Marilyn Foster. Kanata Standard, February 16, 1979:3.

 

February 5, 1979

The first meeting of the City of Kanata Transportation Committee was held. It was primarily an advisory committee. A number of concerns that needed to be taken up with OC Transpo staff were discussed. Kanata Standard, February 2, 1979:1.

 

February 6, 1979

An open Kanata City Council meeting was held in Glen Cairn. A number of concerns were brought to Council’s attention, including snow removal and garbage collection. Stephanie Paul reported that the Council meeting was well attended and “the exchange between council members and the audience was lively.” Kanata Standard, February 16, 1979:2,5,6.

 

February 7, 1979

James Gillies, noted economist and MP for Don Valley, spoke at a public meeting at the John Mlacak Centre. Kanata Standard, February 2, 1979:9.

 

February 16, 1979

Newton Steacy, in his KBCA President Report, stated the association’s intent to expand the distribution of the Standard. Each community association had expressed an interest in this except for the Glen Cairn executive. Their sentiment was based on the results of a recent survey done in that community. Steacy claimed that “the Glen Cairn executive was quick to support the negative vote” when the results indicated otherwise. Kanata Standard, February 16, 1979:3.

 

February 16, 1979

Garry Thom reported on housing in Glen Cairn. Thom pointed out that building by the two major developers in the area, Costain and Sandbury, was leveling off. Kanata Standard, February 16, 1979:5.

 

February 16, 1979

It was announced by the Canadian Housing Design Council that a Community Design Award go to the early stages of Kanata, as the area was known prior the formation of the City of Kanata. It was awarded jointly to the City of Kanata and Campeau Corporation. While giving out the award, Jean Ouellet stated: “The early development of Kanata resulted from the vision and enterprise of William Teron. The continued growth of the town in more recent years is a great credit to the planning and design concepts which he introduced, as well as to the municipality (the Township of March) and to the Campeau Corporation, the present owner and developer.” Kanata Standard, February 16, 1979:11.

 

February 16, 1979

Kanata’s Mitel Corporation announced the appointment of Burns Fry Limited as its fiscal agents to underwrite the first issue of Mitel stock to the pubic. Kanata Standard, February 16, 1979:14.

 

February 16, 1979

The National Capital Equestrian Park held its Annual General Meeting. Over 70 people attended. A new Executive and Board of Directors was elected and an auditor’s statement presented. Kanata Standard, March 2, 1979:6.

 

February 17, 1979

The newly completed People Place recreation project officially opened. The John G. Mlacak Centre combined completion of the existing arena and the provision of new space for a variety of recreational pursuits. The project began in the spring of 1978. Kanata Standard, February 16, 1979:9.

 

February 20, 1979

Kanata City Council called for the provincial Minister of Revenue to reassess the value of all properties within the City of Kanata. Kanata Standard, March 2, 1979:1,4.

 

February 22, 1979

Earl of March boys’ and girls’ teams were overall winners in cross-country skiing in the Provincial Championships after two days of competition. Among those placing were Bernie Saneer, Dave Bennett, Carolyn Champion Venessa Daniel, Peter Eiselle, Jenny Labenek, Nancy Labenek, Scott Laughton, Anne McTaggart, Bill Mlacak, Rob Parsons, and Bernie Sander. Kanata Standard, March 2, 1979:12.

 

February 26, 1979

The Kanata Transportation Committee met with OC Transpo staff to exchange information and views related to some outstanding actions and key concerns of the Committee and local residents. Kanata Standard, March 2, 1979:2.

 

March 1, 1979

The Kanata Book Fair was opened by Mayor Marianne Wilkinson, Trustee J. D. Lyon, and Robin Skuce from the office of the Commissioner of Official Languages. As of February 20th, 18,498 used books had been collected. A larger than expected crowd turned up for the opening of the event. Kanata Standard, March 2, 1979:1; Kanata Standard, March 16, 1979:14.

 

March 2, 1979

A feature article appeared in the Standard discussing the need for a new school for Katimavik-Hazeldean. Kanata Standard, March 2, 1979:1,5.

 

March 2, 1979

The winners of the Kanata City Logo Contest were published in the Standard. First prize went to a joint submission by Wendy, Ian, Shaun and Mary Lou Kingham from Beaverbrook. Moderate changes in color were made to the logo, to then be used on all City vehicles, letterhead, etc. Kanata Standard, March 2, 1979:2.

 

March 2, 1979

Maurice Dubras began a series of articles appearing in the Standard on city matters discussed in City Council meetings. It was titled “Council in Action: Inside From the Outside”. Dubras reported this first Council meeting as a “quick and quiet affair.” Kanata Standard, March 2, 1979:1.

 

March 2, 1979

The results of the Kanata Winter Carnival 1979 were published in the Standard. Kanata Standard, March 2, 1979:13-15.

 

March 6, 1979

Kanata City Council held one of their “mobile meetings” in rural Kanata. Kanata Standard, March 2, 1979:1.

 

March 7, 1979

The Katimavik Beaverbrook Community Association held its Annual General meeting, combined with the regular monthly meeting. Twenty-seven cluster directors and 6 guests attended. The meeting focused on the management of 1978's money and budgeting for 1979. Kanata Standard, March 16, 1979:2,5.

 

March 13, 1979

Kanata City Council recommended that a fire station be built on the March Central School site to serve the rural areas of the City. The project, still needing ratification, was budgeted at $201,000. Kanata Fire Chief Jim Snider appeared at the meeting, to help make the case for the new station. Standard, March 30, 1979:2,5.

 

March 16, 1979

Marilyn Foster wrote a feature on a new Katimavik Co-operative Nursery School in Kanata. Kanata Standard, March 16, 1979:1.

 

March 16, 1979

It was announced that Kanata Scouts, Joe Nyenhuis and Alex Guruprasad, hoped to attend a mini-jamboree in Sweden. Fundraising events were planned. Kanata Standard, March 16, 1979:7.

 

March 16, 1979

Garry Thom reported in the Standard that Iber Homes intended to erect 31 single dwelling and 3 doubles at the corner of Highway 7 and Seabrooke Drive in Glen Cairn. Thom stated that this was “contrary to the Report on Housing Construction” that appeared in the previous issue of the Standard. Kanata Standard, March 16, 1979:16.

 

March 16, 1979

Al Craig wrote an historical piece in the Standard on the Hazeldean Rural Telephone Company. Kanata Standard, March 16, 1979:19.

 

March 25, 1979

Dunrobin resident Robert Conye’s car was vandalized after he left it on along the side of Highway 17 due to mechanical difficulties. All the windows were smashed, the body dented, and the contents looted, to the point were it was expected that the car would be a write-off. Kanata Standard, March 30, 1979:1.

 

March 25, 1979

Kim Woolford saved 5-year-old Trevor MacLean from near-drowning in Bluegrass Park. Trevor had slipped into the water when some ice gave way. Standard, March 30, 1979:1.

 

March 29, 1979

The Regional Planning Committee held a final series of hearings on the Conservation Lands Proposal, as revised by the Planning Committee. Kanata Standard, March 16, 1979:4.

 

March 30, 1979

Alderman Bob Kingham wrote, in his As I See It column, that Cadillac-Fairview was “exploiting the real issue” when they petitioned the Cabinet of Ontario to reverse an OMB decision that rejected their “energy conserving” community development proposal. A Standard editorial added: “This project is in the wrong place and at the wrong time. When Kanata has 93,000 population, a risk of this sort could perhaps be considered, certainly not now.” Subsequently, Kanata City Council gave its support for the project and the petition to the provincial government, though by a narrow vote of 4-3. Standard, March 30, 1979:1,2,4.

 

April 9, 1979

Kanata City Council approved the construction of a fire station in the rural part of the municipality, to be funded by money authorized by the former Township of March. Kanata Standard, April 12, 1979:14.

 

April 9, 1979

The Kanata Public Library opened a temporary facility in Glen Cairn, next to the Glen Cairn Arena. Kanata Standard, June 22, 1979:1.

 

April 10, 1979

The 1979 budget of $33,666,852 for the Carleton Separate School Board was approved. As William Broadfoot reported, this amount allowed for an expenditure up to the ceiling set by the Ministry of Education of $1409 per pupil. Difficult decisions were made during the budgetary process, however the Board managed to budget to maintain the current pupil-teacher ratio and the same quality of programs. Kanata Standard, April 27:9.

 

April 12, 1979

It was reported that Wayne Hutt, Manager of Thermocell Insulation, and Dan Ciona, Administrator for the City of Kanata, had met to discuss some of the difficulties with paper collection. The amount of paper collection had greatly exceeded the previous year, to the point where Thermocell’s collection ability was overloaded. Kanata Standard, April 12, 1979:1

 

April 12, 1979

Federal Conservative MP Paul Dick announced his candidacy for Lanark-Renfrew-Carleton. Dick was first elected in 1972. Kanata Standard, April 12, 1979:14.

 

April 12, 1979

The new Executive for Kanata Ladies Bowling was announced. It included Erm Boyd, Mich Gardner, Wafa Abov, Carol Redmond, Alana Schyburt, and Mina Blovin. Kanata Standard, April 12, 1979:15.

 

April 12, 1979

It was reported that Newton Steacy spoke to KBCA about the incorporation of the Kanata Standard, and expressed that it would be postponed because it was a very complicated task to be attempted at the time. Kanata Standard, April 12, 1979:1 Kanata Standard, April 12, 1979:6.

 

April 18, 1979

The March Sailing Club held its General Meeting. Members voted to make amendments to the constitution and change their name to the Kanata Sailing Club. Kanata Standard, April 27:16.

 

April 19, 1979

Students and staff at Earl of March School opened their production of “Swinging High.” Ron Andoff stated that they did a “bang up job” on the musical. Kanata Standard, April 12, 1979:1; Kanata Standard, April 27:1.

 

April 19, 1979

It was reported that after a successful campaign the Standard would be delivered in Glen Cairn to subscribers only. This marked a departure from the Standard’s concept of delivery to every household, which was the result of the Glen Cairn Community Association’s decision not to support a citywide distribution of the Standard. Kanata Standard, April 27:1.

 

April 26, 1979

A presentation by the Canadian Design Council honoured both the developers and residents of the community. Kanata had previously impressed a jury traveling across Canada visiting towns, city neighborhoods and prestigious areas of suburbia. Sharon Clayton stated that Kanata “impressed the judges with its landscaping, especially the rock outcroppings that have been used to dramatic advantages.” Three plaques were presented, one to Mayor Wilkinson, another to Ratan Rege of Campeau Corporation, and the third to William Teron, who was the driving force behind the creation of Kanata. Marianne Wilkinson later stated in her Commentary: “The award was not based solely on physical design of the community, but also on the evident interest of the residents and the active involvement between the residents and the municipal government in creating and maintaining the community design concepts.” Kanata Standard, May 11, 1979:1,2.

 

April 26, 1979

The Nepean Arts Association held its inaugural meeting. Its objectives included fostering public awareness of the visual and performing arts, encouraging co-operation among artistic groups, promoting future developments, facilities, and programs for artistic activities, and serving as a liaison with regional, provincial and national arts bodies. Kanata Standard, October 12, 1979:18.

 

April 27, 1979

Through an editorial in the Standard, the need for a pedestrian overpass to bridge the Queensway was questioned. Kanata City Council had previously promoted the construction of the bridge. In a letter to the Editor, Ihor Nakonecznyj also questioned the logic supporting the overpass, and concluded that more questions needed to be dealt with before spending over half a million dollars and “satisfying a need which may turn out to be a political illusion.” Kanata Standard, April 27:2.

 

April 27, 1979

Tony Jarvis introduced his new column for the Standard, The Kanata Industrial Scene. His goal was to increase the media coverage of the industrial sector. Kanata Standard, April 27:6.

 

April 27, 1979

It was reported that Operation Identification was underway in Glen Cairn. Engravers were making their rounds of homes to put identifying marks on valuable items. Kanata Standard, April 27:11,14.

 

April 27, 1979

A candidate profile for Paul Dick, PC MP for Lanark-Renfrew-Carleton, appeared in the Kanata Standard. Dick stated: “We must get Canada going again.” Kanata Standard, April 27:13.

 

April 27, 1979

The new executive for the South March Women’s Institute, the result of an Annual General Meeting, was published in the Standard. It included Brenda Turner, Donna Cummings, June Denys, Nicole Butler, Mary Noble, Nancy Medynski, Shirley Yakabuski, Myrt Nugent, Katie Vance, Angela Tucker, Ann Ward, and Joyce Arrowsmith. Kanata Standard, April 27:14.

 

April 27, 1979

Walter Baker, PC candidate in the riding of Nepean-Carleton, had an article published in the Standard. Baker stated that “Pierre Trudeau’s monuments clutter the landscape; low morale in the Public Service; a language policy intended to unite but which has in fact divided; young people worried about their futures; a tax system that burdens small business and drains incentive; a country that thinks more in terms of its parts than the sum of its parts — all of this created by a ‘leadership’ which is more style than substance.” Kanata Standard, April 27:18.

 

April 27, 1979

An article appeared in the Standard featuring Pat Carroll, former March Township Councillor and principal of AY Jackson Secondary School in Kanata, as the Liberal candidate for the riding of Lanark-Renfrew-Carleton. Carroll had been living and involved in Kanata since 1972. Carroll stated that Canada is not on the “brink of disaster,” and that the country had done well in the past decade in comparison with other OECD countries. Kanata Standard, April 27:21.

 

May 1, 1979

It was the official opening of the Katimavik Hazeldean Community Centre, concurrent with the first Kanata City Council meeting in that community. Murray Duke, Chairman of the Katimavik Hazeldean School Task Force, reviewed the findings and recommendations of the report to Council. Maurice Dubras stated in his Council In Action column: “The level of support Council gives to the Task Force findings will be critical when it comes to persuading the School Board to revise its construction schedule. There appeared to be very little doubt in the minds of those residents present or represented that a community school is very high on their priority list.” Kanata Standard, May 11, 1979:1,22.

 

May 11, 1979

It was reported that there were over 325 paid subscribers of the Kanata Standard in Glen Cairn. Gaining subscriptions in the area became a necessary move due to the lack of support for the Standard from the Glen Cairn Community Association. Kanata Standard, May 11, 1979:2.

 

May 11, 1979

A Standard editorial stated that not much was learned at a recent All Candidates Meeting and stated: “Paul Dick, the PC man attacked the Prime Minister, the Liberal hopeful, Pat Carroll attacked the Leader of the Opposition and Colin Gilhuly from the NDP spoke of the rosy future that we could have under that party, if by some miracle , they could form a Government.” Kanata Standard, May 11, 1979:2.

 

May 11, 1979

Carol Dougherty wrote an article on John Cabotto, a Kanata restaurant operated by Dominique and Angleo. She raved that they “set about to determine the gastronomical needs of the community and in my opinion have succeeded in meeting those needs.” Kanata Standard, May 11, 1979:9.

 

May 11, 1979

In his regular column, The Kanata Industrial Scene, Tony Jarvis featured Digital Equipment of Canada Ltd. Company president, Denny Doyle, commented on the decision to locate in Kanata that the protection of jobs for employees living in the area was a primary concern. Doyle stressed the high community involvement of the firm. Kanata Standard, May 11, 1979:10.

 

May 15, 1979

The Annual Meeting of the March Hockey Association was held at the Bill McNeill Memorial Hall. Kanata Standard, May 11, 1979:15.

 

May 20, 1979

The interior of the home of Joan Geeck on Jackson Court was damaged by a fire. The house was owned by Cathy Boyden. There was in excess of $10,000 damage to the house; the household pets, a Highland Terrier and several gerbils, were lost in the fire. Kanata Standard, May 25, 1979:1.

 

May 21, 1979

Mayfair 1979 and its various events began. The Rural area of Kanata won the annual Mayfair Lob-Ball Tournament. It was also the 14th Annual Dance and Casino. Over 400 people attended the dance May 26. Kanata Standard, May 11, 1979:12-13; Kanata Standard, June 8, 1979:6,7

 

May 22, 1979

In the federal election, Paul Dick was re-elected as MP in Lanark-Renfrew-Carleton and Walter Baker was re-elected MP in Nepean-Carleton.

 

May 25, 1979

Glen Cairn resident Jennifer Anne Waugh won the Jean Phillips, Campership to Camp Bitobi award. The camp, in Gracefield Quebec, was for explorers and other young girls looking for summer fun in a religious atmosphere. Kanata Standard, May 25, 1979:3.

 

May 28, 1979

Stephen Leacock School grade six students said their good-byes to Quebec exchange students on their return to Kanata. The exchange was part of an immersion program initially proposed by Principal Robert Bullock. Kanata Standard, June 8, 1979:1.

 

May 29, 1979

A public forum on Declining Enrolment and The Community was held to discuss reduced education funding by the Ontario government and enrolment issues. Kanata Standard, May 25, 1979:14.

 

May 29, 1979

The Annual General Meeting of the Local Association of Kanata Guides and Brownies was held. The new executive included H. Bennett, Sandra Plumley, P. Williams, J. Arrowsmith, J. Higgins, S. Lewis, V. Guy, O. Froud, R. Hooey, P. Gale, D. Lougheed, N. Mackay, J. Williams, V. Westmore, Y. Ludlow, B. Thamer, and P. Conacher. Kanata Standard, June 8, 1979:4.

 

June 4, 1979

Changes occurred to the No.73 bus schedule. The changes, approved by the Kanata Transportation Committee, also eliminated the No. 70, and extended the No. 46 route to Bridlewood. Kanata Standard, May 25, 1979:1,3.

 

June 5, 1979

Kanata City Council approved its 1979 budget. Expenditures were estimated at $3,208,074. The mill rate remained the same as it had been for March Township the previous year. Bridlewood mill rates decreased 40 percent. Glen Cairn Community experienced roughly a 12 percent decrease. Marianne Wilkinson later commented that the 1979 budget “should keep the City in a healthy financial state.” Kanata Standard, June 8, 1979:1,12.

 

June 8, 1979

In his column The Kanata Industrial Scene, Tony Jarvis featured Lumonics Research Ltd. Jarvis reported that since the inception of the laser firm in 1970, Lumonics had grown at a rate better than 50 percent annually, “developing a wide range of laser products for both scientific and industrial applications.” Kanata Standard, June 8, 1979:2.

 

June 8, 1979

The results of the Mayfair pet show were published in the Standard. Winners of the four main categories were Kirk Brant's tarantula, Alison Bill's cat Tiger, Rob Holt's spoodle Muffin, and Brenda Bedford's keeshound Dusty. Kanata Standard, June 8, 1979:5.

 

June 9, 1979

The Kanata Ballet School presented their bi-annual recital. Sharon Clayton, in a review of performance, stated that she was “impressed with the professional atmosphere on the stage, and behind the scenes.” Kanata Standard, June 22, 1979:9.

 

June 11, 1979

A new executive was selected at a Glen Cairn Community Association meeting. It included Colin Gillieson, Leon Asselstine, Barry Martin, Graham Ball, Joe Ryan, and Cathy Ireland. Kanata Standard, June 22, 1979:3.

 

June 13, 1979

A book-publishing celebration at a Katimavik home was held. Louise Reynolds, with the assistance of her husband Ralph, researched and wrote Agnes, the Biography of Lady Macdonald. Kanata Standard, June 22, 1979:9.

 

June 16, 1979

There was an official opening of the Glen Cairn Flood Control Works. Mayor Marianne Wilkinson and Councilors Charlie Rogers, and Bob Kingham attended. The Carp River, which had flooded the Glen Cairn area since the 1970's, was to be detained in a reservoir and released at a slow rate. Kanata Standard, June 22, 1979:1.

 

June 19, 1979

Final approval was given by Kanata City Council for the pedestrian overpass to bridge the Queensway. Kanata Standard, June 22, 1979:1.

 

June 19, 1979

Kanata City Council gave preliminary approval for the Hazeldean Centre, a shopping mall located on the northwest side of the intersection of Hwy. 7 and Young Road in Katimavik/Hazeldean. Kanata Standard, June 22, 1979:1.

 

June 19, 1979

Kanata City Council decided to adopt pay-as-you-go rates for the three Kanata pools. Kanata Standard, June 22, 1979:1.

 

June 19, 1979

The Town Centre Secondary Plan and the Rural Plan were both approved by Regional Council. There were only minor word changes to the Town Centre Plan, and development was expected to proceed on a limited basis later in the year. Kanata Standard, June 22, 1979:1,12.

 

June 25, 1979

Mayor Marianne Wilkinson was on hand to officially inaugurate the new Katimavik Pool. Kanata Standard, July 6, 1979:12.

 

July 3, 1979

Kanata Scouts Alex Guruprasad, Stephen Heard, Michael Nyenhuis, and Joe Nyenhuis began their travel to Denmark and Sweden, to attend an international camp in Sweden. Kanata Standard, July 20, 1979:20.

 

July 6, 1979

It was reported that the Ontario Municipal Board had approved Kanata’s request to debenture $200,000 towards the construction of the pedestrian bridge over the Queensway. The total cost was estimated at $438,000. Kanata Standard, July 6, 1979:1.

 

July 6, 1979

It was reported that the federal government had awarded a $30,000 contract to Mitel Corporation of Kanata to study silicon chip production for Telidon. Kanata Standard, July 6, 1979:11.

 

July 20, 1979

The Kanata Public Library Board announced that plans were underway for a new branch library in Kanata South. A sub-committee was struck for further investigation. Kanata Standard, July 20, 1979:2.

 

July 22, 1979

Two cars, driven by Bruce McLean and Steve Kominski, collided at the intersection of Teron and Beaverbrook Roads. There was extensive damage to both cars and only minor injury to a pedestrian. Kanata Standard, August 3, 1979:10.

 

July 28, 1979

Bridlewood held a birthday party to celebrate its second year of growth. Kanata Standard, July 20, 1979:7; Kanata Standard, August 3, 1979:1.

 

August 3, 1979

A proposed expansion for the March Montessori School was finalized. This was driven by a growing demand for Montessori education in the community. Kanata Standard, August 3, 1979:9.

 

August 8, 1979

As part of Project 4000, the first Vietnamese family arrived in Kanata. The Voong’s were set up in a house donated by Campeau Corporation for one year, including heat and hydro. Project 4000 had been previously launched by Ottawa Mayor Marion Dewer, who had also recommended that Kanata set up a committee to coordinate local efforts. Subsequently, a Co-ordinating Committee was struck. Kanata Standard, July 20, 1979:1,2; Kanata Standard, August 17, 1979:1.

 

August 14, 1979

Kanata City Council recommended that the Mayor’s annual salary would rise from $11,000 to $20,000 and the Aldermen’s from $4,500 to $6,500. It would come under final approval in September, 1979. Kanata Standard, August 17, 1979:1.

 

August 17, 1979

In a letter to the editor, Maurice Dubras and his family said their good-byes to Kanata. They stated: “We are about to embark on a very different life style in the knowledge that no other urban community could compare with Kanata. Kanata Standard, August 17, 1979:2.

 

August 28, 1979

Two Kanata youths, 17-year-old Douglas Conner and 16-year-old Chris Quinsey, were killed in an automobile accident. The incident took place on the Huntley Town Line Road, where the vehicle overturned into the Carp River. Kanata Standard, August 31, 1979:1.

 

August 31, 1979

It was reported that 17-year-old Kanata resident Lindsay Eltis had won an all-expense-paid trip to the Alberta oil sands. He had participated in the Canada-wide Science Fair in London Ontario, and was recognized as having the best environment-related project in the fair’s senior division. Kanata Standard, August 31, 1979:1.

 

August 31, 1979

Meetings between officials from the City of Kanata ad the Provincial Ministry of Culture and Recreation were held to discuss a proposed $12,000 recreation study for the City. It was to be completed by August, 1980. Kanata Standard, August 31, 1979:1.

 

September 8, 1979

A successful Glen Cairn Fun Fair was held. Kanata Standard, September 14, 1979:1.

 

September 12, 1979

Kanata City Council met in the Katimavik Community Centre, and asked residents for input on alterations to ward boundaries. Kanata Standard, September 14, 1979:1.

 

September 12, 1979

An extreme-noise by-law was proposed by Kanata City Council, which would prohibit many normal activities if they produced an audible sound. Only Alderman Bob Kingham objected. Activities prohibited at various hours or days would include racing the engine of a car, operating a lawn mower, operating a radio or hi-fi set, yelling, barking by a dog, ringing of Church bells, etc. Kanata Standard, September 14, 1979:1.

 

September 14, 1979

A Standard editorial emphasized that the newspaper, as a rather large community-owned operation, relied heavily on volunteers. The editors stated that recent editions had been lacking in “hard” news and investigative articles, due to their “cadre of volunteers” becoming “alarmingly small.” Kanata Standard, September 14, 1979:2.

 

September 14, 1979

The Interlangues School of Languages announced the opening of its West End School in Kanata. Kanata Standard, September 14, 1979:7.

 

September 14, 1979

It was reported that a group of residents, led by Alderman Jean Gubby, were pushing for a Committee to support the Ottawa Civic Hospital’s five year Development Plan. Kanata Standard, September 14, 1979:16.

 

September 16, 1979

A ceremonial sod-turning occurred at St. Paul’s Anglican Church to mark the beginning of construction of a new church hall. Kanata Standard, September 28, 1979:1.

 

September 16, 1979

A Kanata concert debut to begin the fall season was held at the Earl of March Auditorium. Kanata Standard, September 28, 1979:9.

 

September 22, 1979

The Kanata Singles began their fall season of dances. Kanata Standard, September 14, 1979:14.

 

September 28, 1979

In a Standard editorial, Isa Clayton criticized Council for spending valuable time on things like the recently proposed anti-noise by-law. Clayton stated: “As it stands Kanata has far too MANY restrictions” and that if Council “have nothing more constructive to do with OUR time, we employ them on a part-time basis.” Kanata Standard, September 28, 1979:2.

 

September 28, 1979

Bob Kingham stated in a Standard article that the noise by-law recently introduced by Kanata City Council had “evoked more public interest in our new city than any other single issue since the election.” He had received around 50 calls on the issue. Kanata Standard, September 28, 1979:1.

 

September 28, 1979

The City of Kanata and the Recreation Department opened a room in the John Mlacak Centre to be used as a Teen Centre. Kanata Standard, September 28, 1979:11.

 

September 29, 1979

The 7th Annual City of Kanata Oktoberfest was held. Kanata Standard, September 14, 1979:10-11.

 

October 3, 1979

The Kanata Beaverbrook Community Association held a General Meeting. It was reported as being a very “contentious” meeting, which eventually led to the adoption of a new constitution and set of by-laws. A motion was also passed to extend the term of the current Board of Directors and Executive to June 15, 1980. Kanata Standard, October 12, 1979:1.

 

October 9, 1979

In a Kanata City Council meeting, Mayor Wilkinson indicated that there may be potentially large increases in taxes. Kanata Standard, October 12, 1979:1.

 

October 12, 1979

The City of Kanata Auditor’s Report for 1979 was published in the Standard. Kanata Standard, September 28, 1979:12-13.

 

October 13, 1979

There was a musical performance by David Gailbraith and Friends. Fred Boyd reported that the presentation made for a “very enjoyable evening.” Kanata Standard, October 26, 1979:20.

 

October 15, 1979

A meeting was held to discuss the future of the Kanata Standard newspaper. Plans were put in place to ensure meeting growing needs and opportunities of the “enlarged” paper. Kanata Standard, October 26, 1979:1.

 

October 17, 1979

The Kanata Beaverbrook Community Association held its New Residents’ Night. Over 50 people attended. Kanata Standard, October 26, 1979:1.

 

October 17, 1979

Steinberg’s 9th and largest store was opened for business at Hazeldean Mall. Kanata Standard, October 26, 1979:5.

 

October 17, 1979

Towers Department Store opened in Hazeldean Mall. Kanata Standard, October 26, 1979:6.

 

October 18, 1979

The Stittsville and District Snowmobile Association held its Annual General Meeting. Kanata Standard, October 12, 1979:8.

 

October 20, 1979

The Kinsmen Club of West Carleton held their 1st Annual Lobster & Beef Night. Over 300 people attended the event.

 

October 24, 1979

The Kanata Theatre opened its season with Forty Carets. It was directed by Laurence Thornton and the cast included Marg Awthority, Murray Hayes, Rosie Keneford, Mary Mauger, Jennifer Jermyn, Paula Wilke, Liane Freedman, Bob Knight, Jim Ritchie, and Barrie Kirk. Kanata Standard, October 12, 1979:18.

 

October 26, 1979

A feature article in the Standard outlined events rendering a hydro utility possible in Kanata. Art Bowker was reported as stating that he was recommending that a hydro utility be established for the City, and that the final report would go to the Minister of Energy. Kanata Standard, October 26, 1979:1.

 

October 26, 1979

The Air Cadet League of Canada, in cooperation with the Kiwanis Club, announced their intent to form an Air Cadet Squadron in Kanata. Kanata Standard, October 26, 1979:11.

 

October 26, 1979

The New Amended Kanata Beaverbrook Community Association Constitution of October 3 was published in the Standard. Kanata Standard, October 26, 1979:14-15.

 

October 26, 1979

Regional Council held a Special Regional Council meeting to deal with the report on Environmental Lands, formerly called Conservation Lands for the Region. A provision was made to allow some use of plans of subdivision to permit both landowners and local municipalities to have a greater degree of flexibility in dealing with the use of environmental lands. Kanata Standard, October 26, 1979:18-19; Kanata Standard November 9, 1979:1,12; Kanata Standard, November 9, 1979:1,12.

 

October 26, 1979

Information on the new Kinsmen Participark was published in the Standard. Kanata Standard, October 26, 1979:21-3.

 

October 30, 1979

An official reception was held to celebrate the opening of Hazeldean Mall. Kanata Standard, November 9, 1979:10

 

November 6, 1979

The Carleton School Board Committee held a Whole Committee meeting to consider the five-year capital plan and the priorities for future school construction. Kanata Standard, November 9, 1979:2.

 

November 9, 1979

A feature in the Standard updated Project 4000 and the status of the first Vietnamese family sponsored in Kanata as part of the program. Kanata Standard, November 9, 1979:1,12.

 

November 20, 1979

There was a sod-turning ceremony to mark a major expansion of the Atomic Energy of Canada Limited, Commercial Products, located in the Kanata North Industrial Park. Kanata Standard, November 23, 1979:1.

 

November 22, 1979

Kanata youth Bill Casley was presented with a personal bravery award by the Kanata-Carleton Rotary Club. The previous August, Casley had pulled David Malloy from a burning car just before it exploded. November 23, 1979:11.

 

November 23, 1979

The President of the National Capital Equestrian Park announced that a Wintario grant approval was given to cover 50 percent, or $416,612, of an all-weather indoor riding arena. Kanata Standard, November 23, 1979:13.

 

November 26, 1979

A meeting was held in Rural March to discuss whether or not to remain part of Kanata or to become part of West Carleton.

 

November 27, 1979

Kanata City Council passed a by-law authorizing the acquisition of land, the design and construction of a library in Glen Cairn. It was estimated to cost $502,000. Kanata Standard, December 7, 1979:13.

 

November 27, 1979

Kanata City Council approved the acquisition of land and the architectural design fees for a new rural fire hall, estimated at $155,000.

 

November 30, 1979

Mitel officially opened its Kanata headquarters. The company was already planning further expansion to its Kanata, Ogdensburg and Puerto Rico plants. Kanata Standard, December 7, 1979:21.

 

December 1, 1979

The City of Kanata celebrated its 1st birthday. Approximately 400 people attended a the festivities at Glen Cairn Community Centre. Campeau Corporation provided several birthday gifts, including a Campeau University Scholarship, a giant outdoor skating rink, and a giant toboggan run. Kanata Standard, December 7, 1979:1.

 

December 1, 1979

Mayor Wilkinson presented the Kingham family with a mounted picture of their winning logo design for the City of Kanata at the City’s 1st birthday. Kanata Standard, December 7, 1979:31.

 

December 4, 1979

Kanata City Council opened their meeting with a tribute to Alderman Lund for his work on the Hydro Committees leading up to an agreement to set up a city Hydro Utility. Kanata Standard, December 7, 1979:1.

 

December 4, 1979

Kanata City Council approved a motion in principle to change the name of Highway 17 to March Road. Kanata Standard, December 7, 1979:4.

 

December 7, 1979

An article by Carol Dougherty, based on interview with Mayor Marianne Wilkinson with regard to the first year of the City of Kanata, was published in the Standard. Dougherty wrote: “Not unlike the parents of a first newborn, the mayor and council have frequently relied upon trial and error and upon their own judgment to make decisions. In fact the lack of precedent, policy or procedure has forced council to learn through experience and to grow with the city.” Kanata Standard, December 7, 1979:6.

 

December 7, 1979

Bob Kingham commented in an article in the Standard on the first year of the City of Kanata. Kingham stated: “...you cannot make a community by Law. First and foremost it takes people — not a faceless legion, but neighbours and friends whose membership in Kanata derives from a conscious sense of belonging.” Kanata Standard, December 7, 1979:7.

 

December 7, 1979

Doug Nash wrote A Year of Reflection, to commemorate Kanata’s birthday. He stated: “I count this first year as a beneficial learning experience. I now realize that the provincial government has a great deal of jurisdiction over how a municipality operates, and it has been a very revealing experience to study the fine points of the Ontario Municipal Act.” Kanata Standard, December 7, 1979:8.

 

December 7, 1979

Charlie Rogers’ article, A Year in Review, outlined his participation in the first year of the City of Kanata. Rogers stated: “We are suffering from growing pains (possibly some headaches still around from motherhood), but I feel that we are progressing at a reasonable rate considering the circumstances and I look forward to a better progress rate in the next twelve months.” Kanata Standard, December 7, 1979:9.

 

December 7, 1979

Marianne Wilkinson, in her Commentary, reflected on the past year as Mayor of the new City of Kanata. She stated that the year had been full of “challenges, of accomplishments, of frustrations, of pleasure, of hard work, of long hours, and of tremendous encouragement and assistance given to me by the residents of Kanata, the members of Council and particularly by the Kanata City Staff.” Kanata Standard, December 7, 1979:14.

 

December 7, 1979

It was reported that three new refugee families had arrived in the Kanata area, as part of the ongoing Project 4000 program. Kanata Standard, December 7, 1979:30.

 

December 11, 1979

The speed limit on Eagleson Road from Highway 7 to Timm Drive was lowered from 80 km/h to 60 km/h. Kanata Standard, Jan. 11, 1980:4.

 

December 21, 1979

In a letter to the Editor, E. C. Prince criticized Kanata City Council for allowing the construction of the Participark, calling it “another pillaging of the natural landscape and thus the loss of the pastoral scene.” Kanata Standard, December 21, 1979:2.

    

City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.

 

The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.

 

HISTORY

The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.

 

Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

 

At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.

 

After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.

 

But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.

 

LEGEND

Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.

 

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

 

CLIMATE

The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.

 

STRUCTURES

The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.

 

Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.

 

The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.

 

GATEWAYS

Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.

 

The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.

 

The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.

 

AMAR VILAS

Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.

 

BADI MAHAL

Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.

 

The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.

 

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

 

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

 

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

 

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

 

DURBAR HALL

Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.

 

FATEPRAKASH PALCE

Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.

 

JAGDISH MANDIR

Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.

 

KRISHNA VILAS

Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.

 

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

 

MANAK MAHAL

The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.

 

MOR CHOK

Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.

 

MUSEUM

n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.

 

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

 

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

 

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

 

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

 

A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.

 

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

 

WIKIPEDIA

polymer clay

Beige E34 vs. Beige W124

les Trente Glorieuses de Toulouse transfigurée ou défigurée? Curieux mélange entre passé empreint de ruralité et modernisme d'une nouvelle vie citadine, Toulouse a été bousculée durant les Trente Glorieuses. Elle en porte encore la marque. Cachez ce béton que Toulouse ne saurait voir ! Aujourd'hui, pour coller à l'image de Ville rose, les nouvelles constructions sont fréquemment parées de briquettes. Mais lors de son essor économique, de l'après-guerre aux années 70, la ville a aussi vu pousser des immeubles, des usines et des équipements qui rompaient avec la tradition. «Les Trente Glorieuses» imposaient l'image du progrès, ouvraient grandes des brèches pour la voiture (les allées Jean-Jaurès) et multipliaient les étages. «Aujourd'hui, tes buildings grimpent haut», chante Nougaro en 1967, au plus fort des constructions. La halle octogonale au dôme d'ardoises du marché des Carmes ? Jetée à terre. Même chose pour la halle Victor-Hugo, qui laissera la place à un immeuble blanc hérissé de compartiments de béton. Cinquante ans plus tard, parés des vertus du vintage, on les regarderait avec admiration.

500 bâtiments en 30 ans !

En ouvrant une collection «au temps des Trente Glorieuses»*, les éditions toulousaines Loubatières classent le progrès au rayon de la nostalgie. Son rédacteur, l'historien Rémy Pech qui présida l'université du Mirail (construite au début des années 70) rappelle qu'entre 1946 et 1975, «Toulouse gagne près de 110 000 habitants ; la vie quotidienne change profondément, les grands magasins supplantent les boutiques de quartier, on se presse à la foire internationale...». Le quartier du Mirail sortira bientôt de terre. Symbole de la Toulouse moderne, il en est éloigné : les bus 12 et 148 le relient péniblement en attendant l'arrivée du métro, en 1990, alors que la crise s'est installée durablement. Chargé d'un inventaire de l'architecture du siècle dernier en Midi-Pyrénées, l'architecte Rémi Papillault a recensé 693 bâtiments construits à Toulouse, dont 500 pour les seules Trente Glorieuses.

«C'est une période très riche, où des agences remarquées marient le béton aux matériaux traditionnels de la région, la brique et les galets», note l'architecte, citant les immeubles de Gardia et Zavagno, boulevard des Récollets ou l'école de la rue de la chaussée, signée Pierre Debeaux. Cette dernière se fait discrète, dans la continuité urbaine. Nettement plus visibles sont la résidence de la Comtale aux terrasses étagées, près de la gare, le Belvédère aux Récollets ou les premières HLM bien pensées (par Armandary) à Empalot. Il y a aussi le magasin Perry, place Esquirol, qui alterne vitres et panneaux pleins en façade d'un temple de la lingerie.

Perry, en cours de fermeture, est entré dans le paysage, comme le Monoprix de De Noyers et Le Maresquier, mais l'immeuble Citroën boulevard d'Arcole (actuellement Decathlon) a toujours ses détracteurs. Il est pourtant «un des plus beaux de la période», estime l'architecte.

Toulouse défigurée ou transfigurée ? «Le même bâtiment peut faire les deux !» prévient Rémi Papillault. Les Trente Glorieuses ne le sont pas pour tout le monde. Les éditions Loubatières, qui lui consacrent tout un album ont orné la couverture de leur principale victime : le marché des Carmes, construit par Galinier en 1892.

*Toulouse au temps des Trente Glorieuses, textes de Rémy Pech, éd. Loubatières, 109 pages, 25 €

«Entre 1946 et 1975, Toulouse gagne 110 000 habitants, la vie change profondément» Nettement plus visibles sont la résidence de la Comtale aux terrasses étagées, près de la gare, le Belvédère aux Récollets ou les premières HLM bien pensées (par Armandary) à Empalot. Il y a aussi le magasin Perry, place Esquirol, qui alterne vitres et panneaux pleins en façade d'un temple de la lingerie.

Perry, en cours de fermeture, est entré dans le paysage, comme le Monoprix de De Noyers et Le Maresquier, mais l'immeuble Citroën boulevard d'Arcole (actuellement Decathlon) a toujours ses détracteurs. Il est pourtant «un des plus beaux de la période», estime l'architecte.

Toulouse défigurée ou transfigurée ? «Le même bâtiment peut faire les deux !» prévient Rémi Papillault. Les Trente Glorieuses ne le sont pas pour tout le monde. Les éditions Loubatières, qui lui consacrent tout un album ont orné la couverture de leur principale victime : le marché des Carmes, construit par Galinier en 1892.

*Toulouse au temps des Trente Glorieuses, textes de Rémy Pech, éd. Loubatières, 109 pages, 25 €

«Entre 1946 et 1975, Toulouse gagne 110 000 habitants, la vie change profondément» www.ladepeche.fr/.../2232355-trente-glorieuses... Batir la vie - 311 pages. Quelques planches en noir et blanc. 2 photos disponibles.. . . . Classification Dewey : 840.091-XX ème siècle

Bâtir la vie est un récit autobiographique, recueilli et mis en forme en 1977 par Michel Lefebvre. Candilis raconte son extraordinaire parcours, de Bakou à Athènes, Paris, Casablanca ou La Martinique, de sa participation aux CIAM, puis au Team 10 à ses dernières réflexions sur l'habitat contemporain, de la Résistance grecque à l'enseignement à l'Ecole des Beaux Arts. Classification Dewey : 840.091-XX ème siècle. BATIR! www.franceculture.fr/.../batir-la-vie-un... Tel était le rêve de Georges Candilis. C'est devenu une passion. Une passion qui a fait de lui aujourd'hui un célèbre architecte. S'il a toujours tenté, à travers ses recherches et ses réalisations, de réconcilier la maison et la ville, c'est peut-être, en partie, parce que sa jeunesse fut une grande aventure, un long voyage, la quête permanente d'un havre où "se reposer" et où "voir se reposer" les autres.

Né à Bakou en 1913, il part à l'âge de 12 ans pour la Grèce et entre, après ses années de collège, à l'école Polytechnique d'Athènes, section architecture. Il n'abandonnera plus jamais cette discipline. Après la guerre contre les Italiens, la résistance contre les Allemands et les Anglais, une bourse du gouvernement français lui permet, en 1945, de gagner la ville de ses rêves : Paris. C'est là, en effet, que travaille l'un des plus grands architectes de l'époque : Le Corbusier. Intégré à son équipe, il participe de façon directe avec lui à la construction de la fameuse "Maison du Fada" à Marseille.

Déjà se dessinent dans son esprit les grands axes de ses recherches futures : faire des logements "riches" pour les pauvres, des lieux qui servent et respectent l'homme. Ce sont successivement des maisons pour Gitans, des réalisations à la Martinique pour l'habitat tropical, un grand ensemble à Toulouse - Le Mirail - où il tente de créer une ville sans ségrégation ; l'aménagement du Languedoc-Roussillon consacré aux loisirs populaires.

Aujourd'hui, Georges Candilis poursuit son rêve de toujours: mettre au service des plus déshérités- hier, ceux des bidonvilles, qu'il a pu voir en Amérique du Sud - aujourd'hui, ceux des populations sous-développées du Moyen-Orient, sont art de bâtir qui est en même temps un art de vivre. un architecte témoin de son temps - récit recueillli par Michel Lefebvre - Candilis Georges, Lefebvre Mic @ Un homme

D’origine grecque, né à Bakou (1913-1995), l’architecte français Georges Candilis a fait ses études à l’École polytechnique nationale d’Athènes avant de travailler, dès 1946, chez Le Corbusier, sur le projet d’unité d’habitation de Marseille, dont il dirigea le chantier avec l’architecte américain Shadrach Woods (1923-1973).

En 1951, Candilis et Woods vont diriger le bureau africain de l’Atbat (Ateliers des bâtisseurs), structure créée par Le Corbusier, Vladimir Bodiansky et André Wogensky. À son retour en France, Candilis rencontre à l’Atbat l’architecte yougoslave Alexis Josic (1921-2011).

L’aventure de l’équipe Candilis-Josic-Woods commence en 1954. En une dizaine d’années de travail commun (1955-1964), ces trois architectes installés en France ont posé les bases théoriques d’une critique du fonctionnalisme et, à travers d’innombrables chantiers, mis en application à grande échelle les principes d’une architecture nouvelle, dite « proliférante ».

Ils cherchent à produire de nouvelles typologies d’habitats, adaptées aux conditions économiques et sociales des habitants les plus démunis. L’humain est au centre de leurs préoccupations. « Le respect n’a pas de formule, pas de recette. C’est un sentiment que doit posséder l’architecte envers son client ; si la construction peut donner des satisfactions matérielles, l’architecture doit apporter quelque chose de plus : la dignité et la liberté » (Candilis, 1977).

Leur réflexion architecturale absolument nouvelle, centrée sur l’habitat, différera de celle de Le Corbusier et sera plus proche des recherches sur l’habitat minimal menées par les architectes allemands des années vingt.

L’abandon progressif d’une idée rationnelle et normative entraînera l’équipe d’architectes à se retrancher sur des « propositions pour un habitat évolutif », intégrant la problématique de la croissance et du changement à l’échelle de la maison individuelle.

Ils aborderont la question de l’habitat en donnant la priorité à l’organisation du plan.

L’équipe concevra selon un rationalisme subtil à la manière de Louis Kahn (espace servant/espace servi), des fonctions précises : accès, rangements, bains, etc.

Entre autres réalisations, citons l’extension de Bagnols-sur-Cèze et le quartier du Mirail à Toulouse. À partir de 1969, Candilis poursuit seul son activité en tant qu’architecte et urbaniste. Il travaille sur plusieurs projets de logements et d’écoles au Moyen-Orient, ainsi que sur l’aménagement de sites touristiques.

En 1970, entouré de nouveaux collaborateurs, Candilis concevra le village des Carrats à Port-Leucate suivant les principes mis au point antérieurement. Ils reprendront les systèmes en cluster (grappe) et en stem (tiges), métaphores anglo-saxonnes d’un urbanisme scientifique,

séduit par un mode d’organisation organique de l’habitat chère à Patrick Geddes.

Une citation

« L’œuvre la plus importante qui résulte de ce travail, de cette entente, de cette persévérance, est la création de conditions favorables pour permettre aux hommes de se rencontrer, de mieux se connaître. Et la connaissance conduisant à l’amitié renforce la paix entre les peuples. »

G. Candilis, 1977

Sources :

Cité du patrimoine archiwebture.citechaillot.fr/fonds/FRAPN02_CANGE

Granveaud, « Candilis Georges (1913-1995) », Encyclopædia Universalis.

Georges Candilis, Bâtir la vie : un architecte témoin de son temps, Stock, 1977

Un projet

Le village de vacances des Carrats à Port-Leucate a été conçu par les architectes Georges Candilis, Georges Wursteisen, Pierre Raoux et Zygmund Knyszewsky.

Il fait partie des opérations de construction de la Mission Racine, programme pour l’aménagement touristique du littoral du Languedoc-Roussillon, pour lequel Candilis a été nommé architecte en chef en 1964.

Pour l’équipe de Candilis, l’opération des Carrats devient un lieu d’expérimentation architecturale à dimension sociale. Composé de bungalows de formes cubiques, ses toits terrasses, ses patios, les bâtiments collectifs, les nombreux lieux publics (placettes, aires de jeux) ont permis la création d’un lieu idéal où tout était fait pour tendre vers un bonheur individuel et collectif.

Les architectes de la Team 10 (1), dont faisait partie Candilis, insistaient sur la relation de l’architecture avec la « quatrième dimension ». Les concepts clés « d’espace/temps » et de « mouvement », devaient être associés à ceux, de « plasticité », « mobilité », « flexibilité » et « évolution », dans le combat pour une redéfinition de l’architecture humaniste, une architecture de communauté.

En 1961, la Team X avec les concepts de Stem et de web récuse le dogme du zoning fonctionnel de la charte d’Athènes, et son outil de mesure le Zipaton : une trame plastifiée mécanique qui, une fois collée sur le papier, marquait un type général d’utilisation, plutôt qu’un volume ou une forme en particulier.

Se basant sur ces deux concepts, la prise en compte de la fonction ne se fonde plus seulement sur l’espace, elle intègre l’échelle de l’homme dans ses déplacements et son temps de parcours à l’intérieur des espaces (2).

Le concept de stem (tige) est utilisé comme un moyen d’organiser l’urbanisme de masse. Plus concrètement, le stem était une zone piétonne continue reliant les principaux équipements urbains. Le stem central est considéré comme la structure fondamentale, à la fois sociale et matérielle, des ensembles résidentiels.

Le stem apparaît pour la première fois dans leur projet pour le concours de Caen-Hérouville, puis à Toulouse-Le Mirail. Il s’enrichit par la suite avec le cluster des « grappes » de constructions de petites et de grandes hauteurs s’articulent autour des espaces publics (stem) qui se prolongent dans les îlots résidentiels.

Le concept continuera son évolution avec l’apparition du Web qui « n’est pas essentiellement un système de circulation, mais un système d’environnement. C’est le moyen d’établir une hiérarchisation à grande échelle, qui par son existence rend possible une expression individuelle à très petite échelle. Le Web doit être un système hautement flexible dans un monde d’une grande mobilité. La flexibilité est garantie par l’uniformité de l’intensité initiale des activités sur le Web, de telle sorte qu’il puisse être accroché à n’importe quel point, et qu’il puisse lui-même s’accrocher aux systèmes plus importants à n’importe quel endroit. Ces liaisons déterminent des points de très grande intensité mais la flexibilité première reste toujours et les points de densité qui surviennent à mesure que le Web en vivant devient polycentrique, gardent leur caractère de mobilité. Ces systèmes feront preuve, à leur commencement, d’une intensité d’activité également répartie, de manière à ne pas compromettre l’avenir ». Woods, Paris, août-décembre 1962 (3- 4)

La question du plus grand nombre poussera la Team 10 à innover non seulement sur le registre programmatique ou urbanistique, mais également dans le domaine esthétique.

Les architectes s’intéressent à la rythmique des nombres, grâce au rythme et à la géométrie, les grands nombres devenaient maniables pour la composition et visuellement intelligibles.

Les principes de base en étaient une relation de réciprocité entre la partie et le tout, ainsi qu’une structure non hiérarchique et polycentrique qui reliait entre elles les différentes échelles de l’environnement construit.

C’est dans le prolongement du courant général de l’architecture moderne et de cette restructuration idéologique que naîtra l’opération des Carrats de Port-Leucate en 1969.

Les membres de la Team 10, émergée des Ciam dans les années cinquante, par leurs analyses, dessins, publications, enseignements, ont suscité un profond renouvellement de la pensée moderne sur l’architecture et la ville, car pour eux :

« La structure d’une ville ne tient pas à sa géométrie mais aux activités humaines qu’elle recèle. » Candilis-Josic-Woods, 1964 (5).

Notes :

(1) Le nom de Team 10 fait référence au Xe congrès des CIAM (congrès international d’architecture moderne), pendant lequel, un groupe d’architectes issus du Mouvement moderne remettra en cause les principes de la charte d’Athènes.

Sources :

(2) Source éditoriale Le Carré Bleu quarante ans – 1958-1998, p. 1 à 3.

(3) Source première édition Carré bleu, n° 3, 1962

(4) Carré bleu, numéro 3-4, 1998, p. 44

(5) Dossier de presse Expo en 2008, Cité de l’architecture & du patrimoine. Mouvement moderne : premières autocritiques, Team X, une utopie du présent (1953-1981) LES GRANDS ENSEMBLES @ Bien qu’ils échappent à une définition unique, les grands ensembles sont ty-piquement des ensembles de logement collectif, souvent en nombre impor-tant (plusieurs centaines à plusieurs milliers de logements), construits entre le milieu des années 1950 et le milieu des années 1970, marqués par un urba-nisme de barres et de tours inspiré des préceptes de l’architecture moderne.

 

Ces grands ensembles, dont plusieurs centaines ont été construits en France, ont permis un large accès au confort moderne (eau courante chaude et froide, chauffage central, équipements sanitaires, ascenseur…) pour les ouvriers des banlieues ouvrières, les habitants des habitats insalubres, les rapatriés d’Algérie et la main-d’oeuvre des grandes industries.

 

Ils se retrouvent fréquemment en crise sociale profonde à partir des années 1980, et sont, en France, l’une des raisons de la mise en place de ce qu’on appelle la politique de la Ville.

 

Définition

 

Il n’y a pas de consensus pour définir un grand ensemble.

 

On peut toutefois en distinguer deux :

 

• Selon le service de l’Inventaire du ministère de la Culture français, un grand ensemble est un «aménagement urbain comportant plusieurs bâtiments isolés pouvant être sous la forme de barres et de tours, construit sur un plan masse constituant une unité de conception. Il peut être à l’usage d’activité et d’habitation et, dans ce cas, comporter plusieurs centaines ou milliers de logements. Son foncier ne fait pas nécessairement l’objet d’un remembrement, il n’est pas divisé par lots ce qui le différencie du lotissement concerté».

 

• Selon le «géopolitologue» Yves Lacoste, un grand ensemble est une «masse de logements organisée en un ensemble. Cette organisation n’est pas seulement la conséquence d’un plan masse; elle repose sur la présence d’équipement collectifs (écoles, commerces, centre social, etc.) […]. Le grand ensemble apparaît donc comme une unité d’habitat relativement autonome formée de bâtiments collectifs, édifiée en un assez bref laps de temps, en fonction d’un plan global qui comprend plus de 1000 logements».

 

Le géographe Hervé Vieillard-Baron apporte des précisions : c’est, selon lui, un aménagement en rupture avec le tissu urbain existant, sous la forme de barres et de tours, conçu de manière globale et introduisant des équipements règlementaires, comportant un financement de l’État et/ou des établissements publics. Toujours selon lui, un grand ensemble comporte un minimum de 500 logements (limite fixée pour les Zone à urbaniser en priorité (ZUP) en 1959). Enfin, un grand ensemble n’est pas nécessairement situé en périphérie d’une ag-glomération.

 

Comme on le voit ci-dessus, la détermination d’un seuil de logements peut être débattue. Les formes du grand ensemble sont assez récurrentes, inspirées (ou légitimées) par des préceptes de l’architecture moderne et en particulier des CIAM : ils se veulent une application de la Charte d’Athènes4. Pour autant, on ne peut pas dire qu’il s’agisse d’une application directe des principes de Le Corbusier. Ils sont aussi le fruit d’une industriali-sation progressive du secteur du bâtiment et, notamment en France, des procédés de préfabrication en béton.

 

Histoire

 

La Cité de la Muette à Drancy, construite par Eugène Beaudouin, Marcel Lods et Jean Prouvé entre 1931 et 1934 pour l’Office public HBM de la Seine, est traditionnellement considérée comme le premier grand en-semble en France. Elle est même à l’origine du terme de «grand ensemble» puisque c’est ainsi que la désigne pour la première fois Marcel Rotival dans un article de l’époque6. Cette cité, initialement conçue comme une cité-jardin, se transforme en cours d’étude en un projet totalement inédit en France, avec ses 5 tours de 15 étages et son habitat totalement collectif. Cependant, cette initiative reste sans lendemain du moins dans l’immédiat.

 

Après la Seconde Guerre mondiale, le temps est à la reconstruction et la priorité n’est pas donnée à l’habitat. Le premier plan quinquennal de Jean Monnet (1947-1952) a avant tout pour objectif la reconstruction des infrastructures de transport et le recouvrement des moyens de production. Par ailleurs, le secteur du bâtiment en France est alors incapable de construire des logements en grande quantité et rapidement : ce sont encore de petites entreprises artisanales aux méthodes de constructions traditionnelles.

 

Les besoins sont pourtant considérables : sur 14,5 millions de logements, la moitié n’a pas l’eau courante, les 3/4 n’ont pas de WC, 90 % pas de salle de bain. On dénombre 350 000 taudis, 3 millions de logements surpeu-plés et un déficit constaté de 3 millions d’habitations. Le blocage des loyers depuis 19147, très partiellement atténué par la Loi de 1948, ne favorise pas les investissements privés.

 

L’État tente de changer la situation en impulsant à l’industrialisation des entreprises du bâtiment : en 1950, Eugène Claudius-Petit, ministre de la reconstruction, lance le concours de la Cité Rotterdam à Strasbourg. Ce programme doit comporter 800 logements, mais le concours, ouvert à un architecte associé à une entreprise de BTP, prend en compte des critères de coût et de rapidité d’exécution. Le projet est gagné par Eugène Beau-douin qui réalise un des premiers grands ensembles d’après guerre en 1953. En 1953 toujours, Pierre Courant, Ministre de la Reconstruction et du Logement, fait voter une loi qui met en place une série d’interventions (appelée «Plan Courant») facilitant la construction de logements tant du point de vue foncier que du point de vue du financement (primes à la construction, prêts à taux réduit, etc.) : la priorité est donnée clairement par le ministère aux logements collectifs et à la solution des grands ensembles.

 

La même année, la création de la contribution obligatoire des entreprises à l’effort de construction (1 % de la masse des salaires pour les entreprises de plus de 10 salariés) introduit des ressources supplémentaires pour la réalisation de logements sociaux : c’est le fameux «1 % patronal». Ces fonds sont réunis par l’Office Central Interprofessionnel du Logement (OCIL), à l’origine de la construction d’un certain nombre de grands ensembles.

 

Mais le véritable choc psychologique intervient en 1954 : le terrible hiver et l’action de l’Abbé Pierre engage le gouvernement à lancer une politique de logement volontariste. Un programme de «Logements économiques de première nécessité» (LEPN) est lancé en juillet 1955 : il s’agit de petites cités d’urgence sous la forme de pavillons en bandes. En réalité, ces réalisations précaires s’avèrent catastrophiques et se transforment en tau-dis insalubres dès l’année suivante. La priorité est donnée alors résolument à l’habitat collectif de grande taille et à la préfabrication en béton, comme seule solution au manque de logements en France.

 

Une multitude de procédures administratives

 

Grands ensembles du quartier Villejean à Rennes par l’architecte Louis Arretche.

 

Il n’existe pas une procédure type de construction d’un grand ensemble pendant cette période. En effet, de très nombreuses procédures techniques ou financières sont utilisées. Elles servent souvent d’ailleurs à désigner les bâtiments ou quartiers construits à l’époque : Secteur industrialisé, LOPOFA (LOgements POpulaires FAmiliaux), Logecos (LOGements ÉCOnomiques et familiaux), LEN (Logements économiques normalisés), l’opération Million, l’opération «Économie de main d’oeuvre». L’unique objectif de toutes ces procédures est de construire vite et en très grande quantité. Le cadre de la Zone à urbaniser en priorité intervient en 1959, avec des constructions qui ne commencent réellement qu’en 1961-1962.

 

Les contextes de constructions

 

Le quartier de La Rouvière (9ème arrondissement) à Marseille construit par Xavier Arsène-Henry.

 

On peut distinguer 3 contextes de construction de ces grands ensembles à la fin des années 1950 et début des années 1960 :

 

• de nouveaux quartiers périphériques de villes anciennes ayant pour objectif de reloger des populations ins-tallées dans des logements insalubres en centre-ville ou pour accueillir des populations venues des campagnes environnantes (cas les plus fréquents).

 

• des villes nouvelles liées à l’implantation d’industries nouvelles ou à la politique d’aménagement du ter-ritoire : c’est le cas de Mourenx (avec le Gaz de Lacq), Bagnols-sur-Cèze ou Pierrelatte (liées à l’industrie nucléaire). On voit aussi des cas hybrides avec la première situation, avec des implantations proches de villes satellites de Paris, dans le but de contrebalancer l’influence de cette dernière : c’est le cas de la politique des «3M» dans le département de Seine-et-Marne avec la construction de grands ensembles liés à des zones in-dustrielles à Meaux, Melun, Montereau-Fault-Yonne.

 

• des opérations de rénovation de quartiers anciens : le quartier de la Porte de Bâle à Mulhouse, l’îlot Bièvre dans le 13e arrondissement de Paris, le centre-ville ancien de Chelles.

 

Il est à noter qu’un grand ensemble n’est pas forcément un ensemble de logements sociaux : il peut s’agir aussi de logements de standing, comme le quartier de la Rouvière à Marseille.

 

Les modes de constructions

 

Le Haut du Lièvre (3000 logements, construits à partir de 1954), deux des plus longues barres de France, construite par Bernard Zehrfuss sur une crête surplombant Nancy.

 

Tout est mis en oeuvre pour qu’un maximum d’économies soient réalisées sur le chantier :

 

• la préfabrication : de nombreux procédés de préfabrications sont mis en oeuvre sur les chantiers permettant un gain de temps et d’argent. Expérimentés au cours des chantiers de la Reconstruction après la Seconde Guerre mondiale, ces procédés permettent la construction en série de panneaux de bétons, d’escaliers, d’huisseries mais aussi d’éléments de salles de bains à l’intérieur même du logements. Ces procédés ont pour nom : Camus (expérimenté au Havre et exporté jusqu’en URSS), Estiot (au Haut-du-Lièvre à Nancy) ou Tracoba (à la Pierre Collinet à Meaux). Les formes simples (barres, tours) sont privilégiées le long du chemin de grue (grue posée sur des rails) avec des usines à béton installées à proximité du chantier, toujours dans une recherche de gain de temps.

 

• une économie de main d’oeuvre : la préfabrication permet de faire appel à une main d’oeuvre peu qualifiée, souvent d’origine immigrée. De grands groupes de BTP bénéficient de contrats pour des chantiers de construc-tion gigantesques, favorisés par l’État.

 

• les maîtres d’ouvrages sont eux aussi très concentrés et favorise les grandes opérations. La Caisse des dépôts et consignations est ainsi l’un des financeurs incontournables de ce mouvement de construction avec notam-ment sa filiale, la SCIC (Société Civile immobilière de la Caisse des dépôts et consignations), créée en 1954. Elle fait appel à des architectes majeurs des années 1950 et 1960, tels que Jean Dubuisson, Marcel Lods, Jacques Henri Labourdette, Bernard Zehrfuss, Raymond Lopez, Charles-Gustave Stoskopf et elle est à l’ori-gine de nombreux grands ensembles situés en région parisienne, tels que Sarcelles (le plus grand programme en France avec 10 000 logements), Créteil, Massy-Antony.

 

Les désignations de ces grands ensembles sont à cette époque très diverses : unité de voisinage, unité d’habitation, ville nouvelle (sans aucun rapport avec les villes nouvelles de Paul Delouvrier), villes satellites, ou encore cités nouvelles, etc.Pendant 20 ans, on estime à 300 000 le nombre de logements construits ainsi par an, alors qu’au début des années 1950, on ne produisait que 10 000 logements chaque année. 6 millions de logements sont ainsi construits au total. 90 % de ces constructions sont aidées par l’État.

 

En 1965, le programme des villes nouvelles est lancé, se voulant en rupture avec l’urbanisme des grands ensembles. En 1969, les zones à urbaniser en priorité sont abandonnées au profit des zones d’aménagement concerté, créées deux ans auparavant. Enfin, le 21 mars 1973, une circulaire ministérielle signée par Olivier Guichard, ministre de l’Équipement, du Logement et des Transports, «visant à prévenir la réalisation des formes d’urbanisation dites « grands ensembles » et à lutter contre la ségrégation sociale par l’habitat», interdit toute construction d’ensembles de logements de plus de 500 unités. La construction des grands ensembles est définitivement abandonnée. La loi Barre de 1977 fait passer la priorité de l’aide gouvernementale de la construction collective à l’aide aux ménages : c’est le retour du pavillonnaire et du logement.

 

Les guerres jouent un rôle majeur dans l'histoire architecturale d'un pays. Alors que les commémorations orchestrées par la mission Centenaire 1914-1918 battent leur plein, il paraît intéressant de revenir sur ce que la Grande Guerre a représenté pour les architectes, au-delà des destructions et du traumatisme. Ce premier épisode de « mobilisation totale » - suivant les termes utilisés par Ernst Jünger en 1930 -, a notamment entraîné une industrialisation accéléré des processus de production, qui a marqué les esprits. Certains architectes comme Félix Dumail et Marcel Lods se sont alors engagés dans la définition d'un cadre urbanistique nouveau pour le logement social : au sein de l'Office public d'habitations à bon marché du département de la Seine, ils ont largement contribué à l'invention du « grand ensemble ».

 

La reconstruction de l'après Première Guerre mondiale a souvent été présentée comme une occasion manquée. Cette antienne a même servi de repoussoir après la Seconde. C'est pourtant un bilan à tempérer, puisqu'au sortir de l'une et l'autre, on est parvenu à reconstruire un nombre de logements comparable en valeur relative, dans à peu près le même laps de temps. Plus généralement, les vicissitudes des chantiers de l'entre-deux-guerres tiennent au contexte économique et politique, au problème du moratoire des loyers, aux effets de la crise de 1929, etc., plutôt qu'à une défaillance des savoir-faire des entreprises et des architectes. Dans cette période ouverte cohabitent, au contraire, des procédés constructifs aussi nombreux qu'efficaces. L'élaboration des programmes modernes - logement social, équipements sportifs, sociaux et éducatifs, grande distribution, etc. - est l'objet d'un éventail de recherches d'une grande pluralité. On aura rarement inventé autant de types architecturaux. Ainsi, pour paraphraser ce que Jean-Louis Cohen écrit de la Seconde Guerre (1), on peut suggérer que la Première ne représente pas seulement quatre années de « page blanche », ni même une répétition de la suivante, mais bien, elle aussi, un temps de condensation « technologique, typologique et esthétique ». Si la Seconde Guerre coïncide avec la « victoire » et la « suprématie » de la modernité architecturale, la Premièren'est pas en reste, qui pose les conditions de diffusion du fordisme, de la préfabrication des bâtiments et dessine les contours urbanistiques de la construction de masse.

 

Certes, le XIXe siècle, avec le Paris d'Haussmann et les expositions universelles, avait largement plus que défricher les champs de la rapidité, de l'étendue et de la quantité, mais, spécifiquement, l'entre-deux-guerres est marqué par le perfectionnement de la répétition (2). Un des effets de la Grande Guerre réside dans l'accélération de la mise en place d'un cadre de production pour le logement collectif et dans la définition progressive du « grand ensemble ». Ce concept, apparu en juin 1935 sous la plume de Maurice Rotival dans L'Architecture d'aujourd'hui, ressortit à la tentative « d'un urbanisme contemporain : un urbanisme des habitations » (3). Son héraut est l'Office public d'habitations à bon marché du département de la Seine (OPHBMS) d'Henri Sellier, futur ministre de la Santé publique du Front populaire. Imaginé en 1913, organisé pendant la guerre, l'OPHBMS sera, avant 1939, le maître d'ouvrage de plus de 17 000 logements répartis en une vingtaine d'opérations banlieusardes.

 

Dans une perspective de généalogie du logement de masse français, il y a grand intérêt à suivre les parcours des architectes de l'OPHBMS pendant la Grande Guerre. Parmi la vingtaine de protagonistes concernés, seuls deux étaient trop âgés pour participer au conflit : Raphaël Loiseau (1856-1925), architecte-conseil, et Alexandre Maistrasse (1860-1951), qui s'applique dès avant l'armistice au projet de la « cité-jardins » de Suresnes, dont Sellier sera maire de 1919 à 1940. Il y livrera près de 2 500 logements. Bien que plus jeune, Maurice Payret-Dortail (1874-1929) n'est pas mobilisé et participe à la mise en place de l'Office durant la guerre, avant de travailler jusqu'à son décès prématuré à une autre grande cité-jardins, celle du Plessis-Robinson. Nés entre 1868 et 1900, les autres architectes correspondent exactement aux classes d'âge appelées au front.

 

Les figures de Marcel Lods et de Felix Dumail

 

Deux d'entre eux (4) ont laissé des archives significatives sur ces années : Félix Dumail (1883-1955), un des plus fidèles compagnons de Sellier, et Marcel Lods (1891-1978), brillant cadet entré dans un second temps à l'OPHBMS avec son associé Eugène Beaudouin (1898-1983). Dumail est diplômé de l'Atelier Bernier en 1908 et lorsqu'il est mobilisé, il figure déjà parmi les pionniers du logement social. Lods, quant à lui, est admis dans le même atelier en 1911, mais, conscrit l'année suivante, il ne quitte l'uniforme qu'une fois la guerre terminée. Il obtient son diplôme en 1923, tout en collaborant dès 1921 sur d'importantes opérations HBM avec Albert Beaudouin, architecte de la Société des logements économiques pour familles nombreuses depuis 1907. Celui-ci lui cédera son agence en 1929, ainsi qu'à son neveu Eugène.

 

Vers des logements sociaux en grande série

 

Il faut rappeler qu'à l'approche de la guerre, ce que l'on nomme le logement ouvrier se situe à un tournant : fin 1912, la loi Bonnevay a affirmé son caractère public. Elle autorise alors les collectivités locales à constituer des offices d'habitations à bon marché, domaine jusque-là réservé des sociétés anonymes et des fondations philanthropiques. Peu avant, la Ville de Paris a obtenu la possibilité de produire elle-même des logements sociaux. Si les résultats du concours qu'elle lance en 1912 sont suspendus, du fait de ses terrains petits et irrégulier ayant inspiré des propositions peu généralisables, quelques architectes se sont d'ores et déjà essayés à décliner des plans en immeubles libres et cours ouvertes. C'est le cas de Payret-Dortail, lauréat sur le site de l'avenue Émile-Zola, et du jeune groupement Dumail, Jean Hébrard et Antonin Trévelas. Au concours de 1913, ce trio peut développer ses principes à l'échelle plus favorable de vastes terrains. Il se retrouve lauréat de 600 logements rue Marcadet, avec un projet désigné dix ans plus tard comme un des plus avancés des « standards d'avant-guerre » (5). Ce deuxième concours, qui porte l'ambition d'entamer un processus de construction en grande série sur la base de plans-modèles, suscite l'engouement, puisque près de 700 châssis ont été adressés et que, comme l'affirme L'Architecture : « On sent qu'il y a maintenant une génération d'architectes s'intéressant à la question des habitations à bon marché, et qui l'ont comprise. » (6) Sellier ne s'y trompe pas, qui forme, entre 1916 et 1921, la première équipe d'architectes-directeurs de l'OPHBMS en puisant parmi les lauréats des concours parisiens : Albenque et Gonnot ; Arfvidson, Bassompierre et de Rutté ; Hébrard et Dumail, Maistrasse, Payret-Dortail, Pelletier, Teisseire.

 

L'entrée en guerre, dans un premier temps, coupe net l'élan de cette génération, avant de la décimer. Ainsi, Trévelas aura son nom gravé sur le monument aux morts de la cour du mûrier, au cœur de l'École des beaux-arts. Mobilisé dans l'infanterie, Dumail décrit dans ses courriers et dans son journal, le manque d'organisation, la faim, la fatigue, les douleurs corporelles, l'ampleur des destructions et les atrocités : blessures par obus, barricades élevées avec des couches de cadavres, etc. Si l'épisode napoléonien avait déjà provoqué des tueries de masse, celles-ci se singularisent. Leur mécanisation et l'annihilation du territoire représenteront une source inextinguible de réflexions pour les architectes, faisant écho à une sensibilité récente : les théories premières de Prosper Mérimée ou Viollet-le-Duc - suite au « vandalisme » de la révolution et aux effets de l'industrialisation - venaient justement d'accoucher le 31 décembre 1913 de l'actuelle loi sur les monuments historiques. Après guerre, les architectes se passionneront du sort des monuments endommagés - la cathédrale de Reims notamment - et du statut des ruines, quasi sacralisées par un Auguste Perret. Simultanément les avant-gardes mettront en avant l'idée de la table rase. Le spectacle des manœuvres de nuit sous le feu des projecteurs procure ainsi à Dumail un sentiment ambigu de fascination-répulsion, évoquant la sidération exprimée par un Apollinaire.

 

Dumail manifeste des capacités d'observation hors du commun, qui lui vaudront la légion d'honneur. Sous les bombardements, il exécute des plans et des panoramas des positions ennemies, permettant de mieux diriger les tirs. Nommé sous-lieutenant en octobre 1915, il entame des démarches pour être affecté à l'aviation. À l'appui de sa demande, il mentionne sa passion pour les sports mécaniques, sa pratique assidue de la moto et souligne son succès en 1912 au concours Chenavard consacré à une école d'aviation militaire. C'est pourtant un projet dans lequel l'aéroport représentait surtout un emblème. À l'instar, du reste, de l'aéroport de la cité-jardins du Grand Paris imaginée par l'OHBMS en 1919 en marge des projets du Plessis-Robinson et de la Butte-Rouge (Châtenay-Malabry), ou encore, à partir de 1922, de celui qu'associe Le Corbusier à une autoroute sur la rive droite de Paris, dans son fameux Plan Voisin soutenu par le fabricant automobile et aéronautique éponyme. Bien que Dumail juge plus aisé de piloter un avion qu'une auto et malgré le soutien de ses officiers, ses démarches n'aboutissent pas. Pas plus que ses tentatives d'entrer au Génie puis au service technique de Peugeot ou encore, en 1917, ses propositions d'adaptation d'une mitrailleuse Hotchkiss auprès du sous-secrétariat d'État des inventions. Comme beaucoup d'appelés, Dumail attendra sa démobilisation quasiment jusqu'au traité de Versailles, en 1919. Durant ces années incertaines, alors que ne se concrétisent ni le chantier de la rue Marcadet ni sa nomination définitive par l'OPHBMS - il y est inscrit avec Hébrard sur la liste d'architectes depuis 1917 -, il voyage dans les régions dévastées. Dumail et Hébrard sont agréés pour la reconstruction des Ardennes en 1921, au moment où les études de la rue Marcadet reprennent et celles de la cité-jardins de Gennevilliers deviennent opérationnelles.

 

Cette concentration de commandes explique que leur activité de reconstruction se limite au seul village d'Attigny (Ardennes), d'autant que leurs aspirations vont bientôt dépasser l'horizon hexagonal. En effet, lorsque Dumail retrouve Hébrard, celui-ci enseigne l'architecture dans le cadre de l'American Expeditionary Forces University, prolongeant son expérience à l'université Cornell-Ithaca entre 1906 et 1911. Leurs deux frères, eux aussi architectes, sont à l'étranger : GabrielDumail, fait prisonnier en 1915, est parti pour la Chine ; quant à ErnestHébrard, Grand Prix de Rome 1904, il a aussi été fait prisonnier avant de se voir confier, en 1918, la reconstruction de Salonique, puis de devenir architecte en chef d'Indochine. Pionnier de l'urbanisme - néologisme de 1910 -, il est membre fondateur de la Société française des architectes urbanistes en 1911, et l'une des premières figures de l'architecture internationale, voire « mondialisée ». Il avait entraîné, peu avant la guerre, son frère et les Dumail dans l'aventure de l'International World Centre : un essai de capitale pour les États-Unis du monde, précurseur de la Société des Nations, dans lequel La Construction moderne voyait en janvier 1914 « une école mondiale de la paix »... arrivée trop tard ! De cette tentation de l'ailleurs, Dumail tire quelques réalisations en Indochine entre 1924 et 1928. Jean Hébrard, lui, s'expatrie en 1925 pour devenir un des théoriciens du City Planning dans les universités de Pennsylvanie puis du Michigan.

 

Des chantiers d'expérience

 

Dumail consacrera dès lors l'essentiel de sa carrière à l'OPHBMS, en tant qu'architecte-directeur des cités-jardins de Gennevilliers, du Pré-Saint-Gervais, de Dugny, de l'achèvement de Suresnes, et d'un ensemble HBM pour militaires à Saint-Mandé, immédiatement reconnus pour la qualité de leurs logements et de leur greffe urbaine. Comme pour la cité de la rue Marcadet, il y conçoit « des bâtiments isolés, absolument entourés d'air et de lumière » (7). Ces « chantiers d'expériences », suivant une expression des années 1920 qui deviendra emblématique à la Libération, sont souvent mis en œuvre par des entreprises ayant fourbi leurs premières armes avec les troupes américaines pour des constructions de baraquements préfabriqués. Ils permettront à Dumail de figurer parmi les rares architectes français à avoir édifié plus de 2 000 logements avant la Seconde Guerre, dans lesquels il étrennera les chemins de grue et les principes de coffrage des Trente Glorieuses.On ne peut que faire le lien entre ses aspirations pendant la guerre, sa culture technique, son goût pour la mécanique, et ceux d'autres acteurs de la modernité architecturale. Quelques années avant lui, en 1904, son associé Hébrard brille lui aussi au concours Chenavard, avec pour sujet un Palais de l'automobile. En 1908, le Salon de l'automobile accueille à Paris ses premiers exposants aéronautiques et c'est justement un architecte de la même génération, AndréGranet (1881-1974), futur gendre d'Eiffel, qui contribue l'année suivante à lancer au Grand Palais la première exposition internationale de la locomotion aérienne, ancêtre du salon du Bourget. Plus précisément, le passage de l'observation militaire à l'aviation renvoie à WalterGropius (1883-1969). Comme Dumail ou encore André Lurçat, mais dans le camp d'en face, le fondateur du Bauhaus dessine d'abord ses repérages de ligne de front à pied, avant d'être affecté à l'aviation et d'y connaître une révélation, déterminante pour sa carrière (😎. Cette passion de la photographie aérienne sera partagée par son alter ego français dans l'expérimentation de la préfabrication, Marcel Lods, en pleine résonance avec une attention voulue « scientifique » au territoire et à sa documentation - une des constantes des équipes de l'OPHBMS. Si Lods s'engage comme aviateur en 1939, il est vingt-cinq ans plus tôt affecté comme instructeur d'artillerie. Et il ne lui échappe pas qu'avec presque 900 millions d'obus tirés, son arme représente l'instrument par excellence de l'industrialisation de la guerre. Puis, il suit l'arrivée des troupes américaines et de leurs engins et se passionne pour le développement spectaculaire des industries automobile et aéronautique aux États-Unis. Pays où était née, dès 1908, la fameuse Ford T, premier véhicule de série. Du début des années 1920 jusqu'à la fin de sa carrière, aux côtés de grands ingénieurs, Lods tente d'exporter ce modèle à celui du bâtiment et de ses composants. Ce seront notamment les chantiers de la Cité du Champ des Oiseaux, à Bagneux (1927-1933), et de La Muette, à Drancy (1931-1934). Puis, après guerre, les Grandes Terres de Marly-le-Roi (1952-1960) et surtout la Grand'Mare de Rouen (1960-1977). C'est aussi une myriade de petites réalisations prototypiques, à commencer par l'aéroclub de Buc abordé au moment où Lods obtient son brevet de pilote, en 1932.

 

Ses chantiers qui se veulent de pur montage, rêvés en gants blanc, ne sont pas dénués d'utopie. Ils participent au sentiment qui sourd au début du XXe siècle, selon lequel l'homme s'apprête à faire quasi corps avec la machine. Charlie Chaplin a génialement montré dans Les Temps modernes en 1936 la part tragique de cette nouvelle condition. Elle apparaît comme un des effets les plus paradoxaux de la guerre, dans laquelle toute une génération a été confrontée aux corps mutilés en masse, soumis aux éléments et à la putréfaction en plein champ, mais aussi possiblement transcendés par la mécanisation et la science. Alfred Jarry en avait eu l'intuition dès 1902 avec Le Surmâle : roman moderne dans lequel il dressait le récit de la course - en forme d'hécatombe - d'un train à vapeur et de cyclistes dopés à la « perpetual-motion food ». Le Corbusier est l'architecte qui, au contact des Planistes et du théoricien eugéniste Alexis Carrel, captera le mieux ce nouveau rapport au corps, avec ses recherches sur l'immeuble-villa puis sur l'« unité d'habitation de grandeur conforme », instruments d'une « fabrique de l'homme nouveau » liant sport, biologie et habitation. Intégré à la fondation Carrel entre 1943 à 1945 (9), Dumail n'échappera pas à ce programme « d'hygiène sociale et de prophylaxie » énoncé par Sellier lui-même au moins dès 1921.Ces proches de Sellier que sont Dumail et Lods ont vu leurs réalisations de l'OPHBMS données en 1935 comme modèles du programme du grand ensemble du futur, dans cette période accidentée où s'élaborait une culture politique de gestion de la croissance des périphéries urbaines. À la Libération, ils affirment ensemble le logement comme la grande « affaire » du XXe siècle dans un livret du comité Henri-Sellier (10). En 1951, ils s'engagent presque simultanément dans les chantiers respectifs des deux SHAPE Villages : Dumail à Saint-Germain-en-Laye, aux côtés de Jean Dubuisson, et Lods à Fontainebleau. Les logements qu'ils bâtissent, chacun à sa façon mais tous deux en un temps record, pour les sous-officiers et officiers du quartier général des forces alliées en Europe, constituent un des moments fondateurs de la politique de construction à venir : les grands ensembles français ne sont décidément pas tombés du ciel avec la croissance et le baby-boom. * Architecte, Hubert Lempereur a consacré de nombreux articles à la généalogie et à l'histoire matérielle et culturelle des premiers grands ensembles français et à la construction de masse. À paraître, Félix Dumail, architecte de la « cité-jardins », aux éditions du patrimoine et La Samaritaine, Paris, aux éditions Picard, ouvrage codirigé avec Jean-François Cabestan. 1. J.-L. Cohen, Architecture en uniforme. Projeter et construire pour la Seconde Guerre mondiale, Hazan/Centre Canadien d'Architecture, 2011. 2. Voir P. Chemetov et B. Marrey, Architectures. Paris 1848-1914, Dunod, 1980. 3. M. Rotival, « Urbanisme des H.B.M. - Formes de la cité », L'Architecture d'aujourd'hui, n° 6, juin 1935. 4. Leurs archives sont conservées au centre d'archives d'architecture du XXe siècle. La famille Dumail conserve de son côté ses correspondances de guerre. 5. J. Posener, « Historique des H.B.M. - Naissance du problème, premières solutions », L'Architecture d'aujourd'hui, n° 6, juin 1935. 6. G. Ernest, « Concours pour la construction par la Ville de Paris d'immeubles collectifs à bon marché », L'Architecture, 28 fév. 1914. 7. A. Gaillardin, « Les derniers concours de la Ville de Paris pour la construction d'habitations à bon marché », La Construction moderne, 28 juin 1914. 8. J. Gubler, « L'aérostation, prélude à l'aviation ? Notes sur la découverte architecturale du paysage aérien », Matières, 1998. 9. H. Lempereur, « La fondation Carrel (1941-1945), Le Corbusier et Félix Dumail : portraits d'architectes en bio-sociologues », fabricA, 2009. 10. F. Dumail, P. Grünebaum-Ballin, R. Hummel, M. Lods, P. Pelletier et P. Sirvin, L'affaire du logement social, préface de Léon Blum, Éditions de la Liberté, 1947. TEXTE DU MONITEUR @ les #Constructions #Modernes #BANLIEUE @ l' #Urbanisme & l es #Chantiers d'#ApresGuerre ici #Mémoire2ville le #Logement Collectif* dans tous ses états..#Histoire & #Mémoire de l'#Habitat / Département territoire terroir region ville souvenirs du temps passé d une époque revolue #Archives ANRU / #Rétro #Banlieue / Renouvellement #Urbain / #Urbanisme / #HLM #postwar #postcard #cartepostale twitter.com/Memoire2cite Villes et rénovation urbaine..Tout savoir tout connaitre sur le sujet ici via le PDF de l'UNION SOCIALE POUR L HABITAT (l'USH)... des textes à savoir, à apprendre, des techniques de demolition jusqu a la securisation..& bien plus encore.. union-habitat.org/.../files/articles/documents/...

 

www.dailymotion.com/video/xk6xui Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.

 

Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUDSur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , www.twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. 69 BRON PARILLY LA VILLE NOUVELLE LES UC, UNE CITÉ DU FUTUR @ UN TOUR DE VILLE AUTOUR DU TEMPS

 

Le quartier des UC à Parilly, a été la première des grandes cités construites en France, au milieu du 20e siècle, et fut en son temps un modèle. 1950. La Seconde guerre mondiale a laissé derrière elle un champ de ruines. En France, plus de 800.000 habitations ont été détruites. Partout on manque de logements : sur la côte atlantique, où des villes entières ont été rasées, mais aussi à Paris et en région lyonnaise. Pour couronner le tout, les Français se mettent à faire des bébés à tour de berceaux - le baby boom commence ! Du coup, les jeunes mariés ne peuvent dénicher un toit et restent chez leurs parents. Les mieux lotis s’entassent à 4 ou 5 dans une seule pièce, avec WC à l’étage et un évier en guise de salle de bains. Les personnes sans le sou, elles, peuplent les bidonvilles qui cernent Lyon comme à Bombay ou à Rio. Souvenez-vous de l’abbé Pierre, et de son appel de l’hiver 1954. Reloger la population constitue pourtant une priorité du gouvernement. On a nommé ministre de la Reconstruction et de l’Urbanisme un héros de la Libération, pétri des idéaux sociaux de la Résistance : le député de la Loire, Eugène Claudius-Petit (1907-1989). Monsieur le Ministre veut non seulement redonner un toit aux Français, mais les doter du nec plus ultra en matière de logement, une architecture moderne et colorée, entourée de verdure et d’espace. Dès 1951, Claudius-Petit programme la construction de six grands ensembles : à Angers (677 logements), Boulogne-Billancourt (800), Le Havre (1400), Pantin (800), Saint-Etienne (1262) et enfin à Bron, où doit naître la plus imposante de toutes ces cités, avec 2608 logements. Il en confie la réalisation à l’Office des HLM du Rhône, alors dirigé par Laurent Bonnevay, tandis que sa conception revient à de jeunes architectes Lyonnais disciples de Le Corbusier, dont René Gagès et Franck Grimal.

 

L’emplacement de la future cité est vite trouvé : dans la partie nord du parc de Parilly, sur 27 hectares de terrains appartenant au Conseil général. Ainsi, les immeubles se glisseront entre les arbres et les pelouses, en un mariage heureux de la nature et du béton. La desserte du quartier sera assurée par le boulevard de Ceinture et par l’avenue Jean-Mermoz, deux belles avenues où il fait bon se promener, à pieds ou à vélo, au milieu de quelques autos - l'une et l'autre n'ont pas encore été transformées en voies autoroutières… Cinq ans à peine, de 1951 à 1956, suffisent pour faire sortir de terre une douzaine de grands immeubles, l’équivalent d’une ville : les quatre tours et les deux barres en S des "Unités de Construction" (UC) 5 et 7 le long du boulevard Laurent-Bonnevay ; l’UC 1 à l’angle du boulevard et de l’autoroute A43 ; enfin les quatre immeubles en L des UC 2 à 5, le long de l’A43, à l'endroit où vous vous trouvez. Leur construction utilise des procédés révolutionnaires pour l’époque : chaque appartement, qu’il s’agisse d’un T2 ou d’un T6 en duplex, reproduit un plan type aux dimensions standardisées de 5 mètres de large, 11 mètres de long et 2,5 mètres de haut, dont les éléments sont fabriqués en usine et seulement assemblés sur le chantier, ce qui permet d’énormes gains de temps. Les premiers habitants découvrent leurs appartements, ébahis. Un F3 par exemple, leur offre une salle de séjour de 18 m2, deux chambres de 10 m2, une cuisine équipée de placards et plans de travail, des WC, une salle de bains, d’immenses baies vitrées et, luxe inouï, un grand balcon peint en jaune, en rouge ou en bleu vif, transformant leur immeuble en une mosaïque multicolore. Les Brondillants passent d’un coup du taudis à l’Amérique, et de Zola au 20e siècle. Telles étaient les UC, il y a une soixantaine d'années. Une cité modèle, dont les photos couvraient les cartes-postales locales, et les magazines du monde entier. Après les UC, d'autres grands ensembles voient le jour à Bron au cours des années 1950 à 1970 : les immeubles du quartier des Essarts, près des Galeries Lafayette ; les copropriétés de la route de Genas, à côté de l'ancienne caserne Raby, et surtout les immeubles du quartier du Terraillon, au nord-est de Bron. Ces nouveaux logements, tous très prisés au moment de leur construction, font bondir la population de Bron de 12.500 habitants en 1946, à 42.000 habitants en 1968. Les experts de l'époque prédisent même que le seuil des 100.000 habitants serait atteint vers l'an 2000 ! Le temps du village était révolu. Bron devenait une ville importante de la banlieue lyonnaise.

 

@ LES GRANDS ENSEMBLES @ Bien qu’ils échappent à une définition unique, les grands ensembles sont ty-piquement des ensembles de logement collectif, souvent en nombre impor-tant (plusieurs centaines à plusieurs milliers de logements), construits entre le milieu des années 1950 et le milieu des années 1970, marqués par un urba-nisme de barres et de tours inspiré des préceptes de l’architecture moderne.

 

Ces grands ensembles, dont plusieurs centaines ont été construits en France, ont permis un large accès au confort moderne (eau courante chaude et froide, chauffage central, équipements sanitaires, ascenseur…) pour les ouvriers des banlieues ouvrières, les habitants des habitats insalubres, les rapatriés d’Algérie et la main-d’oeuvre des grandes industries.

 

Ils se retrouvent fréquemment en crise sociale profonde à partir des années 1980, et sont, en France, l’une des raisons de la mise en place de ce qu’on appelle la politique de la Ville.

 

Définition

 

Il n’y a pas de consensus pour définir un grand ensemble.

 

On peut toutefois en distinguer deux :

 

• Selon le service de l’Inventaire du ministère de la Culture français, un grand ensemble est un «aménagement urbain comportant plusieurs bâtiments isolés pouvant être sous la forme de barres et de tours, construit sur un plan masse constituant une unité de conception. Il peut être à l’usage d’activité et d’habitation et, dans ce cas, comporter plusieurs centaines ou milliers de logements. Son foncier ne fait pas nécessairement l’objet d’un remembrement, il n’est pas divisé par lots ce qui le différencie du lotissement concerté».

 

• Selon le «géopolitologue» Yves Lacoste, un grand ensemble est une «masse de logements organisée en un ensemble. Cette organisation n’est pas seulement la conséquence d’un plan masse; elle repose sur la présence d’équipement collectifs (écoles, commerces, centre social, etc.) […]. Le grand ensemble apparaît donc comme une unité d’habitat relativement autonome formée de bâtiments collectifs, édifiée en un assez bref laps de temps, en fonction d’un plan global qui comprend plus de 1000 logements».

 

Le géographe Hervé Vieillard-Baron apporte des précisions : c’est, selon lui, un aménagement en rupture avec le tissu urbain existant, sous la forme de barres et de tours, conçu de manière globale et introduisant des équipements règlementaires, comportant un financement de l’État et/ou des établissements publics. Toujours selon lui, un grand ensemble comporte un minimum de 500 logements (limite fixée pour les Zone à urbaniser en priorité (ZUP) en 1959). Enfin, un grand ensemble n’est pas nécessairement situé en périphérie d’une ag-glomération.

 

Comme on le voit ci-dessus, la détermination d’un seuil de logements peut être débattue. Les formes du grand ensemble sont assez récurrentes, inspirées (ou légitimées) par des préceptes de l’architecture moderne et en particulier des CIAM : ils se veulent une application de la Charte d’Athènes4. Pour autant, on ne peut pas dire qu’il s’agisse d’une application directe des principes de Le Corbusier. Ils sont aussi le fruit d’une industriali-sation progressive du secteur du bâtiment et, notamment en France, des procédés de préfabrication en béton.

 

Histoire

 

La Cité de la Muette à Drancy, construite par Eugène Beaudouin, Marcel Lods et Jean Prouvé entre 1931 et 1934 pour l’Office public HBM de la Seine, est traditionnellement considérée comme le premier grand en-semble en France. Elle est même à l’origine du terme de «grand ensemble» puisque c’est ainsi que la désigne pour la première fois Marcel Rotival dans un article de l’époque6. Cette cité, initialement conçue comme une cité-jardin, se transforme en cours d’étude en un projet totalement inédit en France, avec ses 5 tours de 15 étages et son habitat totalement collectif. Cependant, cette initiative reste sans lendemain du moins dans l’immédiat.

 

Après la Seconde Guerre mondiale, le temps est à la reconstructi

Agra is a city on the banks of the river Yamuna in the northern state of Uttar Pradesh, India. It is 378 kilometres west of the state capital, Lucknow, 206 kilometres south of the national capital New Delhi and 125 kilometres north of Gwalior. With a population of 1,686,993 (2013 est.), it is one of the most populous cities in Uttar Pradesh and the 19th most populous in India. Agra can also refer to the administrative district that has its headquarters in Agra city. It is a major tourist destination because of its many splendid Mughal-era buildings, most notably the Tāj Mahal, Agra Fort and Fatehpūr Sikrī, all three of which are UNESCO World Heritage Sites.

 

Agra is included on the Golden Triangle tourist circuit, along with Delhi and Jaipur; and the Uttar Pradesh Heritage Arc, tourist circuit of UP state, along Lucknow the capital of the state and Varanasi. Agra falls within the Braj cultural region.

 

The city was first mentioned in the epic Mahābhārata, where it was called Agrevaṇa (derived from Sanskrit (अग्रेवण) meaning "the border of the forest"). Legend ascribes the founding of the city to Raja Badal Singh, a Sikarwar Rajput king (c. 1475), whose fort, Badalgarh, stood on or near the site of the present fort. However, the 11th century Persian poet Mas'ūd Sa'd Salmān writes of a desperate assault on the fortress of Agra, then held by the Shāhī King Jayapala, by Sultan Mahmud of Ghazni. It was mentioned for the first time in 1080 AD when a Ghaznavide force captured it. Sultan Sikandar Lodī (1488–1517) was the first to move his capital from Delhi to Agra in 1506. He governed the country from here and Agra assumed the importance of the second capital. He died in 1517 and his son, Ibrāhīm Lodī, remained in power there for nine more years and several palaces, wells and a mosque were built by him in the fort during his period. Finally being defeated at the Battle of Panipat in 1526. Between 1540 and 1556, Afghans, beginning with Sher Shah Suri ruled the area. It achieved fame as the capital of the Mughal Empire from 1556 to 1658.

 

DEMOGRAPHICS

According to the 2011 India census, Agra city has a population of 1,585,704, while the population of Agra cantonment is 53,053. The urban agglomeration of Agra has a population of 1,760,285. Males constitute 53% of the population and females 47%. Agra city has an average literacy rate of 73.11%, lower than the national average of 74%. Literacy rate of males is considerably higher than that of women. The sex ratio in the city was 875 females per thousand males while child sex ratio stood at 857. Agra district literacy rate is 62.56%. Agra is dominated by Yadavs and Jats.Hinduism, Islam, and Jainism are three major religions in Agra district with 80.68%, 15.37%, and 1.04% of the population following them. And others are 1.5% 52.5% of Agra's population is in the 15–59 years age category. Around 11% of the population is under 6 years of age.

 

HISTORY

Though Agra's history is largely recognised with Mughal Empire, the place was established much before it and has linkages since Mahabharat period so Mahirshi Angira in 1000 BC.[citation needed] It is generally accepted that Sultan Sikandar Lodī, the Ruler of the Delhi Sultanate founded Agra in the year 1504. After the Sultan's death the city passed on to his son Sultan Ibrāhīm Lodī. He ruled his Sultanate from Agra until he fell fighting to Bābar in the First battle of Panipat fought in 1526.

 

The golden age of the city began with the Mughals. It was known then as Akbarabād and remained the capital of the Mughal Empire under the Emperors Akbar, Jahāngīr and Shāh Jahān. Shāh Jahān later shifted his capital to Shāhjahānabād in the year 1649.

 

Since Akbarabād was one of the most important cities in India under the Mughals, it witnessed a lot of building activity. Babar, the founder of the Mughal dynasty, laid out the first formal Persian garden on the banks of river Yamuna. The garden is called the Arām Bāgh or the Garden of Relaxation. His grandson Akbar raised the towering ramparts of the Great Red Fort, besides making Agra a centre for learning, arts, commerce and religion. Akbar also built a new city on the outskirts of Akbarabād called Fatehpūr Sikrī. This city was built in the form of a Mughal military camp in stone.

 

His son Jahāngīr had a love of gardens and flora and fauna and laid many gardens inside the Red Fort or Lāl Qil'a. Shāh Jahān, known for his keen interest in architecture, gave Akbarabād its most prized monument, the Tāj Mahal. Built in loving memory of his wife Mumtāz Mahal, the mausoleum was completed in 1653.

 

Shāh Jahān later shifted the capital to Delhi during his reign, but his son Aurangzeb moved the capital back to Akbarabād, usurping his father and imprisoning him in the Fort there. Akbarabād remained the capital of India during the rule of Aurangzeb until he shifted it to Aurangabad in the Deccan in 1653. After the decline of the Mughal Empire, the city came under the influence of Marathas and was called Agra, before falling into the hands of the British Raj in 1803.

 

In 1835 when the Presidency of Agra was established by the British, the city became the seat of government, and just two years later it was witness to the Agra famine of 1837–38. During the Indian rebellion of 1857 British rule across India was threatened, news of the rebellion had reached Agra on 11 May and on 30 May two companies of native infantry, the 44th and 67th regiments, rebelled and marched to Delhi. The next morning native Indian troops in Agra were forced to disarm, on 15 June Gwalior (which lies south of Agra) rebelled. By 3 July the British were forced to withdraw into the fort. Two days later a small British force at Sucheta were defeated and forced to withdraw, this led to a mob sacking the city. However, the rebels moved onto Delhi which allowed the British to restore order by 8 July. Delhi fell to the British in September, the following month rebels who had fled Delhi along with rebels from Central India marched on Agra but were defeated. After this British rule was again secured over the city until the independence of India in 1947.

 

Agra is the birthplace of the religion known as Dīn-i Ilāhī, which flourished during the reign of Akbar and also of the Radhaswami Faith, which has around two million followers worldwide. Agra has historic linkages with Shauripur of Jainism and Runukta of Hinduism, of 1000 BC.

 

Tāj Mahal, Agra Fort and Fatehpur Sikri are all UNESCO World Heritage Sites.

 

PLACES OF INTEREST

TAJ MAHAL

The Taj Mahal is one of the most famous buildings in the world, the mausoleum of Shah Jahan's favourite wife, Mumtaz Mahal. It is one of the New Seven Wonders of the world, and one of the three World Heritage Sites in Agra. Agra is commonly identified as the "City of Taj".Completed in 1653, the Tāj Mahal was built by the Mughal king Shah Jahan as the final resting place for his beloved wife, Mumtāz Mahal. Finished in marble, it is perhaps India's most beautiful monument. This perfectly symmetrical monument took 22 years (1630–1652) of labour and 20,000 workers, masons and jewellers to build and is set amidst landscaped gardens. Built by the Persian architect, Ustād 'Īsā, the Tāj Mahal is on the south bank of the Yamuna River. It can be observed from Agra Fort from where Emperor Shāh Jahān gazed at it for the last eight years of his life, a prisoner of his son Aurangzeb. It is an acknowledged masterpiece of symmetry.[citation needed] Verses of the Quran are inscribed on it and at the top of the gate are twenty-two small domes, signifying the number of years the monument took to build. The Tāj Mahal was built on a marble platform that stands above a sandstone one. The most elegant dome of the Tāj Mahal has a diameter of 18 m, and rises to a height of 24 m; directly under this dome is the tomb of Mumtāz Mahal. Shah Jahān's tomb was erected next to hers by his son Aurangzeb. The interiors are decorated with fine inlay work, incorporating semi-precious stones.

 

AGRA FORT

Agra Fort (sometimes called the Red Fort), was commissioned by the great Mughal Emperor Akbar in 1565, and is another of Agra's World Heritage Sites. A stone tablet at the gate of the Fort states that it had been built before 1000 but was later renovated by Akbar. The red sandstone fort was converted into a palace during Shāh Jahān's time, and reworked extensively with marble and pietra dura inlay. Notable buildings in the fort include the Pearl Mosque or Motī Masjid, the Dīwān-e-'Ām and Dīwān-e-Khās (halls of public and private audience), Jahāngīr's Palace, Khās Mahal, Shīsh Mahal (mirrored palace), and the Musamman Burj.

 

The forbidding exteriors of this fort conceal an inner paradise. The fort is crescent shaped, flattened on the east with a long, nearly straight wall facing the river. It has a total perimeter of 2.4 kilometres, and is ringed by double castellated ramparts of red sandstone punctuated at regular intervals by bastions. A moat 9 metres wide and 10 metres deep surrounds the outer wall.

 

Chhatrapati Shīvajī visited the Agra Fort, as a result of the conditions of the Treaty of Purandar entered into with Mirzā Rājā Jaisingh to meet Aurangzeb in the Dīwān-i-Khās (Special Audience Chamber). In the audience he was deliberately placed behind men of lower rank. An insulted Shīvajī stormed out of the imperial audience and was confined to Jai Sing's quarters on 12 May 1666. Fearing the dungeons and execution he escaped on 17 August 1666.

 

The fort is a typical example of Mughal architecture, effectively showing how the North Indian style of fort construction differed from that of the South. In the South, the majority of forts were built on the seabed like the one at Bekal in Kerala.

 

FATEHPUR SIKRI

The Mughal Emperor Akbar built Fatehpūr Sikrī about 35 km from Agra, and moved his capital there. Later abandoned, the site displays a number of buildings of significant historical importance. A World Heritage Site, it is often visited by tourists. The name of the place came about after the Mughal Emperor Bābar defeated Rāṇā Sāngā in a battle at a place called Sikrī (about 40 km from Agra). Then the Mughal Emperor Akbar wanted to make Fatehpūr Sikrī his headquarters, so he built a majestic fort; due to shortage of water, however, he had to ultimately move his headquarters to Agra Fort.

 

Buland Darwāza or 'the lofty gateway' was built by the great Mughal emperor, Akbar in 1601 CE. at Fatehpūr Sikrī. Akbar built the Buland Darwāza to commemorate his victory over Gujarat. The Buland Darwāza is approached by 52 steps. The Buland Darwāza is 53.63 metres high and 35 metres wide. it is made of red and buff sandstone, decorated by carving and black and white marble inlays. An inscription on the central face of the Buland Darwāza demonstrates Akbar's religious broadmindedness, it is a message from Jesus advising his followers not to consider this world as their permanent home.

 

I´TIMAD-U-DAULAH

The Empress Nūr Jahān built I'timād-Ud-Daulah's Tomb, sometimes called the "Baby Tāj", for her father, Mirzā Ghiyās Beg, the Chief Minister of the Emperor Jahāngīr. Located on the left bank of the Yamuna river, the mausoleum is set in a large cruciform garden, criss-crossed by water courses and walkways. The area of the mausoleum itself is about 23 m2, and is built on a base that is about 50 m2 and about one metre high. On each corner are hexagonal towers, about thirteen metres tall. Small in comparison to many other Mughal-era tombs, it is sometimes described as a jewel box. Its garden layout and use of white marble, pietra dura, inlay designs and latticework presage many elements of the Tāj Mahal.

 

The walls are white marble from Rajasthan encrusted with semi-precious stone decorations – cornelian, jasper, lapis lazuli, onyx, and topaz in images of cypress trees and wine bottles, or more elaborate decorations like cut fruit or vases containing bouquets. Light penetrates to the interior through delicate jālī screens of intricately carved white marble.

 

Many of Nūr Jahān's relatives are interred in the mausoleum. The only asymmetrical element of the entire complex are the tombs of her father and mother, which have been set side-by-side, a formation replicated in the Taj Mahal.

 

AKBAR´S TOMB IN SIKANDRA

Sikandra, the last resting place of the Mughal Emperor Akbar the Great, is on the Delhi-Agra Highway, only 13 kilometres from the Agra Fort. Akbar's tomb reflects the completeness of his personality. The vast, beautifully carved, red-ochre sandstone tomb with deers, rabbits and langurs is set amidst a lush garden. Akbar himself planned his own tomb and selected a suitable site for it. To construct a tomb in one's lifetime was a Turkic custom which the Mughals followed religiously. Akbar's son Jahāngīr completed construction of this pyramidal tomb in 1613. The 99 names of Allah have been inscribed on the tomb.

 

MANKAMESHWAR TEMPLE

The Mankameshwar Temple is one of four ancient temples dedicated to Lord Shiva located on the four corners of Agra City. It is located near the Jāma Masjid and is about 2.5 kilometres from the Tāj Mahal and less than 1 km from Agra Fort. Being located in the old city, the temple is surrounded by markets, many of which date back to the Mughal Era.

 

INDRABHAN GIRL`S INTER COLLAGE

It is widespreadly considered to be the birthplace of great poet Mirza Ghalib. It is located near the Mankameshwar Temple and is about 3 kilometres from the Tāj Mahal and less than 1 km from Agra Fort. Being located in the old city, the College is surrounded by markets. Approximately four or five years back, the birth room of Mirza Ghalib was hidden behind the wall by the Management of the college to keep the identity of the place secret.

 

GURUDWARA GURU KA TAAL

Guru ka Tal was originally a reservoir meant to collect and conserve rainwater built in Agra, near Sikandra, during Jahangir's reign next to the Tomb of I'tibār Khān Khwājasara in 1610. In the 1970s a gurudwara was erected here. Guru ka Tal is a holy place of worship for the Sikhs. Four of the ten Sikh Gurus are said to have paid it a visit. Enjoying both historical and religious importance, this shrine attracts a large number of devotees and tourists. Boasting elaborate stone carvings and eight of the twelve original towers. It is located by national (Delhi-Agra) highway-2.

 

JAMA MASJID

The Jāma Masjid is a large mosque attributed to Shah Jahan's daughter, Princess Jahanara Begum, built in 1648, notable for its unusual dome and absence of minarets. The inscription at its entrance shows that it cost Rs 5 Lakhs at that time for its completion.Notable for its Persian influenced dome of blue glazed tiles, the Chīnī kā Rauza is dedicated to the Prime Minister of Shāh Jahān, 'Allāma Afzal Khāl Mullā Shukrullāh of Shiraz.

 

RAM BAGH

The oldest Mughal garden in India, the Rām Bāgh was built by the Emperor Bābar in 1528 on the bank of the Yamuna. It lies about 2.34 km north of the Tāj Mahal. The pavilions in this garden are designed so that the wind from the Yamuna, combined with the greenery, keeps them cool even during the peak of summer. The original name of the gardens was Ārām Bāgh, or 'Garden of Relaxation', and this was where the Mughal emperor Bābar used to spend his leisure time and where he eventually died. His body was kept here for some time before sending it to Kabul.

 

On Ram Bagh to Tundla road near Etmadpur, there is a famed Yoga Ashram of Mahaprabhu Ramlal ji Maharaja (First Guru Gaddi), Yogeshwar Mulakhraj Ji Maharaja (Second Guru Gaddi) & Yogeshwar DeviDayal Ji Mahadev(Third GuruGaddi) blessed Swami Chandra Mohan Ji Maharaj named Shri Siddha Gufa Sawai. Thousands of devotees and seekers visit this holy place.

 

MARIAM´S TOMB

Mariams Tomb, is the tomb of Mariam, the wife of great Mughal Emperor Akbar. The tomb is within the compound of the Christian Missionary Society.

 

MEHTAB BAGH

The Mehtāb Bāgh, or 'Moonlight Garden', is on the opposite bank of the River Yamuna from the Tāj Mahal.

 

KEETHAM LAKE

Also known as Sur Sarovar, Keetham Lake is situated about 7 kilometres from the Akbar tomb in Agra, within the Surdas Reserved Forest. The lake has an impressive variety of aquatic life and water birds.

 

MUGHAL HERITAGE WALK

The Mughal Heritage Walk is a part of community development programme being implemented with support of Agra Municipal corporation, USAID and an NGO; Center for Urban and Regional Excellence. It seeks to build sustainable livelihoods for youth and women from low resource communities and improve their living environments through infrastructure services and integration within the city.

 

The Mughal Heritage Walk is a one-kilometre loop which connects the agricultural fields with the Rajasthani culture, river bank connected with the ancient village of Kuchhpura, the Heritage Structure of Mehtab Bagh, the Mughal aqueduct system, the Humanyun Mosque and the Gyarah Sidi.

 

THE CATHEDRAL OF THE IMMACULATE CONCEPTION

The Cathedral of the Immaculate Conception is the seat of the Roman Catholic Archdiocese of Agra.

 

PALIWAL PARK (HEWITT PARK)

Paliwal Park, during the British Raj was known as Hewitt Park, is now renamed in memory of Shri Krishna Datta Paliwal, Who was the first finance minister of Uttar Pradesh, when Shri Govind Ballabh Pant was the Chief Minister of U.P State.

 

Paliwal Park is located in the heart of Agra, India. It is spread over an area of around 280,000 m2. It also has a small lake and has vast variety of trees.

 

Paliwal Park links the residential areas of Vijay Nagar Colony & Gandhi Nagar to the financial Hub of the city i.e. Sanjay Place.

 

John's Public Library, also known as the Agra Municipal Library, is also located here and one can find rare books on diverse topics here.

 

Many people come here for morning walk, as a result this place is full especially during the summer holidays when youngsters play all sort of different games.

 

ECONOMY

Due to the presence of the Taj Mahal and other historic monuments, it has a tourism industry as well royal crafts like Pietra Dura, marble inlay and carpets

 

Today 40% of the population depends largely on agriculture, and others on the leather and footwear business and iron foundries. Agra is the second most self-employed in India in 2007, behind Varanasi, followed by Bhopal, Indore and Patna. According to the National Sample Survey Organization, in 1999–2000, 431 of every 1,000 employed males were self-employed in the city, which grew to 603 per 1,000 in 2004–05. Tourism contributes to the economy of Agra. Agra is home to Asia’s largest spa called Kaya Kalp – The Royal Spa, at the Hotel Mughal in Agra.

 

Agra has many industries. Uttar Pradesh's first plant biotech company Harihar Biotech is located near the Taj. There are about 7,000 small scale industrial units. Agra city is also known for its leather goods, the oldest and famous leather firm Taj Leather World is in Sadar bazar . The carpets, handicrafts, zari and zardozi (embroidery work), marble and stone carving and inlay work. Agra is known for its sweets (Petha and Gajak) and snacks (Dalmoth), garment manufacturers and exporters and an automobile industry. Carpet making was introduced to the city by Moghul Emperor Babur and since then this art has flourished.

 

The city centre place at Agra has jewellery and garments shops. The silver and gold jewellery hub is at Choube Ji Ka Fatak. The Shah Market area is an electronics market while Sanjay Place is the trade centre of Agra.

 

WIKIPEDIA

Jomon Period Section of Japanese Archaeology Gallery, Tokyo National Museum, Japan. Complete indexed photo collection at WorldHistoryPics.com.

Tuojiangosaurus multispinus. Jurasssic Period. Sichuan Province, China. Natural History Museum, Kensington, London, UK.

HOLGA / KODAK EKTACOLOR 120 Film

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. The NYT (18 Aug. 2020) & Scuderie del Quirinale / You-Tube (13 Apr. 2020). S.v., "Raffaello architetto", in: The NYT (06 March 2020); Università di Padova (20/07/2020); Archivio di Stato di Mantova (2020); Jhon Correa / Facebook (1 July 2020) & Prof. Cammy Brothers (2001). wp.me/pbMWvy-uQ

 

1). ROME - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. Scuderie del Quirinale (5 March - June 2020).

 

A monographic exhibition with over two hundred masterpieces among paintings, drawings and comparative works, dedicated to Raffaello on the 500th anniversary of his death, which took place in Rome on April 6, 1520 at the age of just 37 years old.

 

The exhibition, which finds inspiration particularly in the Raffaello's fundamental Roman period which consecrated him as an artist of incomparable and legendary greatness, tells his whole complex and articulated creative path with richness of detail through a vast corpus of works, for the first time exposed all together.

 

Many institutions involved have contributed to enrich the exhibition with masterpieces from their collections: among these, in Italy, the National Galleries of Ancient Art, the National Art Gallery of Bologna, the Museum and the Real Bosco di Capodimonte, the National Archaeological Museum of Naples, the Brescia Museums Foundation, and abroad, in addition to the Vatican Museums, the Louvre, the National Gallery of London, the Prado Museum, the National Gallery of Art in Washington, the Albertina in Vienna, the British Museum, the Royal Collection, the Ashmolean Museum in Oxford, the Musée des Beaux-Arts in Lille.

 

Fonte / source:

--- Scuderie del Quirinale (5 March - June 2020).

www.scuderiequirinale.it/mostra/copia-di-raffaello

 

2.1). ROMA - «Raffaello 1520-1483», in: Intervento delle Scuderie del Quirinale per la maratona del MiBACT "Italia chiamò" / Scuderie del Quirinale / You-Tube (Mar 13, 2020).

www.youtube.com/watch?v=e8l6q9ywLxY&t=112s

 

2.2). ROME - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. / English / Scuderie del Quirinale / You-Tube (Apr. 13, 2020). www.youtube.com/watch?v=s58gYvvNrKQ&t=61s

 

3). ROMA - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. Scuderie del Quirinale (05/03 - 02/06/2020).

 

Il 6 aprile 1520 muore a Roma, a trentasette anni, Raffaello Sanzio, il più grande pittore del Rinascimento. La città sembra fermarsi nella commozione e nel rimpianto, mentre la notizia della scomparsa si diffonde con incredibile rapidità in tutte le corti europee. S’interrompeva non solo un percorso artistico senza precedenti, ma anche l’ambizioso progetto di ricostruzione grafica della Roma antica, commissionato dal pontefice, che avrebbe riscattato dopo secoli di oblio e rovina la grandezza e la nobiltà della capitale dei Cesari, affermando inoltre una nuova idea di tutela. Sepolto secondo le sue ultime volontà nel Pantheon, simbolo della continuità fra diverse tradizioni di culto, forse l’esempio più emblematico dell’architettura classica, Raffaello diviene immediatamente oggetto di un processo di divinizzazione, mai veramente interrotto, che ci consegna oggi la perfezione e l’armonia della sua arte.

A distanza di cinquecento anni, questa mostra racconta la sua storia e insieme quella di tutta la cultura figurativa occidentale che l’ha considerato un modello imprescindibile. La mostra, articolata secondo un’idea originale, propone un percorso che ripercorre a ritroso l’avventura creativa di Raffaello, da Roma a Firenze, da Firenze all’Umbria, fino alla nativa Urbino. Un incalzante flash-back che consente di ripensare il percorso biografico partendo dalla sua massima espansione creativa negli anni di Leone X. Risalendo il corso della vita di Raffaello di capolavoro in capolavoro, il visitatore potrà rintracciare in filigrana la prefigurazione di quel linguaggio classico che solo a Roma, assimilata nel profondo la lezione dell’antico, si sviluppò con una pienezza che non ha precedenti nella storia dell’arte. Grazie ad un numero eccezionale di capolavori provenienti dalle maggiori raccolte italiane ed europee, la mostra organizzata dalle Scuderie del Quirinale insieme con le Gallerie degli Uffizi, costituisce un’occasione ineguagliabile per osservare da vicino le invenzioni dell’Urbinate. Il suo breve, luminoso percorso ha cambiato per sempre la storia delle arti e del gusto: Raffaello rivive nelle sale dell’esposizione che lo celebra come genio universale.

 

Fonte / source:

--- Scuderie del Quirinale (05/03 - 02/06/2020).

www.scuderiequirinale.it/mostra/raffaello-000

 

3). ROME «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. The NYT (18 Aug. 2020).

 

ROME - In the Virtual (and Actual) Footsteps of Raphael - In Italy and beyond, the plan was to celebrate the 500th anniversary of the Renaissance artist’s death with great fanfare. Then came the pandemic, and the virtual world stepped in. The NYT (18 Aug. 2020).

 

______

Also see:

 

--- ROME - Rome Celebrates the Short, but Beautiful, Life of Raphael - Amid new coronavirus restrictions on museums in Italy, a blockbuster show traces the artistʼs life from finish to start. The NYT (06 March 2020).

www.nytimes.com/2020/03/06/arts/raphael-rome-coronavirus....

______

 

This was supposed to be the year of Raphael. Five hundred years after his death at 37, the Renaissance master was due to receive the exalted rollout reserved for artistic superstars: blockbuster museum shows in Rome and London; conferences and lectures at universities and cultural centers around the world; flag-waving and wreath-laying in his Italian hometown, Urbino. There was even the tang of controversy when the advisory committee of Florence’s Uffizi Gallery resigned en masse to protest the inclusion of a precious papal portrait in the big exhibition at Rome’s Scuderie del Quirinale. Then the coronavirus hit and Raphael’s annus mirabilis turned into the world’s annus horribilis.

 

When news of the handsome young artist’s death broke in Rome on April 6, 1520, Pope Leo X wept and church bells tolled all over the city.

Half a millennium later, Rome was in lockdown along with the rest of Italy as deaths from the virus spiraled. The Scuderie show, a once-in-a-lifetime gathering of more than 200 works (120 by Raphael) from all over the world, was forced to shut its doors after just three days, despite having presold a record 70,000 tickets. Raphael’s tomb in the Pantheon was supposed to be adorned with a red rose every day of 2020 to commemorate his death — but the ancient temple was also shuttered because of the virus. Lectures and conferences were canceled, postponed or moved online.

 

Poor Raphael. Last year, the 500th anniversary of Leonardo da Vinci’s death came off without a hitch. Raphael’s devotees hoped that this

year’s celebrations would restore the artist’s luster, which has dimmed over the past centuries. When the world fell ill this past winter,

Raphael was one of the casualties. But all is not lost. The Scuderie show reopened on June 2 and will remain up until the end of August. The Scuderie’s president, Mario de Simoni, had expected as many as 500,000 people to see the show pre-virus, but now says the number probably won’t exceed 160,000. For those unable to attend in person, the Scuderie has released an English-language version of its excellent video, recapping the highlights of the exhibition, room by room. You’ll want to hit the pause button in Room 2 to admire two masterpieces on loan from the Louvre: a selfportrait with a friend and the portrait of Baldassare Castiglione, one of the glories of Renaissance portraiture. The close-ups of his paintings of women in Room 6 testify to the artist’s passionate appreciation of feminine beauty. Other Scuderie videos (in Italian) delve into particular aspects of his genius — for instance, the jewelry worn by his female subjects, or the literary world he moved in.

Tour guides such as Clam Tours and Joy of Rome now offer virtual journeys in which small groups can zoom around Italy in the footsteps of the artist. On Sept. 13, for example, you can join the Renaissance specialist Antonio Forcellino and other Italian art experts on Clam Tour’s virtual exploration of Raphael’s incomparable frescoes of the four sibyls at Rome’s Santa Maria della Pace church ($25). Check out Joy of Rome’s free two-minute video about Raphael’s frescoes at the Villa Farnesina to see if you’d like to sign up for a two-and-a-half hour virtual tour (prices on request).

 

Even on a laptop screen, Raphael’s ever-evolving craftsmanship and quicksilver brilliance are apparent. “The year of Raphael has not

been ruined, but simply modified,” said Marzia Faietti, a curator of the Scuderie show. “Since many conferences and lectures have been

put off until next year, in a sense there will be two years of Raphael.”

 

For Italians, a silver lining of the pandemic has been the opportunity to relish their cultural treasures without the tourist hordes. “I cried,”

said Francesca Pagliaro, founder of the Joy of Rome tour company, of the experience of standing alone in the Vatican’s recently reopened

Sala di Costantino — one of four rooms in the museum frescoed by Raphael and his students, and which you can view here. “It’s the first

time in five years that I’ve seen the Stanze without scaffolding — and I had it to myself,” Ms. Pagliaro said. “It was magical.” Americans, barred from European travel for the foreseeable future, will have to make do with all this virtual magic. Not ideal — but Raphael’s magic is powerful, subtle and enduring enough to withstand the challenge.

 

The spirit of Urbino

I can attest to this because back in November 2019, I had the opportunity to follow in Raphael’s actual, not virtual, footsteps in Italy. I stood

shivering in the room where he was born in Urbino in 1483. I knelt at the austere tomb in a niche inside the Pantheon where he was

interred 37 years later. I feasted my eyes not only on paintings and frescoes, but on the humble church and glorious Roman chapel that

attest to his emerging genius for architecture. My pilgrimage would be impossible today — but thanks to the wonders of the internet and

the resourcefulness of Italy’s leading cultural institutions, I can remotely retrace my steps, refresh my memories and relive the

revelations.

 

The first revelation came, aptly, in Urbino’s Palazzo Ducale, the magnificent Renaissance palace constructed in the late 15th century by the

humanist and warlord Federico da Montefeltro that now houses the Galleria Nazionale delle Marche. Judge the magnificence for yourself

by clicking through Google Images’ impressive photo archive. Another click puts you face to face with the museum’s sole work by Raphael

— the haunting portrait known as “La Muta” (“The Mute Woman”). As in so many of his portraits, Raphael posed this stern beauty against a solid dark background, eschewing any visual cues that would evoke a sense of place.

 

How, I wondered, did Urbino influence the art of its most famous son?

 

I posed this question to Peter Aufreiter, then director of the Galleria Nazionale delle Marche, when I sat down with him in his office in the

Palazzo Ducale. Mr. Aufreiter’s response was to click on an image of Raphael’s 1507 portrait of Federico’s son, Duke Guidobaldo da

Montefeltro (now in the Uffizi), and then summon me to the window. “Look at the hillside across the valley and that house at the base of

the hill — it’s the same background Raphael put in his painting of Guidobaldo.” You can see exactly what Mr. Aufreiter meant by using the

magnify feature on this online image. Urbino’s steep green landscape, limpid light and crystalline architecture — you can also get a good sense of it here — imprinted themselves on the artist’s young mind and surface repeatedly in his work.

 

Even though Raphael spent most of his career in Florence and Rome, Mr. Aufreiter insists that Urbino, whose cityscape has changed little

since the Renaissance, is where you can feel his spirit most intensely.

 

The spirit is palpable in the artisans’ quarter surrounding the house where Raphael was born, the son of the local court painter Giovanni

Santi. Near the summit of the ski-slope-pitched Via Raffaello, just a stone’s throw from the rather pompous bronze monument of the artist

erected in 1897, the Casa Natale di Raffaello has been preserved as a museum. There’s a rather rudimentary virtual tour on its website, but

you’ll get a better feel for the interior and exterior spaces in this YouTube video. In these bare simple rooms and the deep brick courtyard

they enclose, little imagination is required to dial the scene back to Raphael’s apprenticeship in the last years of the 15th century. Giovanni

Santi’s bottega (workshop) occupied the ground floor, and the future master grew up amid the bustle of painters grinding pigments,

dabbing madonnas and trading in art supplies.

 

Father and son conducted a more exalted commerce at Urbino’s Palazzo Ducale. Fabricated of brick, stone and flawless geometry, this

palace was one of the glories of the Italian Renaissance — not only for its divine architecture, but for the refined elegance of the nobles

who gathered here. This video captures some facets of the palace’s perfection — the way its silhouette pierces the profile of surrounding

hills, the ideal proportions of its noble courtyard, the interplay of volume and decoration in its interior.

 

Baldassare Castiglione set his 1528 masterpiece, “The Book of the Courtier,” in this storied palace — and it was here that the young

Raphael polished his manners, sharpened his wit, cultivated invaluable connections and acquired a lifelong passion for classical antiquity.

Raised at court, Raphael was pursued by the powerful (Popes Julius II and Leo X), esteemed by the brilliant (Castiglione and the Urbinoborn

architect Donato Bramante were close friends) and adored by the beautiful. “Raphael was a very amorous person,” wrote Giorgio Vasari, his first biographer. It was Vasari who originated the claim that Raphael died after an overindulgence in sex with his Roman mistress, Margherita Luti. Whatever really killed him on April 6, 1520, Raphael accomplished much and rose high in his brief life — but he never ceased to be “il maestro Urbinate,” the master from Urbino.

 

A couch-surfing brush-for-hire.

Orphaned when his father died in 1494 (his mother had died three years earlier), Raphael spent his teenage years as an apprentice before

undertaking commissions in Umbria and Tuscany. It’s likely that he was in Florence by 1504 — not as a permanent resident but rather a

couch-surfing brush-for-hire.

 

Though Raphael’s footsteps in Florence are faint, there is no question that he encountered the works of both Leonardo da Vinci and

Michelangelo here — including, very likely, the Mona Lisa, which you can view here, and the marble statue of David, which you can see

and read about on the Accademia’s detailed website. Critics and connoisseurs have been measuring this Renaissance trio against each other for 500 years now. Florence’s Uffizi Gallery is the ideal place to revisit this rivalry, both in person and virtually. After a recent renovation, paintings by the big three have been put on display in two beautifully lit adjoining rooms, and you can find them on the Uffizi website.

 

To my eyes, neither Michelangelo nor Leonardo ever matched the sheer painterly virtuosity of the fringed white collar that Raphael stitched around the neck of the cloth merchant Agnolo Doni, or the faint dent he incised between the young businessman’s anxious brows (use the magnify function to zoom in on this image). Agnolo’s 15-year-old bride, Maddalena Strozzi, hangs beside him, posed like the Mona Lisa with bejeweled hands clasped on her lap, but clad in a kaleidoscope of watered red silk, embroidered blue damask and shimmering gauze. Across the Arno are the glories of the Pitti Palace’s Galleria Palatina — the largest collection of Raphael’s works outside the Vatican. Unlike the Uffizi, the Pitti Palace retains the ambience and layout of an aristocratic residence: Paintings are stacked three deep in gilded high-ceilinged chambers; works are arranged idiosyncratically rather than chronologically; and the lighting can be maddeningly inadequate. Luckily for remote visitors, the lighting is much better on the palace’s website, as well as in the Italian and Spanish language videos about the museum’s treasures, posted here.

 

To the Eternal City

Raphael was summoned to Rome in 1508 by Pope Julius II, and he remained there until his death in 1520. Those 12 final years in the

Eternal City marked the apogee of his career. Painter, architect, entrepreneur, archaeologist, pioneer printmaker, Raphael became the

prototype of the artist as celebrity — the Andy Warhol of the Renaissance.

 

In pre-pandemic Rome, visitors had to endure the lines and tour groups that plagued the Vatican Museums in order to spend a few crowded moments with one of Raphael’s supreme accomplishments: the four papal chambers, known as the Stanze di Raffaello, that the artist and his workshop frescoed between 1508 and 1520. These days, in-person visitors to the reopened Vatican Museums enjoy the Stanze along with the nearby Sistine Chapel in ideal conditions. But remote visits can also be rewarding, thanks to the beautifully produced videos and virtual tours now available on the Vatican’s website. With the click of a mouse, you can hop back and forth between the virtual Sistine Chapel ceiling and the Raphael Stanze and decide for yourself which is the greater masterpiece.

 

“Everything he had in art, he had from me,” the curmudgeonly Michelangelo once grumbled of his younger rival. When you view their

roughly contemporaneous fresco cycles one after the other (or side by side on your computer), it’s clear that Raphael did much more than

borrow. “The School of Athens,” the most celebrated work in the Stanze, has the propulsive tension of a film paused at its climactic scene.

Cast members — a mix of classical philosophers and Renaissance savants — converse, argue, scribble, read and declaim on a sprawling,

but unified, “set” framed by classical architecture. By contrast, Michelangelo’s Sistine ceiling, for all its bravura, reads like a series of

static cels.

 

After the Vatican’s Raphael Stanze, a logical next stop, whether actually or virtually, is the Villa Farnesina, with its two beguiling frescoed

loggias — “The Triumph of Galatea” in one of the loggias and “Cupid and Psyche” in the other. Despite the name, this riverside Trastevere landmark is neither a villa nor originally a Farnese property, but rather a suburban pleasure pavilion that Agostino Chigi built for himself in the early 16th century. Chigi brought in the finest artists of the day to fresco the loggias; the result is a delightful crazy quilt of mythological scenes and astrological symbols. Raphael’s “Galatea,” with her wind-whipped tresses, elegantly torqued bare torso and dolphin-powered, scallop-shell raft, has become an icon of High Renaissance grace and wit, and you can see it and other highlights in the villa’s video archive. Even if you don’t speak Italian, the short films are worth delving into for the imagery alone.

 

From painting to architecture

In the last phase of his career, Raphael increasingly turned from painting to architecture. Sadly, his major architectural achievements — the grand unfinished Villa Madama perched on a wooded hill two miles north of the Vatican, and the classically inspired Raphael loggias inside the Vatican’s Apostolic Palace — were inaccessible to the public even before the pandemic, and remain so. To get a sense of Raphael’s architectural genius, make (or click) your way to the church of Santa Maria del Popolo in the piazza of the same name at the northwest edge of the historic center. Like so many transplants, Raphael fell under the spell of the Eternal City’s classical substructure: Rome itself, its layers, its ruins and relics, its ceaseless commerce with the past, became a source of inspiration. The chapel he designed for Chigi inside the Popolo church evinces just how deeply and fruitfully Raphael internalized this inspiration. At first glance, it’s just another church chapel — tight, high, adorned with art and inlaid with precious stone. But on this site you can glimpse the almost miraculous geometry of this space — the interplay of disc and dome, the rhythm set up between the vertical pleats of the Corinthian pilasters and the elongated triangles of the twin red marble pyramids that mark the Chigis' graves. Fittingly, the artist who devoted the final years of his career to measuring, cataloging, preserving and mapping Roman antiquities, was laid to rest in the greatest classical structure to survive the ages: the Pantheon. If a trip to the physical Pantheon is not in the cards, you can drop in with Tom Hanks as your guide in this clip from the film “Angels and Demons.” As for his tomb — an easy-to-miss niche with a statue of the Virgin, modest and vague, presiding over the glassed-in coffin — you can view it here.

 

Marzia Faietti, curator of Rome’s Scuderie show, has been struck by how the virus has enhanced Raphael’s reputation and heightened

awareness of the twin beauties of his art and character. “Young people in particular have reacted with an outpouring of enthusiasm and

benevolence which I really didn’t expect,” she said. “The pandemic has brought suffering to so many, but the year of Raphael will be

remembered more vividly, not despite the virus, but because of it.”

 

Fonte / source:

--- The NYT (18 Aug. 2020).

www.nytimes.com/2020/08/18/travel/in-the-virtual-and-actu...

 

Foto / fonte / source:

--- ROMA - «Raffaello 1520-1483», et al., Scuderie del Quirinale / You-Tube (05/03 - 02/06/2020) (08/2020).

www.youtube.com/user/ScuderieQuirinale/videos

 

4.). ROMA - «Raffaello 1520-1483»., in: "Raffaello architetto e la Lettera a Papa Leone X." Università di Padova (20/07/2020).

 

Artista dal talento straordinario, affermato, corteggiato, desiderato. Questo, ma non solo questo, fu Raffaello Sanzio (1483-1520): l'esperienza come architetto, lo studio e l'impegno per la tutela degli edifici antichi di Roma sono di importanza centrale nel suo percorso, a partire dalla realizzazione di opere come la Cappella Chigi e Villa Madama, fino alla stesura, insieme a Baldassarre Castiglione, della Lettera a Papa Leone X. La grande mostra Raffaello 1520-1483, allestita alle Scuderie del Quirinale di Roma, prorogata fino al 30 agosto, dedica ampio spazio alla sua appassionata attività nel campo dell'architettura.

 

"Sin dai primi anni di formazione, l'interesse di Raffaello per l'architettura, in particolare per quella del mondo antico, è fortemente presente - racconta il professor Zaggia al Bo Live - Fino a sfociare in un'opera fondamentale come Lo sposalizio della vergine, in cui compare un tempio a pianta centrale sullo sfondo che interpreta in modo molto chiaro le sperimentazioni del suo tempo in ambito architettonico. A questa sperimentazione dell'architettura sul piano della rappresentazione, segue poi, con il trasferimento di Raffaello a Roma tra il 1508 e il 1509 e l'incontro con Bramante, un interesse concreto rivolto alla costruzione e alla progettazione vera e propria. Da questo punto di vista, il rapporto che si instaura tra Raffaello e Bramante per lo studio dell'architettura antica, conservata all'interno della città, diventa fondamentale punto di partenza per un approfondimento che aprirà strade nuove all'architettura successiva. Con la morte di figure di riferimento, come Bramante appunto, Raffaello diventa la personalità più importante che opera nel campo dell'architettura all'interno dei grandi cantieri pontifici. Si apre così una stagione breve in cui le opere realizzate da Raffaello saranno numerose e importanti: alcune realmente costruite, altre solo progettate".

 

In questo contesto si inserisce la Lettera a Papa Leone X, scritta nel 1519 da Raffaello e Baldassarre Castiglione, il raffinato autore del Cortegiano (ai due, uniti da amicizia e stima reciproca, è dedicata una mostra al Palazzo Ducale di Urbino, dal titolo Baldassarre Castiglione e Raffaello.Volti e momenti della civiltà di corte), sul tema della tutela e dello studio degli edifici antichi. La premessa al documento è rintracciabile nei fatti avvenuti qualche anno prima: nell'estate del 1515, infatti, Leone X nomina Raffaello præfectus marmorum et lapidum omnium (dal 1514 l'Urbinate già dirigeva la fabbrica di San Pietro). La lettera dedicatoria, la cui prima edizione venne inserita all'interno delle opere di Baldassare Castiglione pubblicate a Padova nel 1733, si apre così: "Sono molti, padre santissimo, i quali misurando col loro piccolo giudizio le cose grandissime che delli romani circa l’arme, e della città di Roma circa al mirabile artificio, ai ricchi ornamenti e alla grandezza degli edifici si scrivono, quelle più presto stimano favolose che vere. Ma altrimenti a me suole avvenire; perché considerando dalle ruine, che ancor si veggono di Roma, la divinità di quegli animi antichi, non istimo fuor di ragione il credere che molte cose a noi paiono impossibili, che ad essi erano facilissime".

 

Nella prima parte Raffaello esalta la grandezza del passato, dichiara le proprie competenze in ambito architettonico e invita il pontefice a intervenire per garantire la tutela dei monumenti antichi, da salvare dal degrado. Nella seconda invece si concentra su questione più tecniche, introducendo anche la descrizione di uno strumento per la misurazione degli edifici antichi di sua invenzione: "Farassi adunque un instromento tondo e piano, come un astrolabio, il diametro del quale sarà due palmi o più o meno, come piace a chi vuole adoperarlo, e la circonferenza di questo istromento si partirà in otto parti giusti, e a ciascuna di quelle parti si porrà il nome d’uno degli otto venti, dividendola in trentadue altre parti picciole, che si chiameranno gradi [...] Con questo adunque misureremo ogni sorte di edificio, di che forma sia, o tondo o quadro o con istrani angoli e svoglimenti quanto dir si possa".

 

"L'importanza della lettera risiede nei principi enunciati all'inizio del testo, in cui Raffaello e Baldassarre Castiglione sostengono la necessità e l'urgenza di tutelare i monumenti antichi, per trasmetterle alle generazioni future - conclude Zaggia -. Non a caso la lettera, pubblicata alla fine del Settecento, una volta riconosciuto l'autore in Raffaello, diventa il punto di partenza per la legislazione adottata successivamente dagli Stati europei per la protezione del patrimonio artistico e culturale. Erede ultimo di questa tradizione è l'articolo 9 della nostra Costituzione".

 

Fonte/ source:

--- Università di Padova (20/07/2020).

ilbolive.unipd.it/it/news/raffaello-architetto-lettera-pa...

 

4.1). ROMA / Archivio di Stato di Mantova (2020): «Raffaello 1520-1483»., "Raffaello architetto e la Lettera a Papa Leone X." S.v., Lettera a papa Leone X di Raffaello e Baldassarre Castiglione; in: Archivio di Stato di Mantova (2020).

 

Nella galleria fotografica potrete scorrere la lettera di Raffaello e Baladassare Castiglione a papa Leone X. Raffaello e Baldassarre Castiglione, Lettera a papa Leone X, s.d. [1519]. Manoscritto cartaceo costituito da 6 carte di formato 220 x 290 mm circa, ripiegate a formare fascicoletto non rilegato di 24 facciate, di cui 21 scritte, 3 bianche. ASMn, Archivio Castiglioni (acquisto 2016), busta 2, n. 12.

 

Fonte / source:

--- Lettera a papa Leone X di Raffaello e Baldassarre Castiglione, in: Archivio di Stato di Mantova (2020).

www.archiviodistatomantova.beniculturali.it/index.php?it/...

 

4.2). ROMA - «Raffaello 1520-1483». Raffaello a Roma è un percorso a ritroso dal 1520 al 1483. Scuderie del Quirinale (05/03 - 02/06/2020), in: Jhon Correa / Facebook (1 July 2020). www.facebook.com/jhon.correa.7549

 

4.3). ROMA - «Raffaello 1520-1483». Lettera a papa Leone X di Raffaello e Baldassarre Castiglione. S.v.,

Prof. Cammy Brothers, “Architecture, History, Archaeology: Drawing Ancient Rome in the Letter to Leo X & in Sixteenth-Century Practice,” in Coming About…A Festschrift for John Shearman, ed. Lars R. Jones and Louisa C. Matthew. Cambridge: Harvard University Art Museums (2001): 135–40 [in PDF].

 

Fonte / source:

--- Prof. Cammy Brothers / academia.edu. (2020).

neu.academia.edu/CammyBrothers

 

This is a nice period photo with much to appreciate. The Mobil logo here is sort of in a hybrid stage from the previous one which was that shape but incorporated a pegasus logo in the point underneath and the one that eventually took over was a rectangular sign with the point removed but otherwise as it appears here. The building is an excellent example of this period of US style service station architecture and we see a moped rider with pillion passenger, an early Ford Escort, and Co-op and Dunlop signs of the era. It’s clearly a winter scene! There's every chance that this garage still exists in the present day and is here - based largely on the one remaining Poplar tree having grown a bit bigger and is in almost exactly the right spot compared to this photo - and it is on what is now called the Old Walsall Road.. www.google.com/maps/@52.5302439,-1.9288083,3a,75y,100.61h...

I'm in love with it, period. This is a picture I took of my grandma. For those of you who don't know what's going on, she's celebrating. Next month, on October 20, she will be 90 years old. This is quite a feat for her. A few years ago she broke her hip and the survival rate for people over 70 who break a hip is about 50%. Not only did she beat that statistic, but she overcame all odds and exceeded doctors' expectations for how well she would be doing at this point.

 

My grandma is a driving force in my life and I am a better person for knowing her. I know the following passage gets lengthy but it's a speech I wrote about a person I admire and, of course, it's about my grandmother. I invite you to read it if you have time and get a better glimpse of this amazing woman that I love.

--------------------------------------------------------------------------------------

“There’s the wind-up, and the pitch. It’s a hit! It’s going back...back. It’s outta here, Folks!” Don’t be deceived, this is no ordinary baseball game. The stadium is my backyard, I’m the pitcher. The announcer is my little brother. And the batter, you ask? The batter is none other than my then 83-year-old grandmother. My grandma was always the cool grandma. She has been a driving force in my life and my words could never explain my love and gratitude for her. However, I will attempt to give you a glimpse of an amazing woman who is not only a baseball player, but also a caretaker, storyteller, chef, teacher, and all around trouble-maker. I am here to give you a glimpse at the woman I call “Grandmommy”.

 

My mom worked when I was little so she left me with my grandma. This was convenient for everyone since my grandma lived in the finished lower level of our split level ranch. I’d always get so excited to hear her footsteps coming up the stairs, knowing that soon she’d be in to wake me up for a breakfast of pancakes or waffles. She’d make them just the way I liked with butter and extra syrup. She would then serve them to me in the living room while I watched Sesame Street. My mornings were always an enjoyable experience.

 

After breakfast, my grandma became my teacher and storyteller. She would read to me for hours, thus instilling in me my passion for reading. She read everything to me from and the comics in the newspaper to children's books. She still fuels my love of reading today by sending newspaper articles and her old books my way. Unfortunately, with age her sight is not as good as it used to be and she has difficulty reading.

 

We loved to watch TV together. We would watch Lamb Chop together in the mornings and even on my mom’s days off I’d go down to watch it with my grandma. Despite our avid Lamb Chop watching, our favorite thing to watch was ice skating. During commercials I would mimic the moves I saw the skaters doing. No matter how poorly executed those moves were, (and believe me, they were poorly executed) my grandma would clap and cheer and urge me to go on. On occasion she’d get up and jump around with me which I always thought was cool.

 

She loved to decorate for every holiday, even the offbeat ones like Columbus Day and President’s Day. She’d dress up for Halloween every year, even if there was no one to see her costume but the family. She turned her space into a Halloween haven and called it her “Spook House.” The Christmas tree always went up the day after Thanksgiving and was always decorated within the week. She played a game with me at Christmas time, telling me that one of Santa’s elves talked to her at night. I’d write letters to him and magically the next day, he’d written me back and left me a toy. I never caught on that the elf’s handwriting somehow looked exactly like my grandmother’s or that she was the only one who ever saw him.

 

One of my favorite memories of my grandmother are the summers we spent out on her patio. Often, we’d sit and listen to the baseball game (she was an avid baseball lover) and sip peach soda in the sun. When we weren’t doing that, I’d listen to her tell me stories of her days as a child when they didn’t have TV. I was fascinated by that fact and she’d tell me the story over and over again. Sometimes, I’d play bug catcher and save my grandmother from the pesky bugs on the patio. She’d reward me with a big hug and a cookie. Those were the days.

 

A few years ago my grandma broke her hip. Now, many people chalk that up to old age. However, this is not the case. My grandma broke her hip because she lost her footing in her high heels. Yes, you heard me correctly, her high heels. She never went anywhere without her heels, even at 85. After she broke her hip, the doctor told her she could never wear them again. He also told her that she would have to use a walker or a four-pronged cane for the rest of her life. That didn’t go over too well with Grandma and she told the doctor exactly where he could take his advice. She let him know that she would never be caught dead with a walker and would be using a regular cane within the year. And that’s exactly what she did.

 

I once heard a statistic that many women her age who break a hip don’t survive. That just proves to me how strong of a woman my grandmother is. Not only did she survive but she’s back to her old tricks…almost. For the first few months with her new cane, we’d have to watch her like a hawk. She’s a stubborn woman (I come by it naturally I found out) and insisted that she didn’t need her cane. We’d catch her downstairs wandering around, cane-less, and we’d have to scold her like a child. She refuses to use her wheelchair in public and no matter how tired it makes her; she persists to walk around the mall or grocery store with just her cane. She always has to be the strong one.

 

Since getting her cane, her holiday decorating has become a little more difficult. She doesn’t put up as many decorations and putting up the Christmas tree can take a month instead of a week. However, her stubborn streak still lives on. Upon going downstairs one day, I found the cane by the couch and, as usual, grandma was nowhere to be found. After further investigation I found my grandmother standing on a chair hanging things from the ceiling. She never stops.

 

My grandma is the most amazing woman I know. She turns 90 on October 20th and this is no easy feat! She has slowed down since breaking her hip which is difficult to watch. She’s still the strong, amazing woman I knew growing up, but now she seems trapped in an old woman’s body. She still causes trouble, especially at my graduation party when she announced she wants male strippers at her 90th birthday during my graduation party. She’s still an amazing cook, making savory meatloaf and potatoes every now and then. She’s still a teacher, I learn something new from her everyday. And I still strive to be the best person I can be to make her proud. In my eyes she truly is a superb human being.

History of the Vienna State Opera

132 years house on the Ring

(you can see pictures by clicking on the link at the end of page!)

State Opera (K.K. Court Opera) 1901

About three and a half centuries, until the early Baroque period, the tradition of Viennese opera goes back. Emperor Franz Joseph I decreed in December 1857 to tear down the old city walls and fortifications around the city center of Vienna and to lay out a wide boulevard with new buildings for culture and politics, the ring road.

The two Court Theatres (a speech and a musical theater) should find a new place on the ring. For the Imperial and Royal Court Opera House was chosen a prominent place in the immediate area of ​​the former Kärntnertortheatre. This by the public that much loved opera theater was demolished in 1709 due to its confinement .

State Opera (K.K. Court Opera) 1903

The new opera house was built by the Viennese architect August Sicardsburg, who designed the basic plan, and Eduard van der Null, who designed the interior decoration. But other eminent artists had been involved: just think of Moritz von Schwind, who painted the frescoes in the foyer and the famous "Magic Flute", cycle of frescoes in the loggia. The two architects did not experience the opening of "their" opera house any more. The sensitive van der Null committed suicide since the Wiener (Viennes people) denigrated the new house as lacking in style, his friend Sicardsburg succumbed a little later to a stroke.

1869 - 1955

On 25 May 1869 the House was with Mozart's DON JUAN in the presence of Emperor Franz Joseph, the highest building owner, and Empress Elisabeth opened.

However, with the artistic charisma under the first directors Franz von Dingelstedt, Johann Herbeck, Franz Jauner and Wilhelm Jahn grew the popularity of the building. A first highlight experienced the Vienna Opera under the director Gustav Mahler, renewing the outdated performance system from scratch, strengthening precision and ensemble spirit and also using significant visual artists (including Alfred Roller) for the shaping of the new stage aesthetic.

In the ten-year-period of his Directorate (1897-1907) continued Gustav Mahler, this very day, in the concert halls of the world as the most important member of a Symphony Orchestra at the turn of the 20th century omnipresent, the intensive fostering of Wagner, Mozart's operas and Beethoven's Fidelio were redesigned, the with Richard Strauss initiated connection to Verdi was held upright. Austrian composers were promoted (Hugo Wolf), the Court Opera was opened to European modernism.

Image: Emperor Franz Joseph I and Emperor Wilhelm II during a gala performance at the Vienna Court Opera in 1900 resulting from the "Book of the Emperor", edited by Max Herzig.

Technique: Lithography

from www.aeiou.at

In addition to the classics of the Italian repertoire were and are especially Mozart, Wagner and Richard Strauss (himself 1919-1924 director of the House), the musical protection gods of the Vienna State Opera.

staatsoper_81.jpg (28138 bytes)

The modern also always had its place: the twenties and thirties witnessed the Vienna premieres of Krenek's Jonny spielt auf, Cardillac Hindemith, Korngold MIRACLE OF Héliane and Berg's Wozzeck (under President Clemens Krauss). This tradition was interrupted with the seizure of power by the National Socialists, yes, after the devastating bomb hits, on 12 March 1945 the house on the ring largely devastating, the care of the art form itself was doubtful.

The Viennese, who had preserved a lively cultural life during the war, were deeply shocked to see the symbol of the Austrian musical life in ruins.

But the spirit of the opera was not destroyed. On 1 May 1945 "State Opera Volksoper" was opened with a brilliant performance of Mozart's THE MARRIAGE OF FIGARO, on 6 October 1945 was followed by the re-opening of the hastily restored Theater an der Wien with Beethoven's Fidelio. Thus there were two venues for the next ten years, while the actual main building was rebuilt at great expense.

staatsoper_84.jpg (14707 bytes)

Visitors flock to the opera. Reopening on 5th November, 1955.

Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher

As early as 24 May 1945 the State Secretary of Public Works, Julius Raab, had announced the reconstruction of the Vienna State Opera, which should be placed in the hands of the Austrian architects Erich Boltenstern and Otto Prossinger. Only the main façade, the grand staircase and the Schwindfoyer (evanescence foyer) had been spared from the bombs - with a new auditorium and modernized technology, the Vienna State Opera was brilliant with Beethoven's Fidelio under Karl Böhm on 5 November 1955 reopened. The opening ceremonies were broadcasted from Austrian television and in the whole world at the same time as a sign of life of the resurrected 2nd Republic understood.

staatsoper_83.jpg (33866 bytes)

State ceremony to the reopening on 5 November 1955. On the far right under the box of the Federal President a television camera of the Austrian Broadcasting Corporation is visible which broadcasted the event. Image from © www.staatsvertrag.at / ÖGZ / Cermak

1955 to 1992

The dictum that the Vienna State Opera survives every director, is attributed to Egon Seefehlner which himself for many years run the businessses of the house. And yet marked he and the thirty-one other directors of the Vienna State Opera since 1869, great musicians or musical administrators, in their own way the profile of this world-famous institution:

staatsoper_82.jpg (13379 bytes)

Performance for the reopening of the Vienna State Opera on 5 November, 1955.

Image from © www.staatsvertrag.at / bildarchiv austria / ÖGZ / Hilscher

After the Second World War there were first the conductors directors Karl Böhm and Herbert von Karajan - the latter insisted on the title "Artistic Director" and opened the Ensemble house to the international singer market, had the opera rehearsed in original language and oriented his plans to "co-productions" with foreign opera houses, however, which were only realized after his term.

It followed as directors Egon Hilbert, Heinrich Reif-Gintl, Rudolf Gamsjäger and the mentioned Egon Seefehlner, who was appointed for a second time at the top of the house after the departure of his successor in office Lorin Maazel. Claus Helmut Drese (State Opera director from 1986 to 1991) stood with Claudio Abbado an internationally renowned music director by his side. At the beginning of the 90s the forrmer star baritone Eberhard Waechter, at that time director of the Volksoper (People's Opera), charged with the direction. Only seven months have been granted to him as a director.

The era Ioan Holender (1992 to 2010)

After Waechter's tragic death in March 1992 took over general secretary Ioan Holender, a former singer (baritone) and owner of a singer Agency, the office to continue the tradition of perhaps the most important opera institution in the world over the millennium to 2010.

His play plan design relies besides an extremely wide repertoire with the columns Mozart, Wagner, Verdi and Strauss mainly on premieres. Mention may be made of Bellini's I Puritani (1993 /94), Massenet Hérodiade (1994 /95), Verdi's Jerusalem and Britten's PETER GRIMES (1995 /96), Verdi's Stiffelio and Enescu OEDIPE (1996 /97), Rossini's GUILLAUME TELL and Lehár's operetta THE MERRY WIDOW (1998/99) and Schoenberg's THE JAKOBSLEITER, Hiller's PETER PAN, Donizetti's ROBERTO DEVEREUX, Britten's Billy Budd, Verdi's Nabucco (2000/ 01), Bellini's LA SONNAMBULA, Gounod's Roméo et Juliette, Janácek's Jenufa (2001/02), Verdi's SIMON BOCCANEGRA, Krenek's Jonny spielt auf, Donizetti's La Favorite, Hiller's PINOCCHIO, Wagner's TRISTAN UND ISOLDE (2002/ 03), Verdi's FALSTAFF, Wagner's FLYING DUTCHMAN and PARSIFAL, Strauss's Daphne (2003/ 04) and the world premiere of the original French version of Verdi's DON CARLOS (2003/ 04). A particular success of the recent past, the rediscovery of Fromental Halévy's La Juive Grand (1999 ) must be considered. Two premières concerned 1995 Adriana Hölszky's THE WALLS (co-production with the Vienna Festival at the Theater an der Wien ) and Alfred Schnittke's Gesualdo. On 15 June 2002 also THE GIANT OF STONE FIELD (Music: Peter Turrini: Friedrich Cerha libretto) premiered with great success, another commissioned work of the Vienna State Opera.

State Opera - © Oliver Thomann - FOTOLIA

Image : Vienna State Opera

In recent years it came up, in each case on 18 May, the anniversary of the death of Gustav Mahler, to concerts of the Vienna Philharmonic at the Vienna State Opera. These were under the direction of Seiji Ozawa (who since the 2002 /03 season the Vienna State Opera director Holender as music director of the house stands to the side) (1995), Carlo Maria Giulini (1996), Riccardo Muti (1997), Lorin Maazel (1998), Zubin Mehta (1999), Giuseppe Sinopoli (2000 ), Riccardo Muti (2001) and again Seiji Ozawa (2004).

Furthermore, was on 16 June, 2002 for the first time by the Vienna Philharmonic Orchestra (conducted by Seiji Ozawa) a CONCERT FOR AUSTRIA organized. More CONCERTS FOR AUSTRIA followed on 26 October 2003 (Zubin Mehta) and 26 October 2004 (under Valery Gergiev).

At the Theater an der Wien Mozart's Così fan tutte experienced a triumphant new production conducted by Riccardo Muti. This Mozart cycle under Muti continued with DON GIOVANNI and 2001 LE MARRIAGE OF FIGARO, 1999.

more...

Directors since 1869

Franz von Dingelstedt 07/01/1867 - 18/12/1870

Opening 5/25/1869

Johann von Herbeck 12/19/1870 - 30/04/1875

Franz von Jauner 01/05/1875 - 18/06/1880

Director College:

Karl Mayerhofer, Gustav Walter and

Emil Scaria 19.06.1880 - 31.12.1880

Wilhelm Jahn 01.01.1881 - 10.14.1897

Gustav Mahler 10/15/1897 - 31/12/1907

Felix Weingartner 01.01.1908 - 28.02.1911

Hans Gregor 01.03.1911 - 14.11.1918

Franz Schalk 15.11.1918 - 08.15.1919

Richard Strauss/Franz Schalk 16/08/1919 - 31/10/1924

Franz Schalk 1/11/1924 - 8/31/1929

Clemens Krauss 01/09/1929 - 15/12/1934

Felix Weingartner, 01.01.1935 - 08.31.1936

Erwin Kerber 09/01/1936 - 08/31/1940

Henry K. Strohm 09.01.1940 - 19.04.1941

Walter Thomas 02.01.1941 - 19.04.1941

Ernst August Schneider 04/20/1941 - 02/28/1943

Karl Böhm 03.01.1943 - 30.04.1945

Alfred Jerger,

State Opera in the Volksoper 01.05.1945 - 14.06.1945

Franz Salmhofer,

State Opera in the Theater an der Wien, 18.06.1945 - 31.08.1955

Karl Böhm 01.09.1954 - 31.08.1956

Herbert von Karajan 01.09.1956 - 31.03.1962

Herbert von Karajan/Walter Erich Schäfer 01.04.1962 - 08.06.1963

Herbert von Karajan/Egon Hilbert 09.06.1963 - 31.08.1964

Egon Hilbert 01.09.1964 - 18.01.1968

Heinrich Reif- Gintl 19.01.1968 - 31.08.1972

Rudolf Gamsjager 01.09.1972 - 31.08.1976

Egon Seefehlner 01.09.1976 - 31.08.1982

Lorin Maazel 01.09.1982 - 31.08.1984

Egon Seefehlner 01.09.1984 - 31.08.1986

Dr. Claus Helmut Drese 01.09.1986 - 31.08.1991

Eberhard Waechter 01.09.1991 - 29.03.1992

Ioan Holender 01.04.1992 - 31.08.2010

Dominique Meyer since 01/09/2010

 

Opera world premieres

Abbreviations:

Od = the Odeon

Ron = Ronacher

TW = the Theater an der Wien

 

1875 10:03. Goldmark The Queen of Sheba

1877 04:10. Brüller Der Landfriede

1880 26.05. Riedel The Accolade

15.12. Brüller Bianca

1883 04.01. Leschetitzky The first fold

21.02. Bachrich Muzzedin

1884 26.03. Bachrich Heini of Styria

1886 30.03. Hellmesberger jun. Fata Morgana

4:10 . Hager Marffa

19.11. Goldmark Merlin

1887 03:04. Harold pepper

1889 27.03. Fox The Bride King

4:10. Smareglia The vassal of Szigeth

1891 19:02. Mader Refugees

1892 01.01. J. Strauss Ritter Pasman

16.02. Massenet Werther

19.11. Bulk Signor Formica

1894 20.01. Heuberger Miriam

1896 21.03. Goldmark The Cricket on the Hearth

1899 17:01. The Goldmark prisoners of war

1900 22:01. Zemlinsky It was once

1902 28.02. Forster The dot mon

1904 18:02. Wolf The Corregidor

1908 02.01. Goldmark The Winter's Tale

1910 12:04. The musician Bittner

18.05. Goldmark Götz von Berlichingen

1911 09:11. Bittner The mountain lake

1912 16.03. Oberleithner Aphrodite

1913 15.03. Schreker The game works and the Princess

1914 01.04. Schmidt Notre Dame

1916 04:10. R. Strauss Ariadne auf Naxos (Vienna version)

1917 23.11. Zaiszek-Blankenau Ferdinand and Luise

1919 10.10. R. Strauss Die Frau ohne Schatten

1920 13.05. Weingartner Champion Andrea/The Village School

1921 09.04. The Bittner Kohlhaymerin

1924 20.09. Beethoven/R. Strauss The Ruins of Athens

1925 24.02. Kienzl Sanctissimum

27.03. Frank The image of the Madonna

1931 20.06. Wellesz The Bacchae

1932 10:11. Heger The beggar Nameless

1934 20.01. Lehár Giuditta

08.12. Bittner The violet

1935 26.12. Salmhofer lady in dream

1937 06.02. Wenzl - Traun rock the atonement

17.04. Frank The strange woman

18.11. Weinberger Wallenstein

1938 09.03. Salmhofer Ivan Tarasenko

1939 02:02. Will King ballad

1941 04:04. Wagner Régeny Johanna Balk

1956 17.06. Martin The Storm

1971 23.05. The visit of an old lady

1976 17.12. A Love and Intrigue

1989 25.11. The blind Furrer (OD)

1990 06:12. Krenek last dance at St. Stephen's (Ron)

1995 20.05. Hölszky The walls (TW)

26.05. Schnittke Gesualdo

2002 15.06. Cerha Der Riese vom Steinfeld

2007 15:04 Naske The Omama in the apple tree

2010 28.02. Reimann Medea

2010 10:05. Eröd dots and Anton

www.wien-vienna.at/index.php?ID=484

Mesa redonda "Revistas y Periodismo", participantes:

 

Daniel Dimas Segovia (Revista Reto)

 

Osiel Castillo (Revista Regionegocios)

 

Juana María Nava (Revista Nosotras)

 

Jesús Oscar González (Revista 3er. Sector)

 

Arnulfo Vigil (Revista Oficio)

 

Evento realizado en el marco de la XX Feria Internacional del Libro Monterrey 2010

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition.[174] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

 

Hanoi; Vietnamese: Hà Nội is the capital of Vietnam and the country's second largest city. Its population in 2009 was estimated at 2.6 million for urban districts and 6.5 million for the metropolitan jurisdiction. From 1010 until 1802, it was the most important political centre of Vietnam. It was eclipsed by Huế, the imperial capital of Vietnam during the Nguyễn Dynasty (1802–1945), but Hanoi served as the capital of French Indochina from 1902 to 1954. From 1954 to 1976, it was the capital of North Vietnam, and it became the capital of a reunified Vietnam in 1976, after the North's victory in the Vietnam War.

 

The city lies on the right bank of the Red River. Hanoi is 1,760 km north of Ho Chi Minh City and 120 km west of Hai Phong city.

 

October 2010 officially marked 1000 years since the establishment of the city. The Hanoi Ceramic Mosaic Mural is a 4 km ceramic mosaic mural created to mark the occasion.

 

NAMES

Hanoi (河內) has had many names throughout history. During the Chinese occupation of Vietnam, it was known first as Long Biên, then Tống Bình (宋平, "Song Peace") and Long Đỗ (龍肚, "Dragonbelly"). In 866, it was turned into a citadel and named Đại La (大羅, "Big Net"). During the Lê dynasty, Hanoi was known as Đông Kinh (東京, "Eastern Capital"); this gave the name to Tonkin.

 

HISTORY

Pre-Thăng Long period

Hanoi has been inhabited since at least 3000 BC. The Cổ Loa Citadel in Dong Anh district served as the capital of the Âu Lạc kingdom founded by the Shu emigrant Thục Phán after his 258 BC conquest of the native Văn Lang.

 

In 197 BC, Âu Lạc Kingdom was annexed by Nanyue, which ushered in more than a millennium of Chinese domination. By the middle of the 5th century, in the center of ancient Hanoi, the Liu Song Dynasty set up a new district (縣) called Songping (Tong Binh), which later became a commandery (郡), including two districts Yihuai (義懷) and Suining (綏寧) in the south of the Red River (now Từ Liêm and Hoài Đức districts) with a metropolis (the domination centre) in the present inner Hanoi. By the year 679, the Tang dynasty changed the region's name into Annan (Pacified South), with Songping as its capital.

 

In order to defeat the people’s uprisings, in the later half of the 8th century, Zhang Boyi (張伯儀), a Tang dynasty viceroy, built Luocheng (羅城, La Thanh or La citadel, from Thu Le to Quan Ngua in present-day Ba Dinh precinct). In the earlier half of the 9th century, it was further built up and called Jincheng (金城, Kim Thanh or Kim Citadel). In 866, Gao Pian, the Chinese Jiedushi, consolidated and named it Daluocheng (大羅城, Dai La citadel, running from Quan Ngua to Bach Thao), the then-largest citadel of ancient Hanoi.

 

Thăng Long, Đông Đô, Đông Quan, Đông Kinh

In 1010, Lý Thái Tổ, the first ruler of the Lý Dynasty, moved the capital of Đại Việt to the site of the Đại La Citadel. Claiming to have seen a dragon ascending the Red River, he renamed the site Thăng Long (昇龍, "Soaring Dragon") - a name still used poetically to this day. Thăng Long remained the capital of Đại Việt until 1397, when it was moved to Thanh Hóa, then known as Tây Đô (西都), the "Western Capital". Thăng Long then became Đông Đô (東都), the "Eastern Capital."

 

In 1408, the Chinese Ming Dynasty attacked and occupied Vietnam, changing Đông Đô's name to Dongguan (Chinese: 東關, Eastern Gateway), or Đông Quan in Sino-Vietnamese. In 1428, the Vietnamese overthrew the Chinese under the leadership of Lê Lợi, who later founded the Lê Dynasty and renamed Đông Quan Đông Kinh (東京, "Eastern Capital") or Tonkin. Right after the end of the Tây Sơn Dynasty, it was named Bắc Thành (北城, "Northern Citadel").

During Nguyễn Dynasty and the French colonial period

In 1802, when the Nguyễn Dynasty was established and moved the capital to Huế, the old name Thăng Long was modified to become Thăng Long (昇龍, "Soaring Dragon"). In 1831, the Nguyễn emperor Minh Mạng renamed it Hà Nội (河内, "Between Rivers" or "River Interior"). Hanoi was occupied by the French in 1873 and passed to them ten years later. As Hanoï, it became the capital of French Indochina after 1887.

 

DURING TWO WARS

The city was occupied by the Japanese in 1940 and liberated in 1945, when it briefly became the seat of the Viet Minh government after Ho Chi Minh proclaimed the independence of Vietnam. However, the French returned and reoccupied the city in 1946. After nine years of fighting between the French and Viet Minh forces, Hanoi became the capital of an independent North Vietnam in 1954.

 

During the Vietnam War, Hanoi's transportation facilities were disrupted by the bombing of bridges and railways. These were all, however, promptly repaired. Following the end of the war, Hanoi became the capital of a reunified Vietnam when North and South Vietnam were reunited on July 2, 1976.

 

MODERN HANOI

On May 29, 2008, it was decided that Hà Tây Province, Vĩnh Phúc Province's Mê Linh District and 4 communes of Lương Sơn District, Hòa Bình Province be merged into the metropolitan area of Hanoi from August 1, 2008. Hanoi's total area then increased to 334,470 hectares in 29 subdivisions with the new population being 6,232,940., effectively tripling its size. The Hanoi Capital Region (Vùng Thủ đô Hà Nội), a metropolitan area covering Hanoi and 6 surrounding provinces under its administration, will have an area of 13,436 square kilometres with 15 million people by 2020

 

Hanoi has experienced a rapid construction boom recently. Skyscrapers, popping up in new urban areas, have dramatically changed the cityscape and have formed a modern skyline outside the old city. In 2015, Hanoi is ranked # 39 by Emporis in the list of world cities with most skyscrapers over 100 m; its two tallest buildings are Hanoi Landmark 72 Tower (336m, tallest in Vietnam and second tallest in Southeast Asia after Malaysia's Petronas Twin Towers) and Hanoi Lotte Center (272m, also second tallest in Vietnam)

 

GEOGRAPHY

LOCATION - TOPOGRAPHY

Hanoi is located in northern region of Vietnam, situated in the Vietnam’s Red River delta, nearly 90 km away from the coastal area. Hanoi contains three basic kind of terrain, which are the delta area, the midland area and mountainous zone. In general, the terrain is gradually lower from the north to the south and from the west to the east, with the average height ranging from 5 to 20 meters above the sea level. The hills and mountainous zones are located in the northern and western part of the city. The highest peak is at Ba Vi with 1281 m, located in the western part of the region.

 

CLIMATE

Hanoi features a warm humid subtropical climate (Köppen Cwa) with plentiful precipitation. The city experiences the typical climate of northern Vietnam, with 4 distinct seasons. Summer, from May until August, is characterized by hot and humid weather with abundant rainfall. September to October is fall, characterized by a decrease in temperature and precipitation. Winter, from November to January, is dry and cool by national standards. The city is usually cloudy and foggy in winter, averaging only 1.5 hours of sunshine per day in February.

 

Hanoi averages 1,680 millimetres of rainfall per year, the majority falling from May to September. There are an average of 114 days with rain.

 

The average annual temperature is 23.6 °C with a mean relative humidity of 79%. The highest recorded temperature was 42.8 °C on May 1926 while the lowest recorded temperature was 2.7 °C on January 1955.

 

ADMINISTRATIVES DIVISIONS

Hà Nội is divided into 12 urban districts, 1 district-leveled town and 17 rural districts. When Ha Tay was merged into Hanoi in 2008, Hà Đông was transformed into an urban district while Sơn Tây degraded to a district-leveled town. They are further subdivided into 22 commune-level towns (or townlets), 399 communes, and 145 wards.

 

DEMOGRAPHICS

Hanoi's population is constantly growing (about 3.5% per year), a reflection of the fact that the city is both a major metropolitan area of Northern Vietnam, and also the country's political centre. This population growth also puts a lot of pressure on the infrastructure, some of which is antiquated and dates back to the early 20th century.

 

The number of Hanoians who have settled down for more than three generations is likely to be very small when compared to the overall population of the city. Even in the Old Quarter, where commerce started hundreds of years ago and consisted mostly of family businesses, many of the street-front stores nowadays are owned by merchants and retailers from other provinces. The original owner family may have either rented out the store and moved into the adjoining house or moved out of the neighbourhood altogether. The pace of change has especially escalated after the abandonment of central-planning economic policies and relaxing of the district-based household registrar system.

 

Hanoi's telephone numbers have been increased to 8 digits to cope with demand (October 2008). Subscribers' telephone numbers have been changed in a haphazard way; however, mobile phones and SIM cards are readily available in Vietnam, with pre-paid mobile phone credit available in all areas of Hanoi.

 

ECONOMY

Hanoi has the highest Human Development Index among the cities in Vietnam. According to a recent ranking by PricewaterhouseCoopers, Hanoi will be the fastest growing city in the world in terms of GDP growth from 2008 to 2025. In the year 2013, Hanoi contributed 12.6% to GDP, exported 7.5% of total exports, contributed 17% to the national budget and attracted 22% investment capital of Vietnam. The city's nominal GDP at current prices reached 451,213 billion VND (21.48 billion USD) in 2013, which made per capita GDP stand at 63.3 million VND (3,000 USD). Industrial production in the city has experienced a rapid boom since the 1990s, with average annual growth of 19.1 percent from 1991–95, 15.9 percent from 1996–2000, and 20.9 percent during 2001–2003. In addition to eight existing industrial parks, Hanoi is building five new large-scale industrial parks and 16 small- and medium-sized industrial clusters. The non-state economic sector is expanding fast, with more than 48,000 businesses currently operating under the Enterprise Law (as of 3/2007).

 

Trade is another strong sector of the city. In 2003, Hanoi had 2,000 businesses engaged in foreign trade, having established ties with 161 countries and territories. The city's export value grew by an average 11.6 percent each year from 1996–2000 and 9.1 percent during 2001–2003. The economic structure also underwent important shifts, with tourism, finance, and banking now playing an increasingly important role. Hanoi's business districts are traditionally Hoàn Kiếm and the neighborhood; and a newly developing Cầu Giấy and Từ Liêm in the western part.

 

Similar to Ho Chi Minh City, Hanoi enjoys a rapidly developing real estate market. The current most notable new urban areas are central Trung Hoa Nhan Chinh, Mỹ Đình, the luxurious zones of The Manor, Ciputra and Times City.

 

Agriculture, previously a pillar in Hanoi's economy, has striven to reform itself, introducing new high-yield plant varieties and livestock, and applying modern farming techniques.

 

Together with economic growth, Hanoi's appearance has also changed significantly, especially in recent years. Infrastructure is constantly being upgraded, with new roads and an improved public transportation system.

 

LANDMARKS

As the capital of Vietnam for almost a thousand years, Hanoi is considered one of the main cultural centres of Vietnam, where most Vietnamese dynasties have left their imprint. Even though some relics have not survived through wars and time, the city still has many interesting cultural and historic monuments for visitors and residents alike. Even when the nation's capital moved to Huế under the Nguyễn Dynasty in 1802, the city of Hanoi continued to flourish, especially after the French took control in 1888 and modeled the city's architecture to their tastes, lending an important aesthetic to the city's rich stylistic heritage. The city hosts more cultural sites than any other city in Vietnam, and boasts more than 1,000 years of history; that of the past few hundred years has been well preserved.

 

OLD QUARTER

The Old Quarter, near Hoàn Kiếm Lake, has the original street layout and architecture of old Hanoi. At the beginning of the 20th century the city consisted of only about 36 streets, most of which are now part of the old quarter. Each street then had merchants and households specializing in a particular trade, such as silk or jewelry. The street names nowadays still reflect these specializations, although few of them remain exclusively in their original commerce. The area is famous for its small artisans and merchants, including many silk shops. Local cuisine specialties as well as several clubs and bars can be found here also. A night market (near Đồng Xuân Market) in the heart of the district opens for business every Friday, Saturday, and Sunday evening with a variety of clothing, souvenirs and food.

 

Some other prominent places are: The Temple of Literature (Văn Miếu), site of the oldest university in Vietnam 1010; One Pillar Pagoda (Chùa Một Cột); Flag Tower of Hanoi (Cột cờ Hà Nội). In 2004, a massive part of the 900-year-old Hanoi Citadel was discovered in central Hanoi, near the site of Ba Đình Square.

 

LAKES

A city between rivers built from low land, Hanoi has many scenic lakes and is sometimes called "city of lakes." Among its lakes, the most famous are Hoàn Kiếm Lake, West Lake, and Bay Mau Lake (inside Thongnhat Park). Hoan Kiem Lake, also known as Sword Lake, is the historical and cultural center of Hanoi, and is linked to the legend of the magic sword. West Lake (Hồ Tây) is a popular place for people to spend time. It is the largest lake in Hanoi and there are many temples in the area. The lakeside road in the Nghi Tam - Quang Ba area is perfect for bicycling, jogging and viewing the cityscape or enjoying lotus ponds in the summer. The best way to see the majestic beauty of a Westlake sunset is to view it from one of the many bars around the lake, especially the Sofitel Plaza rooftop bar.

 

COLONIAL HANOI

Under French rule, as an administrative centre for the French colony of Indochina, the French colonial architecture style became dominant, and many examples remain today: the tree-lined boulevards (e.g. Phan Dinh Phung street) and its many villas and mansions, Grand Opera House, State Bank of Vietnam (formerly The Bank of Indochina), Presidential Palace (formerly the Palace of the Governor-General of French Indochina), St. Joseph's Cathedral, and the historic Hotel Metropole. Many of the colonial structures are an eclectic mixture of French and traditional Vietnamese architectural styles, such as the National Museum of Vietnamese History, the Vietnam National Museum of Fine Arts and the old Indochina Medical College. Gouveneur-Général Paul Doumer (1898-1902) played a crucial role in colonial Hanoi's urban planning. Under his tenure there was a major construction boom.

 

Critical historians of empire have noted that French colonial rule imposed a system of white supremacy on the city. Vietnamese subjects supplied labor and tax revenue, but the privileges and comforts of the city went to the white population. French efforts at rat eradication revealed some of the colonial city's racial double-standards.

 

MUSEUMS

Hanoi is home to a number of museums:

- National Museum of Vietnamese History

- Vietnam National Museum of Fine Arts

- Vietnam Museum of Ethnology

- Vietnam Museum of Revolution

- Hỏa Lò Prison (Hanoi Hilton)

- Ho Chi Minh Museum

- Hanoi Contemporary Arts Centre

- Vietnam Military History Museum

- Hanoi Museum

 

TOURISM

Hanoi is a very picturesque city, the leafy metropolis sometimes dubbed the "Paris of Asia." With its tree-fringed boulevards, more than two dozen lakes and thousands of French colonial-era buildings, Hanoi is a popular tourist attraction and one of only a few Asian capitals to retain its historic charm amid rapid modernization and population growth.

  

In 2015, Hanoi ranks #4 in TripAdvisor's list of the World's Best Destinations (Travellers' Choice).

 

And Hanoi is the most affordable international destination in TripAdvisor's annual TripIndex report. Created to help travelers plan and budget their summer holiday, the TripIndex looks at the average cost of a three-night trip in 60 key tourist cities around the world.

 

ENTERTAINMENT

A variety of options for entertainment in Hanoi can be found throughout the city. Modern and traditional theaters, cinemas, karaoke bars, dance clubs, bowling alleys, and an abundance of opportunities for shopping provide leisure activity for both locals and tourists. Hanoi has been named one of the top 10 cities for shopping in Asia by Water Puppet Tours. The number of art galleries exhibiting Vietnamese art has dramatically increased in recent years, now including galleries such as "Nhat Huy" of Huynh Thong Nhat.

 

A popular traditional form of entertainment is Water puppetry, which is shown, for example, at the Thăng Long Water Puppet Theatre."

 

CUISINE

Hanoi has rich culinary traditions. Many of Vietnam's most famous dishes, such as phở, chả cá, bánh cuốn and cốm are believed to have originated in Hanoi. Perhaps most widely known is Phở - a simple rice noodle soup often eaten as breakfast at home or at street-side cafes, but also served in restaurants as a meal. Two varieties dominate the Hanoi scene: Phở Bò, containing beef, and Phở Gà, containing chicken.

 

Vietnam's national dish phở has been named as one of the Top 5 streetfoods in the world by globalpost.

 

Hanoi has a number of restaurants whose menus specifically offer dishes containing dog, snake and various species of insects. Insect-inspired menus can be found at a number of restaurants in Khuong Thuong village, Hanoi. The signature dishes at these restaurant are those containing processed ant-eggs, often in the culinary styles of Thai people or Vietnam's Muong and Tay ethnic people.

 

EDUCATION

Hanoi, as the capital of French Indochina, was home to the first Western-style universities in Indochina, including: Indochina Medical College (1902) - now Hanoi Medical University, Indochina University (1904) - now Hanoi National University (the largest), and École Supérieure des Beaux-Arts de l'Indochine (1925) - now Hanoi University of Fine Art.

 

After the Communist Party took control over Hanoi in 1954 with support from the Soviet Union, many new universities were built, among them, Hanoi University of Technology, still the largest technical university in Vietnam. Recently ULIS (University of Languages and International Studies) was rated as one of the top universities in Southeast Asia for languages and language studies at the undergraduate level. Other universities that are not part of Vietnam National University or Hanoi University include Hanoi School for Public Health and Hanoi School of Agriculture.

 

Hanoi is the largest centre of education in Vietnam. It is estimated that 62% of the scientists in the whole country are living and working in Hanoi. Admissions to undergraduate study are through entrance examinations, which are conducted annually and open for everyone (who has successfully completed his/her secondary education) in the country. The majority of universities in Hanoi are public, although in recent years a number of private universities have begun operation. Thăng Long University, founded in 1988, by some Vietnamese mathematics professors in Hanoi and France is the first private university in Vietnam. Because many of Vietnam's major universities are located in Hanoi, students from other provinces (especially in the northern part of the country) wishing to enter university often travel to Hanoi for the annual entrance examination. Such events usually take place in June and July, during which a large number of students and their families converge on the city for several weeks around this intense examination period. In recent years, these entrance exams have been centrally coordinated by the Ministry of Education, but passing marks are decided independently by each university.

 

Although there are state owned kindergartens, there are also many private ventures that serve both local and international needs. Pre-tertiary (elementary and secondary) schools in Hanoi are generally state run, but there are also some independent schools. Education is equivalent to the K–12 system in the US, with elementary school between grades 1 and 5, middle school (or junior high) between grades 6 and 9, and high school from grades 10 to 12.

 

TRANSPORT

Hanoi is served by Noi Bai International Airport, located in the Soc Son District, approximately 15 km north of Hanoi. The new international terminal (T2), designed and built by Japanese contractors, opened in January 2015 and is a big facelift for Noibai International Airport. In addition, a new highway and the new Nhat Tan cable-stay bridge connecting the airport and the city center opened at the same time, offering much more convenience than the old road (via Thanglong bridge). Taxis are plentiful and usually have trip meters, although it is also common to agree on the trip price before taking a taxi from the airport to the city centre.

 

Hanoi is also the origin or departure point for many Vietnam Railways train routes in the country. The Reunification Express (tàu Thống Nhất) runs from Hanoi to Ho Chi Minh City from Hanoi station (formerly Hang Co station), with stops at cities and provinces along the line. Trains also depart Hanoi frequently for Hai Phong and other northern cities. The Reunification Express line was established during French colonial rule and was completed over a period of nearly forty years, from 1899 to 1936. The Reunification Express between Hanoi and Ho Chi Minh City covers a distance of 1,726 km and takes approximately 33 hours. As of 2005, there were 278 stations on the Vietnamese railway network, of which 191 were located along the North-South line.

 

The main means of transport within Hanoi city are motorbikes, buses, taxis, and a rising number of cars. In recent decades, motorbikes have overtaken bicycles as the main form of transportation. The increased number of motorcycles can cause gridlock. To minimize this and the negative consequences for the environment and health, the local government is trying to increase public transportation. Public buses run on many routes and fares can be purchased on the bus, with very cheap prices (30 cents for a journey where a taxi might cost $10).

 

There are 2 metro lines under construction in Hanoi now. The first one is expected to be operational in 2016, the second in 2018

 

Persons on their own or traveling in a pair who wish to make a fast trip around Hanoi to avoid traffic jams or to travel at an irregular time or by way of an irregular route often use "xe ôm" (literally, "hug bike"). Motorbikes can also be rented from agents within the Old Quarter of Hanoi.

 

WIKIPEDIA

Crimson stains at the bus stop bench.

Trump National Doral Miami

 

-- The Kaskel Years --

 

Immigrating from Poland in the 1920's, Alfred L. Kaskel (1901–1968) used his skills to open in the Coney Island neighborhood a small building supplies store which led to early opportunities as a building contractor. Kaskel saved his money and was able to build his first apartment building on Parkside Avenue in Brooklyn. By the age of 30 he was a millionaire. He reinvested the profits and rose to prominence in New York City real estate in the postwar period - as did Donald Trump's father, Fred Trump and Sam Lefrak - by securing low cost government loans to build housing for returning GIs. Kaskel realized the potential for affordable housing in New York City and developed apartments in Forest Hills-Kew Gardens-Rego Park, Queens. In 1945 Kaskel bought the Belmont Plaza Hotel on Lexington and 49th Street - which marked his beginning of a rapid acceleration into the hotel real estate. Kaskel (Carol Management named after his daughter Carole) bought Coney Island's famed Half Moon Hotel for $900,000 in 1947. Kaskel sold the hotel in 1949 for $1,000,000 to the Harbor Hospital of Brooklyn.

 

By 1958 Kaskel was a part time resident of Miami and built the Carillon, a 620 room palace designed by Norman Giller, the celebrated “father” of Miami Modern (MiMo) architecture at Collins and 68th. The Carillon epitomized resort culture in Miami Beach. In 1959, it was voted Miami Beach’s “Hotel of the Year.” A glamorous night spot, the Carillon became known during the 1960s for its famous guests, lavish parties, cabaret shows, and big-name entertainment. Kaskel enjoyed golf - it led him to the swampland west of the Miami Airport and the Doral Country Club. Alfred and Doris Kaskel purchased 2,400 acres of swampland between NW 36 Street and NW 74 Street and from NW 79 Avenue to NW 117 Avenue for about $49,000 with the intention of building a golf course and hotel. At that time there was no paved road to the property. Kaskel's wife and daughter thought he was crazy to purchase the property and called it "Kaskel's folly". In 1962, the Kaskel's dream came true when they opened a hotel and country club that featured the Blue, Red and Par 3 golf courses. They named it Doral - a combination of Alfred and Doris. The Doral was the most luxurious resort constructed in South Florida since the Miami Biltmore in Coral Gables opened in the 1920's. The Doral Country Club was built for $10 million by Kaskel's family owned real estate firm, Carol Management. The Doral golf concept was to build multiple golf courses with a central country club, dining, meeting facilities and lodge rooms and reserve the fairway views for future house, condo and apartment buildings. In 1963 Kaskel also opened the 420- room Doral-on-Ocean - as the sister hotel to the Doral Country Club. The Doral Beach Hotel was long considered the most elegant and luxurious hotel in the area. It won several Mobil Five Star awards. It was said Kaskel did not have a mortgage on the Carillon Hotel, Doral Beach of the Doral Country Club - all funded by the thousands of apartment houses he owned in New York City.

 

Kaskel hired Louis Sibbett "Dick" Wilson and his assistants Joe Lee and Bob Hagge (Robert von Hagge) to design Doral's two regulation length golf courses plus a par-3 course. Wilson was the architect for Bay Hill in Orlando and La Costa in Carlsbad, CA. Since much of the land was swamp Mr. Hagge excavated enough land to route fairways through the water infested terrain just as Kaskel had requested. The intention was to use existing water as an ever-present hazard compensating for the very flat landscape. In May, 1963 construction began on the White Course, for the Doral complex, but it needed dirt, and so the lakes were dredged and enlarged on the Blue course from 60 acres to 75 acres. Kaskel hired Bob Hagge to design the White course. As a result of the building of the new White course, the par-3 course was redesigned since they were both located on the same parcel of land. On January 20, 1966 the Doral Country Club White Course opened and in December 1966 the redesigned Par 3 course reopened. Since the Blue Course had been renamed the Blue Monster, the other courses were renamed as well. The Red Course was renamed the Red Tiger, as Jackie Gleason once called the course. The White Course became known as the White Wonder, and the Par-3 Course became known as the Green Course or the Green Hornet. In 1968, Robert von Hagge and Bruce Devlin were hired to build the fifth course at the Doral Country Club - the Gold Course. In January, 1970 the Gold Course opened for business and received the moniker of Bachelor's Gold.

 

Kaskel put up a large purse to attract a PGA event at Doral in 1962. The tournament was held on the Blue Course and was named the Doral Country Club Open Invitational. Billy Casper was the inaugural winner of the Doral tournament. For that triumph, Casper earned $9,000 of the $50,000 purse. After watching the professionals struggle on the Blue Course, the tournament director Frank Strafaci gave the Blue Course the nickname 'The Blue Monster' which stuck. Doral's Touring Golf Pro for many years was Seve Ballesteros.

 

By 1978 the Kaskel family had grown the Doral brand to 8 hotels including in NYC: Doral Tuscany (now the St Giles Tuscany), Doral Park Avenue (now the Iberostar), Doral Court (now the St. Giles The Court) and the Doral Inn (originally the Belmont Plaza and the former W Flagship hotel now the Maxwell). In 1987, a spa wing was added to the Doral Country Club's hotel and the facility was renamed as the Doral Golf Resort and Spa. Prior to its renovation, the 800 acre complex was reported to feature "four golf courses; 700 hotel rooms across 10 lodges; more than 86,000-square-foot of meeting space, including a 25,000-square-foot ballroom; a 50,000-square-foot spa with 33 treatment rooms; six food and beverage outlets; extensive retail; and a private members' clubhouse.

 

--- The next five owners - KSL, CNL, Morgan Stanley, Paulson & Co. and Donald J. Trump ---

 

In 1994, the Kaskel family (Carol Management) sold the resort to KSL Recreation, a Kohlberg Kravis Roberts affiliate focused on premier golf facilities, for approximately $100 million. KSL Recreation was formed in 1992 (Henry Kravis, Michael Shannon and Larry Lichliter) as a portfolio company of Kohlberg Kravis Roberts & Co. KSL investors include public and private pensions and high net worth individuals. KSL appointed Hans Turnovszky as the new general manager. KSL planned a $30 million renovation. Starwood Capital was another interested buyer. The renovation included the remodel of ground floor restaurants (Terraza and Champions Sports Bar and Grill), all rooms and the 4 golf courses.

 

By 1995 the 4 courses (Blue Monster, Gold, White and Red) at Doral were frayed around the edges after some years of neglect. The Blue Monster was dropped off Golf Digest's list of the best 100 courses in 1993. In an effort to update the Blue Monster's difficulty in relation to changes in golf technology and skill, KSL contracted Ray Floyd to renovate the course in 1995. Floyd added and enlarged the already numerous bunkers narrowing many landing areas from the tee. The course was challenging under ideal conditions, but in normal tradewinds the alterations proved too penal and very unpopular. In 1999 Jim McLean, the Doral golf instructor, was asked to take the edges off Floyd's modifications.

 

In 1999 KSL sold 36 acres next to the Doral's golf courses to Marriott Vacation Club International for 240 timeshare villas. The sale marks the first time the Doral's owner, KSL Hotel Corp., relinquished a part of its property, said Joel Paige, KSL president and general manager of the Doral Golf Resort & Spa. KSL has agreed to let Marriott feed off the Doral's amenities by granting timeshare owners the same 40 percent discount and preferred access as guests at KSL's 700-room hotel. That includes the spa, golf courses, tennis courts.

 

In 2004 CNL acquired KSL for $1.366 billion and debt of $794 million for total acquisition cost of $2.16 billion. The resort portfolio of six included: 692-room Doral Golf Resort & Spa in Miami, Florida, 780-room Grand Wailea Resort & Spa on Maui, Hawaii, 796-room La Quinta Resort & Club and PGA West in La Quinta, California, 738-room Arizona Biltmore Resort & Spa in Phoenix, Arizona, 279-room Claremont Resort & Spa in Berkeley, California, 246-room Lake Lanier Islands Resort near Atlanta, Georgia. CNL placed the Doral resort under the management of Marriott International and renamed the property the Doral Golf Resort and Spa, a Marriott Resort. CNL said it would spend $40 million over the next three years on capital improvements at the Doral.

 

In 2007, CNL Hotels was acquired by the real estate arm of Morgan Stanley. The Doral was included in the portfolio of 8 resorts acquired by Morgan Stanley Real Estate for a total transaction cost of $6.6 billion. Michael Franco, the managing director of Morgan Stanley Real Estate said the resorts are extremely hard to replicate and will show excellent future growth from increased corporate group travel and leisure traveler markets.

 

In 2009, Doral's Silver Course was redesigned by Jim McLean and the course was renamed as the Doral Golf Resort & Spa - Jim McLean Signature Course.

 

In 2011, a group of creditors led by hedge fund giant Paulson & Co. seized control of the Doral and seven other properties from Morgan Stanley real estate funds. Morgan Stanley could not handle a $1 billion bond payment coming due. They quickly placed the Doral under Chapter 11 bankruptcy protection, and began seeking a buyer for the Doral. By selling Doral now the Paulson-led owners can use the cash to pay down debts and avoid making overdue capital expenditures of updating the property.

 

Donald Trump announced in October 2011 that he would buy Doral for $150 million and invest more than the purchase price to restore the property and make Doral great again. When asked what the renovation budget would be Trump has said "unlimited" which publicly became $250 million. The renovations were financed with $125 million in loans from Deutsche Bank. The Trump Organization's hotel management unit, Trump Hotel Collection, took over Doral's management in June 2012. Donald Trrump's daughter Ivanka took charge of the 700 guest rooms' redesign featuring Ivanka's "stylish palette of elegant neutrals, including ivory, champagne and caramel - accentuated with mahogany veneers and gold leaf Spanish revival details". Ivanka introduced her own brand synonymous with quality, elegance, and sophistication into every aspect; from the imported Austrian crystal chandeliers to the handmade Italian bed linens. The rooms were made over in to luxury suites that include massive marble baths with European styled whirlpools. All existing restaurants were gutted and a classic five-star "gourmet stunner" opened - BLT Prime.

 

Doral Golf Resort & Spa was renamed Trump National Doral Miami. The Blue Monster course was renovated by Gil Hanse and Jim Wagner and reopened in December 2013. After a Hanse/Wagner renovation, the Silver Fox course reopened in December 2014. The White Course was closed in January, 2015. The Red Tiger course reopened on January 12, 2015 and the Golden Palm course reopened in September 2015 after the Hanse/Wagner renovations.

 

The Blue Monster played host to the Doral Open on the PGA Tour from 1962 to 2006, and from 2007 to 2016 the WGC-Cadillac Championship made its home there. In 2016, it was announced that the tournament would be moved to Mexico City. In 2017 Rick Smith, best known as Phil Mickelson's former swing coach, replaced Jim McLean as the lead instructor at Trump National Doral Miami. McLean, a fixture at Doral through five owners and 26 years, moved his golf school to the nearby Biltmore Miami Hotel, where ownership has promised significant upgrades to its existing practice facilities. McLean called the move to Coral Gables "bittersweet."

 

Trump has been the target of dozens of liens from contractors who worked on the renovation project. On May 20, 2016, a Miami-Dade County Circuit Court judge ordered Trump National Doral Miami to be foreclosed and sold on June 28 unless the Trump Organization paid $32,800 to a Miami paint supply company. A 6-foot high portrait of Donald Trump hanging in the Champions Bar became controversial when it was reported to be purchased for $10,000 with funds from the non-profit Trump Foundation. The resort has challenged the local property tax assessments every year. In May 2019 it was reported the resort was in "steep decline" financially, in which its net operating income had fallen by 69 percent – from $13.8 million in 2015 to $4.3 million two years later.

 

David Feder has served as Vice President and Managing Director of Trump National Doral from 2014 to present. He previously presided over the Boca Resort and Club, Fairmont Turnberry Isle and the Arizona Biltmore. Paige Koerbel managed Doral in 2010 when it was operated by Marriott International and was there during the Trump acquisition. Joel Paige served as KSL's General Manager at Doral from 1995 to 2001. Paige is now the Chief Operating Officer at Kingsmill Resort in Williamsburg, Va.

 

Photos and text compiled by Dick Johnson

richardlloydjohnson@hotmail.com

Kurashiki (倉敷) is located in Okayama Prefecture, not far from the prefectural capital of Okayama City. Kurashiki has a preserved canal area that dates back to the Edo Period (1603-1867), when the city served as an important rice distribution center. In fact, the name "Kurashiki" can be roughly translated as "town of storehouses" in reference to the rice storehouses.

 

Many of Kurashiki's former storehouses have been converted into museums, boutiques and cafes. The Ohara Museum is the most impressive of Kurashiki's museums, exhibiting a large collection of works by famous Western artists. The canal area is a ten minute walk from Kurashiki Station.

 

Source: www.japan-guide.com/e/e5750.html

:)

www.starnow.co.uk/christopherw33618/

 

2016 Show Reel www.starnow.co.uk/media/623368

 

2015 Show Reel www.starnow.co.uk/media/500618

 

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I work Full time in the media and have amassed considerable experience on both sides of the camera, I am a Walk On Artist or Stand In / Body Double (for a Number of "A" list Actors) Voice Over Artist, Assistant Director or Supporting Artist.

I have Full DBS / CRB As per the new requirements.

Additionally I have Access to a considerable number of Genuine Costumes / Uniforms, Including Period or Historical pieces, please see my photos.

 

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2016 Show Reel www.starnow.co.uk/media/623368

 

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So true

So, along with it being Autumn always comes the "period of reflection". It seems to always happen for me around this time, before all of the chaos of the holidays truly descends upon me and I get too busy to slow down. I love this time as I absorb the last year and begin to reflect on life a bit. I used to call it melancholy, but it truly is more than that, kind of my own time to allow for a bit of nostalgia and memory to sweep me away....this bench is a reminder to me to denoise from time to time and take it all in.

A period item - a leaflet for Belco car polish - and more interesting than at first glance. Nobel Chemical Finishes were part of the Nobel Explosives factories - the leaflet gives the address as Stowmarket (home to one of the chemical explosives works) and Slough. The latter is of interest in taht as Nobels became part of ICI - this was to be the Dulux Paint Works. The polishes promoted in this leaflet were part of the move to the new 'synthetic' paints introduced in the post-WW1 period, based on explosives chemistry.

 

Esse período da faculdade tá infinito, viu?! Quero minha vida de volta!! T_____T

E tenho uma coisa pra dizer... bioquímica não é de Deus!! Quanto mais a pessoa estuda, mais a pessoa percebe que não sabe de nada ^^

 

Esmalte. Foco!!

Esses dias escolhi o Swim da Top Beauty pra esmaltar :D

Passei duas camadas dele e uma de tc :D

Achei dyvo *-*

Aí no dia seguinte estava mexendo com meu esmalte de ponta dupla e acabei fazendo bolinhas kkk

Tava fazendo enquanto assistia jogo da Copa (~esses dias~)

Só sei que achei muito boneteenho *o*

Mesmo com as cagadas :D

É a vida rs

 

bjs~

  

gabis-nails.blogspot.com.br/2014/07/swim-top-beauty.html

tumblr ~ facebook ~ we♥it ~ instagram

i'm currently in one & i don't know how i feel about it.

 

i'm going to be an emotional, sobbing, hysterical mess tomorrow. bollocks.

 

i'm partially looking forward to flying down the highway with my music blaring, though. i won't lie about that.

 

l&b.

Some period graffiti has been added to the layout to try and add to the realism

Yayoi Period Section of Japanese Archaeology Gallery, Tokyo National Museum, Japan. Complete indexed photo collection at WorldHistoryPics.com.

Period Publicity

City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.

 

The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.

 

HISTORY

The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.

 

Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

 

At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.

 

After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.

 

But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.

 

LEGEND

Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.

 

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

 

CLIMATE

The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.

 

STRUCTURES

The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.

 

Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.

 

The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.

 

GATEWAYS

Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.

 

The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.

 

The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.

 

AMAR VILAS

Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.

 

BADI MAHAL

Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.

 

The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.

 

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

 

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

 

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

 

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

 

DURBAR HALL

Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.

 

FATEPRAKASH PALCE

Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.

 

JAGDISH MANDIR

Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.

 

KRISHNA VILAS

Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.

 

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

 

MANAK MAHAL

The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.

 

MOR CHOK

Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.

 

MUSEUM

n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.

 

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

 

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

 

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

 

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

 

A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.

 

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

 

WIKIPEDIA

Ilustración: Diego Cornejo

“Tragic death of young lawyer”

Promising young lawyer Glenallan McLean had plenty going for him.

His sharp intellect got him admitted to the bar in 1905 when he was 23 and his physical prowess made him a well-known figure in athletics and rowing circles.

Glenallan left his Mt Albert home and shifted to Wellington in 1908 to take up a position in a Wellington-based legal partnership.

But everything came to a near halt in 1910 when a serious illness forced him into a lengthy convalescence.

Glenallan did as his doctors told him and returned to Auckland for a short period to stay with family while he recovered.

He was feeling much better when he decided to travel to Otira, a remote township near Arthur's Pass in the South Island, where his father Murdoch was overseeing construction of a railway tunnel.

It seemed an ideal place to get a final burst of rest before resuming life in his busy law practice.

Glenallan arrived in November with plans to return to Wellington in December.

But tragedy struck on the morning of the 10th after he got out of bed early and climbed a hill behind the little settlement where his father and other rail workers were camped.

Jane Harley was in her kitchen lighting a fire when she heard the rumbling of falling rocks nearby.

She was already accustomed to the noise and didn't think too much of it until opening her back door a little while later to the sound of someone groaning nearby.

Jane found Glenallan lying unconscious at the foot of a cliff face and called for help.

Workers shifted the badly injured young man to a hut and summoned a doctor who quickly diagnosed a fractured skull.

A special train was commissioned and the patient, accompanied by his anxious father, was rushed off to the Greymouth Hospital where surgeons attempted to remove splinters of broken bone from inside his head.

Glenallan died a few hours later.

An examination of the accident scene showed the 27-year old had, for reasons unknown, slipped and fallen around 20 metres after scaling the rocky slope in bare feet while wearing his pyjamas.

The body was transported back to Auckland for burial at Waikumete Cemetery alongside a sister who'd died as an infant eight years prior.

Glenallan was one of 10 children born to Murdoch and his wife Isabella.

His premature death was the first in a series of tragic events to rock the family in the years that followed.

Two more sons were killed during WorldWar I and Murdoch, a one-time mayor of Mt Albert, died during an operation in 1917.

Isabella died in 1943, aged 85.

One of the surviving McLean sons, Andrew, made his debut as an All Black against South Africa in 1921

www.stuff.co.nz/auckland/local-news/local-blogs/tales-fro...

 

KILLED IN ACTiON WITH AUSTRALIAN FORCES.

MR. MURDOCH McLEAN'S SON.

News was received on Saturday afternoon that Private John Raymond McLean, second son of Mr. Murdoch McLean, Mayor of Mt. Albert, had been killed in action at the Dardanelles. The information was conveyed to the parents in the following telegram from the Prime Minister: "On behalf of Mrs. Massey and myself. I wish to convey to you and Mrs. McLean and family our heartfelt sympathy for the loss of your brave and gallant son, of which I have just heard with the deepest regret. There is some consolation in the knowledge that he gave his life for his country."

Mr. Murdoch McLean also received the following telegram:—"l regret to advise you that I have received a cablegram from Melbourne reporting that Private J. R. McLean was killed in action on the 25th May. The commandant expresses deepest sympathy. (Signed) Adjutant-General."

The late Private McLean was 29 years of age, and had lived most of his life in Auckland. He was one of the first pupils at Kings College, and received his complete education there. He was, therefore, one of the oldest members of the King's College Old Boys' Association, and was also a well-known member of the College Rifles. For some years he was engaged with his father on the big contract at the Otira tunnel, and three years ago he proceeded to Australia, and engaged in mining. He enlisted in the 44th Battalion of the First Australian Expeditionary Force, and his last letter to his parents was dated from Egypt on the 11th April, just prior to the departure of the Australian and New Zealand troops for the Dardanelles. The letter shows that the members of tlie expedition fully realised the dangerous character of the military operations in which they were to be engaged, but showed that the force was inspired by courage and enthusiasm. Great sympathy will be felt for the parents in the loss which they have sustained. Another son, Neil, aged 19, left Auckland for Trentham on Friday last, and a third son, who holds a commission in the Territorial Force, is only awaiting appointment to a company before proceeding to the front.

paperspast.natlib.govt.nz/newspapers/AS19150531.2.40

 

View and/or contribute to John’s profile on the Auckland War Memorial Museum Cenotaph data base:

www.aucklandmuseum.com/war-memorial/online-cenotaph/recor...

 

SECOND LIEUTENANT RONALD McLEAN.

Lieutenant Ronald . Douglas McLean, son of Mr. Murdoch McLean, the Mayor of Mt. Albert, is amongst the number reported from France as missing. Lieut. McLean, who is 23 years of age, was educated at King's College. He enlisted with the first Waikato Regiment, and was granted the commission of second lieutenant with that unit. Up to the time that he was reported missing, Lieutenant McLean had been with the New Zealanders in the trenches in France since May last. When in Auckland, Lieutenant McLean was employed by Messrs. Kelly Bros, as a surveyor. Private Raymond McLean, another son of Mr. McLean, was killed at the landing on Gallipoli.

paperspast.natlib.govt.nz/newspapers/AS19160923.2.57

 

LIEUTENANT R. D. McLEAN

News has been received that Second-Lieutenant Ronald Douglas McLean, son of Mr. Murdoch McLean, Mayor of Mount Albert, who was reported missing some days ago, is now definitely known to have been killed in action. Lieutenant McLean was 22 years of age. He was educated at King's College, and was a surveyor by profession.

paperspast.natlib.govt.nz/newspapers/NZH19161002.2.12

View Ronald’s military personnel file on line:

ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...

 

View and/or contribute to Ronald’s profile on the Auckland War Memorial Museum Cenotaph data base:

www.aucklandmuseum.com/war-memorial/online-cenotaph/recor...

 

OBITUARY.

MR. MURDOCH McLEAN.

WELL-KNOWN CONTRACTOR.

a Widespread regret was evidenced in the city yesterday when it became known that Mr. Murdoch McLean, ex-Mayor of Mount Albert, had passed away while under-going an operation for an internal trouble, Mr. McLean, who was 62 years of age, was one of the best-known men in New Zealand, the ramifications of his business as a contractor having until late years extended throughout the North Island and a considerable part of the South Island. Mr. McLean was the eldest son of the late Mr. John McLean, founder of the well-known firm of John McLean and Sons, railway contractors and wharf and bridge builders. A native of Nova Scotia, he arrived in Auckland with his parents in 1860. On reaching manhood, he and his brother Neil joined their father in his business, of which they eventually became the active directors. It was the McLean firm that drove the Makarau tunnel in the Helensville-Northward railway, constructed the Mamaku-Tarukenga section of the Rotorua line, the Taupo-Totara Timber Company's railway from Putaruru to Mokai, and the permanent way for the first portion of the Auckland Electric Tramways. They also undertook the huge contract for the driving of the Otira tunnel in Canterbury, but handed over the work to the Government some years ago.

In public life Mr. McLean has been active in local politics at Mount Albert for nearly thirty years, first as member, and then as chairman of the Road Board, and then as Mayor of the borough, which office he relinquished only last year. Twice he sought to enter Parliament, contesting the Parnell and Grey Lynn seats. In Freemasonry Mr. McLean held high rank, having been Deputy-Grand Master under the Grand Lodge of New Zealand, and also for some time Provincial Grand Master of the Auckland district. He was one of the first members of the Auckland, St. Andrew's Society, and was its president for a long period, including its first two years of existence. The latter years of Mr. McLean's life were overshadowed by family affliction, two of his sons having lost their Iives in the present war, and a third by an accident at the Otira tunnel. Another son, Lieutenant Neil McLean, is now on the French frontier. Mrs. McLean survives him, and his two younger sons and three daughters. The funeral will take place to-morrow at the Waikumete cemetery Mr. O. Nicholson, as Grand Master New Zealand, will conduct the Mason service at the graveside.

paperspast.natlib.govt.nz/newspapers/NZH19171213.2.50

 

The esteem in which the late Mr Murdoch McLean was held received ample demonstration by the large gathering of friends at the interment at Waikumete yesterday afternoon. The members of Mount Albert Borough Council attended out of respect to the former Mayor. Representatives of many other institutions with which Mr McLean was connected were also present. A short service was held at the house, and the one at the grave was conducted by Mr Oliver Nicholson, Grand Master of the N.Z. Constitution. Bro. A. S. Bankart and the Grand Lodge officers E.C., and Bro. F. J. Whittaker with Grand Lodge Officer I.C., were amongst those present. As the body was borne from the hearse to the grave a piper of St. Andrew Society played "The Piper's Lament."

paperspast.natlib.govt.nz/newspapers/AS19171215.2.13

 

Plot 24: Isabel Lindsay McLean (10 months) 1892 – Teething

Murdoch McLean – Contractor, former Mayor – Heart failure during operation

Isabella Welsh McLean (85) 1943 (ashes)

Plot 26: Glenallan McLean (24) 1910 – Solicitor

 

In Loving Memory

of

ISABEL LINDSAY

beloved daughter of,

Murdoch & Isabella McLEAN

born 26 May 1891;

died 7 April 1892.

 

In Loving Memory

of

GLENALLAN

eldest beloved son of

Murdoch and Isabella

McLEAN

died 10th Nov. 1910

aged 23 years.

 

In Loving Memory

of

ISABELLA

beloved wife of

Murdoch McLEAN

died 7 March 1943

aged 84 years

 

In Loving Memory

of

MURDOCH McLEAN

beloved husband of

Isabella McLean.

died 12th Dec. 1917

aged 62 years.

Also their sons

Pte. JOHN RAYMOND

killed in action with the Australians at Gallipoli

27th April 1915 aged 29 years.

Lieut. RONALD DOUGLAS

9th Reinforcements Auck. Inf.

Killed first battle of the Somme France

15th Sept. 1916 aged 23 years.

 

DEATHS

McLEAN.—On April 7, at Shelly Beach Road, Isabel Lindsay, the beloved youngest daughter of Murdoch and Isabella McLean. Interment private.

paperspast.natlib.govt.nz/newspapers/NZH18920409.2.3

 

McLEAN.—On the 12th inst., Murdock, the beloved husband of Isabella McLean, of Mt. Albert; aged 62 years.

paperspast.natlib.govt.nz/newspapers/AS19171212.2.78

 

McLEAN —On March 7, 1943, at Auckland, Isabella Welsh, beloved wife of the late Murdoch McLean, of "Ainslie," Allendale Road, Mount Albert. Private cremation.

paperspast.natlib.govt.nz/newspapers/NZH19430308.2.5

 

Kanyakumari, also known as Kanniyakumari, formerly known as Cape Comorin, is a town in Kanyakumari District in the state of Tamil Nadu in India. The name comes from the Devi Kanya Kumari Temple in the region. It is the southernmost tip of peninsular India. Kanyakumari town is the southern tip of the Cardamom Hills, an extension of the Western Ghats range. The nearest town is Nagercoil, the administrative headquarters of Kanyakumari District, 22 km away. Kanyakumari has been a town since Sangam period and is a popular tourist destination.

 

HISTORY

Ptolemy's geography describes commercial relations between western India and Alexandria, the chief eastern emporium of the Roman Empire. He identified Kanyakumari along with the Gulf of Mannar as a center for pearl fishery. He also identifies Korkai (assumed to be the present day's Tuticorin), a place to the east of Kanyakumari, as an emporium of pearl trade.

 

Another ancient Greek book, the Periplus of the Erythraean Sea, contains sailing directions for merchants from the Red Sea to the Indus and Malabar, and even indicates that the coast from Barygaza (Baroch) had a general southward direction down to and far beyond Cape Komari.

 

Kanyakumari District consists of those parts known locally as Nanjil Nadu and Idai Nadu. The names of the villages of the district such as Azhagiapaandipuram, Bhoothapandy, Cholapuram and Kulasekaram reveal that these places were governed by several rulers at different periods of time. Nanjilnadu was under the rule of Pandiyas till the early 10th century and then under Cheras.

 

The Kalkulam and Vilavancode taluks were under the rule of the Chera Dynasty. When the power of Chola declined due to the rise of Hoysalas and western Chalukyas, the Venad (Travancore) Chieftains (descendants of the central Chera family) took advantage of the situation and gradually established their hold on considerable areas in Nanjilnadu. Veera Kerala Varma, one such chieftain, styled himself as "Nanjil Kuravan". The annexation commenced by Veera Kerala Varma was to a large extent continued by his successors and completed by AD 1115.

 

For about four centuries, the Venad was ruled by powerful kings who were consistently making incursions into the Pandian territories. As a result, Vijayanagar kings proceeded against Venad. In 1609 Kanyakumari fell into the hands of Viswanatha Nayak of Madurai. Consequent on this, there was no serious threat to Nanjilnadu until 1634. During the regime of Ravi Varma and Marthanda Varma, Venad was disturbed by the internal strife.

 

Sanda Sahib of Arcot took advantage of this situation and attacked Nanjilnadu. Although Marthanda Varma was victorious in the battle of Colachel and defeated the Dutch armouries who helped the local feudatories, he could not cope with the threat from Sanda Sahib, which forced him to withdraw from the battlefield. After Marthanda Varma, Venad had weak rulers and as a result there was frequent interference by the British (who knew it as Cape Comorin) whose control was completely established over Venad and continued until 1947. From 1947 to 1956, it was under the personal rule of Maharaja of Travancore. During the period between 1956–1961, the administrative system has fallen in line with that of other districts in Tamil Nadu.

 

MODERN HISTORY

Kanyakumari has been a great centre for art and religion for centuries. It was also an area of great trade and commerce. It was ruled by the Cholas, the Cheras, the Pandyas and the Nayaks. The architectural beauty of the temples in the area are the works of these rulers. Later Kanyakumari became part of the Venad kingdom with its capital at Quilon. The king of Venad, Anizham Thirunal Marthanda Varma, established Travancore by extending his domain further north up to Azhva, during his reign from 1729 to 1758. By this, the present Kanyakumari District came to be known as Southern Travancore. In 1741, Maharaja Marthanda Varma defeated the Dutch East India Company at the famous Battle of Colachel.

 

Kanyakumari was under the rule of the Pandyan Kings till the downfall of Pandyas, and later by kings of Travancore under the overall suzerainty of the British (as "Cape Comorin") until 1947, when India became independent. Travancore joined the independent Indian Union in 1947. The reign of the Travancore royals came to an end.

 

In 1949, Kanyakumari became part of the reconstituted Travancore-Cochin State. Around this time, a popular agitation by the Tamil-speaking people of the district for the amalgamation of Kanyakumari District with Tamil Nadu intensified under the leadership of Marshal Nesamony who is called as 'Kumari Thanthai' (Father of Kanyakumari district). Marshal Nesamony was instrumental in the merger of Kanyakumari district with Tamil Nadu (then known as Madras State) in 1956 during the linguistic reorganisation of states.

 

DEMOGRAPHICS

As of the census of India 2001, Kanniyakumari had a population of 19,739 comprising 9,884 males and 9,855 females, making the sex ratio (number of females per thousand males) of the town to 997. A total of 2,403 people were under six years of age and the child sex ratio (number of females per thousand males under six years of age) stood at 1,024. The town had an average literacy of 88.62%, higher than the national average of 59.5%.There were total of 4,236 households in the town. As of 2001, Kanniyakumari had a total of 5,929 main workers: 11 cultivators, 78 agricultural labourers, 66 in house hold industries and 5,774 other workers. There were a total of 119 marginal workers: 4 marginal cultivators, 3 marginal agricultural labourers, 11 marginal workers in household industries and 101 other marginal workers.

 

GEOGRAPHY

Kanyakumari is located at 8.08°N 77.57°E. It has an average elevation of 300 metre. Contrary to the popular (and sensational) belief that Kanyakumari lies at the meeting point of three bodies of water, it borders only one: the Laccadive Sea to the south west, south, and to the southeast. It is the confluence of the Western Coastal Plains and Eastern Coastal Plains.

 

It is located at the southern tip and southernmost point of the Indian Subcontinent. However, the southernmost point of the Republic of India is at Indira Point on Great Nicobar Island, at 6°45’10″N and 93°49’36″E.

 

Kanyakumari is used geographically to define southern end of the Coromandel Coast region.

 

TOURISM

This area is very beautiful. Since the early 1970s, tourism has been an industry in the town. Because of this it is one of the few small towns in South India where one can hear many of the different languages of India spoken in the street.

 

Of late, the promotion of tourism has increased, with increasing emphasis on attractions outside the town, such as the surrounding landscapes, as well as the historical and religious sites found around the district. Ultimately a total of 1.9 million tourists (domestic and foreign) visited Kanyakumari in 2007.

 

Though there are several places of tourist-interest in the town and district, Kanyakumari is especially popular in India for its spectacular and unique sunrise and sunset, thanks to its being nearly surrounded by waters. On balmy, full-moon evenings (locally called Chitra Pournami), one can also see the moon-rise and sunset at the same time.

 

PILGRIMAGE

Kanya Kumari is notable for pilgrimage and tourism. The place takes its name from the goddess Devi Kanya Kumari, considered to be a sister of Krishna. Women pray to her for marriage. The goddess is believed to be the one who removes the rigidity of our mind. The temple here is a Shakti Peetha, one of the holiest shrines of the Mother goddess. Also nearby are eleven sacred theertham.

 

The place was called Kanyashram of the Baalaambika, the deity of the temple. The sea ablution for Pitr Tarpan is done here. This is one of the rare temples in India where Devi (Mother Goddess) is worshipped as a child. The rites and rituals are done in the Kerala Namboothiri method, so there are slight differences in the way of worship compared to the temples of the nearby region. The deity is the goddess of Sanasa, so people from all over India who desire to devote their life as Sanyasin come here and take the deeksha. Swami Vivekananda came to this temple as directed by his Guru Shri Ramakrishna Prarama Hamsa, being a Sanyasin. The temple is very old and is mentioned in ancient Sanskrit literature.

 

The beach sands are multi-coloured and likened to a mythological story.

 

There is a shrine for Kalabhairava in the temple. It is said that the backbone area of Sati Devi’s corpse fell here.

 

The place is famous for Agastyar mala where Sage Agastya lived. He is the founder of Siddha vydya, so there is innumerable medicinal plants available here. He is also considered as the founder of Varma Kalai, a form of martial arts.

 

Another pilgrimage is Nagaraja Temple, Nagercoil nearby.

 

At the Thanumalayan Temple in Suchindram, the three main gods of Hindu mythology – Śiva, Brahmā and Viṣṇu – are in one form called Sthanumalayan.

 

TRANSPORTATION

ROAD

Bus: Kanyakumari, Nagercovil, Midalakadu & Marthandam

 

RAIL

Important Railway stations : CAPE/Kanniyakumari, Nagercoil, Eraniel & Kuzhithurai.

 

Important Trains :

12641/Thirukkural Express

12665/Howrah - Kanyakumari Weekly SF Express

22621/Rameswaram - Kanyakumari SF Express

 

PLACES OF INTEREST

There are many places to visit in Kanyakumari, following list does not comprise all but are some of the notable places.

 

THIRUVALLUVAR STATUE

The Thiruvalluvar Statue has a height of 29 m and stands upon a 11.5 m rock that represents the 38 chapters of "virtue" in the Thirukkural. The statue standing on the rock represents "wealth" and "pleasures", signifying that wealth and love be earned and enjoyed on the foundation of solid virtue. The combined height of the statue and pedestal is 40.5 m, denoting the 133 chapters in the Thirukkural. It has a total weight of 7000 tons.The statue, with its slight bend around the waist is reminiscent of a dancing pose of the ancient Indian deities like Nataraja. It was sculpted by the Indian sculptor Dr. V. Ganapati Sthapati, who also created the Iraivan Temple. Its opening ceremony was on 1 January 2000. The monument was hit by the Indian Ocean Tsunami on 26 December 2004.

 

VIVEKANANDA ROCK MEMORIAL

The Vivekananda Rock Memorial is a popular tourist monument in Vavathurai, Kanyakumari, India. The memorial stands on one of two rocks located about 500 metres east of the mainland of Vavathurai, India's southernmost tip. It was built in 1970 in honour of Swami Vivekananda who is said to have attained enlightenment on the rock. According to local legends, it was on this rock that Goddess Kumari performed austerity. A meditation hall (Dhyana Mandapam) is also attached to the memorial for visitors to meditate. The design of the mandapa incorporates different styles of temple architecture from all over India. It houses a statue of Vivekananda. The rocks are surrounded by the Laccadive Sea. The memorial consists of two main structures, the Vivekananda Mandapam and the Shripada Mandapam.

 

GANDHI MEMORIAL MANDAPAM

The Gandhi Memorial Mandapam has been built on the spot where the urn containing the Mahatma's ashes was kept for public viewing before immersion. Resembling central Indian Hindu temples in form, the memorial was designed in such a way that on Mahatma Gandhi's birthday, 2 October, the first rays of the sun fall on the exact place where his ashes were kept.

 

TSUNAMI MEMORIAL PARK

Near Kanyakumari's southern shore stands a monument to the memory of those who died in the 2004 Indian Ocean earthquake and tsunami, an underwater megathrust earthquake that claimed around 280 000 lives in many countries, including India, Sri Lanka, Somalia, Thailand, Maldives and Indonesia. People from places near and far visit this monument to pay homage to all those who lost their lives.

 

BHAGAVATHY AMMAN TEMPLE

Bhagavathy Amman Temple is a 3000-year-old temple dedicated to Goddess Kumari Amman located at Kanyakumari. Kumari Amman is one of the form of Devi, popularly known as “Kumari Bhagavathy Amman”. Kumari Bhagavathy Amman temple is the first Durga temple created by Lord Parasurama and one of the 108 Shakthi Peedas. This temple is situated at the shore of the Laccadive Sea. Kumari temple has been mentioned in Ramayana, Mahabaradha and Purananooru.

 

AYYA VAIKUNDAR NIZHAL THANGAL

Ayya Vaikundar Nizhal Thangal is a beautiful shrine dedicated to Ayya Vaikundar in Attoor, a small hamlet in Kanyakumari. It is revered shrine for followers of Ayyavazhi, who believe that Ayya Vaikundar is an avatar or incarnation of Lord Narayana. Ayyavazhi, a dharmic belief system, is based on the teachings and life history of Ayya Vaikundar.The highlight of this place is its unique architectural style - Sahasrara (literal meaning white lotus). Historians believe that it is the first temple to boast Sahasrara architecture. Originally, this structure was built in 1988; however, it was reconstructed and inaugurated in the year 2007. The foundation stone of the new thangal was laid in 2005 by the present religious leader of Ayyavazhi - Bala Prajapathi Adikalar.

 

KAMARAJAR MANI MANTAPA MONUMENT

Kamarajar Mani Mantapa Monument was raised and dedicated to a freedom fighter and Former Chief minister of Tamil Nadu, President of Indian National Congress, Mr Kamarajar. He's also popularly known as Black Gandhi among the masses. Like the Gandhi Mantapa, this place is where Kamarajar's ashes were kept for the public to pay homage before immersion into the sea.

 

PADMANABHAPURAM PALACE

This granite palace is a fortress and was the residence of the Travancore rulers. It was constructed around 1601 AD. This palace also has a small museum that contains various artifacts from the older times.

 

TOURIST INFORMATION

The state-owned Poompuhar Shipping Corporation runs ferry services between the town and the Vivekananda Rock Memorial and Thiruvalluvar statue, situated on rocky islets off the coast. The operation of the ferry service began in 1984. Two ferries were used to ferry the tourists until June 2013, after which a new ferry was added to the service on the occasion of 150th birth anniversary of Swamy Vivekananda. Kanyakumari is directly connected by rail with almost all metropolitan cities in India. The nearest airport is Thiruvananthapuram International Airport, 90 km from Kanyakumari Town and 70 km from Nagercoil. Kanyakumari is 744 km from Chennai.

 

The Tamil Nadu State Transport Corporation runs a circular bus to visit tourist spots. Circular bus route - Kanyakumari to Kanyakumari via Vattakottai, Padmanabhapuram palace, Thottipalam, Pechipparai dam, Thirparappu Falls, Muttom beach and Suchindrum Sthanumalayan temple. The bus will start at 7 a.m. just after sunrise and return to Kanyakumari by 6 p.m. so that tourists can also view sunset on sea. The fare per trip is Rs. 200/- for adults and Rs. 100/- for children.

 

RELIGIOUS SIGNIFICANCE

According to Hindu legend, Kanya Devi, an avatar of Parvati, was to marry Siva, but as he failed to show up on his wedding day, the rice and other grains meant for the wedding feast remained uncooked and remain unused thereafter. As the legend goes, the uncooked grains turned into stones as time went by. Some believe that the small stones on the shore today, which look like rice, are indeed grains from the wedding that was never solemnised. Kanya Devi is now considered a virgin goddess who blesses pilgrims and tourists who flock the town. According to another Hindu legend, Lord Hanuman dropped a piece of earth as he was carrying a mountain with his life-saving herb, Mrita Sanjivani, from the Himalayas to Lanka (Sri Lanka) during the Rama-Ravana war. This chunk of earth is called Marunthuvazh Malai, literally "hills where medicine lives". This is said to be the reason for the abundance of unique native medicinal plants in the area. Marunthuvazh Malai is located near Kottaram about 7 km from Kanyakumari town on the Kanyakumari-Nagercoil highway. The sage Agasthya, who was himself an expert in medicinal herbs, is believed to have lived around this site in ancient days. Some believe this is why so many medicinal herbs are to be found on these hills near Kanyakumari. A nearby village is named Agastheeswaram after the sage. Today, there is a small ashram on the middle of the Maruthuvazh Malai hill, which tourists visit (after a short trek from the base of the hill), both to visit the Ashram and also to take a glimpse of the sea near Kanyakumari a few kilometres away, and the greenery below.

 

WIKIPEDIA

Nearing next month's one year mark since the merger of Canadian Pacific and Kansas City Southern to form the new CPKC, things have settled into a routine on the new road without much visible change to the property apart from new signage at yards and such. With no new corporate paint scheme applied to equipment yet, most trains run with a mix of motive power from the two fallen flags. It seems that few of the CPKC trains I've happened to shoot so far have been led by a KCS unit, almost like a hint of which was the dominant partner in the pairing.

 

Seen here, a fairly decent looking KCS Gevo leads train 260 at mile 333 on the River sub.

 

Kellogg, Minnesota

March 9, 2024

ANNAPOLIS, Md. (July 13, 2022) Midshipmen 4th Class, or plebes, of 11th Company from the United States Naval Academy Class of 2026 complete rock climbing training during Plebe Summer, a demanding indoctrination period intended to transition the candidates from civilian to military life. As the undergraduate college of our country's naval service, the Naval Academy prepares young men and women to become professional officers of competence, character, and compassion in the U.S. Navy and Marine Corps. (U.S. Navy photo by Kenneth D. Aston Jr)

A new task force backed by $750,000 in provincial funding will support the Province’s goal to end period poverty and remove the stigma associated with menstruation.

 

Learn more: news.gov.bc.ca/26884

Period Publicity

Detail from the back of the coffin of Ameneminet (Imeneminet).

The djed pillar is shown on the back and inside of the coffin.

Third Intermediate Period.

E5534

 

Louvre Museum

Camera Olympus PEN E-PL1 Zuiko 14-42 , photo from the contest "Ecology in lens"

Gedsc digital camera

Period charm.

Bronze chariot inlaid with ivory

 

Period: Archaic

Date: 2nd quarter of the 6th century B.C.

Culture: Etruscan

 

Scenes from the life of the Greek hero Achilles

 

The Acquisition

In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art.

The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude.

 

The Form and Function of the Chariot

Chariots originated in the Ancient Near East during the early second millennium B.C. and spread westward through Egypt, Cyprus, and the Greek world. In the predominant early type, the car consisted essentially of a platform with a light barrier at the front.

On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female.

The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger.

The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.

 

The Materials of the Chariot

Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car.

The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches.

A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels.

The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.

 

The Figures on the Chariot

The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses.

The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull.

The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car.

While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.

 

The Artistic Origin of the Chariot

The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation.

The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services.

Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.

 

The Reconstruction

After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete.

The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.

Región de Valparaíso, Chile

Homenaje Nacional de Periodismo Cultural Fernando Benítez al fotógrafo Pedro Valtierra, con la participación de Susana Rodríguez Aguilar, Humberto Musacchio, Ricardo Villanueva, rector general de la UdG, Raul Padilla, presidente de la FIL y la directora de la feria Marisol Schulz, este domingo 04 de noviembre del 2022, Guadalajara, Jalisco, México. Foto: Rafael del Río