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Kinkaku-ji (金閣寺, literally "Temple of the Golden Pavilion"), officially named Rokuon-ji (鹿苑寺, literally "Deer Garden Temple"), is a Zen Buddhist temple in Kyoto, Japan.[2] It is one of the most popular buildings in Japan, attracting many visitors annually.[3] It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.
The Golden Pavilion (金閣 Kinkaku) is a three-storey building on the grounds of the Rokuon-ji temple complex.[11] The top two stories of the pavilion are covered with pure gold leaf.[11] The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto.[2] When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.[2]
Architectural design
The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor.[8] Each floor of the Kinkaku uses a different architectural style.[2]
The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy.[2] It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster.[8] This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion[8] and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ),[2] is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon.[8] The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.[8]
The roof is in a thatched pyramid with shingles.[12] The building is topped with a bronze hōō (phoenix) ornament.[11] From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines.[9] The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.
Garden
The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園 kaiyū-shiki-teien, lit. a landscape garden in the go-round style).[6] The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池 Mirror Pond), that reflects the building.[5] The pond contains 10 smaller islands.[8] The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature.[8] Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion.[10] A small fishing deck (釣殿 tsuri-dono) is attached to the rear of the pavilion building, allowing a small boat to be moored under it.[5] The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth.[6] The largest islet in the pond represents the Japanese islands.[5] The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.[5]
The garden complex is an excellent example of Muromachi period garden design.[11] The Muromachi period is considered to be a classical age of Japanese garden design.[10] The correlation between buildings and its settings were greatly emphasized during this period.[10] It was a way to integrate the structure within the landscape in an artistic way. The garden designs were characterized by a reduction in scale, a more central purpose and a distinct setting.[13] A minimalistic approach was brought to the garden design, by recreating larger landscapes in a smaller scale around a structure.
This is just a compost bowl. It looks like some fancy dessert, some bougie preparation plating, but it's just an espresso puck, some strawberry guts, and radish roots.
Somewhere on a desert highway
She rides a Harley-Davidson
Her long blonde hair
Flyin' in the wind
She's been runnin' half her life
The chrome and steel she rides
Collidin' with the very
Air she breathes
The air she breathes.
Marinated beef steak, sweet potato with beetroot puree, caramelized ginger and carrot, avocado and some micro greens.
Got to be ready for my cooking degree and whats better than practicing at home and taking your own photos!
First attempt to cook and photograph a dish and i have to say i like the result though it took me 3 hours from zero to this.
Hope you like it more to come :)
A one-of-one classic Lamborghini has got to be pretty special.
I have chosen this Lego miniland model to kick off my account on Instagram. I hope people like the model.
Below is an article about the origins of this car, its history and restoration.
Courtesy of Autoblog.com
One-off Lamborghini Miura Spyder re-emerges after 40 years!
Exclusive news from Joe Sackey, Miura expert and author of "The Lamborghini Miura Bible" to be published in November 2008 by Veloce Publishing Ltd.
Purely as a design exercise, aimed at keeping demand for Lamborghini's Miura on the crest of a wave, Nuccio Bertone assigned Marcello Gandini a styling project to create a Spyder version of the Miura, commencing in the second half of 1967.
The 'Lamborghini Bertone Miura Roadster,' as it was officially christened, was finished in a light metallic blue with an off-white leather interior with red carpeting. The dashboard and steering remained black, and the steering wheel itself was the original avant-garde unit that was also used on the Marzal. This Miura carried chassis number 3498 (which, in accordance with its one-off prototype status, is not even listed in the factory's original production chassis number register), and P400 engine number 1642 was fitted.
For the January 1968 Salon de L'Automobile Bruxelles, Bertone pulled off another masterstroke when he unveiled this Miura Spyder to a gob-smacked Ferruccio Lamborghini, who, we are told, only saw the show car for the first time at the preview the day before. However, Bertone told Lamborghini to put any ideas of production right out of his mind: "We couldn't make this car for production because there were untold problems with stress-tolerance issues involving the chassis and the windscreen. It's purpose was simply that of a showcar," Bertone confided to a GM stylist years later.
With its Bertone publicity duties completed, the Spyder was sent to Sant'Agata (where it was famously photographed by both Zagari and Coltrin, and it was fettled by the service department with the idea of making it roadworthy to sell as an expensive one-off.
In 1968, International Lead and Zinc Research Organisation (ILZRO) CEO, the late Shrade Radtke, was looking for something radical to showcase the zinc alloys, coating and plating systems the company promoted for the major manufacturers in the Detroit area. It was decided to purchase a standard production Lamborghini Miura Berlinetta and have it specially built using zinc-based components and trim wherever possible.
Onwards then to Sant'Agata, and a meeting with Paolo Stanzani. However, Stanzani was against the idea of modifying a production Miura, and came up with the convenient solution of offering the one-off Miura Roadster, at the time at Sant'Agata for fettling. The offer was accepted on the spot.
In May of 1969, the "ZN75" was completed, now adorned with much extra brightwork and painted metalic green, and Bertone arranged for a private showing at a villa in Turin, attended by the hierachy of the Italian automotive industry. It was a special day, and Bertone, was proudly pictured with the car on that occasion.
There followed a globe-trotting schedule of International Motor Shows -
August 1969 – Shown in Detroit, Michigan
October 1969 – Shown in Montreal, Canada
November 1969 – Shown in Anaheim, California
January 1970 – Shown in Detroit, Michigan
January 1970 – Shown in Montreal, Canada
February 1970 – Shown in London, England and featured on BBC TV
April 1970 – Shown in Palmerton, Pennsylvania
July 1970 – Shown in Tokyo, Japan
August 1970 – Shown in Sydney, Australia
November 1970 – Shown in Paris, France
After a final showing at the 1978 Detroit Motor Show, in February of 1981, Radtke donated the car to the Boston Museum of Transportation for an estimated $200,000 tax deduction. In the mid-1980s, it was refurbished and its interior upholstery replaced.
In 1989, it was purchased by the Portman group, and has spent its life since then shuttling from auction house to temporary owner, likely because its full history and significance is unknown by most. Auctioned off soon thereafter, it spent a number of years in Japanese collection. In 2002 it returned to the USA for a brief sojourn, before finding another home with a Ferrari collector in France.
In December 2006, the priceless Miura Roadster was finally purchased by a New York property developer who, at huge cost, has had the car returned to its original 1968 Salon de L'Automobile Bruxelles specification. The conversion, by the Bobileff Motorcar Company, was completed in late August 2008.
Found this picture of my Batmobile. Some people are a bit iffy on the front but I'm personally fond of it as I envisioned it a being designed to act as a battering ram as Gothams rather crowded and people aren't always going to be willing to move.
Now they will.
For this plating I took inspiration from the culinary olympics in Germany and attempted to create one of their dessert platings. My piping could have been thinner but in the rush to plate I ended up with a thicker line. The dessert is a chocolate mousse with shock temper chocolate around the sides topped with a chocolate triangle tuile. The side dessert is a chocolate/hazelnut feuilletine base. Topped with milk chocoate mousse and a chocolate butterfly on top.
Plating up at Cail Bruich, restaurant, Glasgow. Part of a series of images from "An Evening With Jamie Scott."
Another Leica inspired camera, this time fom France. It really has nothing to do with Leica cameras, except in the concept. The camera has a focal plane shutter with a unique sound, really fantastique! The lens is a superbly built and looking Oplarex 1,9/ 5 cm that retracts into the body. The design derives from the earlier Focas, except that the "R" has a wind lever. The camera feels high quality, the film chamber is superbly finished with the film rails and other parts being chromed! Unfortunately, the ouside chrome plating is exploding into small bubbles in what seems to be a chemical reaction or just alloy rotting, I don't know.
Finally, the camera has an unique bayonet that does not need clicking or a realease button, very clever!
Whoever this fucker is, he isn't that big. Linda's like 5'8 and he looks like he only has a couple inches over her. He had some speed going for him,. though. His first order of business was charging Linda and tearing the xeno cannon out of her hands and throwing it aside. He then tore Linda off the ground and threw her aside. I try to lop his ass in half, but that speed again. He grabs my arm mid-swing before the blade gets the drop on him. I get a look at his own arm and it's really weird. Like there's a robot's arm on his own arm. Same for his legs. A exoskeleton. A fucking exoskeleton. Fantastic. He grips on my forearm and actually starts to crush the plating. I start having flashbacks of my time in the arctic when I was fighting that Captain Nazi shitheel. He then punches me in the chest, sending me across the room and taking the wind outta me. In the armor, than never happens. While I'm trying to pull myself together, Linda's taking him on by herself. She takes a few swings with her blade but the bastard dodges every one. He then smacks it out of her hands and kicks her down just as I get back in the fight. It's both of us taking him on now and it...doesn't make a difference. He's still quick and way stronger than us. Soon enough he's got both his hands wrapped around our necks. He's got me off my feet and Linda on one of her knees desperately reaching for her blade that was just inches away. Of course while he's got us both on a platter and I'm losing consciousness because I'm getting choked through my armor, he starts laughing his head off. Then I hear gunfire and feel the bullets bounce off the back of my armor.....
A militarized faction among the outer planets, the OPA and its majority population of Belters and citizens of the Jovians tend to repurpose existing ships and tech for their needs, resulting in more unique and spartan designs compared to their counterparts in the Inner system...
The Fast Attack Ship "Ceres Wasp" is a custom design manufactured on the dwarf planet Ceres for the spaceborne arm of the fledgling Outer Planets Alliance. Propelled by one primary direct-conversion Fusion drive and twin reactor-powered MPDs for its auxiliary thrusters, the Wasp utilizes the immense excess power from the large reactor in its rear to power a full electronic warfare and SIGINT suite integrated into the cockpit housing, in addition to a 25mm autocannon in a ball mount (doubling as an ad hoc point-defense cannon) on the opposite side of the ship from the primary weapon it carries, a CHEMRAIL-brand chemical-electric railgun firing tungsten-titanium alloy tipped 15mm flechettes designed to reliably pierce warship hull plating.
Life support, extra fuel, and ammunition is stored between the cockpit (white and red hull section) and reactor housing (armored black rear section) between 2 reinforced support girders, with a pair of bolted-on external whipple shields for added protection from micrometeoroids and small debris. Recessed cold gas thrusters in the center assembly and internal reaction wheels provide maneuvering capability.
This was a fun build (and a fast one at that, as I made this in about a day at most due to a time crunch after arriving home from college), and I really was excited to make a starfighter inspired by The Expanse for the Real World +200 years contest.
I wish I'd been able to devote a bit more time to tweak it a bit more and perhaps make another entry, but for now it's 5/14 and I don't want to wait any longer to submit, especially with my current lack of a proper lightbox or photography setup to take good images with.
(This shot was achieved by hanging the ship between 2 stepladders in my garage with fishing line.)
The Rundāle Palace, Latvia.
What you're seeing here is a recreation of the original interior. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.
What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.
One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.
Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Baltic Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.
Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that.
If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.
Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.
The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).
The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.
Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.
Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.
The old palace was completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.
Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.
In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.
During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.
During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.
The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.
Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.
The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.
During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.
During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.
The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.
In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.
In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.
In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.
The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.
Construction history
Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.
The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.
The first construction period from 1736 to 1740.
On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.
Construction was stopped on 1 November due to cold.
The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.
When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.
After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.
In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.
From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.
Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm
Rastrelli’s design, nothern facade of the palace with the gate tower.
In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.
On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.
The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.
N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.
In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.
Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.
Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.
The second construction period from 1764 to 1770.
In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.
In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.
During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.
The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.
In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.
In 1768 the gate was built and the forgings were placed.
The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.
The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.
Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.
The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.
The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.
Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.
The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.
20.04.2018
This is the dessert plating for our cheesecake mousse. It has caramelized apples, caramelized pistachios, dried apple slice, white chocolate decor and a milk chocolate caramel sauce. My chef loved this, but I felt something was missing in the corner so I added the cookies (shown in my other pic). In resturant setting I wouldn't add the cookies though, but I already made them so I said -why not.
Assault Battle Droids were B1 battle droid variants, stood 1.91 meters tall, with black sensors and tan plating constructed by Baktoid Armor Workshop. During the Clone Wars, the heavy assault droids stood out from the standard battle droids, with their dark red or blue torso, with occasionally other red markings similar to, but not to be confused, with OOM security battle droids. They had masculine programming !
they were seen in the Classic Battlefront 2 !
The Rundāle Palace, Latvia.
What you're seeing here is a recreation of the original interior. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.
What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.
One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.
Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Baltic Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.
Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that.
If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.
Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.
The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).
The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.
Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.
Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.
The old palace was completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.
Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.
In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.
During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.
During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.
The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.
Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.
The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.
During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.
During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.
The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.
In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.
In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.
In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.
The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.
Construction history
Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.
The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.
The first construction period from 1736 to 1740.
On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.
Construction was stopped on 1 November due to cold.
The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.
When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.
After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.
In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.
From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.
Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm
Rastrelli’s design, nothern facade of the palace with the gate tower.
In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.
On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.
The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.
N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.
In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.
Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.
Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.
The second construction period from 1764 to 1770.
In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.
In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.
During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.
The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.
In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.
In 1768 the gate was built and the forgings were placed.
The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.
The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.
Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.
The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.
The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.
Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.
The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.
20.04.2018
Once a lowly cargo skiff, the Voidsbane was pressed into service by a group of escaped human slaves who managed to overthrow the Wun'tux crew during a brief stopover on the notorious penal factory asteroid known as 'The Void'. Escaping with barely their lives, these brave humans vowed revenge on the aliens who made them their slaves, and began a one-ship guerilla campaign against the serpentine Wun'tux and their vile business interests.
At first the aliens considered the freed slaves as merely an inconvenience, but the campaign of emancipation and sabotage soon led to fear and suspicion around this 'Earthling menace' plaguing the penal factory chains. With each strike, the Voidsbane crew made their ship stronger, honed their tactics. And even now they evade the 1m credit bounty on each of their heads.
Crew: 6 (room for 10 passengers)
Weapons: 2 Micro-mine deployment systems, port and starboard.
Engines: Rolls-Royce Phantom-X (2) [Shielded from regular scans]
Special: Stealth armour plating and reduced sensor profile, removed IFF signal and carrier codes.
A metal plating business in le Vieux Port de Nice.... "Chromalux has been in the business for more than 59 years and has the necessary know-how and equipment to carry out all chrome plating, nickel plating, gilding, polishing, silvering, polishing, lacquering and rhodium plating. We clean and shine all types of materials, silverware of all kinds, copper, aluminum, stainless steel, plastic, metal, etc. We also renovate the chrome parts of your motorcycles, cars, boats, etc. We use all the right methods to ensure that your tarnished and damaged elements are all rediscovered (mechanical, chemical, electrochemical and physical operations)."
(P-2A Battlecruiser) Spaceship of the Rittonin-Class Battlecruiser: The Cittowen (as of 2080)
Affiliation: Fiston Republic, Concero Republic
Manufacturer: Tronde Shipyards
Length/beam/draft:
Armor/shield level: 2x 16ft thick Steng armor plating in rear of vessel, and an average of 3ft thick armor plating on rest of vessel/(original vessels didn’t include shields) level 4
Sublight engines/lightspeed engines:
Sublight speed/lightspeed:
Range: 734 days or 405 days with 5,000 Marines
Crew: 822, plus one Marine Group with 5,000 men, or a total of 5,822 men.
Armament: varies, but the Cittowen includes 6x 144in boarding harpoons, 9x 32in Hinton Cannons, 36x 5in laser cannons, 48x 2in laser cannons, 192x 1in laser cannons, and up to 50 fighter craft.
The Rittonin-Class is the face of the Fiston Republic across the galaxy being used in any and every military application available to ship of this size. It is the tip of the spear of the Fiston Republic’s Fleet, the strongest vessel in the fleet until 2081. The Rittonin is a first-generation battleship created during the end of the First Piracy War in 1995. After a demoralizing defeat during the First Piracy the Fiston Republic (then called the Union of Agronomic Planets (UAP)) realized that they need a large battlecruiser to combat the ever stronger pirate forces. The original design dates back to some of the first spacefaring military vessels created during the 1880, giving the vessel a very old appearance, most obvious of which is the Rittonin’s lack of modern armor plating. The Rittonin was created during a time when speed and maneuverability, were the only things that could triumph against the Hinton Cannon; as a result minimal amounts of armor were used (EC (Electron Cloud) Shields were not yet invented). Most Rittonin-Class vessels have seen at least two dozen upgrades; many upgrades have alter the vessels to such a point that many no longer resemble their original form providing each vessel with a purely individual appearance.
The Fiston Republic (or UAP) created the Rittonin design but subcontracted out the actual construction of the vessel to the only company of that era capable of manufacturing such vessels. Tronde Shipyards built thirty-two Rittonin-Class Battlecruisers over a thirty year period. The Fiston Republic purchased twenty-eight and the Trynin Empire purchased four. Five subgroups were manufactured over this period the P-2A, P-2B, P-2C, P-2D, and P-2E. The P-2E, or the Mittoyen-Class, was the largest spacefaring vessel in the galaxy for over twenty-years; it served as the Fiston Republics flagship well into the Agronomic War.
For over fifteen years the Rittonin-Class vessel was the largest and strongest vessel in the galaxy (the Memmor-Class Heavy Battlecruiser eclipsed the Rittonin in 2011). At the time of its creation the Rittonin was a technological marvel in almost every aspect of its construction, from the overall size and construction to its point defense systems. The Rittonin design also proved to be extremely flexible, as it saw numerous upgrades of its weapons, shields, engines, communications, and overall interior and exterior design.
The Rittonin-Class vessel originally featured only nine Hinton Cannons and around one-hundred point defense systems. The Rittonin is also able to carry approximately five-thousand well equipped space marines into battle through the use six boarding rods, a core weapon aboard older Fiston vessels. These “rods” are stored in six large cylindrical containers, four on the port and starboard side, and two in the bow. These rods are spring-loaded and made to “harpoon” other vessel and deliver a deadly force of well trained marines [range]. But as mentioned above, the Rittonin has seen numerous upgrades, changing the weapon load out: some vessel have dropped their boarding rods for burst cannons while others are plastered in dozens of Hinton Cannon.
As is characteristic of practically every Fiston vessel, the Rittonin is fast – extremely fast for its size and age some might even say. The Rittonin has six old, but extremely efficient sub-light engines. The sub-light engines are also correctly located giving the Rittonin good maneuverability – most Fiston captains would expect more maneuverability out of a Fiston warship. The lightspeed engines aboard the Rittonin are slow by today’s standards, but there efficiency and reliability are exceptional. The engines are the only thing not modified aboard modern Rittonin-Class vessel; they have proven themselves super efficient, fast, and reliable.
The Rittonin was one of the first vessels to claim (and define) battlecruiser status. To claim battlecruiser status a warship had to posses at least forty Hinton Cannons and (or) any weapon(s) with an equivalent amount of firepower. The Rittonin didn’t even come close to this mark but it did have “other” weapons. It was argued that the five-thousand marines aboard the Rittonin and the delivery system, the six boarding rods, plus the armament in the form of lasers and Hinton Cannons equaled the firepower of at least forty Hinton Cannons. Thus the Rittonin was one of the first “minimal” armed vessels to claim battlecruiser status.
Only eighteen Rittonin-Class vessels survive to this, two were destroyed during the Londron incident in 2011, two more were destroyed in the second Piracy War, and the remaining ten were destroyed during the Agronomic War. The Rittonin’s age finally caught up with it during the Agronomic War; they finally proved ineffective against the new fourth-generation battleships. Some argue the Rittonin-Class has met its end and should all remaining vessels should be decommissioned, while other believe the Rittonin-Class is simply due for yet another upgrade. Needless to say the Rittonin-Class vessels are old and at the end of their days.
Informasi Terbaru (Spesifikasi Dan Harga Mobil Honda Jazz Baru) dari webiste www.otomotifparts.info
Info Harga Mobil, Motor dan Spareparts
Spesifikasi Dan Harga Mobil Honda Jazz Baru
otomotifparts.info/wp-content/uploads/2015/09/Spesifikasi...
, Honda merupakan salah satu perusahaan mobil yang selalu memanjakan konsumennya dengan teknologi dan gaya mobilnya, sebut saja honda jazz dari pertama honda jazz di buat dan sampai varian sekarang honda jazz tetap menjadi salah satu produk yang paling banyak diminati oleh masyarakat indonesia.
Mobil Honda Jazz - Anda tentunya mengunjungi web blog kami sedang mencari informasi mengenai informasi honda jazz ini, berikut kami informasikan harga mobil honda jazz terbaru tahun sekarang, Namun sebelumnya kita bahas dahulu spesifikasinya, berikut spesifikasinya.
Spesifikasi Mobil Honda Jazz Baru
[caption id="attachment_5776" align="aligncenter" width="900"] Spesifikasi Dan Harga Mobil Honda Jazz Baru[/caption]
Spesifikasi Honda Jazz
Mesin
Tipe : 1.5L SOHC 4 Silinder segaris 16 katup i-VTEC + DBW
Sistem Suplai Bahan Bakar : PGM-FI
Diameter x Langkah : 73,0 x88,4 mm
Isi Silinder : 1.497 cc
Perbandingan Kompresi : 10,3:1
Daya Maksimum : 88Kw(120PS)/6.000rpm
Torsi Maksimum : 14,8kgm(145Nm)/4800rpm
Dimensi
P X L X T : 3.965 x 1.094 x 1.524 mm
Jarak Sumbu Roda : 2.530 mm
Jarak Pijak depan/belakang : 1.492/1401 mm(Type A & S), 1.478/1.466(Type RS)
Kapasitas Tangki : 40 L
Transmisi
Tipe : 5-Speed (Type A, Type S M/T, Type RS M/T), CVT (Type S CVT & Type RS CVT)
Sistem Kemudi
Sistem : Rack & Pinion + Electric Power Steering (EPS)
Tilt & Telescopic Steering : Hanya Type A M/T
Sistem Suspensi
Depan : MacPherson Strut
Belakang : H-Shape Torsion Beam
Sistem Rem
Depan : Ventllaated Disc
Belakang : Drum
Ban
Ban : 175/65 R15 (Type A & S), 185/56 R16 (Type RS)
Velg : Trim Wheel 15″x5 1/2 J (Type A), Alloy Wheel 15″x5 1/2 J(Type S), Alloy Wheel 16″x6 J(Type RS)
Eksterior
Front Grille : Black (Type A) Glossy Black with Chrome Plating (Type S), Glossy Black Dark Chrome Plating & RS Emblem (Type RS)
Fog Lamp : All Type S, All Type RS + LED Position Light
Front Lamp : Halogen Headlight (Type A & S), LED Headlight with Auto Leveling (Type RS)
Door Mirror : Black Color (Type A), Body Color (Type S & RS)
Door Handle : Black Color (Type A), Body Color (Type S & RS)
Aero kit : Hanya Type RS
LED High Mount Stop Lamp : All Type
Interior
Audio : Aingle DinAM/FM Radio, Single Disc MP3/WMA + USB Port + AUX Input + Made for iPod & iPhone (Type A), Double DIN AM/FM Radio, Single Disc MP3/WMA, CD Player + USB Port + AUX Input + Made for iPod & iPhone (Type S), 6.1″ Touch Screen Display, AM/FM
Radio, Single Disc MP3/WMA, CD/DVD Player + USB Port + AUX Input, Connect with iPhone App Mode (need additional cable and only for iPhone 4 & 4S)
ECO Assist : Type S & RS
Mute Information LCD Display (ML): All Type
One Push Ignition System : Hanya type RS
Auto Steering Switch : Hanya type RS
Tweeter : Hanya type RS
Paddle Shilt : Hanya type RS CVT
Cruise Control : Hanya type RS
Leather Steering & Shift Knob : Hanya type RS
Driver Seat Height Adjuster : Type S & RS
Ultra Seat : All Type
Trunk Capacity : 363 L
Smart Entry : Hanya type RS
Fitur Keselamatan
Struktur Rangka Bodi : G-CON + ACE
Side Impact Beam : All Type
Pedestrian Protection : All Type
Dual Front SRS Airbags : All Type
Sabuk keselamatan Depan : FR Seatbelt Adjuster
Sabuk keselamatan Belakang : RR Seatbelt 3P ELR (X3)
Pretensioner with Load Limiter Seatbelt : All Type
ISOFIX & Tether : All Type
Sistem Keamanan
Key type : Wave Key (Type A & S), Smart Key (Type RS)
Keyless Entry : All Type
Immobilizer : All Type
Alarm System : All Type
Harga mobil honda jazz baru saat ini.
Untuk Honda tahun 2015, mengeluarkan beberapa varian yaitu Honda Jazz A & S M/T, kemudian S CVT dan Honda Jazz RS M/T Serta Jazz RS CVT, Berikut daftar harga lengkapnya di bawah ini.
Tipe
Harga
Honda Jazz A M/T
Rp 199.000.000,-
Honda Jazz S M/T
Rp 217.000.000,-
Honda Jazz S CVT
Rp 227.000.000,-
Honda Jazz RS M/T
Rp 238.000.000,-
Honda Jazz RS CVT
Rp 248.000.000,-
Daftar harga Honda Jazz Bekas dari tahun 2004 - 2008
Nah bagi Anda yang akan membeli honda jazz bekas, berikut kami inforamsikan daftar harga bekas untuk tahun 2004 sampai tahun 2008, berikut daftar harganya.
Tipe
Tahun
Harga
HND Jazz i-DSI A/T
2004
Rp 105.000.000
HND Jazz i-DSI A/T
2005
Rp 110.000.000
HND Jazz i-DSI A/T
2006
Rp 120.000.000
HND Jazz i-DSI A/T
2007
Rp 125.000.000
HND Jazz i-DSI A/T
2008
Rp 125.000.000
HND Jazz i-DSI M/T
2004
Rp 100.000.000
HND Jazz i-DSI M/T
2005
Rp 105.000.000
HND Jazz i-DSI M/T
2006
Rp 110.000.000
HND Jazz i-DSI M/T
2007
Rp 115.000.000
HND Jazz i-DSI M/T
2008
Rp 120.000.000
HND Jazz VTEC A/T
2005
Rp 120.000.000
HND Jazz VTEC A/T
2006
Rp 130.000.000
HND Jazz VTEC A/T
2007
Rp 135.000.000
HND Jazz VTEC A/T
2008
Rp 135.000.000
HND Jazz VTEC M/T
2005
Rp 115.000.000
HND Jazz VTEC M/T
2006
Rp 125.000.000
HND Jazz VTEC M/T
2007
Rp 135.000.000
HND Jazz VTEC M/T
2008
Rp 135.000.000
Demikian Informasi mengenai daftar harga mobil honda jazz baru dan bekas, terima kasih telah mengunjungi website kami dan membaca artikel kami, semoga informasi ini menjadi informasi yang bermanfaat, baca juga informasi lainnya seperti :Harga Mobil Honda HRV Baru.
otomotifparts.info/spesifikasi-dan-harga-mobil-honda-jazz... - Flickr
Head Chef Tara (Yuji Ramen has two Head Chefs who create everything together) did an outstanding job at every stage of our meal - cooking, plating, presentation and service.
Yuji Ramen at the Whole Foods Bowery is operating as a test kitchen for Yuji-san's upcoming restaurant Okonomi in Williamsburg/Brooklyn. Although the brick and mortar place is scheduled to open in the fall of 2013, the food is impressive already.
Please take a look at the same meal as shot by www.docsconz.com :