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An interior designer needs to be well versed with these principles to arrange/organize the elements so that a good composition is achieved. So without further ado, let’s jot down these principles of interior design and understand their significance in the world of interior design!
1. Unity
The principle of Unity, as the name implies stresses on the fact that there should be a sense of uniformity or harmony among all the elements used. Interior design should serve as a visual guide for a person to understand a living space, and without unity, the visual guide will only end up confusing the person. All the elements used should complement one another and a smooth transition should exist from one to another. A good understanding of Alignment of objects, Similarity of color/pattern/texture, Proximity (spacing) of objects, Repetition (grouping) of elements based on similarity, Continuation and Overlapping of interior design elements are a few ways to achieve ‘Unity’ in an interior design arrangement.
2. Balance
The principle of balance refers to the ordered distribution of elements of equal visual weight to achieve a visual equilibrium. Balance is only achieved when the visual weight of the elements are evenly distributed along a central axis or point that can be both real and imaginary. Balance can be achieved by three popular ways namely Symmetrical, Asymmetrical and Radial. In Symmetrical, a space is divided into two equal halves centered on a central axis and both the halves are equally compensated to give out a calm feel to the living space. In Asymmetrical, any odd number of elements can be used by keeping an imaginary central axis as the focal point. Though asymmetrical balance is a little hard to achieve when compared to symmetrical, the output is more natural and energetic when compared to the former. Radial balance involves a central piece (like a chandelier or a round dining table) from which all other elements seem to radiate to arrange themselves in circular symmetry.
3. Rhythm
The principle of Rhythm essentially suggests a connected movement between different elements of interior design. This movement is essential to maintain a visual tempo between elements that have different visual weights. Elements repeated in an orderly fashion and the spaces between them create a sense of rhythm. Rhythm can be achieved in any living space by following these three methods – Repetition, Alternation and Progression. Repetition refers to the repeated use of the design elements like color, texture and pattern or any other physical attributes like home décor items in an orderly way. Alternation is the method of creating rhythm by alternating two or more elements in a pre-defined fashion like ABABAB or ABCABC and so on. In Progression, elements are arranged ascending or descending based or their size, color gradient or any other distinctive characteristic.
4. Emphasis
Emphasis, as the name suggests, is a principle of interior design that says that a central piece of art or furniture must play the role of a focal point or attention grabber of a particular living space. Elements like color, pattern and texture must be used to emphasize a particular focal point. In fact these elements must be used in such a way that the focal point dominates the rest of the décor items and pulls the room together. Other items that surround the focal point must complement the latter and share a contrast that puts the focal point in the top priority.
5. Contrast
Contrast refers to the difference in the luminance or color of objects that differentiates them from one another. In interior design, contrast can be achieved by three elements namely color, form and space. One can use pillows or prints of two opposite colors like black and white to achieve contrast and make an object distinguishable. Contrast can also be achieved by combining two or more forms; for example one can combine a circular mirror and a rectangular sofa to balance and distribute the attention between both the items. One can also achieve contrast in a living space by dividing the available space efficiently into usable positive and negative spaces.
6. Details
Details are like cherries on an ice cream, they might seem extra but without cherries the ice cream isn’t just complete! Be it the small embroideries on a pillow cover or the color within those embroidery patterns, every detail adds a little bit of life to the overall interior design, adding their own distinctive feature to the overall composition. Another way is to add faux stone panels on the accent wall.
Once you are sure that you have achieved all of the above mentioned principles, it’s time for details to take over and beautify the place further.
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Boom 2014
Photo-Reports by Wolfgang Sterneck
A Reality called Boom - Rhythms @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646523564525
A Reality called Boom - Visions @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646103367017
A Reality called Boom - Spiral Dance @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646505988761
Wolfgang Sterneck:
In the Cracks of the World
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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Boom-Festival
04.08.-11.08.2014
Boom-Festival
Idanha-a-Nova Lake - Portugal
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BOOM VISION
Boom is not only a festival, it is a state of mind. Inspired by the principles of Oneness, Peace, Creativity, Sustainability, Transcendence, Alternative Culture, Active Participation, Evolution and Love, it is a space where people from all over the world can converge to experience an alternative reality.
Boom is a festival dedicated to the Free Spirits from all over the world. It is the gathering of the global psychedelic tribe and of whoever feels the call to join in the celebrations!! Boom is a weeklong unpredictable and unforgettable adventure. It takes place, every two years, during August Full Moon, on the shores of a magnificent lake in the sunny Portuguese inland and every one is invited!
BOOM IS A MODEL OF ENVIRONMENTAL AWARENESS
An environmentally conscious event is a way to offer a concrete example that it is possible to live on this Planet in respect of Mother Earth and of one another. This is possible through a deep understanding of the cycles of life and humanity’s place within these cycles. Permaculture is a brilliant example of how such understanding can be turned into practice.
Boom’s pioneering Environmental Program applies the principles of Permaculture to every single aspect of the Festival production. Moreover Boom widely promotes knowledge and practices of sustainability through lectures, workshops and… practical example!
100% compost toilets (still to this day the only large event in the world to reach this result!); 100% on-site water treatment facilities, off-the-grid energy solutions, bio-construction, permaculture gardens, vegetable oil for the generators… these are just a few of the ground breaking projects that have granted Boom the most prestigious international prizes in environmental efficiency.
For further details please visit the environmental program page.
BOOM BELIEVES IN A BORDERLESS WORLD
Since its beginning in 1997, Boom is the home of the global nomadic tribe. Since then, it has grown organically by word of mouth into an incredibly culturally diverse festival, attracting people from 116 nationalities (2012). Boom is the celebration of the Earth’s multicolored Oneness. EVERY ONE is invited and EVERY ONE is called to consciously co-create a positive reality of Love and Peace, for us and for the next generations. We Are One!
BOOM BELIEVES IN TRANSCENDENCE THROUGH MUSIC
At Boom music is sacred. The dancefloors are temples where to transcend ordinary states of perception and the limitations of our egos. Through dance and music, we can reconnect to our own individual divine essence, while in synch with the beating heart of the whole tribe. All in One!
Scattered across four stages, music at Boom is as diverse as it gets: electronic, acoustic, classic, any style is welcome and represented in a different area, live concerts, djs sets, solo artists, bands… Boom started as a psytrance festival and has developed into an inclusive gathering, unveiling the surprising diversity of quality underground soundscapes.
Psytrance culture remains one of the inspiring sources of Boom's vision and intention. And Boom remains as a testimony of the evolutionary potentials of such a culture.
Check the pages of the single areas for details on the different visions.
BOOM ACTIVATES TRANSFORMATION
Boom’s ultimate aim is to facilitate individual and collective transformation. The Boom experience has been conceived to activate the vital force directing every being towards the fulfillment of its highest potential. To reach this ambitious goal, Boom relies on the continuous exchange of radically innovative knowledge and practices by countless Boomers, musicians, artists, teachers, visionaries, healers, farmers, ecologists, wisdom keepers, researchers, scientists, activists
Besides the music stages and the countless art installations scattered all over the site, the other areas where Boom channels transformation are the Liminal Village, the Healing Area and the Visionary Art Museum. Here our hearts, bodies and minds can receive a full download of information through workshops, presentations, rituals and meditations Check the single areas’ pages for more details.
NO TO CORPORATE SPONSORS, CORPORATE LOGOS AND VIPs, YES TO INDEPENDENCE, SOLIDARITY AND CREATIVITY!!!
Boom is an autonomous zone of cognitive liberty and therefore is and will always be free from corporate sponsorship and logos. Boom is funded by the financial support of the thousands of people that buy the tickets and come to the festival.
Boom does not believe in VIP areas and special treatments, since every Boomer is a VIP! Boom adheres to the principle of ’thinking outside the box’, for the co-creation of novel ways of viewing reality and acting for its evolutionary unfolding.
www.boomfestival.org/boom2014/news/boom-vision
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BOOM-VISION
Die Boom ist nicht nur ein Festival – Sie ist ein Lebensstil
Es sind kleine Momente, in denen das Lernen stattfindet. Jene Momente in denen du versteht wie wichtig es ist, Fünfe einfach mal gerade sein zu lassen. Und jene Momente in denen dir klar wird, dass du es an anderen Stellen genauer nehmen musst. Diese kleinen Momente prägen dich, deine Einstellung und dein Handeln – und mit dir die Grundlage für große Veränderungen. Genau hier setzt die Idee der Boom an: Als schillernder Kristallisationspunkt einer Neo-Stammeskultur möchte sie inspirieren. Und zwar durch jene magische Erfahrung, die zwischen zeitgenössischer Musik, visionärer Kunst und intellektuell-spirituellem Input entsteht.
Veränderung fängt bei dir an, bei deiner Weltanschauung. Du bist der Flügelschlag des Schmetterlings, der am anderen Ende der Welt einen Wetterumschwung bewirkt. Lerne, deine Flügel zu gebrauchen!
Zu diesem Zweck kippen wir das Schubladensystem, das unseren Alltag bestimmt, einfach mal komplett aus. Und zwar mitten hinein in die sonnige, unverdorbene, nuklearfreie Natur Portugals. Dann nehmen wir uns 7 Tage lang Zeit, um spielerisch neue Denkwege und Handlungsweisen, um eine neue Ordnung zu erkunden. Das ist unsere Vision von psychedelischer Kultur und sie wollen wir aktiv vortreiben.
Auf unserer Webseite findet ihr ausführliche Informationen zu den freien Künsten, den multidimensionalen Installationen und den kreativen Liebensbomben, die auf unsere temporäre autonome Zone regnen werden.
Boom ist eine Lebenseinstellung – und sie lebt in euch, liebe Boomer!
INTERKULTURELL
Andere Länder, andere Lebensstile. Auf der Boom kannst du erleben wie inspirativ diese einfache Tatsache ist. Und zwar in konzentrierter Form: Im Jahr 2012 reisten Stammesangehörige aus 116 verschiedenen Ländern an, um in ihrer multikulturellen Mischung eine durchweg positive Vision für die Zukunft zu manifestieren: We Are One – Wir sind eins!
NATUR
Die Kulisse für unser Stammestreffen gestaltet die wohl besten Dekorateurin überhaupt: Mutter Natur. Jene jahrhundertealte iberische Baumlandschaft der umliegenden Hügel, versonnene Gärten und der weitläufige See, in dem sich die Magie des August-Vollmonds spiegelt, schaffen ein einzigartiges Panorama.
STRAND
Nachdem du dich in schwitzende Trance getanzt hast oder wenn dir die Wärme des portugiesischen Sommers zuviel werden sollte: Die nötige Erfrischung ist maximal ein paar hundert Meter entfernt - egal wo du gerade bist. Der große See bestimmt nicht nur das Bild der Boom, sondern auch ihre Stimmung. Wie beim Strandurlaub kannst du jene fließende Ruhe des Wassers aufsaugen, die dich sanft umspült.
DESIGN FÜR DEN GEIST
Das Liminal Village bietet Gelegenheit, dir dein Oberstübchen neu einzurichten: Mit Lebensphilosophie und praktischem Wissen. Im intellektuellen Brennpunkt der Boom finden Vorträge und Diskussionen zu Themen wie Aktivismus, Psychedelik, Freie Kultur, Rituale der Ahnen, Mythologie, Ökologie, Traumlandschaften, Permakultur, Trance, Heilige Pflanzen oder Alternative Medizin und Wissenschaft statt. Dazu waren in den letzten Jahren Referenten wie Vandana Shiva, Alex Grey, Daniel Pinchbeck, Graham Hancock, Robert Venosa, Erik Davis und Shipibo Don Guillermo Arevalo zu Gast. Ein Filmprogramm zur neuen, planetarischen Kultur bietet noch mehr Stimulation auf intellektueller Ebene.
PSYCHEDELISCHES KUNSTMUSEUM
Was ist psychedelische Kunst, was visionäre? Will sie die Eindrücke einer psychedelischen Erfahrung wiedergeben? Will sie ähnliche Emotions- und Assoziationsstrukturen auslösen wie eine Vision? Mach dir selbst ein Bild! In atemberaubender Vielfalt präsentieren einige der talentiertesten Maler von allen Kontinenten des Planeten ihre bewusstseinserweiternden Werke.
INSTALLATIONEN
Bildende Kunst stößt die Pforten unserer Wahrnehmung weit auf und eröffnet uns so die Sicht auf Aspekte unserer Realität, welche normalerweise hinter dem Grauschleier des Alltags verborgen liegen. Um dich mitten hinein in dieses ästhetisch-surreale Paralleluniversum zu katapultieren, kommen überall auf dem Gelände Medien wie Malerei, Bildhauerei, Land Art oder Video zum Einsatz. Sie lassen deine Reise über die Boom zu einer Reise in eine außerirdische Welt von fremdartiger Schönheit werden.
MUSIK
Über verschiedene Tanzplätze verteilt verwirklicht die Boom ihre psychedelische Vision im Spektrum der hörbaren Frequenzen. Dabei entstehen viele verschiedene Rhythmus- und Harmonie-Texturen die alle darauf abzielen, deine Synapsen zu kitzeln, deine Fantasie zu stimulieren und dich zu beflügeln. Die Klanglandschaften der Boom erstrecken sich auf Genres wie Psytrance, Progressive, Dub, Bass Music, Dubstep, World Music, Glitch, Nu Funk, IDM, Cosmic oder Psy Brakes. In ihrer Gesamtheit schwingen sie sich zum kosmischen Groove der universellen Liebe auf!
TANZTEMPEL
Mit jedem Herzschlag der Boom bebt das portugiesische Hinterland. Im monumentalen Tanztempel verschmelzen utopische Zukunftsvisionen und das archaische Ritual des Stammenstanz zu einer einzigartigen Trance-Erfahrung. Um euer Bewusstsein dorthin zu schicken, wo Worte zu Hülsen und Bedeutungen zu Variablen werden, haben wir einige der besten DJs, Liveacts und Tribal Bands eingeladen, uns mit extralangen Sets zu verzaubern. Denn Qualität ist wichtiger ist als Masse. Mit viel Liebe zum Detail planen wir eine Reise durch jene multidimensionale Welt namens Psy, wobei wir in Regionen wie Dark, Twilight, Forest, Tribal, Prog, Full-On, Groovy Full-On, Goa und Nu-Goa vorstoßen.
Die Grundidee der Boom unterscheidet sich ganz erheblich von der einer kommerziellen Massenproduktion. Wir möchten raus aus dem Schattenreich des Egoismus, hinein in eine kollektive Erfahrung. Mithilfe von DJs, VJs, Dekorateuren, Designern und -am allerwichtigsten- mithilfe von euch, den Boomern. Auf dass wir unsere multikulturelle kreative Energie zu einer wahrhaft großen Erfahrung vereinen: Wir sind eins!
UMWELT
Auf der Boom werden die Erkenntnisse und Prinzipien der Permakultur in ein Festival umgesetzt. So wird ganz konkret erfahrbar: Auch große, internationale Menschenansammlungen lassen sich mit maximalem Respekt vor unserer heiligen Mutter Natur vereinbaren. Dieser Ansatz wurde in den Jahren 2008 und 2010 mit dem Greener Festival Award ausgezeichnet, 2010 und 2012 außerdem mit dem European Festival Award.
Auf der Boom kommen ausschließlich Komposttoiletten zum Einsatz. Das Nutzwasser wird mithilfe von Pflanzen zu 100% wiederaufbereitet. Es gibt kostenlose Taschenaschenbecher. Für die Generatoren wird gebrauchtes Pflanzenöl verwendet. Außerdem nutzen wir Technologien wie Solarenergie, Windräder, Biobau und ökologische Abwasserentsorgung, die jedes Jahr weiterentwickelt werden. Auch hier gilt: Die Boom seid ihr, die Boomer. Tragt bitte dazu bei, dass sie ein nachhaltiges Festival ist. Respektiert Mutter Natur und hinterlasst keinen Müll!
SPIRITUALITÄT
Anreize für spirituell-sozialen Aktivismus, die sich in Form von Yoga, Ayurveda, Tai Chi, Kung Fu, Watsu, Therapien, alternativen Heilmethoden und ganzheitlichen Lehren manifestieren. Auch das ist ein zentraler Aspekt unserer Vision. Denn die Harmonie zwischen Geist und Körper ist ein erster Schritt in Richtung globale Harmonie.
INFRASTRUKTUR
Freies Wasser. Freies Camping. Freier Wohnmobil-Park. Babyboom für die jüngsten Boomer (bring deine Familie mit zur Boom!) Freie medizinische Versorgung. Freies WIFI. Schließfächer. Boom-Busshuttle von den Flughäfen Lissabon und Madrid. 100% Komposttoiletten. 100% Aufbereitung des Duschabwassers mithilfe von Pflanzen. Ayurvedische Apotheke. Spezielle Einrichtungen für Behinderte. Lebensmittelgeschäft. Gemeinschaftsküchen. Und vieles, vieles mehr!
LOGO-FREIE ZONE
Die Boom finanziert sich einzig und allein über den Ticketverkauf, sie ist frei von jeglichem Firmen-Sponsoring und wird es immer sein. Auch in dieser Hinsicht möchten wir einen Freiraum schaffen, in dem sich der menschliche Geist unbefangen ausbreiten und entfalten kann.
Obwohl das Boom Team den Rahmen schafft – das eigentliche Erlebnis, die eigentliche Inspiration und der eigentliche Geist lebt in euch. Denn ihr seid die Energie, ausgehend von euch kann sich diese Welt ändern.
BESONDERE BEDÜRFNISSE
Wir möchten die Einrichtungen und Angebote für Behinderte weiterentwickeln. Wenn du oder jemand deiner Freunde behindert ist, sendet uns bitte bis Juni 2014 eine Email um optimale Bedingungen zu garantieren: specialneeds@boomfestival.org
FLEXIBLE EINTRITTSPREISE
Unser globaler Stamm ist in vielen verschiedenen Ländern zuhause, in denen ganz unterschiedliche Einkommensverhältnisse herrschen. Außerdem leben wir in Zeiten des finanziellen Abschwungs. Wir waren sehr betroffen als wir nach der Boom 2012 hörten, dass einige Menschen schlichtweg nicht genug Geld aufbringen konnten um Teil der kollektiven Erfahrung zu sein. Deshalb haben wir uns entschieden, auf diese Tatsache mit einem flexiblen Eintrittsmodell zu reagieren. Es gibt spezielle Ticketpreise für Länder außerhalb der Europäischen Union, der USA, Kanada, Australien, Neuseeland und Japan. Außerdem für jene Länder, die aktuell die ökonomischen Spekulationen der Rating-Agenturen und der IMF durchlaufen: Portugal, Irland, Griechenland und Spanien. Diese Tickets sind nur bei den Boom Botschaftern des jeweiligen Landes erhältlich, nicht über die Webseite der Boom.
www.boomfestival.org/boom2014/multilingual/deutsch
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Excerpted from The Principles of Uncertainty by Maira Kalman. Reprinted by arrangement with The Penguin Press, a member of Penguin Group (USA), Inc. Copyright (c) October, 2007.
2019 Women’s Empowerment Principles Forum: Organized by UN Women, UN Global Compact and UN Office of Partnerships. Annual flagship event on gender equality for the private sector, bringing together 500+ other leaders and innovators from business, government, civil society, academia and the UN. The Forum participants gain exposure to new knowledge on strategies for advancing women's empowerment in the future of work, through gender-lens investing and by addressing sexual harassment in the world of work.
speakers included:
Robert Skinner, Executive Director, UN Office of Partnerships; Phumzile Mlambo-Ngucka, United Nations Under-Secretary-General and Executive Director, UN Women; Lise Kingo, CEO and Executive Director, UN Global Compact; Ambassador Maria Marinaki, Principal Advisor on Gender and the Implementation of UNSCR 1325 on Women, Peace and Security, European Union; Isabelle Durant, Deputy Secretary General, UNCTAD; Patricia Greene, Director, Women’s Bureau, US Department of Labour; Suzanne Biegel, Founder, Catalyst at Large; Carlos André, Executive Director, Banco de Brasil DTVM; Michael Denham, CEO, Business Development Bank of Canada; Sarah Chen, Co-founder and Managing Partner, The Billion Dollar Fund for Women; Stephanie Queda Cruz, Head of Gender, Diversity and Inclusion, Inter-American Development Bank; Deborah Gibbins, Chief Operating Officer, Mary Kay; Diana Kobas Deskovic, Founder, Mamforce; Alan Joyce, CEO, Qantas; Michael Ptasznik, CFO, Nasdaq; Banu Isci Sezen, General Manager, Turkcell Academy, Turkcell; Anne Claire Berg, Diversity and Inclusion Director, Danone; Purna Sen, Executive Coordinator and Spokesperson on Sexual Harassment and Other Forms of Discrimination, UN Women; Ibukun Awosika, Chairman, First Bank of Nigeria; Valeri Chekheria, CEO, Adjara Group; Emmanuel Lulin, Senior Vice President & Chief Ethics Officer, L’Oreal; Lebo Ramafoko, CEO, Soul Institute; Katherine Bell, Editor in Chief, Barron’s
Photo: UN Women/Amanda Voisard
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Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
#1 bestseller Activate Your Breakthrough: 23 Success Principles for Baby Boomer Women Entrepreneurs has inspirational stories, sucess teachings, and steps to get baby boomer women entrepreneurs & business owners in the winning mindset
This book by Ronda Del Boccio and Anne Holmes teaches entrepreneur mindset and gives a lift to the spirits. Download it to your Kindle Reader or free Kindle app now at asktsl.com/bb
Thanks for your visit and your comments added this as a favorite.
Principles of photography, sex, time of light to know
"Lighting"
Without light, photography is impossible.
Do not care to use the film or digital system! However, this light that creates the image. But lights are not equal, in some hours, the light is more brilliant. Although this issue has little importance, because the lack of light can be increased during the exposure and the use of more open aperture to compensate. However, the quality of light in a picture effectively contributed to success.
"Light variable"
The effect of how the sun affects a scene, depends on many different factors.
Mtghyyrand so these factors, which may never unable, as a photo taken today, you are back to interact. Position the Sun in the sky not only change with time, but other factors such as season and location changes. All of these factors on the color, angle and brightness of light affect the amount of change and equally light Rvymvzv that is effective, the impact of Shadows mode.
Certain weather conditions also affect the light conditions and at any moment there are some changes. For example, clouds are not only front the sun, but as filters and player, the quality of light and thus alter the status light images per seconds may change.
Also used the human brain, objects according to their mentality and sees not imagine actually. Of course, sometimes we are following different lighting conditions Breymann (for example, when the sun, its golden rays from the surface to remove a landscape) However Khdr often do not see much difference.
The fact that natural lighting in terms of quality, continuous and varies in intensity of this change Mode Ynmaysh of everything is change. Photographer should see good practice so that before pressing the shutter button (Msdvdknndh) May to determine what the lighting conditions, photos will be better.
From sunrise to sunset
All these photos in a day of spring has been a similar angle.
The pictures show how light can change, and in some circumstances, there will a better image.
The first photo of the photo collection, just before sunrise about 6:45 that morning and the last photo taken of the sunset, about 8:30 PM is taken. These photos of the different time intervals during the day have been, change the amount of light to show the accuracy.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELIS IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELIS IN MAWAR AREA (JODHPUR DIVISION)
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone.They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
Image source: www.archivessearch.qld.gov.au/items/ITM436066
Boggo Road Gaol in Brisbane, Australia, was Queensland’s main jail from the 1880s to the 1980s, by which time it had become notorious for poor conditions and rioting. Located on Annerley Road in Dutton Park, an inner southern suburb of Brisbane, it is the only surviving intact gaol in Queensland that reflects penological principles of the 19th century. After closing in 1992, the larger 1960s section was demolished, leaving the heritage listed section (built as a women’s prison in 1905), which is open to the public through guided tours run by Boggo Road Gaol Pty Ltd.
It was officially known as "Brisbane Gaol" but was commonly known as "Boggo Road" after the original name of the Annerley Road. A new street formed after 1996 now has the name Boggo Road.
In the 1850s, the district where the gaol was subsequently located was known unofficially as 'Boggo', and by the 1860s the track through the area was known as Boggo Road.
It has been suggested that the name came about because the area was very boggy in wet weather. Another theory is that Boggo (or 'Bloggo' or 'Bolgo') was a corruption of an Aboriginal word meaning 'two leaning trees', and that the road was named after two prominent trees at either One-Mile Swamp or what is now Wilkins Street, off Annerley Road. Another possibility is that Boggo Road was an unofficial and unmaintained short-cut between Ipswich Road and Stanley Street that became very boggy after rain. Boggo Road was officially renamed Annerley Road in 1903, but the colloquial name for the gaol that had long been in use stayed.
In 1863, land off Boggo Road was set aside as a government reserve, finally proclaimed a gaol reserve in 1880. The first cellblock opened on 2 July 1883, built by Robert Porter, contained 57 cells, and was constructed using materials from the demolished Petrie Terrace Jail. In 1903, a new prison was built to hold female prisoners. This later became known as the No.2 Division, and is now the only section still standing, and is listed on the Queensland State Heritage Register. The 'No.1 Division' built in 1883 was the scene of 42 hangings, including the hanging of Ernest Austin in 1913—the last execution in Queensland. A new prison was built around the perimeter of No.1 prison during the 1960s and No.1 prison was demolished leaving area for an oval and recreational facilities for the newly built prison, which had running cold water and toilet facilities in all cells. Under the oval was the facility that became known as the "black hole" where prisoners were subjected to "punishment". The "black hole" continued in use until the late '80s. A new women’s gaol was also built at this time. The gaol was originally designed to cater for 40 male prisoners serving as a holding place for prisoners heading to St Helena Island in Moreton Bay. However, by 1989 there were 187 male prisoners and the women's facility had around 200 additional prisoners.
Boggo Road Gaol Complex, comprising the former State Prison for Women (later No. 2 Division, 1903) and remnants of No. 1 Division (opened 1883, rebuilt 1960s-1980s), is important in demonstrating the evolution of prison design and policy in Queensland.
The former State Prison for Women (No. 2 Division) is important as Queensland’s first women’s prison complex and the only women’s prison designed to incorporate the ‘separate system’ in Queensland.
As one of only three gaol complexes designed on the ‘separate system’ in Queensland, No. 2 Division is a rare and exceptional example of 19th century penological principles. Designed as a complex of buildings to punish and rehabilitate its prisoners through separation, its built and plan form, fabric, and layout reflect the conditions under which prisoners were incarcerated. Converted to a male prison in 1921, the complex continued to serve as part of Queensland’s most populous prison until its closure in 1989.
The remnants of No. 1 Division (watchtower incorporating staircase of former hospital building (c.1969-72) and overhead walkway (c.1975-78); section of former workshop building (c.1974); and detention cells (1988)); and the Visitors Centre (1987) are important in demonstrating the evolution in prisoner accommodation and prison facilities in the latter part of the 20th century. The remnants of No. 1 Division are the only part of that complex to remain and as such they are reflective of the use of the much larger site as a gaol from 1883 and demonstrate its continuity of use for over 100 years.
Features added to the gaol complex during the 1970s and 1980s – including chain-wire and barbed-wire fences and roofs in the exercise yards (c.1970-1984), prisoners’ graffiti (c.1970s-1992), and detention cells (1988) – are important in demonstrating both the deteriorating conditions and the increasing political unrest and civil rights activism associated with the gaol. The gaol complex achieved notoriety for the inadequate conditions and treatment of those inside its walls, and was a focus for protests by prisoners and civilians, part of a broader social and political movement which occurred in Queensland in the late 20th century.
Boggo Road Gaol is significant as part of a network of late 19th and early 20th century institutions in Queensland which were designed to control and discipline. Through the gaol complex’s design, form and layout, it demonstrates the control exerted by the government over those interned.
Boggo Road Gaol Complex (No. 2 Division) is rare as the only surviving intact gaol complex in Queensland reflecting 19th century penological principles, being one of only five such gaol complexes built (including Brisbane men’s prisons at Petrie Terrace (1860, no longer extant) and Boggo Road (1883, no longer extant), Rockhampton (1884, no longer extant) and Townsville (1878, rebuilt 1893, not intact as a complex)).
As a rare Australian example of a prison complex purpose-built for women, the Boggo Road Gaol Complex (No. 2 Division) demonstrates rare aspects of Queensland's cultural heritage.
Boggo Road Gaol Complex (No. 2 Division) is important as a highly intact and rare example of a separate system prison complex established in Queensland during the 19th and early 20th centuries. It demonstrates the principal characteristics of this type through its: collection of robust masonry buildings, forming a purpose-built facility for the incarceration of prisoners; tall perimeter walls/fences to prevent escape; defined, highly-secured areas for prisoners and semi-secured areas for staff and visitors; front, imposing gatehouse; tall observation (sentry) towers and open spaces for surveillance of prisoners; large cell blocks with separate prisoner accommodation cells, organised in a radiating plan form around a central observation point (Parade Ground); cells with curved ceilings, heavy cell doors locked from the outside, and purpose-built fixtures (metal shelves, and bed/hammock hooks), accessed via central galleries with central stairs and large banks of windows to their front and rear end walls; outdoor, fenced exercise yards with shelter sheds and amenity blocks; sanitation facilities (sanitation yard, and drains); ancillary buildings for administration, hospital, kitchen and laundry services and resident staff accommodation; and the use of robust materials (namely brick, stone, concrete and metal) throughout the complex.
The complex is also important in demonstrating the principal characteristics of the architectural work of the Queensland Department of Public Works (DPW), retaining an extensive range of excellent, highly-intact examples of DPW-designed buildings from the early 20th century. The principal characteristics of the DPW’s architectural work demonstrated at the prison complex include: well-designed, fit-for-purpose buildings with a dignified civic character; use of high-quality materials and construction detail; and provision of natural light and ventilation of interiors (except to cells).
Highly intact, Boggo Road Gaol Complex (No. 2 Division) has aesthetic importance for its expressive and evocative attributes, high architectural quality, and strong landmark presence.
Through the grand scale, imposing form and robust material palette of the Cell Blocks, Gatehouse, Matron’s Quarters (former) and Warders’ Quarters (former), the tall Perimeter Walls, the observation towers, and the barred and gated openings, the place expresses the power exercised by the State in applying law, order and social regulation during the 19th and early 20th centuries. The foreboding presence of the buildings, and the complex’s high level of security and surveillance (facilitated by sentry towers, open spaces, and visual observation alignments) conveys the sense of incarceration, punishment, and deterrence.
The imposing appearance of the Gatehouse, and the connections between the prison’s spaces (revealing a sequence of movement through the Gatehouse vestibule, into the Quadrangle for processing in the administration buildings, through the Parade Ground and into the secured Cell Blocks and Exercise Yards), are evocative of the sense of restraint and coercion experienced by former prisoners on admission to the gaol complex. The size and scale of the buildings, and the use of solid materials throughout the complex to enforce compliance and deter escape, reflect the lived experience of the prisoners both on arrival and during their terms of incarceration.
Accentuated by high-quality and durable materials, elegant formal compositions (most using symmetry), assertive massing, and decorative treatments and refined finishes (such render details, dressed stone, and tuck pointing to brick walls), the architectural quality of the buildings reflects an ordered and moralistic approach to incarceration at the time of construction, the functional robust material requirements of a prison, and affords the complex a dignified townscape presence.
Graffiti to Cell Blocks and Exercise Yards, largely dating to the later period of the prison’s use, expresses the sense of confinement, seclusion, political and social ideologies, and sentiment of anti-establishment of former prisoners of Boggo Road Gaol around the time of its closure, and the sub-standard conditions to which they were subjected.
The complex is a landmark in its setting due to the strong physical presence and visual dominance of its elevations (particularly those fronting Boggo Road (north), Annerley Road (west) and Peter Doherty Street/Boggo Road Gaol Park (south)), prominent siting on the rise of Annerley Road, tall Perimeter walls and unified material palette of face brick, concrete and stone.
Boggo Road Gaol Complex is important for its social significance as a place of confinement within the community and has a strong association with those groups connected to the place, including ex-prisoners and their families, ex-prison warders and others employed within the complex.
Protests at the gaol during the 1970s saw inmates undertake hunger strikes, roof-top protests, and rioting over the poor conditions and treatment. The prison was constantly in the headlines and became notorious around Australia. Cells in the No. 2 prison did not have any form of sanitation, and facilities for washing were lacking. Prisoners were required to use a bucket through the evening for toilet breaks and empty it, or 'slop out', in the morning. A Queensland Government inquiry into the living conditions of State prisons found Boggo Road to be outdated and inadequate for prisoners' needs. No. 2 Division was closed in 1989. No. 1 division was closed in 1992 and was demolished in 1996 (a small section of what was "C5" and guard tower still remain). The women’s prison operated until 2000 and was demolished in 2006.
Since 1992, the No. 2 Division was home to the Boggo Road Gaol Museum, which featured displays of prison-related artefacts. Throughout the 1990s, ex-officers conducted guided tours of the site, and from 2003 the museum and tours were operated by the Boggo Road Gaol Historical Society, a non-profit incorporated association of volunteers. Since December 2012, Boggo Road Gaol became a tourist attraction for Queensland, with guided tours being conducted by Boggo Road Gaol Pty, who are now officially licensed to run tours and events at the gaol. Like many other similar places around the country, the site also hosts guided ghost tours.
Redevelopment of the surrounding site began in 2006, leading to the temporary closure of the Boggo Road Gaol historical site. Since 2012 the gaol has been re-opened to the public. Boggo Road has since been turned into an urban village called Boggo Road Urban Village and was completed in 2010.
Information sources:
by: Miguel Angel Martin Bordera
from: Alicante, Comunidad Valenciana, Spain
year: 2017
Step Forward transmits the principles of consciousness and neighborly love, increased through Art.
Euterpe is a giant teenage girl puppet who walks and talks, interacting with Burning Man’s participants to learn from them and to, tenderly, teach them her values.
A young girl dreams of a better world in which everybody loves each other. One day she wakes up in an unknown place where she doesn’t really know if she is awake or in a wonderful dream. She watches in amusement all that takes place around her at the time she gets involved in Burning Man’s experience.
Contact: info@carrosfoc.com
Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
via Tumblr lawrence9gold.tumblr.com/post/107993948912
A T T E N T I O N:P S Y C H O A C T I V E______________________
INSTRUCTION IN THE SOMATIC ABILITY
TO DISSOLVE THE HIDDEN GRIP OF AFFLICTION
OR THE COMPULSION TO BE ANYTHING, IN PARTICULAR
— horse training —
— You’re the horse. | You’re the trainer. — Finding Ourselves Out
First thing: I should know about what I’m talking about. I’m an expert on identity formation, as I’ve been running and reforming this identity for years. One of these days, somebody’s going to find me out and we’ll all end up in show-biz.
In show-biz, to the degree that an actor/ess is free within his/her identity set and free to change, to that degree he or she can play different roles well.
(This could be a clue.)
No one of us has a single identity — and that doesn’t necessarily mean we all have Multiple Personality Disorder. It means that our identity changes (more or less), from moment to moment, and in the circumstances of the moment, as we resonate with our circumstances.
The one thing that persists in some way is the vague idea of “self” — the one to whom this identity purportedly belongs. People rarely talk about that one! (It’s our ‘sacred cow’ self — the one “outside it all” and viewing it all, the one who ostensibly never becomes hamburger, supra-Kosmic or otherwise.)
The expression of self changes, but the owner of it seems somehow the same: the secret identity. The Continuity of Memory.
But behaviors, and the provisional identity of the moment, fluctuate. Which one is the “real” identity? Ha-HAH!!!!
~~~~~~~~~~~~~~~~~~~~~~~~~and now, a very important disclaimer:
That doesn’t mean that we’re the political flip-flopper
who flips and who flops with every passing wind
whose words are as passing wind
and whose meaning has no reliable connection to a functional outcome
whose integrity has big gaps, or lots of little gaps
whose principles are weak
whose equilibrium is easily upset
who takes an unstable stand
the dependent
who has too little active capacity to bring order,
who is not yet educated enough
to create forms with integrity,
who has too little capacity to reverse the course of entropy
in his environment and himself
who uses the word, “fight”, instead of “create”
the secret nature of a mediocre nincompoop
in a position of responsibility beyond him
whose primary interest is
to get rich and avoid getting into trouble
to avoid any kind of crisis, lest he flub his response
he, in a position of visibility,
who fears to look like an incompetent
— or worse — have to face consequences.
Maybe it’s what makes him a schlimazl
for whom nothing good ever seems to happen
since he can’t marshal all the forces needed
to make it happen.
or makes him a shlemiele
(closely related to a no-account fool)
not good at much of anything,
fallen back into being a good-for-nothing freeloader,
an imbiber by days
and something of a hapless dimwit at twilight
walking into lampposts
or, alas, maybe he’s just a poor putz —
a person who’s a total loss
uneducated
unperceptive
incomprehending
wrong and insistent.
Maybe he’s a shmoygeh,
or its sillier version, shmegeggie
whatever that is
a slob
a nudnick (dumb-kopf!)
or a no-goodnick in our eyes
but look!
He has a nice suit!
NO! This is a smart person!
a wonderful person!
He cleans up after himself.
He picks up his clothes.
He can read.
He’s nice.
He’s also a clever person, having learned a thing or two.
He knows the difference between
“flip” and “flop”
knows when it’s OK to be flip
and knows when his flippancy has flopped.
Oh, most unflappable one,
I see you keep your equilibrium pretty well —
— most of the time.
You are intelligently mindful of how we are unavoidable affected by each other
and inextricably interconnected,
with everything unified in the present moment,
not as an idea or ideal, but as a perception
of how things actually are,
feeling and observing how we are affected by this moment
in a resonant and moving equilibrium
continuous in moment to moment experience
participating and yet mystified,
faithful in nothing in this life made of change,
in which the currents of our own existence
carry murky, turbulent memories
that shape and color our times.
You sound like a wise man (or woman).
How did that happen?
~~~~~~~~~~
So, when I speak of identity, I’m not speaking of socialization or role. I’m speaking of something much more fundamental, something that explains human behavior, how we get stuck in behavior, and how we may deliberately grow or evolve through an “unhooking” or “unlocking” process.
To the point:Four steps are involved in identity formation:
experience: the emergence of the “present” from the unknown: self, others and things, the momentary and total condition of “now” | Without the gathering and coalescing of attention and aggregations of memory, experience is void, without meaning, without significance, without object, just movements of the unknown
memory : persistence of experience, the experience of “now” (immediate memory), meaning, recognizable events, holding on to experience and experiences, having experience “be in your face”
identification: choosing to stick with a certain experience at any moment : assigning importance, assuming memory (persistence) is reality : taking remembered experiences of self as self and our perception of other things as “the way they really are.” (The Myth of Actuality = “The Myth of the Given”)
perpetuation: intending, inviting, seeking to make more, or refusing, seeking to make less, all motivation, all “go”, all “stop”, all spin, all involvement with, all imagining
The four Stages of Things Becoming a Priority. Obviously, I have to define my terms, so here goes.
EMERGING EXPERIENCE: ” BEING”, BECOMING
(“the One” multiplied by becoming “the Many”)
At every moment, we have a sense of “how things are”. It’s our most obvious sense of the plain-old present.
It consists of our experience of our situation and our sense of ourselves. Most of this sense of experience is submerged in subconsciousness. But we experience it every time we meet a new person and visit a new place. It’s our first impression — which fades with familiarity, into the background.
This first impression, or sense of the moment, is, at first, of “unknown" (yes, I wrote that rightly). Our first impression is of "unknown". Gradually, with enough time and enough exposure, "unknown" fades-in into "something known" — a memory is formed. Until a sufficiently vivid memory is formed, no experience is being had.
The motions of experience inscribe upon memory an ongoing trail, movements of attention from one thing to another.
MEMORY : THE BASIS OF THE MOVEMENT BETWEEN HARMONY AND DIS-HARMONY
We resort to memory as a proxy for (approximation of) actual experience, so we can more easily focus on experiences that have that pattern, and look for what’s changing, moving, happening. It’s beginning from a presumed base of knowledge.
As we get familiar with anything, we form a memory of it. That memory constitutes our knowing of “how things are”.
Then, the experience of the moment is seen always in terms of existing memories, which grow in a moving, changing pattern. The growing edge of memory is experiencing what is emerging out of the unknown, clothing it in imagination so it may seem known, then forming memories and bridging them with other memories. Impressions form over time about the “realities” of life, colored by memories brought to life by imagination, imagination informed by memory and going beyond.
We form our memories from our experiences of the moving moment of life, the changing harmonics of life. All sensory impressions that go into memory refer to movements and harmonics of life, memories of persons, places and things. Our memories of “the movements and harmonics of life” flavor or dress up all of our sense-impressions of the moment.
A memory of “a movement and a felt harmonic” gets called up every time we recall something and every time we put ourselves in a situation to experience anything familiar. Memory creates expectation.
A way of finding the force of a memory is to notice how much it matters to you.
ASSUMING MEMORIES are REALITY, TRUTH or SELF
We give our memories the status of “truth”, and memories of our own state the status of “self”.
To the degree that something feels, “in your face”, that’s the degree that you take it for truth, for reality, or as self. That’s how solidly set your / my attention is in memory, how solidly fixated, how ingrained, how entranced. That’s how much experience has “got us” by the ….. (ooch!) .
PERPETUATING and/or REFUSING THE EXPERIENCES WE REMEMBER
Persistence and resistance (or intending and refusing) are two forms of the same thing: one is “wanting to make it more” and the other is “wanting to make it less”; the difference, only one of direction; both are “wanting”.
When someone “knows” something, they want (to some degree — strongly or mildly) either to reinforce/assert their knowledge or to minimize/deny it. They want to rely upon it or they want to forbid it. Either way, they want to do that for themselves, for their own sake.
By those acts, they form an attitude, a key part of the ability of identity to express itself, a felt memory.
Once a person has an attitude, they want to impose it upon the world. (Even the idea of “not wanting to impose it on the world” is an attitude.)
That’s the activity of identity, of self-propagation, the genetic imperative that distinguishes itself from others on the basis of memories.
A case in point: Take, for an example, ten year old Jimmy.
experience
Jimmy has never been to a baseball game.
His father comes home with tickets to see the Cardinals.
They go on a Saturday.
At the ballpark, Jimmy takes it all in, eyes open wide.
Dizzy Dean is pitching.
He winds up. There’s the pitch.
Foul ball. Into the stands.
Jimmy catches the ball.
memories
Now, Jimmy has a story to tell the guys in the neighborhood.
What does that do for his social status?
Jimmy likes the attention. He brings the ball to school, he tells the story at Sunday School, around …
The more Jimmy tells the story,
the more he reinforces the memory of it
and his place in it.assuming memories are truth, reality, or self
Jimmy takes credit for catching the foul ball,
lays claim to special status, reason for pride.
casts himself into a self-image that he takes for himself
and shows around.perpetuating what we remember as extended forms of “self”
Soon, Jimmy is a fan.
He’s read up on Dizzy Dean, knows his statistics,
roots for the Cardinals,
feels the glory when they win
feels the humiliation when they lose.
He’s even gotten into a couple of fights over it.
He can’t help himself.
But then, he’s only ten.
That was a long, long time ago.
Now, Jimmy’s a Republican.
another case-in-point:
George enlists in the army.
Goes to war. It’s his patriotic duty.
He’s sent to the front. Wounded.
Now he has a limp. And a medal.
He’s honorably discharged and sent home. He gets special recognition, special privileges. (This was an earlier time.)
He’s sent to an innovative form of therapy that promises he can walk, again. In fact, he’ll lose the limp.
But now, George doesn’t know “who he’d be” without his war wound. He’d seem ordinary. He also can’t imagine walking normally, again. He’s forgotton his “pre-army” state. His wound and his status as a wounded war vet, based in memory and the seeming permanence of his wound, have made him into something else.
The therapy doesn’t work.
He gets into politics. Eventually, he runs for political office.
Now, he gets some mileage out of being a wounded war vet. His wound is his badge of courage. He cherishes the identity of “War Vet”, keeps it low-key on the campaign trail. He imagines that it is some of the basis of the respect with which people treat him, that it’s a “trump card”: On certain topics, no one dares challenge his position.
And, of course, years later, he’s a Republican.
An identity is a standpoint and general ways of operating based on memories of experience, a standpoint that wants to reinforce (or perpetuate) its way of operating in the world.
Everything we know, we want to continue to be “right knowledge”. That’s why people dislike “being wrong” and why “being made wrong” is such a politically incorrect social impropriety. It’s about what “wanting to be right” means — not having to change.
So, first we experience something. And then, as we experience it, we remember it. Then, we assume that memory represents and actually says something reliable about either oneself or something or someone other. We carry all the accumulated memory patterns that form out of the interaction of the world with our memoried self. We act as if life exists in terms of those memory patterns — and so act accordingly — either to perpetuate and reinforce or to refuse or counteract.
That explains how we form behavior patterns, how we get stuck in behavior patterns (egotism, arrogance, “anything goes” or cold-fish authoritarianism), and also how we learn to grow and evolve. It’s a spooky business.
Just as we form innumerable memories from moment to moment, we form innumerable identities for each moment — and hopefully they’re all well interconnected, so we don’t get trapped in one.
The tricky thing about all this is how to avoid getting stuck in the sheer mass and momentum of accumulated memories.
One answer is, to reverse the process. What would happen for Jimmy if he imagined himself going back up the chain of identity formation?
I present The Gold Key Release ( which a New Age Flower Child might call, “The Somatic Crystal Decrystallization Process”, a soul brother: “Da Big, Divine Kosmic Kiss” (mmmWAH!) or, an academic professor, rather stuffily, “A Somatic Faculty”) —- viz:
(NOTE: vizier = one who writes, “viz”.
“Vizier” is Arabic for “wise guy”.)
"Somatic Awakening" is not an "awakening to" or "awakening into"; it’s an awakening as and then an awakening from.
It’s “awakening as” what most ordinarily IS,
scanning it with attentiveness,
feeling it, inhabiting it,
enfolding it,
assessing its “charge”: how one feels implicated (i.e., compelled to act),
the force of memory,
detecting imagination in memory,
then awakening from imagining,
releasing the sense of “something there”, feeling it dissolve into the formless root of attention, feeling attention as no-self.
There. Which is Here.
It’s going backward through
the stages of priority
"upstream" of the creative process,
to awaken, undefined, as self-source — the Natural State, the experience of which feels like A Big, Divine Kosmic Kiss, which we may symbolize by the word,
"mmmmWAH!!!"
which is also what it feels like, as we dissolve into the undefined Condition.
See? No? You will.
He feels his position, attitude, standpoint, or whatever he is stuck with or is perpetuating — his knowledge, his chosen identity, his refuge to the immunity of rightness. Whatever it is, it’s a sensation, felt bodily, with a location, size, shape, and intensity in the overall body-sense (kinesthetic body, subtle body, etheric body, dream body). Feel each term. Pretty similar, huh?
It may occur to him that he may have “bought in to something” — assigning the status of “reality” to his memory-shaped-colored perspective in the world: “the truth” or “The Truth”, “oneself” or “the Self”. It may occur to him that, that he does not “have” it, but that it “has” him. That he lives “inside” it and is subject to its limitations, which he takes as a product of Reality and not a product of his way of remembering and seeing things, his perspective. To him, it’s solid, real, and consequential. The mood is, “This is real." or "This matters" (to a greater or lesser degree— but note: If something makes a difference to you, you’ve bought into it and it has you.)
He feels how much of this sense of “solid truth” or “things mattering with consequences” feels like memory and how much of memory feels like imagination. It’s a “feel” thing, not an “answer” that he comes up with. He traces the feeling from the sense of solid truth to memory to imagination.
He imagines the appearance of a scenario that’s developing and has expectations that are informed, in part, by memory, and so his perception is shaped by memory.
Remembering is re-imagining something into our experience. The seeming persistence, the solidity or reality of anything you can put your attention upon is memory. Memory fades unless refreshed by imagining. The denser the memory, the more persistent it is.The way we do it:
We put attention on the feeling of having some experience.
We sense the feeling of experience without words,
as a sensation someplace within us
We feel its size, shape, intensity.
We pump up our ability to sense our somatic state
with “attention maneuvers”.
We sense how much (not “what”) intention we have toward it
We notice how steadying attention solidifies intention.
We feel the whole package as a single, contained force:
the thing we are experiencing
and our intention toward it made solid by attention.
How intention + attention = memory.
Now, we feel how much it matters
in order to bring ourselves into the relationship
and acknowledge how much we are involved.
How much it matters has to do with our relation to the world.
Try it.
We may then own the intensity of the memory
even if we don’t know what the memory is
and we may sift that intensity
for the movements of imagining.
We feel how much it feels like “solid reality”, how much feels like memory, and how much of the memory feels a bit like imagining (or as we like to say, “daydreaming” or “being entranced”).
We feel “remembering” and “imagining” and alternate between them until we can zero in on each equally steadily and equally easily, and so can balance them. What makes it easier to alternate more to one side than the other is that we are more entranced by it. These words make sense with experience, but perhaps not before. Save yourself the brain-fog; instead of “trying to figure it out”, just do it. (Once.)
If you have trouble with this step, deliberately remember something. Feel what remembering feels like. Then imagine something. Feel what imagining feels like.
Now apply those distinctions to your sense of “solid truth”.
Feel the dissolution of his “fix” (or fixation) — the thing he has been perpetuating — as his discovery or sense of “how much of it is imagination” is “the little valve” through which the “air” that has inflated his sense of “solid truth” (and ego) escapes. Simpler if he just does Step 3. (Imagination is easier to let go than “solid truth”.)
He takes a breath, lets go and falls into his identity-less, natural state, at least for the moment. (Don’t do this while driving or try to understand this by reading it. Do the procedure. Do it well at least once.)
He checks the remaining intensity of the feeling. If anything is left, he starts at Step 1.
QUESTION: Would he quit being a Republican?
I ask you.
From here, we go to the first magical process for decrystallizing crystallized identity patterns:
The Gold Key Release
MORE:Other Magic Following Upon the Gold Key ReleaseThe Wish-Fulfilling Gem
Esoteric Somatics and Tibetan BuddhismSEARCH KEYWORDS:(to return to this entry again, later.
caring | | 42
harmony | 85 | 94
memory | | 89
identification | 7 | 148
perpetuation | 78 | 162
copyright 2014 Lawrence Gold
This writing may be reproduced only in its entirety
with accurate attribution of authorship.
Do it for yourself - somatics.com/page7-htm
ifttt.com/images/no_image_card.png via Blogger lawrencegoldsomatics.blogspot.com/2015/01/somatology-ulti...
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
Citizens United and Congressman Jeff Duncan are teaming up to bring grassroots activists from across South Carolina and the surrounding area to hear directly from national conservative leaders at the South Carolina Freedom Summit on Saturday, May 9, 2015. With the critically important South Carolina Primary less than a year away, the Summit will be a launch point for conservative ideas as we head towards 2016.
The Freedom Summit will focus on how we can get America back on track by focusing on our core conservative principles of pro-growth economics, social conservatism, and a strong national defense. This must-attend Summit in the Palmetto State is free to the public and will be held at the beautiful Peace Center in Greenville.
Stay tuned for further updates as we announce more nationally recognized speakers in the weeks ahead. Since the Summit is free, we encourage you to sign up early because we have a limited number of seats. Please tell your family and friends about this important grassroots event. We look forward to seeing you on Saturday, May 9th in Greenville for the South Carolina Freedom Summit!
Carly Fiorina (born Cara Carleton Sneed; September 6, 1954) is a former business executive who is actively seeking the Republican Party's nomination for President of the United States. Starting in 1980, Fiorina rose through the ranks to become an executive at AT&T and its equipment and technology spinoff, Lucent. As chief executive officer of Hewlett-Packard (HP) from 1999 to 2005, she was the first woman to lead one of the top twenty U.S. companies.
In 2002, Fiorina pushed through the biggest high-tech merger in history with rival computer company Compaq, which made HP the world's largest personal computer manufacturer. HP gained market share following the merger and subsequently laid off 30,000 of its American workers. Fiorina famously said to Congress in 2004: "There is no job that is America's God-given right anymore. We have to compete for jobs as a nation." By the end of 2005, the merged company had more employees worldwide than they had separately before the merger.
On February 9, 2005, in the wake of the controversial Compaq merger, and following a 65% drop in the HP stock price, Fiorina was forced to resign as chief executive officer and chairman of Hewlett-Packard in what she described as being "fired in a boardroom brawl". Since then, she has served on the boards of a number of other organizations.
Assessments of Fiorina's business career have varied. During her time at Lucent and Hewlett-Packard she was named by Fortune Magazine the most powerful woman in business. However, two days before her ousting from HP, Fortune described her merger plan as "failing" and the prognosis as "doubtful". She has been described as one of the worst tech CEOs of all time, though others have defended her leadership decisions and business reputation.
Fiorina served as an advisor to Republican John McCain's 2008 presidential campaign. She won a three-way race for the Republican nomination for the United States Senate from California in 2010, but lost the general election to incumbent Democratic Senator Barbara Boxer. On May 4, 2015, Fiorina announced on Good Morning America that she is running for President of the United States in 2016.
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Everyone is always asking me for this! Here ya go! :)
Support epic fine art! 45surf! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Most all of my work is composed and cropped in accordance with the golden ratio! The golden number and divine proportion informs all my logos and clothing designs!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Love exalting the Venus Archetype in portrait and model photography! Shoot from thw heart and aim for the soul! Enjoy my Epic Book Exalting the Venus Archetype: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
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Pretty Portraits & Headshots! Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Fitness Model! Pretty Woman! Sexy hot women!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics!! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical Reality of a Fourth Expanding Dimension: dx4/dt=ic !
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
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In a dystopian 1984, Winston Smith endures a squalid existence in the totalitarian superstate of Oceania under the constant surveillance of the Thought Police. The story takes place in London, the capital city of the territory of Airstrip One (formerly "either England or Britain").
Winston works in a small office cubicle at the Ministry of Truth, rewriting history in accordance with the dictates of the Party and its supreme figurehead, Big Brother. A man haunted by painful memories and restless desires, Winston is an everyman who keeps a secret diary of his private thoughts, thus creating evidence of his thoughtcrime — the crime of independent thought, contrary to the dictates and aims of the Party.
His life takes a fatal turn when he is accosted by a fellow Outer Party worker — a mysterious, bold-looking girl named Julia — and they begin an illicit affair. Their first meeting takes place in the remote countryside where they exchange subversive ideas before having sex. Shortly after, Winston rents a room above a pawn shop (in the supposedly safe proletarian area) where they continue their liaison. Julia — a sensual, free-spirited young woman — procures contraband food and clothing on the black market, and for a brief few months they secretly meet and enjoy an idyllic life of relative freedom and contentment together.
It comes to an end one evening, with the sudden raid of the Thought Police. They are both arrested and it's revealed that there is a telescreen hidden behind a picture on the wall in their room, and that the proprietor of the pawn shop, Mr. Charrington, is a covert agent of the Thought Police. Winston and Julia are taken away to be detained, questioned and brutally "rehabilitated", separately. Winston is brought to the Ministry of Love, where O'Brien, a high-ranking member of the Inner Party whom Winston had previously believed to be a fellow thoughtcriminal and agent of the resistance movement led by the archenemy of the Party, Emmanuel Goldstein, systematically tortured him.
O'Brien instructs Winston about the state's true purpose and schools him in a kind of catechism on the principles of doublethink — the practice of holding two contradictory thoughts in the mind simultaneously. For his final rehabilitation, Winston is brought to Room 101, where O'Brien tells him he will be subjected to the "worst thing in the world", designed specifically around Smith's personal phobias. When confronted with this unbearable horror — which turns out to be a cage filled with wild rats — Winston's psychological resistance finally and irretrievably breaks down, and he hysterically repudiates his allegiance to Julia. Now completely subjugated and purged of any rebellious thoughts, impulses, or personal attachments, Winston is restored to physical health and released.
In the final scene, Winston returns to the Chestnut Tree Café, where he had previously seen the rehabilitated thoughtcriminals Jones, Aaronson and Rutherford (themselves once prominent but later disgraced members of the Inner Party) who have since been "vaporized" and rendered unpersons. While sitting at the chess table, Winston is approached by Julia, who was similarly "rehabilitated". They share a bottle of Victory Gin and impassively exchange a few words about how they have betrayed each other. After she leaves, Winston watches a broadcast of himself on the large telescreen confessing his "crimes" against the state and imploring forgiveness of the populace.
Upon hearing a news report declaring the Oceanian army's utter rout of the enemy (Eurasian)'s forces in North Africa, Winston looks at the still image of Big Brother that appears on the telescreen, then turns away and almost silently says "I love you" - a phrase that he and Julia repeatedly used during their relationship, indicating the possibility that he still loves Julia. However, he could also be declaring his love for Big Brother instead. The novel unambiguously ends with the words: "He loved Big Brother," whereas the movie seems to deliberately allow for either interpretation. Earlier, during Winston's conversation with Julia in the rented room, he stated that "if they can make me change my feelings, they can stop me from loving you, that would be real betrayal". In the final scene, the "real betrayal" has therefore either been committed or averted, depending on whether the "you" that Winston loves is Big Brother or Julia.
In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.
Speakers included:
Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations
H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations
Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union
Ms. Laura Trevelyan, BBC Anchor/Correspondent
Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women
Ms. Lise Kingo, CEO and Executive Director, United Nations Global Compact
Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar
Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women
Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS
Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America
Ms. Katherine Lucey, Founder and CEO, Solar Sister
Ms. Luz Maria Jaramillo, President, Pavimentos Colombia
Ms. Joanne Farrell, Managing Director, Rio Tinto
Keynote Remarks
Ms. Padma Lakshmi, Author, actress, model, television host, executive producer
Photo: UN Women/Ryan Brown
Classical Ballet Malibu Beach Flowers! California Wildflowers Superbloom Ballerina Dancer dancing Ballet! God Spilled the Paint Desert Wildflowers Super Bloom! Elliot McGucken Fine Art Landscape & Nature Photography!
I sign every print with dx4/dt=ic, and my physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite
About the pattern: In Islamic art, the principles of unity and harmony with nature and the heaven are symbolized by the circular geometry. The circle is known as the perfect expression of justice-equality in all directions in a finite domain.
The hexagon is close in shape to the circle and is associated with the perfection of the circle. Therefore, hexagons and six pointed stars are very important symbols in Islam as the representations of Heaven and perfection.
---
The Tiled Kiosk (Turkish: Çinili Köşk) is a pavilion set within the outer walls of Topkapı Palace and dates from 1473. It was built by the Ottoman sultan Mehmed II as a pleasure palace or kiosk. It is located in the most outer parts of the palace, next to Gülhane Park. It was also called Glazed Kiosk (Sırça Köşk).
The exterior glazed bricks show a Central Asian influence, especially from the Bibi-Khanym Mosque in Samarkand. The square, axial plan represents the four corners of the world and symbolizes, in architectural terms, the universal authority and sovereignty of the Sultan. As there is no Byzantine influence, the building is ascribed to an unknown Persian architect. The stone-framed brick and the polygonal pillars of the façade are typical of Persia.
The blue-and-white tiles on the wall are arranged in hexagons and triangles in the Bursa manner. Some show delicate patterns of flowers, leaves, clouds or other abstract forms.
It was used as the Imperial Museum (İmparatorluk Müzesi) between 1875 and 1891. It was opened to the public in 1953 as a museum of Turkish and Islamic art, and was later incorporated into the Istanbul Archaeology Museums.
The pavilion contains many examples of İznik tiles and Seljuk pottery and now houses the Museum of Islamic Art.
In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.
Speakers included:
Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations
H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations
Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union
Ms. Laura Trevelyan, BBC Anchor/Correspondent
Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women
Ms. Lise Kingo, CEO and Executive Director, United Nations Global Compact
Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar
Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women
Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS
Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America
Ms. Katherine Lucey, Founder and CEO, Solar Sister
Ms. Luz Maria Jaramillo, President, Pavimentos Colombia
Ms. Joanne Farrell, Managing Director, Rio Tinto
Keynote Remarks
Ms. Padma Lakshmi, Author, actress, model, television host, executive producer
Photo: UN Women/Ryan Brown
An air crew assigned to the San Diego Air and Marine Operations (AMO) branch spotted a vessel traveling north off of the San Diego coast, with its lights off, June 9, 2019. The air crew coordinated an interdiction with AMO Marine Interdiction agents, who stopped the vessel and arrested 7 illegal aliens, 2 principles and seized the 25-foot Seaswirl vessel.
Yingluck Shinawatra and the Pheua Thai Party get their election posters up on Phetchburi Road.
Broadly the poster means, "Stay with the rules of law that safeguard democracy. Respect the public's decisions."
However, the tactic pursued by Suthep's minority anti government protest group (who want to return Thailand to Military Rule Endorsed by Absolute Monarchy) / and the minority Democrat Party, is to disrupt the coming elections by creating a situation in as many southern constituencies as possible where there are no candidates or, at the least, no opposition candidates fielded. This would lead to one of the pre-requisites for a democratic election as defined by the Thai constitution being removed.
- - - - -
Elements of Elections
Prerequisites
Asia Pacific Institute of Broadcasting Development
For an election to represent the true wishes of the people it must meet certain conditions. Among the most important features of a democratic election are:
1. Diversity in political parties and candidates so that the choice before voters is real, not illusory. An election dominated by a single significant party is unlikely to generate different visions and plans for the country, let alone debate around these. Without such an exchange of ideas in the public sphere, voters will not be equipped to select parties or candidates in an informed manner. Further, a party that is elected more or less unopposed will have no real reason to listen to the people. Such a situation is contrary to the basic idea of democracy.
2. Competing political parties must have freedom to campaign in the run-up to the election. This means they must be free to hold meetings and to communicate with voters about their ideologies and proposed policies and programmes – through meetings, pamphlets, advertisements or any other legitimate means, including new information and communications technologies. Without such communication, voters will not be in a position to learn about the ideas and solutions offered by different parties and candidates, especially those who are not yet in power.
3. Rules to govern the election must not only be in place but they must be widely known and observed. A credible, respected individual or organisation (such as an election commissioner/commission) must be charged with administering the rules. Courts must have jurisdiction over both the rules and the administration of the election so that election-related complaints can be dealt with by the judicial system. The rules should include strong and effective legal procedures against electionrelated corruption and violence. Nobody should be able to dictate to voters who they should vote for. If citizens are not protected from such violations of their rights, the outcome of the election will be questionable and people will feel cheated. Members of the public who are unhappy with election results may express their dissatisfaction through protests; some may even take steps towards establishing a different kind of government. There is likely to be more public trust in the elected government if people perceive that the election was conducted in a free and fair manner.
4. Most importantly, the public must be aware of the importance of voting as well as the choices with regard to candidates and voting procedures. Voters must have the opportunity to become interested in and knowledgeable about the election through access to non-partisan information presented in a manner that is not only comprehensible but also clarifies the connection between politics and the lives of ordinary people. Without such knowledge they will be vulnerable to manipulation, if not deception, by special interests. The media have a key role to play in providing citizens with the relevant, balanced information they need to do justice to their vital role as voters.
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
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“The mountains are calling and I must go.” --John Muir
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
I picked this dress up in the Debenhams sale a few weeks ago and this was the first chance to wear it. I'm really pleased with it and how it hangs (it is a fluid silky jersey type fabric with mesh sleeves) and also was a bargain (just £16.50 from £55!)
ACAMPADA BARCELONA
DECLARATION OF PRINCIPLES
#acampadabcn
We have come here voluntarily and by free will. After the 15th of May demonstrations we have decided to remain united and grow in numbers on our fight for dignity. We do not represent any political party and they do not represent us.
We are united on our rage, our discomfort, our precarious life which is derived by inequality but, above all, what keeps us together is our will for change. We are here because we want a new society that puts our life on top any political or economic interest. We feel crushed by the capitalist economy, we feel excluded from the present political system which does not represent us. We are striking for a radical change in society. And, above all, we aim at keeping society as the sole driver of this transformation.
They thought we were asleep. They thought they could carry on cutting our rights without finding any resistance. But they were wrong: we are fighting – peacefully, but with determination – for the life we deserve.
We have learned from Cairo, Iceland and Madrid.
Now it’s time to extend the fight and spread the word.
Information #acampadabcn
acampadabcn.org/
Quienes somos los Acampad@s de Barcelona?
Somos gente que de forma libre y voluntaria , después de la manifestacón del 15 de mayo, hemos decidido seguir juntos en la lucha por la dignidad. No representamos ningún partido ni asociación. Tampoco nadie nos representa.
Nos une el malestar por la vida precaria y por las desigualdades, pero sobre todos nos une una vocación de cambio.
Estamos aqui porque queremos una nueva sociedad que de prioridad a la vida y no a los interses económicos y políticos. Nos sentimos pisados por la economía capitalista, y en este sentido excluidos del sistema politico actual, que no nos representa. Apostamos por una transformación profunda de la sociedad. Ysobre todo apostamos porque sea la propia sociedad la protagonista de esta cambio.
Acción Directa Edificio del Banco España, Plaza Catalunya. En donde se rompe y se arraca la publicidad.
¿Creían que estabamos dormidos. Qué nos podían recortar los derechos sin que pusieramos resistencia?.
SE EQUIVOCAN: Estamos luchando pacificamente perocon determinación por la vida que todos merecemos.
Hemos aprendido del Cairo, de Islandia, de Madrid...
AHORA TOCA EXTENDER LA LUCHA Y TOMAR LA PALABRA!!!
TRANSLATIONS TO MORE LANGUAGES:
Aktselbstbildnis/Nude Self-Portrait, 1910
Schwarze Kreide, Aquarell und Deckfarben/Black chalk, watercolor and gouache
Albertina
The nude self-portrait cutting across the sheet diagonally shows us the artist's unwelcoming face, subverting the sheet's vertical static equilibrium. The representation contradicts all academic ideals of a beautiful physique: Schiele's iconograhy of the maltreated body becomes a cipher for the suffering artist as such.
Das schräg ins Bild stürzende Aktselbstbildnis zeigt uns sein abweisendes Gesicht; der diagonal angelegte Körper durchschneidet das dadurch aus der vertikalen Statik geworfene Blatt. Die Darstellung widerspricht jeglichem akademischen Ideal eines schönen Körpers: Schieles Ikonografie des geschundenen Leibes wird zur Chiffre für den leidenden Künstler schlechthin.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.