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Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
Wilson Peak Snow Sunrise Last Dollar Road Autumn Colors Telluride CO Fall Foliage Colorado Aspens Fine Art Landscape Nature Photography Fuji GFX100! 45EPIC Elliot McGucken Master Fine Art Luxury Photography Colorado Fine Art Fuji GFX 100 & FUJIFILM GF Lens !
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
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!
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)
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
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Initially I thought they were trying to tell us that the big thing this Spring, hot off the Paris catwalks, is going to be our birthday suits. Then I saw the notice that said Principles have been passed into the hands of the administrators.
I'm gutted. Where's a 5'2" short person supposed to buy her jeans from now? Ones from other shops just don't fit the same.....
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
The Blackboard UX team created a team mission and principles that drive their approach to created quality designs.
They meet at the Barrie Masonic Temple, Barrie, 0ntario, Canada.
Unfortunately this photo was hung upside down. The white point should point down.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
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Order of the Eastern Star
General Grand Chapter logo
The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
Contents
HistoryEdit
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
Emblem and heroinesEdit
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
OfficersEdit
Officers representing the heroines of the order sit around the altar in the center of the chapter room.
Eastern Star meeting room
There are 18 main officers in a full chapter:
Worthy Matron – presiding officer
Worthy Patron – a Master Mason who provides general supervision
Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer
Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer
Secretary – takes care of all correspondence and minutes
Treasurer – takes care of monies of the Chapter
Conductress – Leads visitors and initiations.
Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.
Chaplain – leads the Chapter in prayer
Marshal – presents the Flag and leads in all ceremonies
Organist – provides music for the meetings
Adah – Shares the lesson of Duty of Obedience to the will of God
Ruth – Shares the lesson of Honor and Justice
Esther – Shares the lesson of Loyalty to Family and Friends
Martha – Shares the lesson of Faith and Trust in God and Everlasting Life
Electa – Shares the lesson of Charity and Hospitality
Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.
Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.
Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.
Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.
HeadquartersEdit
The International Temple in Washington, D.C.
Main article: International Temple
The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.
CharitiesEdit
The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]
Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star
Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse
Notable membersEdit
Clara Barton[8]
J. Howell Flournoy[9]
Eva McGown[10]
James Peyton Smith[11]
Lee Emmett Thomas[12]
Laura Ingalls Wilder[13]
H. L. Willis[14]
See alsoEdit
Achoth
Omega Epsilon Sigma
ReferencesEdit
^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.
^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death
^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.
^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.
^ "OES Charities". Retrieved 2016-04-15.
^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.
^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]
^ Clara Barton, U.S. Nurse Masonic First Day Cover
^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1
^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC
^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.
^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.
^ Big Muddy online publications
^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.
External linksEdit
Official website
Eastern Star Organizations at DMOZ
Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois
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.
California Superbloom! God Spilled Buckets of Paint Antelope Valley Poppy Reserve Superbloom! California Spring Wild Flower Super Bloom Elliot McGucken Fine Art Landscape & Nature Photography! Spring Desert Flowers Blooming! Nikon D850 & AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR Nikon!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me my good friends!
Facebook: geni.us/A0Na3
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Some of my epic books, prints, & more!
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!
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)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
LANGLEY, HENRY, architect; b. 26 Nov. 1836 in Toronto, son of William Langley and Esther Anderson; d. there 9 Jan. 1907.
Henry Langley’s father was a shoemaker who had emigrated from Ireland with his wife and three children, settling in York (Toronto) in 1832. Sometime after 1846 Henry entered the Toronto Academy, a non-denominational private school sharing premises with Knox College. The program of study included English, French, the classics, mathematics, commercial subjects, and the principles of linear drawing, taught by Edward Claxton Bull.
About 1854 Langley was indentured for a period of seven years to Scottish-born architect William Hay*, a capable designer of public buildings and churches in the most approved and up-to-date fashions. Under Hay’s tutelage Langley developed a lucid drafting style, based on the bold, neo-medieval delineation advocated by contemporary British architect William Burges. He also acquired an appreciation for Gothic Revival architecture, including the tenets of Augustus Welby Northmore Pugin, the revival’s great apologist, and the “science of ecclesiology” (building and decoration in keeping with Anglican high churchmanship) developed by the Cambridge Camden (later the Ecclesiological) Society. Hay specialized in a Gothic style nearly comparable in principle to the work of Frank Wills* (who had introduced ecclesiology into British North America) and of leading Toronto architects Frederic William Cumberland* and William George Storm*. This background proved an invaluable asset in Langley’s future practice, which was said to comprise no fewer than 70 church commissions across Ontario and one as far east as Saint John, N.B.
In 1862 Hay returned to Scotland, leaving his practice to Thomas Gundry, an English-trained architect and civil engineer with whom he had entered into partnership earlier that year. Langley’s early promise is demonstrated by the fact that Gundry took him into partnership immediately. Langley assumed the role of design partner; Gundry’s expertise reportedly lay in valuations and estimates. The new firm built upon Hay’s reputation as a church architect, executing commissions for all denominations. By this period the emblematic associations of the Gothic Revival served both those churches that stressed the sacraments and evangelical churches, which emphasized preaching. Variations to suit differing liturgical requirements were especially marked in the interiors, however, and were indicative of Langley’s adaptability. For example, Alexander Street Church (Baptist) in Toronto (built in 1866 but now demolished) was designed as an open hall with a central pulpit surrounded by seating on three sides, whereas St Patrick’s Church (Roman Catholic) on Dummer Street (1869–70) – renamed Our Lady of Mount Carmel, St Patrick Street – has a long nave leading between narrow aisles to an elevated and apsidal sanctuary, in accordance with the requirements of the mass. East of Toronto, three Anglican churches of the same decade illustrate the variety of materials and scale used by Langley to suit the available resources within a consistent, ecclesiological frame of reference: All Saints’, Whitby, a fairly large brick church of 1865–66; St John’s, Port Hope, a stone church of moderate size built in 1867–68; and St Thomas’, Brooklin, a modest but exemplary chapel of 1869–70 in board and batten.
A work such as St Peter’s Church (Anglican), Carlton Street, Toronto (1865–66), reflects Gundry and Langley’s attempt to deal with the rural models of ecclesiology in an urban setting. This chapel type – aisleless internally and of simple profile externally, apart from a low porch on the south and west sides and an open belfry on the west gable – was derived from St Michael’s at Longstanton, near Cambridge, England, a 13th-century precedent long approved by Puginians and ecclesiologists alike. St Peter’s red-brick body with white-brick detailing was inspired by the “constructional polychromy” recently favoured for town churches by a leading Camdenian, George Edmund Street. An earlier example of a similar type, in red brick with grey granite, is Thomas Fuller*’s St Stephen-in-the-Fields, Toronto (1858), restored by Gundry and Langley following a fire in 1865.
Langley had the distinction of completing Toronto’s two cathedrals. In 1865, during his partnership with Gundry, he designed a bell-chamber and spire for St Michael’s (Roman Catholic). The ornate profile punctuated by crockets complements the Decorated Gothic structure of 1845–48 by William Thomas*. In 1872 Langley also executed a belfry and spire, though with fewer enrichments, for St James’ (Anglican), finishing its porches at the same time. In this instance, however, he seems to have been guided by designs that W. G. Storm had drafted earlier.
Apart from ecclesiastical projects, one of the most important commissions of Gundry and Langley was Government House in Toronto (1867–69), since demolished. The commission constituted a notable piece of provincial patronage. The rather dour mansion itself was a large and early domestic example of the Second Empire style. Under a characteristic mansard roof that gave the building a distinctive high profile, it was symmetrical about a central tower. Langley described it as “designed in the modern French style of architecture which has been adopted largely in American cities, and is rapidly getting into favour in England,” a statement indicative of the growing reliance upon American sources among Canadian architects.
Significant in terms of the firm’s commercial work was the Toronto dry-goods warehouse (1862–63) of John Macdonald*. Remarkable for its “great system and gigantic scale,” this five-storey stone building of Italian Gothic form towered above its neighbours on Wellington Street and was considered an extravagance when commissioned. It soon became the envy of the mercantile community, however, and established a precedent for the ostentatious and large-scale warehouses and office blocks of the future, many of which would be executed by the Langley firm.
After Gundry’s untimely death in 1869, Langley practised on his own for three years, one of the most productive periods of his career. He was assisted by his nephew Edmund Burke* and by Frank Darling*, who had begun their articles with him in the mid 1860s and would go on to be counted among the country’s foremost architects. Following an unsatisfactory competition in 1868–69, Langley, the runner-up, wrested the commission for Metropolitan Church on McGill Square in Toronto from the first-prize winner, W. G. Stone. Langley proposed a virtual cathedral of Methodism in 14th-century French Gothic style. The exterior, of white brick trimmed in stone, appeared to be a conventional basilican design complete with shallow transepts and semi-polygonal apse. The interior, however, consisted of a rectangular auditorium encircled by a gallery, and the apsidal portion was filled with lecture halls and Sunday-school rooms. Built in 1870–72, it was extensively altered after a fire in 1928 and the tower is the only part that is now recognizable as Langley’s work. His designs for evangelical congregations continued to combine traditional Gothic exteriors with auditorium plans until late in the 1880s, when Edmund Burke, then a junior partner, would adopt a Romanesque revival model influenced by American architect Henry Hobson Richardson.
The eighth Post Office (1872–74), by Langley, was begun while Metropolitan Church was in progress but was in an enriched version of the Second Empire style. It crowned the vista on Toronto Street at Adelaide, in the heart of the city’s business district. Initially the Canadian government had obtained plans from Alfred B. Mullett, supervising architect for the American Department of Treasury. In 1870 these were turned over to Langley, who was instructed to retain “the dimensions and interior arrangements for postal purposes.” His scheme incorporated key features of the archetype adopted by Mullett for federal buildings throughout the United States, including paired orders at every level of the frontispiece, flanking pavilions of channelled ashlar, and a bulbous dome at the centre. That the government had requested Mullett’s assistance confirms once more the tendency to rely upon American models, a practice increasingly common towards the end of the century. Unfortunately this focal landmark was demolished in 1958.
In 1873, part way through these important projects, Langley formally took his brother Edward, a builder, and Edmund Burke into partnership: Langley, Langley, and Burke. After Edward dropped out of the firm in 1883 and moved to California, it was known as Langley and Burke. The number of employees in its drafting room increased dramatically in response to a growing volume of work, and operational methods began to parallel those of some of the larger architectural practices in the United States. The list of draftsmen includes several, in addition to Burke and Darling, who were to become prominent in the next generation of architects, including Murray Alexander White and John Charles Batstone Horwood.
Throughout the 1870s Langley’s firm handled a prodigious amount of commercial work in Toronto in various styles, ranging from Second Empire for the Bank of British North America (1871–73) and the Imperial Chambers (1874) to High Victorian Gothic for the offices of the Union Loan and Savings Company (1878–80) and the Building and Loan Association (1878), and from commercial palazzi for Stovel and Armstrong, tailors (1873), and Thomas May and Company (1877) to American néo-grec for Canada Life Assurance (1874–75). All but the bank have been demolished, and its symmetrical appearance has been significantly altered by the relocation of its entrance from the Wellington Street face to the Yonge Street front. These works set the tone for the firm’s most innovative schemes, among them the Army and Navy Store of 1887–88 for William A. Thompson (doubled in size about 1890–91), which still stands on King Street East nearly opposite St James’ Cathedral. Iron and terracotta play important structural and decorative roles here. A monumental arch extends the shop windows of the ground floor up through the fully glazed second floor to the top of the third, creating a high ratio of glass to solid wall; a more conventional grouping of windows in the fourth storey terminates the structure.
Much of the later work credited to Langley, including the Army and Navy Store, McMaster Hall on Bloor Street (1880–81), Sherbourne Street Methodist Church (1886–87), and Western (later Trinity) Methodist (1888–89) at Bloor and Major streets, is attributable to Edmund Burke, who acted as Langley’s design partner during this period. This conclusion is supported by Burke’s comments, his long association with the family of William McMaster*, building-committee minutes for the projects in question, and a plan of the firm’s office, published in Canadian Architect and Builder in 1890. This plan shows that Burke’s own office, which had direct access to and overlooked the drafting room, contained a drafting table and a writing-desk, whereas Langley had only a desk, an indication that he must have carried little more than administrative responsibilities by this date. Langley’s management of the office was none the less a driving force behind the firm’s success.
Committed to artistic excellence, Langley was involved in the 1860s as a judge in the fine-art section of the exhibitions sponsored by the Agricultural Association of Upper Canada. In 1873 he became a member of the Ontario Society of Artists, and his partnership began to contribute to its annual exhibitions. Three years later he served on the selection committee for the American centennial exhibition in Philadelphia; a lithograph submitted by the firm earned one of four bronze medals presented by Canada’s commission there. And in 1880 Langley was named a founding member of the Royal Canadian Academy of Arts, depositing as his diploma work a perspective (rendered by Frank Darling) of the design for Metropolitan Church. From 1881 to 1901 he was the academy’s auditor and for several years he sat as a councillor.
Langley’s concern for the status of the architectural profession is clear from his role in the creation of an architects’ association in Toronto in 1876. Within a year this had become the Canadian Institute of Architects, but it folded sometime after February 1878. In the following decade Langley was among the early members of the Architectural Guild of Toronto, founded in 1887. He also worked for the formation of the Ontario Association of Architects in 1889 and the endowment that year of a chair in architecture at the School of Practical Science on the University of Toronto campus. The standards he set in his practice inspired his students to take an equally active interest in the profession.
Langley was an exceptional practitioner by virtue of the unusual size of some of his commissions, the scale of his practice, and the numbers of architects he trained. Through his churches he left his stamp on the skyline of a great many Ontario towns. At the same time his work was representative for he was rarely adventurous. That he was so conservative is not surprising considering that he was among the first generation of architects born and trained in English-speaking Canada. His career serves to link the era of the immigrant British architect and received tradition with the succeeding generation, educated in modern building technology and abreast of North American developments. When Burke left the firm during a building recession in 1892 to purchase the practice of the late W. G. Storm and take over the commissions unfinished at his death, Langley’s son Charles Edward (the first graduate of the department of architecture established at the School of Practical Science in 1890) joined his father’s firm, which continued as Langley and Langley.
Henry Langley’s health began to fail about 1898 and he died in 1907, but his sympathetic nature and his commitment to the profession were not forgotten. His colleagues remembered him as “a man of great kindness of heart, upright in all his dealings . . . , and one who from first to last upheld and practised honourably his chosen profession.” For all the warmth of character he evidently possessed, Langley was a private man. His political allegiances are not known. He was a member of the Toronto Board of Trade. The census records most often identify his religious affiliation as Plymouth Brethren, whereas his parents were Baptist. About 1866 he married Anne Booth from England, and they are reported to have had seven children, five of whom survived to adulthood. One son, Ernest Felix, became a professor of linguistics at Dartmouth College in Hanover, N.H. Another, Frederick William, practised architecture in Chicago. Charles continued his father’s office and in 1907 formed a partnership with one of Langley’s former students, William Ford Howland. Henry Langley was buried in the Necropolis, for which he had designed the chapel, superintendent’s lodge, and entrance gates in 1871–72.
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
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Vickers Type 287 was a British 1930s light bomber built by Vickers-Armstrongs at Brooklands near Weybridge, Surrey, for the Royal Air Force. The Type 287 was originally built as a private venture and designed as a single-engine monoplane with a very high aspect ratio wing, and a manually operated, retractable undercarriage. It used the same geodetic design principles for both the fuselage and wings that had been derived from that used by Barnes Wallis in the airship R100. As it was not known how the geodetic structure could cope with being disrupted by a bomb bay, the Wellesley's bomb load was carried in two streamlined panniers under the wings.
The RAF ultimately ordered a total of 176 of the two-seater aircraft, with a 14-month production run starting in March 1937, and it was introduced into service the same year.
While it was obsolete by the start of the Second World War, and unsuited to the European air war. By the outbreak of the Second World War, the Wellesley had been phased out from home based squadrons, with only four examples remaining in Britain, but remained in service with three squadrons based in the Middle East. The Wellesley Mk. I bomber was successfully used in the desert theatres of East Africa, Egypt and the Middle East, where it was used until 1942.
While the Wellesley was not a significant combat aircraft, the design principles that were tested in its construction were put to good use with the Wellington medium bomber that became one of the main types of RAF Bomber Command in the early years of the European war.
The GR Mk. IV (Type 301) was a late special development for the RAF Coastal Command. It was actually a stopgap solution - during the first three years of the Second World War, Coastal Command and the Admiralty fought a continuous battle with the RAF and Air Ministry over the primacy of trade defense in relation to the bomber effort against mainland Germany, a strategic tussle which conceivably could have cost the Western Alliance the Battle of the Atlantic. The Air Staff and Bomber Command enjoyed the backing of Churchill and the maritime air effort struggled to receive the recognition it needed. On the outbreak of war, the Coastal Command’s order of battle listed just 298 aircraft, of which only 171 were operational.
Owing to the starvation of resources, even as late as March 1943 the Atlantic supply lines were being threatened. This situation arose as a direct result of the lack of very long-range aircraft. The Wellesley, even though basically outdated, offered a quick and proven basis for a radar-equipped maritime reconnaissance aircraft, especially for the Mediterranean, Middle East and African theatres, as these were regarded as less risky than the battle of the Atlantic or over the North Sea.
The Wellesley GR Mk. IV was a heavily modified version of the Mark I, built from existing airframes that were returned to Great Britain for conversion at Weybridge and Chester. A total of 28 aircraft were modified in early 1942.
The GR Mk. IV featured an ASV Mark III radar with a radome under the fuselage and additional mast antennae on fuselage and wings. The crew rose to three, as an operator for the ASV radar joined pilot and navigator/gunner, was placed behind the pilot.
In order to improve survivability the aircraft's defensive armament was considerably improved: instead of a single .303 in (7.7 mm) Vickers K machine gun in the Mk. I's rear cockpit, a powered dorsal turret, equipped with four 0.303 in (7.7 mm) Browning machine guns, was installed. The Brownings were electrically fired and insulated cut-off points in the turret ring prevented the guns firing when they were pointing at the propeller disc or tailplane.
The wing-mounted .303 in (7.7 mm) Vickers machine gun was retained, as well as the capability to carry up to 2,000 lb (907 kg) of bomb ordnance in underwing panniers. These were modified to carry up to four 450 lb (200 kg) Mark VII depth charges and an array of flash bombs for night missions, as the GR Mk. IV could not carry a Leigh Light.
In order to keep overall performance up despite the additional equipment on board and the extra drag created through radome and gun turret, the original Bristol Pegasus XX 9 cylinder radial piston engine with 925 hp (690 kW) was replaced by a 14 cylinder 1.525 hp (1.121 kW) Hercules VI powerplant.
The complete front of the engine had to be modified in order to take the heavier and much more powerful engine, similar to the Type 289 and 292 long range conversions of the basic Wellesley. As a further means of keeping the performance up, parts of the original steel fuselage structure were replaced by light alloy elements.
All GR Mk. IV's were sent to the Mediterranean theatre in summer 1942, primarily for defensive tasks, e. g. defending supply lines. The aircraft also took part in Operation Torch (initially called Operation Gymnast), the British-American invasion of French North Africa in World War II during the North African Campaign, which started on 8 November 1942.
By 1943 Coastal Command finally received the recognition it needed and its operations proved decisive in the victory over the U-Boats, and when more powerful Vickers Wellington aircraft became available, the Wellesleys of Coastal Command were withdrawn or deployed to Greece, and performed various support duties during the RAF interference in the Greek Civil War. By 1944, the last aircraft had been retired.
General characteristics:
Crew: 3
Length: 39 ft 3 in (11.96 m)
Wingspan: 74 ft 7 in (22.73 m)
Height: 15 ft 3½ in (4.67 m)
Wing area: 630 ft² [11] (58.5 m²)
Empty weight: 6,760 lb (3,066 kg)
Loaded weight: 11,048 lb (5,011 kg)
Max. takeoff weight: 12,500 lb (5,670 kg)
Powerplant:
1× Bristol Hercules VI, rated at 1,675 hp (1,250 kW)
Performance:
Maximum speed: 228 mph (198 kn, 369 km/h) at 19,700 ft (6,000 m)
Cruise speed: 180 mph (157 kn, 290 km/h) at 15,000 ft (4,600 m) (57% power)
Range: 1,220 mi (1,963 km)
Service ceiling: 25,500 ft (7,772 m)
Wing loading: 18 lb/ft² (86 kg/m²)
Power/mass: 0.08 hp/lb (0.14 kW/kg)
Climb to 15,000 ft (4,600 m): 17.8 min
Armament:
5× .303 in (7.7 mm) Vickers machine guns, one fixed forward in the right wing, four in a dorsal powered turret
Up to 2.000 lb (907 kg) of bombs in underwing panniers
The kit and its assembly:
Honestly, this kit conversion was inspired by an idea from fellow users (NARSES2 and pyro-manic) at whatifmodelers.com, who suggested a Wellesley in Coastal Command service. I have always liked these aircraft's elegant livery with a dark top side, white undersides and a very high waterline - and using THIS on a Wellesley, which traditionally carried Dark Green/Dark Earth uppers and Night (Black) undersides, would certainly look cool.
But it would certainly not remain a standard Mk. I bomber for sure, and as I cooked up a story I found the idea of a re-engined, radar-equipped reconnaissance aircraft pretty convincing - the Wellesley's long range and payload (the thing could carry more than it weighed itself!) made it an excellent choice.
The basis is the vintage Matchbox kit, which actually has some nice features. The geodetic surface is fine and not over-emphasized, just the landing gear is rather poor - I decided to drill open the landing gear wells and add some interior, as the kit offers OOB offer neither a well nor any detail. Inside, I glued parts from a plastic cookie box - not intended to be realistic, I just wanted to have some depth and structure.
As further means to enhance the overall look I also lowered the flaps, which was easy to realize.
Engine conversion to a Hercules (from a Matchbox Wellington bomber) was straightforward, as the Wellesley kit not only offers the original Jupiter engine of the Mk. I. bomber, but also an alternative, streamlined engine cowling for the Type 292 Long Range Development Aircraft. This offers a nice adapter for the Hercules – and with the bigger propeller and a spinner, this changes the look of the Wellesley a lot.
In order to beef up rearward defense I decided to implant a powered gun turret - a quadruple .303 turret from a Boulton Paul Defiant. The turret was taken from a Pavla kit and consists of styrene and resin parts, plus a vacu canopy. The gunner is a personal addition, I think it comes from a Matchbox Privateer, from one of the optional dorsal turrets.
Mounting the Defiant turret in the fuselage was tricky, as the turret is relatively wide, almost the same diameter as the Wellesley’s. I placed it where the original navigator cockpit with the rearwards-facing Vicker K is located. I carefully opened up the fuselage around that opening until the turret would fit, and then added covers made from styrene strips so that the whole thing would look a bit organic and streamlined. Inside, the turret sits on a styrene axis, so that it can be inserted/taken out at will. Very handy during painting, and the construction makes the turret 360° turnable.
Otherwise, the interior was taken OOB, as there’s hardly anything to identify once the canopy is fitted. The latter would remain closed, anyway.
The radome under the fuselage was a late addition: originally I had planned to add antenna masts for an ASV Mk. II radar, but then found the ASV Mk. III radome from the aforementioned Matchbox Wellington kit. As the Wellesley did not have a bomb bay, that space between the landing gear was just perfect. And while it would not be necessary I still added some antenna masts (scratched from heated sprues) under the wings and on the fuselage flanks - it just looks cool... ;)
Painting and markings:
The interior (cockpit, turret, landing gear) was painted in classic Interior Green (Humbrol 78).
On the outside, rather simple, classic Coastal Command colors were used: Dark Sea Grey and Dark Slate Grey on the upper side, with the pattern taken from the RAF Wellesley, and white undersides with a very high waterline and white leading edges on the wings.
Painting started with the lower sides – I used spray paint from the rattle can, since the large areas are hard to paint, esp. with white. Consequently I rather used a very light grey (RAL 7047, Telegrau 4), since pure white would be too bright/ by tendency. The color pictures I consulted for reference suggest that these machines would easily tend to become dirty, much room for weathering! After basic spray painting, the “white” areas received a counter-shading and dry-brushing with Humbrol 196 (RAL 7035, Lichtgrau), which is slightly more yellow-ish and lighter than RAL 7047.
After that had dried up, waterlines and leading edges were masked with Tamiya Tape, for the upper colors. Humbrol 27 and 224 were used as basic enamel colors, as they are the darkest tones for the job. Later, these were treated with Modelmasters’ 2056 and 2059, in order to weather the upper surfaces and work out the geodetic structure – similar procedure as for the lower surfaces.
The kit received a wash with black ink and serious dry-brushing in order to work out the wonderful surface structure - basically with some Humbrol 64 (Light Sea Grey) all around - no pure white has been used on the kit at all. Dirt, soot and stains were added with grinded graphite and thinned Humbrol 224.
Decals were puzzled together from the scrap box, from various RAF aircraft. Even though I took 179th Squadron Wellingtons as benchmark, I decided to add a full three-digit code with dull red letters – it adds an eye-catcher to the aircraft’s flanks, and the letters come from a MIcroscale aftermarket sheet.
The respective Wellingtons only had scarce markings and just single-letter codes (the full squadron code, "OZ", had obviously been omitted?).
In the end, not a major conversion, but the different paint scheme and the more massive nose change the overall look of the Wellesley considerably. I am quite happy with the result.
*
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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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!
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
bit.ly/1gT7spq February 21, 2014 at 02:01PM Principles of Accounting - Clearly related to bending reality // #logo #icon #design #graphicdesign #designlife #symbol bit.ly/1cyZYq1 via Tumblr bit.ly/1d5spOz bit.ly/16tMqGV
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
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
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!
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
An unidentified Klan speaker from New York takes the stage at a Ku Klux Klan rally in Rising Sun, Md. November 6, 1965.
The rally drew over 3,000 people of all ages to the field owned by George B. Boyle about a mile and a half outside of town where tribute was paid to two fallen Klan members—Dan Burros and Matt Murphy.
The rally also brought a few pickets and hecklers that were run off by Klan security before the rally began. A prayer vigil was held at two nearby churches decrying the Klan’s hate..
Burros was a New York Klan leader who took his own life after the New York Times published an exposure of Klan activities in the state that revealed Burros was Jewish. Murphy was an Alabama Klan attorney who died in an automobile accident.
Klan and other ultra-right groups largely hailed Burros as a hero. A statement by the National Renaissance party said in part:
“The late Daniel Burros is a martyr of the radical right! A true son of the white race, this lad descended from the blue-eyed, blond-haired stock that made the White Man supreme on the face of the early. Daniel Burros, racially, was not of mongrel half-Mongolian Khazar stock, but pure White Russian.
Robert Shelton, Imperial Wizard of the United Klans of America, issued a statement charging that Burros’ death was the result of “irresponsible snooping and prying of a sensation-seeking reporte4r.”
Shelton continued, “…it is regrettable that a brilliant young man—Dan Burros—whose love for his country and principles established and proclaimed by the Founding Fathers transcended all else…has been hounded into taking his own life.”
An account of the rally by Mae Rankin that resonates today appeared in the Afro American newspaper:
“I am really not the adventurous type, but I have a certain amount of intellectual curiosity about people and what makes them tick.
“This curiosity gave me the courage to ‘step where angels fear to tread’ and visit a certain peaceful cow pasture in Rising Sun, Md., on the evening of Nov. 6.
"Rising Sun is a small town, not far from the Pennsylvania line. On the streets pleasant people greet one another in a cordial manner as they shop in the few, scattered stores.
"When we stopped at the gasoline station to check the exact location of our ultimate destination, the attendant gave us directions in a friendly way.
"The sky was overcast that night. It was chilly. There was an unknown something that made me feel tight and cold. It was fear, real fear.
"I shivered in spite of the friendly faces and jokes from the platform. This was a large crowd, almost two thousand people, listening receptively to the speakers.
"As I looked around and observed the crowd—teenagers, young parents with small children, middle-aged men and women—I found it difficult to believe that this was a Klan rally.
"But there it was, right in front of me—the large cross with the petroleum soaked canvass wound around it. And there they were—the Klansmen and Klanswomen in their unmistakable robes, which they wore with pride.
"They mixed with the crowd, distributing their official publication, The Fiery Cross.’ Published by the United Klans of America, Tuscaloosa, Ala.
"The speakers, visiting Klan leaders from nearby states, were presented on a wooden platform, decorated with two black wreaths.
"Underneath one was the name, Dan Burros, and under the other, Matt Murphy.
"The flags were also conspicuous—American and Confederate.
"Ralph E. Pryor Jr., Grand Dragon of the Delaware Klan; Roy Frankhowser, Pennsylvania Grand Dragon, and Frank Rotella, King Kleagle of the New Jersey Klan, were the principal speakers.
"Vernon Naimaster of Essex, acting Grand Dragon of Maryland, said, “I’m the bus driver they were talking about.” He was referring to news releases which had stated that he was an employee of the Baltimore Transit Company.
"Naimaster did not wear the Klan garb, but he was dressed in his Sunday best and seemed proud to be on this platform.
"Pryor presented the various speakers. He is a former policeman, in his thirties, who said that he had worked with the Vice Squad in Wilmington.
"He spoke with an air of authority when he quoted the alleged ‘startling statistics—regarding the number of white women raped by colored men there. There was no question in his mind as to how this critical situation should be handled.
“’The only answer is to organize a strong Klan,’ he thundered.
“’That’s right, that’s right,’ the crowd echoed.
"The visiting Klan leaders were unanimous in their hatred of President Johnson. They were furious because they were being ‘unjustly’ investigated by Washington.
"Said one speaker angrily, ‘See this ring on my finger?’ He held up his hand dramatically and paused…
“’In Washington they want to know who gave it to me. Well I won’t tell them, It’s none of their business. I’ll tell you. It was my mother,’ he screamed. The audience was silently sympathetic.
"I looked at the audience. Teenagers were everywhere; groups of young men with hard, tight faces. Yes this was definitely their cup of tea. Hate, hate. You get points for that.
"One speaker suggested that the only way to solve the ‘N__ah problem,’ was to send all the ‘N__ahs’ back to Africa…in a leaky boat.
"According to another authoritative Klansman, all Jews were Communists.
"Arthur Spingarn, former head of the NAACP, was feeding money from the Jews to the colored people in order to weaken America from within so that the ‘commies’ could take over. Marvin Rich of CORE, was also mentioned in this context.
"The Klan leader from New York had a very special and confidential message for the audience. He had worked for the Welfare Department during the day, but the Klan had his unquestioned loyalty at night. He had been dismissed from his job, he said, and was suing for his loss of income.
"He sounded most convincing when he told the audience about the colored people who would drive up to the Welfare Department in their Cadillac to collect their welfare checks.
"There was only one difference of opinion. One speaker stated that Daniel Burros, the New York Klansman who shot himself, was framed! Another leader stated that ‘Dan Burros was not a Jew. But for some unknown reason his parents were married in a synagogue.
“’He [Burros] wanted to protect the Klan, so he shot himself, twice. That took courage. He was a white martyr, for the white race.’
"At this point, the audience was reminded that part of the rally was to be a memorial to the Klan members who had died this year.
“’’Get away from the cross, we don’t want anyone to get burned.’ ‘Now, if it was a N____, that would be alright someone shouted.”
“’Amen, amen,’ echoed the audience.
"By now all eyes were focused on the giant cross.
"To most Christians this is a symbol of the brotherhood of man; to this audience it was a symbol of hatred and terror.
"I shuddered, sick inside. The sky was still overcast. Now came the slow, dull sound of taps. I could barely see the long-barreled rifle which startled me as it was fired upward into the darkness.
"Suddenly, the cross was in flames….
"The men who applauded, Amen, Amen, looked lie men you would meet in Anytown, USA. They wore casual flannel shirts, work pants, some wore work caps.
"The women mostly working men’s wives, were dressed informally. They all listened intently. They applauded loud and long when ‘white womanhood’ and the ‘purity of our white race’ was reaffirmed from the platform.
"The speakers were almost religious in their intensity. As they repeated one after the other that race-mixing was evil; this was mongrelization of the pure American race; that the Klan had the only answer—there echoed again loud and fervent, ‘Amen, Amen.’”
For another personal experience, one confronting the Klan, see washingtonareaspark.com/2013/01/02/standing-against-the-m...
For more information and related images, see flic.kr/s/aHsjDhRPzT
The photographer is unknown. The image is an Associated Press photograph housed in the D.C. Library Washington Star Collection.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
The Epic Seascape! Malibu Sea Caves!
Landscape photography is not only about traveling through space, but it is also about traveling through time. One may return to the same beach time and again throughout the seasons to find a million different universes, changing in an infinitude of manners with each passing wave.
Not only do we voyage outwardly to get the shot, but we travel even further inwardly. While I spend my year trekking along the John Muir Trail, and on through Zion, Yosemite, the Grand Canyon, Death Valley, and the Colorado Plateau, my heart always finds its home in these Malibu sea caves, where I have stood in awe during all hours of the day and night.
Included within are a few shots that only I have so far captured, including a miraculous winter solstice sunrise.
Best wishes throughout the coming year!
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 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
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
This session will give participants the toolkit and skills required when conducting user research and testing with children and young people (under the age of 18).
We'll begin with an overview of the guiding principles, best practices and standards for conducting research and testing with minors. Then we'll take participants through practical examples and exercises of how to research and test throughout the stages of game design, as an example, with practical takeaways of tools and techniques that should be considered when designing research and testing projects with children.
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
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.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
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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!
More on my golden ratio musings: facebook.com/goldennumberratio
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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
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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!
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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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Masonic and Order of the Eastern Star Tombstone
In loving memory of
Bro. WIlliam A. Sutton
Apr. 25, 1890 - Nov. 30, 1927
Catherine Mae MacDonald
Nov. 2, 1882 - Sept. 12, 1961.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
Order of the Eastern Star:
General Grand Chapter logo:
The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
History:
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
Emblem and heroines:
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
Officers
Officers representing the heroines of the order sit around the altar in the center of the chapter room.
Eastern Star meeting room:
There are 18 main officers in a full chapter:
Worthy Matron – presiding officer
Worthy Patron – a Master Mason who provides general supervision
Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer
Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer
Secretary – takes care of all correspondence and minutes
Treasurer – takes care of monies of the Chapter
Conductress – Leads visitors and initiations.
Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.
Chaplain – leads the Chapter in prayer
Marshal – presents the Flag and leads in all ceremonies
Organist – provides music for the meetings
Adah – Shares the lesson of Duty of Obedience to the will of God
Ruth – Shares the lesson of Honor and Justice
Esther – Shares the lesson of Loyalty to Family and Friends
Martha – Shares the lesson of Faith and Trust in God and Everlasting Life
Electa – Shares the lesson of Charity and Hospitality
Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.
Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.
Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.
Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.
Headquarters:
The International Temple in Washington, D.C.
Main article: International Temple
The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.
Charities:
The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]
Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star
Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse
Notable members
Clara Barton[8]
J. Howell Flournoy[9]
Eva McGown[10]
James Peyton Smith[11]
Lee Emmett Thomas[12]
Laura Ingalls Wilder[13]
H. L. Willis[14]
See also:
Achoth
Omega Epsilon Sigma
References:
^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.
^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death
^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.
^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.
^ "OES Charities". Retrieved 2016-04-15.
^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.
^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]
^ Clara Barton, U.S. Nurse Masonic First Day Cover
^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1
^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC
^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.
^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.
^ Big Muddy online publications
^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.
Official website:
Eastern Star Organizations at DMOZ
Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois, USA.
I took this same pic an year back but lost it before uploading. So, went there to the Gandhi Bhavan and took it again... to share with you all. It is in Kannada, as quoted by MK Gandhi in "Young India", 1925 and translates to:
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The Seven Social Sins:
1. politics without principles; తత్వ రహిత రాజకీయము
2. wealth without work; పనిలేని సంపద
3. commerce without morality; నీతి విహీన వాణిజ్యము
4. knowledge without character; శీలం లేని జ్ఞానము?
5. pleasure without conscience; ఆత్మసాక్షి రహిత భోగము
6. science without humanity; మానవత లేని శాస్త్రజ్ఞ్యానము
7. worship without sacrifice; త్యాగం లేని పూజ
<--
Now you know what the 'sss' means in my username.. ;) and am such a huge fan of him.
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:
Salt Lake Field Office Bonneville Salt Flats
Photo by: Bob Wick
Leave No Trace, Center for Outdoor Ethics, provides research, education and initiatives so every person who ventures outside can protect and enjoy our world responsibly. Check out the 7 principles of Leave No Trace before your next outing >> lnt.org/why/7-principles/
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.
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.