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New York City Mayor Bill de Blasio signed 29 pieces of legislation into law – Intros. 1132-A and 1182-A, in relation to creating a public list of City planning commitments and creating a process for the modification or removal of certain deed restrictions; Intros. 980-A, 985-A, 986-A, 987-A, 988-A, 990-A, 1001-A, 1002-A, 1349-A, 1350-A, 1351-A, 1352-A, 1353-A, 1354-A, 1355-A, 1356, 1358, 1361, 1362-A, 1363-A, and 1364-A, in relation to legislation that reforms the City of New York’s campaign finance system; Intro. 1345-A, in relation to a bill that regulates contributions to organizations affiliated with elected officials; Intros. 1260-A, 1261-A and 1262-A, in relation to the Department of Correction’s practices around transporting inmates, waiving cash bail fees and provision of non-uniforms for inmate court appearances; and Intros. 1099-A and 1193-A, in relation to reporting by the Department of Education on career programs and computer science education in New York schools at City Hall on Thursday, December 22nd, 2016. Edwin J. Torres/ Mayoral Photo Office.
The only facts known in relation to British merchant Charles Thompson are the ones he records in his travel account, about which some scholars have hypothesized that it is a fictional narrative. In any case, the work knew huge editorial success; first published in 1744, it was republished in 1752, 1754, 1767, and 1798. From the introduction, one learns that, following his father's death, Thompson inherited a large fortune and, from love of knowledge, in order to appease his sorrow and to satisfy his own natural curiosity, he started out on a long voyage, in the company of a freind who spoke several languages.
The travellers set out from London in March 1730. They crossed over from Dover to Calais, and travelled to Rouen, Paris and Marseille. They went on to Genoa, Milan, Parma, Modena, Bologna, Florence, Pisa and Sienna, to end up in Rome. In October 1731 they visited Naples, and then Ancona, Ravenna, Ferrara and Padua. They sailed to Malta from Venice in May 1732 and reached Chania in early June.
The two travellers left Crete a month later, and, after staying in Milos for a month, they visited Naxos, Paros, Antiparos, Delos, Syros, Kea, Kythnos, and reached Athens. They toured the monuments of the city and several locations in Attica, Boeotia and Phocis (Eleusis, Megara, Corinth, Livadeia, Arachova, Delphi and Thebes). In November 1732 they left for Istanbul, where they stayed for several months. In September 1733, they left the Dardanelles to visit Izmir, Chios, Samos, Patmos, Ephesus, Kos and Rhodes. They ended up in Cyprus in February 1734, from where they crossed over to the lands of the Middle East (Tripolis, Baalbek, Damascus, Beirut, Sidon, Jerusalem). In May 1734 they travelled to Egypt and toured Kairo, Alexandria and Mount Sinai. They returned to England in April 1735.
Thompson includes several details on travelling conditions as well as the history and the monuments of each country in his travel account. However, he is mostly interested in space, modern life, the human factor, social life, economy, production and commerce, and thus achieves to render an comprehensive and to a certain extent objective picture of the lands he visited in the early 18th century.
Written by Ioli Vingopoulou
İngiliz asıllı tüccar Charles Thompson hakkında bildiğimiz şeyler sadece vakayınamesinden aldığımız bilgilerdir. Ancak bu vakayınamenin hayal ürünü bir anlatı olduğu ileri sürülmüştür. Gene de eser büyük başarı görmüş, yayınlandığı 1744 yılından sonra, 1752, 1754, 1767 ve 1798 yıllarında yeniden basılmıştı. Kitabın önsözünde okuduğumuza göre, Thompson, babasının ölümünden sonra büyük bir mirasa sahip olmuş ve "bir yandan bilgilerini çoğaltma arzusu öte yandan baba ölümünün kendisinde yaratmış olduğu üzüntüyü unutmak, son olarak da merağını tatmin etmek için" uzun bir yolculuğa çıkmaya karar verir, yanına ise yoldaş olarak birçok dil bilen bir arkadaşını alır.
1730 yılı Mart ayında Londra'dan yola çıkarlar, Dover'den Calais'ye (okunuş: Kale) geçtikten sonra Rouen, Paris ve Marsilya'yı ziyaret ederler. Yolun devamında Cenova, Milano, Parma, Modena, Bologna, Floransa, Piza ve Sienna'dan geçip Roma'ya varırlar. 1731'in Ekim ayında Napoli'yi ziyaret ederler, arkasından Ancona, Ravenna, Ferrara ve Padova'ya geçerler. 1732 Mayıs ayında Venedik'ten vapura binip Haziran başlarında Hanya'ya varırlar. Bir ay sonra yeniden yola çıkıp Milos adasında bir hafta kaldıktan sonra Naksos, Paros, Antiparos, Dilos, Siros, Kea, Kithnos adalarını ziyaret ederler ve nihayet Atina'ya varırlar. Atina'daki tarihi anıtları, Attika, Viotia (Boeotia), Fokida yörelerini (Eleusis, Megara, Korint, Livadia, Arahova, Delfi, Thiva sitlerini) ziyaret ederler ve 1732 Kasım ayında İstanbul'a gitmek üzere yola çıkarlar. İstanbul'da birkaç ay kalırlar. Yolculuklarının devamında 1733 Eylül ayında Çanakkale'den yola çıkıp İzmir, Hios (Sakız), Samos, Patmos, Efes, Kos (İstanköy) ve Rodos'u ziyaret ederler. 1734 Şubat ayında Kıbrıs'tan geçtikten sonra Orta Doğu'ya devam ederler ve Trablus, Baalbek, Şam (Damascus), Beyrut, Sayda (Sidon), Kudüs'ü ziyaret ederler. 1734 Mayıs ayında Mısır'a seyahat edip Kahire, İskenderiye ve Sina'yı ziyaret ederler. 1735 Nisan ayında ise İngiltere'ye dönerler.
Thompson vakayınamesinde yolculuğun koşulları ve ziyaret ettikleri her yerin tarihi ve anıtları hakkında ayrıntılı bilgiler vermektedir. İlgisinin odaklandığı noktalar doğal mekân, çağdaş yaşam, insan unsuru, toplumsal yaşam, ekonomi, üretim, ticaret gibi konulardır. Thompson bu eseriyle 18. yüzyılın ilk yarısında sözkonusu yerlerle ilgili çok yönlü ve nesnel bir bakış aktarmaktadır.
Yazan: İoli Vingopoulou
The only facts known in relation to British merchant Charles Thompson are the ones he records in his travel account, about which some scholars have hypothesized that it is a fictional narrative. In any case, the work knew huge editorial success; first published in 1744, it was republished in 1752, 1754, 1767, and 1798. From the introduction, one learns that, following his father's death, Thompson inherited a large fortune and, from love of knowledge, in order to appease his sorrow and to satisfy his own natural curiosity, he started out on a long voyage, in the company of a freind who spoke several languages.
The travellers set out from London in March 1730. They crossed over from Dover to Calais, and travelled to Rouen, Paris and Marseille. They went on to Genoa, Milan, Parma, Modena, Bologna, Florence, Pisa and Sienna, to end up in Rome. In October 1731 they visited Naples, and then Ancona, Ravenna, Ferrara and Padua. They sailed to Malta from Venice in May 1732 and reached Chania in early June.
The two travellers left Crete a month later, and, after staying in Milos for a month, they visited Naxos, Paros, Antiparos, Delos, Syros, Kea, Kythnos, and reached Athens. They toured the monuments of the city and several locations in Attica, Boeotia and Phocis (Eleusis, Megara, Corinth, Livadeia, Arachova, Delphi and Thebes). In November 1732 they left for Istanbul, where they stayed for several months. In September 1733, they left the Dardanelles to visit Izmir, Chios, Samos, Patmos, Ephesus, Kos and Rhodes. They ended up in Cyprus in February 1734, from where they crossed over to the lands of the Middle East (Tripolis, Baalbek, Damascus, Beirut, Sidon, Jerusalem). In May 1734 they travelled to Egypt and toured Kairo, Alexandria and Mount Sinai. They returned to England in April 1735.
Thompson includes several details on travelling conditions as well as the history and the monuments of each country in his travel account. However, he is mostly interested in space, modern life, the human factor, social life, economy, production and commerce, and thus achieves to render an comprehensive and to a certain extent objective picture of the lands he visited in the early 18th century.
Written by Ioli Vingopoulou
İngiliz asıllı tüccar Charles Thompson hakkında bildiğimiz şeyler sadece vakayınamesinden aldığımız bilgilerdir. Ancak bu vakayınamenin hayal ürünü bir anlatı olduğu ileri sürülmüştür. Gene de eser büyük başarı görmüş, yayınlandığı 1744 yılından sonra, 1752, 1754, 1767 ve 1798 yıllarında yeniden basılmıştı. Kitabın önsözünde okuduğumuza göre, Thompson, babasının ölümünden sonra büyük bir mirasa sahip olmuş ve "bir yandan bilgilerini çoğaltma arzusu öte yandan baba ölümünün kendisinde yaratmış olduğu üzüntüyü unutmak, son olarak da merağını tatmin etmek için" uzun bir yolculuğa çıkmaya karar verir, yanına ise yoldaş olarak birçok dil bilen bir arkadaşını alır.
1730 yılı Mart ayında Londra'dan yola çıkarlar, Dover'den Calais'ye (okunuş: Kale) geçtikten sonra Rouen, Paris ve Marsilya'yı ziyaret ederler. Yolun devamında Cenova, Milano, Parma, Modena, Bologna, Floransa, Piza ve Sienna'dan geçip Roma'ya varırlar. 1731'in Ekim ayında Napoli'yi ziyaret ederler, arkasından Ancona, Ravenna, Ferrara ve Padova'ya geçerler. 1732 Mayıs ayında Venedik'ten vapura binip Haziran başlarında Hanya'ya varırlar. Bir ay sonra yeniden yola çıkıp Milos adasında bir hafta kaldıktan sonra Naksos, Paros, Antiparos, Dilos, Siros, Kea, Kithnos adalarını ziyaret ederler ve nihayet Atina'ya varırlar. Atina'daki tarihi anıtları, Attika, Viotia (Boeotia), Fokida yörelerini (Eleusis, Megara, Korint, Livadia, Arahova, Delfi, Thiva sitlerini) ziyaret ederler ve 1732 Kasım ayında İstanbul'a gitmek üzere yola çıkarlar. İstanbul'da birkaç ay kalırlar. Yolculuklarının devamında 1733 Eylül ayında Çanakkale'den yola çıkıp İzmir, Hios (Sakız), Samos, Patmos, Efes, Kos (İstanköy) ve Rodos'u ziyaret ederler. 1734 Şubat ayında Kıbrıs'tan geçtikten sonra Orta Doğu'ya devam ederler ve Trablus, Baalbek, Şam (Damascus), Beyrut, Sayda (Sidon), Kudüs'ü ziyaret ederler. 1734 Mayıs ayında Mısır'a seyahat edip Kahire, İskenderiye ve Sina'yı ziyaret ederler. 1735 Nisan ayında ise İngiltere'ye dönerler.
Thompson vakayınamesinde yolculuğun koşulları ve ziyaret ettikleri her yerin tarihi ve anıtları hakkında ayrıntılı bilgiler vermektedir. İlgisinin odaklandığı noktalar doğal mekân, çağdaş yaşam, insan unsuru, toplumsal yaşam, ekonomi, üretim, ticaret gibi konulardır. Thompson bu eseriyle 18. yüzyılın ilk yarısında sözkonusu yerlerle ilgili çok yönlü ve nesnel bir bakış aktarmaktadır.
Yazan: İoli Vingopoulou
Two beggars who beg together, on the move at night. This is a pretty big month for them as well, their earnings will double for sure.
GEC Circle,Chittagong,Bangladesh.
The exact origins of the Star Of David symbol's relation to Jewish identity are unknown. Though several theories have been put forward. According to one hypothesis, the Star of David comprises two of the three letters in the name David. In its Hebrew spelling , it contains only three characters, two of which are "D" (or "Dalet", in Hebrew). In the Paleo-Hebrew alphabet, the standard alphabet for writing Hebrew before the Babylonian captivity, this letter was written in a form much like a triangle, similar to the Greek letter Delta (Δ), with which it shares a sound and the same (4th) position in their respective alphabets, as it does with Latin. The symbol may have been a simple family crest formed by flipping and juxtaposing the two most prominent letters in the name.
The earliest archaeological magen David national symbol is on a Babylonian bas relief carving, in the 6th century BCE. The Babylonian king historically recorded his conquest of the King and population of Judah. Both kings are shown standing facing each other. The King of Babylon stands on the right. A winged sun disk is above the King of Babylon. The encircled six-legged star pattern magen David is above the King of Judah.
A popular folk tale etymology has it that the Star of David is literally modeled after the shield of the young Israelite warrior David, who would later become King David. In order to save metal, the shield was not made of metal but of leather spanned across the simplest metal frame that would hold the round shield: two interlocking triangles. No reliable historical evidence for this etymology exists.
One belief is that the Star of David is the flattened view of a three dimensional tetratetrahedron, made up of two interlocking four sided triangles.
THE STAR OF DAVID POSTERS IN MANDALA FORMATION
www.sriyantras.com/star-of-david.html
The exact origins of the Star Of David symbol's relation to Jewish identity are unknown. Though several theories have been put forward. According to one hypothesis, the Star of David comprises two of the three letters in the name David. In its Hebrew spelling , it contains only three characters, two of which are "D" (or "Dalet", in Hebrew). In the Paleo-Hebrew alphabet, the standard alphabet for writing Hebrew before the Babylonian captivity, this letter was written in a form much like a triangle, similar to the Greek letter Delta (Δ), with which it shares a sound and the same (4th) position in their respective alphabets, as it does with Latin. The symbol may have been a simple family crest formed by flipping and juxtaposing the two most prominent letters in the name.
The earliest archaeological magen David national symbol is on a Babylonian bas relief carving, in the 6th century BCE. The Babylonian king historically recorded his conquest of the King and population of Judah. Both kings are shown standing facing each other. The King of Babylon stands on the right. A winged sun disk is above the King of Babylon. The encircled six-legged star pattern magen David is above the King of Judah.
A popular folk tale etymology has it that the Star of David is literally modeled after the shield of the young Israelite warrior David, who would later become King David. In order to save metal, the shield was not made of metal but of leather spanned across the simplest metal frame that would hold the round shield: two interlocking triangles. No reliable historical evidence for this etymology exists.
One belief is that the Star of David is the flattened view of a three dimensional tetratetrahedron, made up of two interlocking four sided triangles.
THE STAR OF DAVID POSTERS IN MANDALA FORMATION
The only facts known in relation to British merchant Charles Thompson are the ones he records in his travel account, about which some scholars have hypothesized that it is a fictional narrative. In any case, the work knew huge editorial success; first published in 1744, it was republished in 1752, 1754, 1767, and 1798. From the introduction, one learns that, following his father's death, Thompson inherited a large fortune and, from love of knowledge, in order to appease his sorrow and to satisfy his own natural curiosity, he started out on a long voyage, in the company of a freind who spoke several languages.
The travellers set out from London in March 1730. They crossed over from Dover to Calais, and travelled to Rouen, Paris and Marseille. They went on to Genoa, Milan, Parma, Modena, Bologna, Florence, Pisa and Sienna, to end up in Rome. In October 1731 they visited Naples, and then Ancona, Ravenna, Ferrara and Padua. They sailed to Malta from Venice in May 1732 and reached Chania in early June.
The two travellers left Crete a month later, and, after staying in Milos for a month, they visited Naxos, Paros, Antiparos, Delos, Syros, Kea, Kythnos, and reached Athens. They toured the monuments of the city and several locations in Attica, Boeotia and Phocis (Eleusis, Megara, Corinth, Livadeia, Arachova, Delphi and Thebes). In November 1732 they left for Istanbul, where they stayed for several months. In September 1733, they left the Dardanelles to visit Izmir, Chios, Samos, Patmos, Ephesus, Kos and Rhodes. They ended up in Cyprus in February 1734, from where they crossed over to the lands of the Middle East (Tripolis, Baalbek, Damascus, Beirut, Sidon, Jerusalem). In May 1734 they travelled to Egypt and toured Kairo, Alexandria and Mount Sinai. They returned to England in April 1735.
Thompson includes several details on travelling conditions as well as the history and the monuments of each country in his travel account. However, he is mostly interested in space, modern life, the human factor, social life, economy, production and commerce, and thus achieves to render an comprehensive and to a certain extent objective picture of the lands he visited in the early 18th century.
Written by Ioli Vingopoulou
İngiliz asıllı tüccar Charles Thompson hakkında bildiğimiz şeyler sadece vakayınamesinden aldığımız bilgilerdir. Ancak bu vakayınamenin hayal ürünü bir anlatı olduğu ileri sürülmüştür. Gene de eser büyük başarı görmüş, yayınlandığı 1744 yılından sonra, 1752, 1754, 1767 ve 1798 yıllarında yeniden basılmıştı. Kitabın önsözünde okuduğumuza göre, Thompson, babasının ölümünden sonra büyük bir mirasa sahip olmuş ve "bir yandan bilgilerini çoğaltma arzusu öte yandan baba ölümünün kendisinde yaratmış olduğu üzüntüyü unutmak, son olarak da merağını tatmin etmek için" uzun bir yolculuğa çıkmaya karar verir, yanına ise yoldaş olarak birçok dil bilen bir arkadaşını alır.
1730 yılı Mart ayında Londra'dan yola çıkarlar, Dover'den Calais'ye (okunuş: Kale) geçtikten sonra Rouen, Paris ve Marsilya'yı ziyaret ederler. Yolun devamında Cenova, Milano, Parma, Modena, Bologna, Floransa, Piza ve Sienna'dan geçip Roma'ya varırlar. 1731'in Ekim ayında Napoli'yi ziyaret ederler, arkasından Ancona, Ravenna, Ferrara ve Padova'ya geçerler. 1732 Mayıs ayında Venedik'ten vapura binip Haziran başlarında Hanya'ya varırlar. Bir ay sonra yeniden yola çıkıp Milos adasında bir hafta kaldıktan sonra Naksos, Paros, Antiparos, Dilos, Siros, Kea, Kithnos adalarını ziyaret ederler ve nihayet Atina'ya varırlar. Atina'daki tarihi anıtları, Attika, Viotia (Boeotia), Fokida yörelerini (Eleusis, Megara, Korint, Livadia, Arahova, Delfi, Thiva sitlerini) ziyaret ederler ve 1732 Kasım ayında İstanbul'a gitmek üzere yola çıkarlar. İstanbul'da birkaç ay kalırlar. Yolculuklarının devamında 1733 Eylül ayında Çanakkale'den yola çıkıp İzmir, Hios (Sakız), Samos, Patmos, Efes, Kos (İstanköy) ve Rodos'u ziyaret ederler. 1734 Şubat ayında Kıbrıs'tan geçtikten sonra Orta Doğu'ya devam ederler ve Trablus, Baalbek, Şam (Damascus), Beyrut, Sayda (Sidon), Kudüs'ü ziyaret ederler. 1734 Mayıs ayında Mısır'a seyahat edip Kahire, İskenderiye ve Sina'yı ziyaret ederler. 1735 Nisan ayında ise İngiltere'ye dönerler.
Thompson vakayınamesinde yolculuğun koşulları ve ziyaret ettikleri her yerin tarihi ve anıtları hakkında ayrıntılı bilgiler vermektedir. İlgisinin odaklandığı noktalar doğal mekân, çağdaş yaşam, insan unsuru, toplumsal yaşam, ekonomi, üretim, ticaret gibi konulardır. Thompson bu eseriyle 18. yüzyılın ilk yarısında sözkonusu yerlerle ilgili çok yönlü ve nesnel bir bakış aktarmaktadır.
Yazan: İoli Vingopoulou
In relation to a typedesign course I am following at the moment, and to a somewhat related very interesting discussion on Typophile, I decided to take some measurements myself. Ie I asked Jos Pastijn to help me, a graphic design and graphic arts teacher and colleague at the printer's volunteers group at MIAT Gent, with proven eye for technicality and measurements.
Photo Anne Savat
Mayor Bill de Blasio virtually delivers remarks and signs Intro. 2442-A in relation to establishing an office of community mental health. City Hall. Wednesday, December 22, 2021. Credit: Ed Reed/Mayoral Photography Office.
This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption
This image is one of 100 photographs given to me by a member of the Bristol (Vermont) Historical Society. The box of photographs was left at a church rummage sale and remained unsold afterward. No one could bring themselves to throw them away, so they were given to the BHS, and so, to me. The photos are from Brooklyn, New York, northern New Jersey, and Pennsylvania. I believe they were once owned by the Oscar Reinhardt family of Brooklyn, NY, Perth Amboy, South Amboy, and New Brunswick, NJ.
The inventory:
57 Snapshots
21 Cabinet Cards
20 Portraits (9 large, 8 small, 3 group)
7 Other photos/documents
This image appears twice in the collection as both a portrait photo and cabinet card. It's appearance suggests the portrait was framed in a manner similar to the matriarch photo, so I believe they are closely related.
I am seeking descendants.
A high-resolution digital copy can be downloaded from this link:
This image is copyright © Lucia Colombo. All right reserved. This photo must not be used under ANY circumstances without written consent.Questa immagine è protetta da copyright © Lucia Colombo. Tutti i diritti sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore
Download Proposal Pelatihan
Alvin Adam School of Communication, Public Relation In India, Public Relation In Islam, Public Relation In Kenya, Public Relation In Promotion, Public Relation Indonesia, Public Relation Internal, Public Relation Internal Dan Eksternal, Public Relation Is, Public...
Com a presença do representante do Embaixador da Holanda em Portugal, a 20 de maio de 2015, decorreu no Auditório 3 do IPBeja o Seminario “Agricultural Education in relation to the World of Work”.
Mais reportagens fotográficas em: <a www.flickr.com/photos/40478366@N08/collections/
38° 00' 46.87''N
7° 52' 22.19''W
Author: Froger, François, b. 1676
Title: A Relation of a Voyage Made in the Years 1695, 1696, 1697. On the Coasts of Africa, Streights of Magellan, Brazil, Cayenna, and the Antilles, by a Squadron of French Men of War, Under the Command of M. de Gennes. By the Sieur Froger, Voluntier-Engineer on Board the English Falcon. Illustrated with Divers Strange Figures, Drawn to the Life. London. Printed for M. Gillyflower in Westminster-Hall; W. Freeman, M. Wotton in Fleet-Street; J. Walthoe in the Temple; and R. Parker in Cornhill. 1698.
Imprint: London : Printed for M. Gillyflower, 1698.
Physical Description: 2 prints ; engraving ; plate mark 140 x 190 mm, on leaf 19 x 20 cm.
Page: P. 65.
Call Number: F2214 .F9213 1698 Rare Book
Rights Info: Public domain. No known copyright restrictions.
Please attribute this image to: Royal Ontario Museum Library & Archives.
Whenever possible, please provide a link to our Photostream.
For information about reproduction of this item for commercial use, please contact the Royal Ontario Museum's Rights and Reproductions department.
Did a double-take while driving through Mondovi. Not too often I see my name, so I made a u-turn and stopped for a photo.
I also had to explain to the lady who lives here what I was doing in her front yard at nightfall.
ONU Femmes Côte d’Ivoire soutient les femmes à travers des formations sur la transformation du beurre de karité en produits dérivés ; des formations sur le processus de certification biologique ECOCERT ; des formations sur la constitution d’un Groupement d’Intérêt Economique (GIE) avec les femmes de la filière karité de Côte d’Ivoire (FIKACI) ; la facilitation de l’accès au financement des femmes entrepreneures par la mise en relation avec des institutions financières ; partage d’expérience des femmes d’entreprises à travers un webinaire sur le thème : les femmes qui osent pour un développement durable ODD 13.
Nous avons rencontré :
- Mme Lydie Kambou, Présidente de la société coopérative des productrices de beurre de karité de Bounkani située dans le Nord-Est de la Côte d'Ivoire www.instagram.com/karite_reserve_bounkani/
- Mme Marina Nobout, Directrice Générale d'Ohel International, une société spécialisée dans la construction, la réhabilitation de bâtiments et d'infrastructures qui développe une technique de construction basée sur des blocs de terre comprimés et stabilisés www.ohelinternational.net
- Mme Chantal Guiraud, Fondatrice de Kehanon Design, une société spécialisée dans le textile traditionnel et la valorisation du pagne traditionnel ivoirien. Elle a bénéficié de l’appui institutionnel de l’ONU Femmes à travers les journées du pagne tissé dont elle est la promotrice. instagram.com/kehanondesign?igshid=YmMyMTA2M2Y=
Crédit photo : Yulia Panevina/UN Women
____
UN Women Côte d'Ivoire supports women through trainings on the transformation of shea butter into by-products; trainings on the ECOCERT organic certification process; trainings on the constitution of an Economic Interest Grouping (EIG) with the women of the Côte d'Ivoire shea industry (FIKACI); facilitating access to finance for women entrepreneurs by connecting them with financial institutions; sharing experiences of women entrepreneurs through a webinar on the theme: Women who dare for a sustainable development SDG 13.
We met with:
- Ms. Lydie Kambou, President of the cooperative society of shea butter producers of Bounkani located in the Northeast of Côte d'Ivoire www.instagram.com/karite_reserve_bounkani/
- Ms. Marina Nobout, General Manager of Ohel International, a company specializing in the construction and rehabilitation of buildings and infrastructure that develops a construction technique based on compressed and stabilized earth blocks www.ohelinternational.net
- Ms. Chantal Guiraud, Founder of Kehanon Design, a company specialized in traditional textiles and the valorization of traditional Ivorian loincloths. She has benefited from the institutional support of UN Women through the Woven Loin Days, of which she is the promoter. instagram.com/kehanondesign?igshid=YmMyMTA2M2Y=
Photo credit: Yulia Panevina/UN Women
THIS PHOTO IS SUPPOSED TO BE BLURRED. Seriously. Don't comment on that.
I had a panic attack today, and this is what this photo is supposed to represent.
I haven't had a major (as in huge) panic attack for approx 2 years, though I've had smaller ones on and off. They only happen when I'm singing, because of my breath control: I take in too much carbon dioxide in relation to the amount of oxygen I have in my bloodstream. It sucks.
I started to get a grip on my panic attacks pretty quickly when they started, and soon they rarely appeared. That's why I was so angry when I got one today. Usually I can control them and calm myself before anything happens, but today I had just finished singing in Chapel, and found my legs had gone weak. I'm used to my arms getting tingly and then losing sensation, and I usually get a grip on it before it gets worse. Sometimes my legs get a little tingly too, but I still usually manage to stop it. Today though, I just had to get out of there. So I trembled my way out of Chapel with everyone staring. It was humiliating. People who've never had a panic attack rarely understand them. Some people think you do it to get attention.
It's actually one of the scariest things you can experience. Especially the first time. After my first attack I read up on them, because I felt more confident knowing what to expect. I also found that most people only get a few of the possible symptoms when they have a panic attack. I had almost all of them. Like I said though, I'm much better at controlling them.
My biggest fear though, is that one day I won't be able to get help in time and I'll collapse. So that's what this picture is about.
Sister, (that's what we call the school nurse), spent a while taking my pulse and measuring the levels of oxygen in my blood with this weird little machine and then after everything had returned to normal I went back.
On the way home these boys from middle school asked me why I'd had to leave Chapel and I just felt like they were staring at me. Hendrik saw me and said something to his friend in German, and then came and made sure I was ok and walked me home which was nice. Then he said I should hang out with him at the weekends =) I don't usually hang out with boarders at the weekends though, because that's too much like school.
I try explaining to people why panic attacks freak me out so much. If you get sick, that's usually because you've just managed to get infected by germs, and if you hurt your legs by falling down a flight of stairs (which I've done), then you know it's just stairs, but when I have a panic attack, I feel as though it's something in my body I can't control. If that makes sense.
So anyway, that was my day, and this picture is all about what I'm afraid of. Dizziness and collapsing. I probably won't have such a bad one again (or for a while), and eventually I think I'll be able to control them completely. =) Always look on the bright side.
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3101 Kingsbridge Terrace, Kingsbridge Heights, The Bronx, New York City, New York, United States
Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.
A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.
Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the tum-of-the-century.
Development of the Kingsbridge Area
Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.
Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."
Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.
Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.
Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge. The plan was soon abandoned, but by the early 17th century, the Dutch were farming areas on Manhattan as far north as the flatlands of Harlem.
It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.
Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.
The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.
Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent, followed Boston Avenue, and then veered toward the northeast, crossing the Bronx River at William's Bridge.
Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road , which then continued along the western side of the Van Cortlandt properties.
That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation .
Boston Hill was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion .
Early indications of the eventual residential development of the area can be seen in the period immediately fol lowing the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.
The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.
Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.
In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond were officially consolidated.
Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."
Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."
In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.
Bronx Police History and the 50th Precinct
Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.
Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct , located at Amsterdam Avenue and 152nd Street.
Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.
In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existir^ frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.
As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.
Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.
With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.
In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.
Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.
Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one,and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat&i guardians ever since the 40th precinct was established [was] abandoned for a modem structure.
In a review of the official architecture of New York City, The Real Estate Record and Guide branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.
This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.
Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.
The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.
The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself. Construction began 18 March 1901 and was completed 16 April 1902.
Horoan and Slattery
From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.
While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas or Frederick Withers .
The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."
Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.
However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".
Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."
Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."
Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:
The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, withqut waiting to be kicked out amid the cheers of the bystanders.
Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."
Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.
Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.
Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great tum-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.
The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."
Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan and Vincent J. Slattery entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.
Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899 before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks, virtually nothing is known about the professional educations of the architects.
Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.
Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.
The Design
The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the tum-of-the-century and became the emblem of the City Beautiful Movement.
Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.
Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.
Horgan and Slattery approached the design of this small but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block. The architects' masterful handling is demonstrated in the sensitivity to the site, an understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.
Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.
The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.
Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenel lations of the roof parapet.
The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.
In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.
Description
The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.
From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.
From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base constitutes the secondary or Summit Place facade.
The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.
The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.
The focal point, shifts, however to the center bay of the principal facade if the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.
In both cases, the corner element and the axis of symmetry provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.
This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.
Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.
Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.
In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.
The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch .
There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.
One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.
The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.
All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.
The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.
The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.
The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.
The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.
Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.
Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.
The triglyph/scroll unit supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.
The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.
A block with a console in its center projects from the center of the lower edge of the inscribed panel.
The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.
Alterations to the exterior have been few and have not significantly affected the street facades.36 The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.
Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.
The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.
Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.
- From the 1986 NYCLPC Landmark Designation Report
Another shot from last weeks shoot with beautiful Laylah.
And to those of you who wants to know a little more about me, I have updated the text on my profile. :)
Have a beautiful Saturday, I am off to my favorite place: The forest.
On 5 March 2020, the Appeals Chamber of the International Criminal Court ('ICC' or 'Court') decided unanimously to authorise the Prosecutor to commence an investigation into alleged crimes under the jurisdiction of the Court in relation to the situation in the Islamic Republic of Afghanistan.
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Alvin Adam School of Communication, Public Relation Pekerjaan, Public Relation Pengertian, Public Relation Perhotelan, Public Relation Pertamina, Public Relation Perusahaan, Public Relation Plan, Public Relation Politik, Public Relation Ppt, Public Relation Pt...
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
“All things appear and disappear because of the concurrence of causes and conditions. Nothing ever exists entirely alone; everything is in relation to everything else.” Buddha
WORK RECORD
Title - Tricks #7
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 74
Work Type - paintings (visual works)
Style Period - New Deal
Agent Name - Benson, Leslie L. (1885-1972)
Agent Role - painter (artist)
Cultural Context - American
Material, medium - watercolor (paint)
Material, support -
Technique -
Measurements - 20 in (H) x 16 in (W)
Date Created -
Date Completed -
Date Collected - 1940-09-26
Date Allocated -
Date Rejected -
Location Former Repository -
Description -
Inscription -
Subject - Boys; Practical jokes; Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name - Skreczko, Henry (1906-1998)
Agent Role - photographer
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 10 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-05-05
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_bensonl_001.jpg