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It's the Flame Skipper- proboscis, the spiral thingie it uses to sip nectar by uncurling it down to the bottom of the flower where the nectar is. It 11 can also completely curl it up under its "chin" when done.
It's on a Fiddleneck wildflower which is a favorite 07454557favorite 2.223232322223122322223332
(The cat typed the last part of the previous sentence [after the first "favorite" ] while cleaning itself on top of my tablet. He even opened the "show more stats" before leaving. 😸)
MLK Shoreline Regional Park, Oakland, CA
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hospital 1890-1930
castro16Art
Between 1898 and 1930 of the land assurance institution of Berlin worker-lung welfare sites established Beelitz-remedial sites form one of the biggest hospital complexes in the Berlin environs. It is a monument-protected ensemble of 60 buildings on a total area of approx. 200 ha. In two areas to the north of the railroad the lung welfare sites, in both areas situated to the south the sanitariums originated to the treatment not of contagious illnesses. The areas were separated in each case after genders: to the west of the country road the women-remedial sites and women's sanitariums, to the east the same the men-remedial sites and hubby sanitariums. Also lay factories in which predominantly women were occupied, to the west and those in which predominantly men were occupied, to the east. The first construction phase occurred in 1898 to 1902 among architects Heino to smiths and Julius Boethke (1864-1907). In the second construction phase 1908 till 1910 the bedspace from 600 to 1200 was raised. The architect was Fritz Schulz who was also responsible in the third construction phase 1926-30.
Die zwischen 1890 und 1930 von der Landesversicherungsanstalt Berlin errichteten Arbeiter-Lungenheilstätten Beelitz-Heilstätten bilden einen der größten Krankenhauskomplexe im Berliner Umland. Es ist ein denkmalgeschütztes Ensemble von 60 Gebäuden auf einer Gesamtfläche von ca. 200 ha.
In zwei Bereichen nördlich der Bahnlinie entstanden die Lungenheilstätten, in den beiden südlich gelegenen Bereichen die Sanatorien zur Behandlung nicht ansteckender Krankheiten. Die Bereiche waren jeweils nach Geschlechtern getrennt: westlich der Landstraße die Frauen-Heilstätten und -Sanatorien, östlich derselben die Männer-Heilstätten und -Sanatorien. Ebenso lagen Betriebsgebäude, in denen überwiegend Frauen beschäftigt waren, westlich und solche, in denen überwiegend Männer beschäftigt waren, östlich. Die erste Bauphase erfolgte 1898 bis 1902 unter den Architekten Heino Schmieden und Julius Boethke (1864–1907). In der zweiten Bauphase 1908 bis 1910 wurde die Bettenzahl von 600 auf 1200 erhöht. Der Architekt war Fritz Schulz, der auch in der dritten Bauphase 1926-30 verantwortlich war.
I think one of the first things women may think about is that they might be spending more than disposable pads and tampons on reusable menstrual products. While this used to always be the case, there has been a huge increase in quality and business for these kinds of menstrual cups and period panties so prices have dropped substantially over the years. You can really save a lot of money by switching to reusable sanitary pads or menstrual cups since you no longer need to worry about buying them every month or every other month! The second benefit is that reusable sanitary pads feel better than disposable ones because they're not full of chemicals. Reusable sanitary pads can also come in many styles like thongs for light days, overnight pads, panty liners and even pads with wings!
Many mothers are concerned about the environment and do what they can to help save it. This is because many people are unaware of the impact that daily waste has on the environment. Many women know that they should use reusable pads or cloth diapers but there is some question as to which type will qualify. The greatest amount of waste created over a woman's lifetime consists of disposable feminine products. Some family members think making Best Reusable Pads would be too much work so mothers continue to buy tampons, pads, and panty liners using plastic applicators adding unnecessarily to the landfill crisis. Many families recycle cans and bottles for extra cash so this may be something small you can do with your children to teach them about saving our Earth!
As Buckminster Fuller said "Pollution is nothing but the resources we are not harvesting", and we think of waste in the same way. So lets start viewing waste as a resource and re-thinking the items we throw away. Visit AltUse.com for tips on alternative uses for your waste items.
Once had a Gold Circle which later was Value City before becoming Burlington Coat Factory. In 1996 - 1997 part of the Gold Circle building was demolished / re-purposed for Circuit City and Dollar General.
5114 Salem Avenue in Trotwood, Ohio
I made a reusable grocery bag by fusing used plastic grocery bags into a more durable material. I used the fused material like fabric to sew this bag together. This is the first time I'm made something with a sewing machine. I think it turned out alright, seems very durable, each piece is six sheets fused together. It took me about 5 hours I think, I lose track of time whenever I'm making something. Someone with more skill than me could make just about anything out of the fused material. Seems like a good use for those plastic bags.
An interesting use for panels off a caravan at this Cumbrian farm. Farmers never throw anything away.
These are awesome. Anyone who goes from a regular location to get coffee (e.g. work) should have one of these. Keepcups are reusable coffee cups that are made in standard sizes, so they should be accepted by baristas. Cut down on waste from all of those disposable coffee cups.
(This has caused me to buy a lot more coffee, actually).
There has been a church on this site since Saxon times. The original building was probably built of wood, but this was succeeded by one of stone by the time of the Domesday survey in 1086 AD. It was probably built of ragstone and tufa both of which occur locally, some of the stone being reused for the construction of the present building dating from the 13th & 14th centuries. Much work was carried out during the 19th century, the north aisle being added in 1824, the south aisle in 1856, and the east wall of the chancel being rebuilt in 1883/4. The porch dates from the 15th century, and was moved to its present position after the addition of the south aisle.
Much of the north wall of the chancel beyond the choir seating is taken up by the Style monument, which was erected by Sir Thomas Style in 1626 in memory of his parents Oliver and Susan Style. Oliver Style was the son-in-law of John Bull. Oliver Style (1542 – 1622) purchased Wateringbury Place and lived there until his death at the age of 80 in 1622. He was the son of Humphrey Style, Charles Stuart’s cupbearer, whose memorial brass remains in Beckenham parish church. The figures on the monument have some of their old colour still left; that of Oliver Style is in a scarlet and ermine robe, Sir Thomas being dressed in armour. An extraordinary figure on this tomb is that of a partly cloaked skeleton with an angel, under an arch and among coloured flowers and cherubs, with the words: “death to me is an advantage; all men must die”, a good enough philosophy for skeletons! A ledger stone in memory of Sir Thomas Style has been moved from the chancel to the floor of the tower, and may be seen on request.
The vestry, which is entered from the north side of the chancel by a Tudor door, was built in 1838 at the expense of Alderman Matthias Prime Lucas of the City of London, who succeeded the Style family at Wateringbury Place, and whose portrait by Sir David Wilkie RA is in the Guildhall Art Gallery. The vestry is thought to be the largest of any in a Kent parish church.
Members of the Lucas family occupy the vault beneath the vestry, and theirs are the memorial hatchments displayed on the walls of the nave. The vestry also contains a memorial tablet to that well known and much loved priest Canon Livett. Fixed to the tablet is a piece of carved Norman stone, and the inscription reads: “This stone from the Norman east front of Rochester Cathedral is placed here in memory of Canon G.M. Livett BA, FSA, vicar of Wateringbury 1895 – 1922”. It was presented to him on completion of the restoration of the west front of Rochester Cathedral, during which he discovered the foundation of the east end of the Saxon Cathedral. Canon Livett was the first President of the Kent Archaeological Society.
A memorial board has now been affixed to the wall above the fire place in the vestry. It was once sited in the old school building on Red Hill before the school moved in 1976 to new premises in Bow Road, and was unable to house the memorial. It is unique in recording the names of all the former pupils of the school who served in the Great War of 1914 – 1918, as well as of those who were killed in the two Great Wars. It is included on the national list of war memorials which is held at the Imperial War Museum in London.
The east end of the north aisle of the nave is occupied by the Chapel of St. George, and contains memorials to those from the village who served and died in the two world wars of 1914 – 1918 and 1939 – 1945.
The organ is placed on the gallery at the west end of the nave. It was acquired from a Methodist church in Nottinghamshire and erected here in 1893, the munificent gift of Mr RH Fremlin & Mr W Jude, Churchwardens at the time. The organ was built by the renowned firm of Norman & Beard of Norwich, and was originally pumped by hand. It is a two-manual instrument, the great and swell organs, with a fine selection of stops ranging from trumpet to oboe. The largest pipe is 16 feet long. The organ was renovated in 2010.
The gallery replaces an earlier one, which was known as ‘the singing gallery’. It was much lower and extended further east than the present one which was constructed out of the older one. The old gallery had been used to house the church band, which accompanied on various instruments the singing in the church.
A feature of the nave is the millennium banners, which hang on and under the gallery. These were made to commemorate the millennium year by the many organisations in the village and exemplify the richness of village life. Descriptions of the various designs are given in an explanatory booklet which is kept in the church.
The light wood screen built at the west end of the north aisle of the nave conceals a kitchen and servery from which delicious refreshments are served after many services, social functions, and entertainments. Behind the kitchen, there is a choir vestry and lavatory. These were all built in the millenium year.
The lofty tower was built in the 13th century, and is therefore the oldest part of the present church. It contains a peal of six bells. These consist of five trebles tuned to G,F, Eb,D & C. The tenor bell is tuned to Bb. The bells were rehung with ball bearings in 1950. The present spire which is clad in cedar shingles, was restored in 1886, after having been struck by lightning and destroyed by fire on 28th February in that year.
The weather vane is dated 1832, and has the initials of the two Churchwardens of the time: JW & RH. These stand for James Woodbridge JP who lived at The Lodge (at that time Wateringbury Lodge), and Richard Harris.
The church possesses a fine light of Victorian stained glass installed behind the altar, in what is thought to be a 14th century stone window. It is a memorial to Henry Stevens who was Vicar of Wateringbury for 57 years, and who died in 1877. Unfortunately the inscription is carried across the three lights that make up the window, the right hand one of which reads: “this parish died on 22nd October 1877”, which is certainly not true! The oak eagle lectern was also given in memory of Henry Stevens, and by his widow.
The windows at the east and west ends of the south aisle, and at the west end of the north aisle of the nave were moved from the nave when the aisles were built and the church extended in the 19th century. Much of the ancient glass was destroyed in the great storm of 19th August 1763, and apart from those mentioned, the rest were destroyed or seriously damaged in the blast from a Doodle Bug (V1 rocket) which landed in the grounds of Wateringbury Place at 7.25 pm on 24th August 1944. Fortunately this did not damage irreparably the very beautiful window of St. Francis on the north side of the nave. This window is a memorial to Adele Violet Crofton, whose face at the age of 8 is that of the angel in the window. Behind the angel is the Adele Crofton Rose, grown by George Dickson of Ulster in 1928, and awarded a Gold Medal at the Royal Rose Society’s Show.
Mrs Crofton was known as Robin by her friends, and one sits on the hand of St. Francis. The window features seven robins, seven fishes, and seven rays of light coming down from the Holy Dove. There are seven birds about the Saint, six swallows and the Holy Dove. This is because Adele was the seventh child of a seventh child. Adele Crofton’s ashes are buried in the grave of her parents which is in the top left hand corner of the churchyard, adjacent to the gateway from Wateringbury Place.
The font at one time stood at the west end of the nave, in the centre beneath the gallery. Its removal to the present position necessitated the removal of a number of pews, and the careful tiling of the area to match the existing tiling by the south door. The font itself is of ancient stone cut to an intricate shape. At one time it was decoratively painted, traces of the paint being visible until recent times. It is thought that the colour was removed at the time of Cromwell.
On 1st June 1915 the font was used for the Christening of Godfrey William Style, son of Colonel Rodney Charles Style of Wierton Grange, Kent, and of the family with long connections with Wateringbury. Col. Style gave a cheque in gratitude to the Vicar, the Revd. CM Livett, who was able to commission the making of the font cover. This was beautifully made by Cecil French to the Vicar’s design described as ‘unpretentious but suitable’. The cover was refurbished in 1997 by Ron Buchanan.
The ornate four-branch chandelier over the font was the gift of the Rolfe family of Danns Lane. It was restored in December 2001 by Ted Vincent.
The porch is the only part of the church to be roofed with tiles, the church itself being roofed in slate. These are Kentish peg tiles. The porch was rebuilt in its present position after the construction of the south aisle to the nave in 1856, the old material being reused for the purpose. The old square headed windows of the porch date from the 15th century. A plaque records the receipt of a grant of £30 in 1883 by The Incorporated Society for Buildings & Churches, for “enlarging and restoring this church”; and adds that “all the seats are for the free use of the parishioners according to law”.
The church is set in a churchyard, which is bordered to the west, north and east, by the grounds of Wateringbury Place, and to the south by the A26 road to Tonbridge. The churchyard now incorporates the site of the village pound, in which at one time stray animals were impounded. The village war memorial now occupies the approximate site of the pound, and was moved there from the Wateringbury crossroads in 1978. Though the churchyard is full it has not been closed for burials, and is used for the burial of ashes.
The churchyard contains a number of interesting memorials, five of which are listed as being of historic interest. That of Sir Oliver Style which is placed just outside the south door of the church, is listed Grade IIa. It was restored in 2002 at the expense of the English Heritage and a number of other Conservation Charities. It is a memorial to the Sir Oliver Style who died on 12th February 1703, and who was the British Consul in Smyrna (present day Izmir) at the time of a great earthquake in which over 4,000 people died. He was at dinner at the time, and survived by throwing himself under the table.
Not far from this memorial stands a sundial which was made in Wateringbury in the 18th century by Thomas Crow, the inventor of the octant. The octant was the navigational instrument which preceded the sextant. The sundial originally had a brass face with four dials showing the local time for noon in many cities of the world, the month, hours, and Greenwich Mean Time. Unfortunately the face was stolen some years ago, but a new one, though with less information, has recently been made by Mike Allen of Larkfield. The Crow family tomb is sited near the east boundary of the churchyard.
t is known that the yew tree on the west side of the porch, was planted in 1597, and is therefore over 400 years old. Its age was the theme for many events held by the church in 1997, when members of the congregation wore sweatshirts embroidered with a yew tree motif. In that year the Wateringbury Local History Society gave and planted another yew tree in the churchyard, which it is hoped will still be flourishing 400 years from now.
There has been a church on this site since Saxon times. The original building was probably built of wood, but this was succeeded by one of stone by the time of the Domesday survey in 1086 AD. It was probably built of ragstone and tufa both of which occur locally, some of the stone being reused for the construction of the present building dating from the 13th & 14th centuries. Much work was carried out during the 19th century, the north aisle being added in 1824, the south aisle in 1856, and the east wall of the chancel being rebuilt in 1883/4. The porch dates from the 15th century, and was moved to its present position after the addition of the south aisle.
Much of the north wall of the chancel beyond the choir seating is taken up by the Style monument, which was erected by Sir Thomas Style in 1626 in memory of his parents Oliver and Susan Style. Oliver Style was the son-in-law of John Bull. Oliver Style (1542 – 1622) purchased Wateringbury Place and lived there until his death at the age of 80 in 1622. He was the son of Humphrey Style, Charles Stuart’s cupbearer, whose memorial brass remains in Beckenham parish church. The figures on the monument have some of their old colour still left; that of Oliver Style is in a scarlet and ermine robe, Sir Thomas being dressed in armour. An extraordinary figure on this tomb is that of a partly cloaked skeleton with an angel, under an arch and among coloured flowers and cherubs, with the words: “death to me is an advantage; all men must die”, a good enough philosophy for skeletons! A ledger stone in memory of Sir Thomas Style has been moved from the chancel to the floor of the tower, and may be seen on request.
The vestry, which is entered from the north side of the chancel by a Tudor door, was built in 1838 at the expense of Alderman Matthias Prime Lucas of the City of London, who succeeded the Style family at Wateringbury Place, and whose portrait by Sir David Wilkie RA is in the Guildhall Art Gallery. The vestry is thought to be the largest of any in a Kent parish church.
Members of the Lucas family occupy the vault beneath the vestry, and theirs are the memorial hatchments displayed on the walls of the nave. The vestry also contains a memorial tablet to that well known and much loved priest Canon Livett. Fixed to the tablet is a piece of carved Norman stone, and the inscription reads: “This stone from the Norman east front of Rochester Cathedral is placed here in memory of Canon G.M. Livett BA, FSA, vicar of Wateringbury 1895 – 1922”. It was presented to him on completion of the restoration of the west front of Rochester Cathedral, during which he discovered the foundation of the east end of the Saxon Cathedral. Canon Livett was the first President of the Kent Archaeological Society.
A memorial board has now been affixed to the wall above the fire place in the vestry. It was once sited in the old school building on Red Hill before the school moved in 1976 to new premises in Bow Road, and was unable to house the memorial. It is unique in recording the names of all the former pupils of the school who served in the Great War of 1914 – 1918, as well as of those who were killed in the two Great Wars. It is included on the national list of war memorials which is held at the Imperial War Museum in London.
The east end of the north aisle of the nave is occupied by the Chapel of St. George, and contains memorials to those from the village who served and died in the two world wars of 1914 – 1918 and 1939 – 1945.
The organ is placed on the gallery at the west end of the nave. It was acquired from a Methodist church in Nottinghamshire and erected here in 1893, the munificent gift of Mr RH Fremlin & Mr W Jude, Churchwardens at the time. The organ was built by the renowned firm of Norman & Beard of Norwich, and was originally pumped by hand. It is a two-manual instrument, the great and swell organs, with a fine selection of stops ranging from trumpet to oboe. The largest pipe is 16 feet long. The organ was renovated in 2010.
The gallery replaces an earlier one, which was known as ‘the singing gallery’. It was much lower and extended further east than the present one which was constructed out of the older one. The old gallery had been used to house the church band, which accompanied on various instruments the singing in the church.
A feature of the nave is the millennium banners, which hang on and under the gallery. These were made to commemorate the millennium year by the many organisations in the village and exemplify the richness of village life. Descriptions of the various designs are given in an explanatory booklet which is kept in the church.
The light wood screen built at the west end of the north aisle of the nave conceals a kitchen and servery from which delicious refreshments are served after many services, social functions, and entertainments. Behind the kitchen, there is a choir vestry and lavatory. These were all built in the millenium year.
The lofty tower was built in the 13th century, and is therefore the oldest part of the present church. It contains a peal of six bells. These consist of five trebles tuned to G,F, Eb,D & C. The tenor bell is tuned to Bb. The bells were rehung with ball bearings in 1950. The present spire which is clad in cedar shingles, was restored in 1886, after having been struck by lightning and destroyed by fire on 28th February in that year.
The weather vane is dated 1832, and has the initials of the two Churchwardens of the time: JW & RH. These stand for James Woodbridge JP who lived at The Lodge (at that time Wateringbury Lodge), and Richard Harris.
The church possesses a fine light of Victorian stained glass installed behind the altar, in what is thought to be a 14th century stone window. It is a memorial to Henry Stevens who was Vicar of Wateringbury for 57 years, and who died in 1877. Unfortunately the inscription is carried across the three lights that make up the window, the right hand one of which reads: “this parish died on 22nd October 1877”, which is certainly not true! The oak eagle lectern was also given in memory of Henry Stevens, and by his widow.
The windows at the east and west ends of the south aisle, and at the west end of the north aisle of the nave were moved from the nave when the aisles were built and the church extended in the 19th century. Much of the ancient glass was destroyed in the great storm of 19th August 1763, and apart from those mentioned, the rest were destroyed or seriously damaged in the blast from a Doodle Bug (V1 rocket) which landed in the grounds of Wateringbury Place at 7.25 pm on 24th August 1944. Fortunately this did not damage irreparably the very beautiful window of St. Francis on the north side of the nave. This window is a memorial to Adele Violet Crofton, whose face at the age of 8 is that of the angel in the window. Behind the angel is the Adele Crofton Rose, grown by George Dickson of Ulster in 1928, and awarded a Gold Medal at the Royal Rose Society’s Show.
Mrs Crofton was known as Robin by her friends, and one sits on the hand of St. Francis. The window features seven robins, seven fishes, and seven rays of light coming down from the Holy Dove. There are seven birds about the Saint, six swallows and the Holy Dove. This is because Adele was the seventh child of a seventh child. Adele Crofton’s ashes are buried in the grave of her parents which is in the top left hand corner of the churchyard, adjacent to the gateway from Wateringbury Place.
The font at one time stood at the west end of the nave, in the centre beneath the gallery. Its removal to the present position necessitated the removal of a number of pews, and the careful tiling of the area to match the existing tiling by the south door. The font itself is of ancient stone cut to an intricate shape. At one time it was decoratively painted, traces of the paint being visible until recent times. It is thought that the colour was removed at the time of Cromwell.
On 1st June 1915 the font was used for the Christening of Godfrey William Style, son of Colonel Rodney Charles Style of Wierton Grange, Kent, and of the family with long connections with Wateringbury. Col. Style gave a cheque in gratitude to the Vicar, the Revd. CM Livett, who was able to commission the making of the font cover. This was beautifully made by Cecil French to the Vicar’s design described as ‘unpretentious but suitable’. The cover was refurbished in 1997 by Ron Buchanan.
The ornate four-branch chandelier over the font was the gift of the Rolfe family of Danns Lane. It was restored in December 2001 by Ted Vincent.
The porch is the only part of the church to be roofed with tiles, the church itself being roofed in slate. These are Kentish peg tiles. The porch was rebuilt in its present position after the construction of the south aisle to the nave in 1856, the old material being reused for the purpose. The old square headed windows of the porch date from the 15th century. A plaque records the receipt of a grant of £30 in 1883 by The Incorporated Society for Buildings & Churches, for “enlarging and restoring this church”; and adds that “all the seats are for the free use of the parishioners according to law”.
The church is set in a churchyard, which is bordered to the west, north and east, by the grounds of Wateringbury Place, and to the south by the A26 road to Tonbridge. The churchyard now incorporates the site of the village pound, in which at one time stray animals were impounded. The village war memorial now occupies the approximate site of the pound, and was moved there from the Wateringbury crossroads in 1978. Though the churchyard is full it has not been closed for burials, and is used for the burial of ashes.
The churchyard contains a number of interesting memorials, five of which are listed as being of historic interest. That of Sir Oliver Style which is placed just outside the south door of the church, is listed Grade IIa. It was restored in 2002 at the expense of the English Heritage and a number of other Conservation Charities. It is a memorial to the Sir Oliver Style who died on 12th February 1703, and who was the British Consul in Smyrna (present day Izmir) at the time of a great earthquake in which over 4,000 people died. He was at dinner at the time, and survived by throwing himself under the table.
Not far from this memorial stands a sundial which was made in Wateringbury in the 18th century by Thomas Crow, the inventor of the octant. The octant was the navigational instrument which preceded the sextant. The sundial originally had a brass face with four dials showing the local time for noon in many cities of the world, the month, hours, and Greenwich Mean Time. Unfortunately the face was stolen some years ago, but a new one, though with less information, has recently been made by Mike Allen of Larkfield. The Crow family tomb is sited near the east boundary of the churchyard.
t is known that the yew tree on the west side of the porch, was planted in 1597, and is therefore over 400 years old. Its age was the theme for many events held by the church in 1997, when members of the congregation wore sweatshirts embroidered with a yew tree motif. In that year the Wateringbury Local History Society gave and planted another yew tree in the churchyard, which it is hoped will still be flourishing 400 years from now.
I had to go on an errand and since it was still spring and the crops were small I went along the old CGW to see what had changed since the last time and pick up anything I didn't thick I had pics of. I didn't expect to find a drainage culvert replaced with warn out tank cars just south of the old CGW ROW.
Can YOU throw an Altoids tin away? I sure can't! So I recycled my ever-growing drawer of tins into purses.
This black, gold and silver pair of Liquorice tins are securely riveted and glued together with a black leather insert, providing a wrist strap handle, pinked trim extending out between the tins, and fringe to balance the bag as it hangs from your wrist.
Philadelphia Water and a broad group of partners interested in protecting our rivers, parks and planet gathered on the Schuylkill River on Friday, Oct. 23 to announce a new network of drinking water stations along the Schuylkill River Trail. The water bottle filling stations/fountains will help fight pervasive single-use water bottle litter found along the Schuylkill River by making it easy to use refillable bottles. Philadelphia Water also partnered with Head of the Schuylkill Regatta to give away over 12,000 reusable water bottles.
Speakers and guests included: Mayor Michael Nutter, Councilman Curtis Jones, Jr’s Chief of Staff, Josh Cohen, Deputy Mayor for Environmental and Community Resources Michael DiBerardinis, Philadelphia Water Commissioner Howard Neukrug, Chair of the Schuylkill Navy River Stewards Committee Alan Robinson, Captain of the Water Initiative for the HOSR Deirdre Mullen, Commodore of the Schuylkill Navy Paul Horvat, President/Co-director of Head of the Schuylkill Regatta Ellen Carver.
4th Grade Students from FS Edmonds Elementary School also took the #DrinkTapPHL pledge to “Choose to Reuse” and were given refillable bottles to take home.
Los Angeles Historic-Cultural Landmark No. 476
__________
The Belasco Theater, 1926
1046 - 1054 S Hill St.
Downtown, South Park, Los Angeles, CA
Morgan, Walls, and Clements
On February 26, 2011, we were invited by the Los Angeles Historic Theater Foundation (LAHTF) to preview the newly restored Belasco Theater on Hill Street, in the South Park neighborhood of Downtown Los Aneles. Ordinarily, "adaptive reuse" is a dirty word to a hard-core preservationist, but the rennovations made to the Belasco are sensitive to the architecture, and give new life to an otherwise vacant building. Working with the LAHTF and the Los Angeles Conservancy, the owner of the Belansco has created a wonderful, and vibrant entertainment complex. Restored to Department of Interior standards, and adapted for a multitude of uses, this theater is destined to become a new Los Angeles hot spot.
The story goes that Edward Doheny, who lived just southwest in Chester Place, wanted a theater closer to his residence. At the time, many of the older theaters on Broadway were in decline and beginning to turn burlesque. On land owned by his oil company, he commissioned Morgan, Walls, and Clements to create two new venues -- the Belasco (HCM-476) with a close space designed for plays, and the Mayan (HCM-460), for musicals. The theaters were completed and opened in 1926 and 1927 respectively. They Mayan took on a pre-columbian theme, while the Belasco incorporaes several different Spanish themes, including: Churrigueresque, Spanish Renaissance, Moorish, and Gothic. Doheeny choose Frederick Belasco (brother to David and Edward Belasco of the New York Belasco theaters) to run the new venue. The Belasco's opening production was Gentlement Prefer Blonds. After the theater closed, it was converted into a movie palace, became home to the Gospel Temple, and later the Metropolitan Community Church (MCC), before being acquired by the current owner.
I love my little point-and-shoot Sony T100. However, in the low light of the theater I had to use the OSI setting. As a result the interior appears an erie Victorian red, even though it's mostly blue and gold. No amount of tinting would help, so the pictures are what they are.
After the tour we decided to take a walk around the block to see what other architectural treasures were in the neighborhood:
-- The Mayan Theater (HCM-460). 1040 S Hill St. Built in 1927, the theater opened with George Gershwin's "Oh Key." It was designed by Morgan, Walls, and Clements, and is only one of eight buildings in Los Angeles designed in the Pre-Columbian (Mayan Revival) style. The hand-carved wall scuptures were created by Mexican artist Francisco Cornejo.
-- The White Log Cabin Coffee Shop. Across the street from the Belasco is an amazing little piece of Los Angeles Programmatic archiecture in the form of a quaint log cabin. Built in 1932 and designed by Kenneth Bemis, it began life as the White Log Cabin Coffee Shop. Later it was painted red and became Tony's Burgers. Today it survives as the El Comedor Mexican Grill.
-- The YWCA (Woman's Athletic Club). 1031 S Broadway. Designed by Allison and Allison in the Italian Renaissance style, the structure is impressive but in sad need of repair. Today it serves as a home of the Los Angeles Jobs Corps.
-- The Harold-Examiner (NRHP-92000382, HCM-178). 1111 S Broadway. The Harold-Examiner is a Mission and Spanish Colonial Revival masterpiece, built in 1912 by legendary California architect Julia Morgan, for William Randolph Hearst. It is said she took inspiration from A. Page Brown's California Building of the 1983 World Columbian Exposition in Chicago, however Gebhard and Winters owe this more to a coinciidence of styles. The building's colorful domes and open-arched arcades are it's most notable features, but the arches were closed in during a 10-year strike that lasted from 1967 to 1977. The Harold-Examiner finally closed it's doors November 2, 1989, and the building -- still owned by the Hearst family -- has remained shuttered ever since. Despite a scare in the early 1990's when the Hearst family wanted to tear down the building for a parking lot, it survives in relatively good condition (thanks in part to community outcry and it's designation as both a National Register of Historic Places and a Los Angeles Historic-Cultural Ladmark).
The Belasco Theater: thebelasco.com/Main/Main.htm
The Mayan Theater: clubmayan.com/
The Los Angeles Historic Theater Foundation (LAHTF): www.lahtf.org/
Wikipedia: The Los Angeles Harold-Examiner: en.wikipedia.org/wiki/Los_Angeles_Herald-Examiner
St. Lawrence (Nuremberg)
Towers of St. Lorenz Church, view from the west
St. Lawrence is a Gothic church in Nuremberg. The Lorenz church was the parish church of the medieval settlement located south of Pegnitz core of the former free imperial city of Nuremberg and forms the urban counterpart to the older Church of St. Sebald in the northern area . Construction of the three-aisled basilica was in 1250, the late Gothic choir was completed in 1477. Patron of the church is the Holy Lorenz. The heavily damaged in World War II construction was built according to the old model again. Since the Reformation, the Lorenz church is next to the Church of St. Sebald one of the two major Protestant Churches of Nuremberg, both of which belong to the deanery of the Evangelical Lutheran Church in Bavaria. The Lorenz Church Nuremberg city is the seat of the Dean and finds it in the traditionally held launch of the country's newly elected bishop.
Architectural History
Iron scale from the 15th Century on the west facade. The unit is six Nuremberg Shoe (equivalent to 6 × 27.84 cm = 167.04 cm)
The first mention of Lawrence 's Chapel in Nuremberg from the years 1235 and 1258, during an excavation in 1929 found that it was a small three-aisled basilica with the previous Romanesque. Parts of this building from the early 13th Century have been reused in the rising masonry.
The architectural history of the Lorenz church was always inspired by the model and the competition of the more important in the Middle Ages St. Sebald church. Construction of the three-aisled basilica is dated to about 1250 (St. Sebald ca. 1230/40). However, the exact series episode has yet to be determined. The dating of the sculpture of the west facade plays a supporting role, the workshop will also be seen in Nuremberg at the Tomb of Konrad Gross. The three-aisled basilica was completed around 1390th.
As early as 1400 but was extended (again, following the example of St. Sebald) the aisles by as much moved to their outside walls that is now located in the interior of the church buttresses forming small private chapels for the Council sexes. The last major phase of construction of the hall choir to the altar Deocarus fell in the years 1439-77 (The project is backed by inscriptions; hall choir of St. Sebald 1361-79).
The church was heavily damaged by the air raids in World War II and in the final battle for Nuremberg in April 1945 and has been rebuilt from 1949. Mainly the roof and the vault were destroyed. The roof has been completely redesigned, and the roof was built over the nave due to material shortages of steel. It had to be installed along 1.5 km pursuit and new vault keystones.
History
Lorenz Church, view from south
At least the predecessor of St. Lorenz church, mentioned in the first half of the 13th Century, the bambergischen upper parish in Fuerth was assumed, while St. Sebald originally belonged to Poppenreuth. St. Lawrence could never reach the significance of the sister church, the highlight of this development was in 1425 with the canonization of the public for the past two centuries revered local saint Sebald achieved by the Curia of the entire Middle Ages. St. Lawrence, patron of St. Lorenz church, did not offer the same ID space, especially since you did not have his body . This explains also the 15th Century growing devotion to the Holy Deocarus, confessor of Charles the Great, whose relics were kept in the Lorenz Church since 1316. On his 1436/37 donated altar was allowed, proven from the funds of Nuremberg citizens, establish the late-Gothic hall choir to the east of the church.
Not only for the construction of Hall Choir (1439-1477), but for the entire construction financed by wealthy citizens and the City Council is likely. The same is true for some very valuable assets, in some cases it is here a concrete founder of the patricians can be found ( as in the tabernacle, and the English greeting). This was probably also the reason that the art treasures of St. Lawrence were spared during the Reformation period of iconoclasm. St. Lawrence was one of the first churches in Germany, which were Lutheran (1525), but apparently they wanted to Nuremberg in the memory of the ancestors own honor and had therefore made by them donated sculptures.
In the subsequent history of the church, there are well-known personalities: That there was a preacher among others Andreas Osiander who in St. Lawrence worked - his picture hangs in the sacristy Lorenz .
Building design
The west facade is extremely rich articulated for a parish church, which reflects the high standards of the Nuremberg citizenship, which funded the building substantially. The facade is dominated by the two towers, the model can again to be found in St. Sebald and thus indirectly in the Bamberg Cathedral, the towering sharp Gewändeportal (embrasure portal), well-indented rose window with nine feet in diameter, and the finely perforated Maßwerkgiebel (tracery gable), elements in the form are borrowed and claim all the Gothic cathedrals.
The main building has the shape of a three-nave pillar basilica of eight yokes. In the nave pointed arches on clustered piers carry the nave wall, per yoke breaks through a pointed arch window, the clerestory wall. Presented service bundles to wear a ribbed vault, the ribs are pulled down to the level of the clerestory window sills. The peculiarity of the side aisles is much lower in small family bands, caused by the displacement of the outer walls to the outer edge of the buttress.
The late Gothic hall choir, mirror of the architectural fashion of his time, is seamlessly connected to the main ship. It is distinguished above all by its playful vaulting and the magnificent two-story window tracery in handling. On the south side of a two-storey is inserted the sacristy.
Dimensions of the church nave aisle hall choir
Length: 91.20 m Height: 24.20 m Height: 11.50 m Height: 24.20 m
Width: 30,00 m Beam : 10,40 m Width : 5,90 m Width: 28,60 m
The towers are 80.8 m and 81 m high.
Artworks
Nuremberg, St. Lawrence, north side, angle of nave and transept house: entrance hall with Olives
Tabernacle by Adam Kraft
Annunciation (1517/18) by Veit Stoss
Not all the moving pieces on the rich furnishings are originally from St. Lawrence. Many of the cultural heritage came from secular or destroyed monasteries of Nuremberg and the surrounding area.
Particularly noteworthy are two masterpieces of late Gothic sculpture belonging to the original design of the church: The brainchild of Adam Kraft 1493-1496 tabernacle (donated by Hans Imhoff the Elder.), a 18.70 meter high sandstone tabernacle, consisting of a walk-handling stage and a consequent growing up, pointed, but towards the ceiling rolled spire, which is diverse finely broken. The structure is supported by the back of three crouching figures in three different ages whose mean, equipped with stone tool, probably represents the artist himself. Above the actual Sakramentsschränkchens (small sacrament cabinet) various scenes of Christ's Passion are presented. Despite its delicate shape and the severe damage to the Lorenz Church by bombing in the Second World War, the tabernacle was largely spared from destruction by a surrounding wall.
Another brilliant performance of late Gothic art is hung in the choir German greeting (also: Annunciation in the Rosary), which was 1517/18 given by the patrician Anton Tucher at the sculptor Veit Stoss in order. It shows on the big man, colorful framed and gilded largely linden wood figures of Mary and Gabriel at the Annunciation, surrounded by a wreath of gold roses 55 (372 × 320 cm). Perched above the scene of the blessing God the Father, for the minds of the protagonists buzz musical angels, at the bottom there is a snake with bitten into apple in its mouth. Seven medallions show the seven joys of Mary. Due to a crash on the 2nd April 1817 almost completely destroyed the English greeting had to be carefully restored. Belonging to the twelve angels candlesticks on the choir stalls and the central upstream Marie chandelier.
As one of the few dated altarpieces are the Deocarusaltar of 1436/1437 for the history of the Nuremberg painting and Bilderschnitzerei (sculpture) of great importance. From 1316 to the 19th Century housed the Lorenz Church in Deocarusaltar Deocarus relics of saints, the legendary founder and first abbot of the city Herrieden. Predellenflügel (predella wing) on the right shows how Ludwig the Bavarian city of Nuremberg is about the relics of the saint.
In the right aisle is the Rochus-Altar, a foundation of the Nuremberg trade Imhoff family. When the Altarbau (construction of the altar) started, can not be ascertained clearly, probably around 1485, when the plague was raging in Nuremberg and each solution was welcome. In Venice, the dealer Imhoff family knew very well from Peter Imhoff the Elder managed in Venice from 1465 to 1476 the benefice for the altar of St. Sebald in the church of San Bartolomeo at the Rialto Bridge, which was the altar of German merchants, and is the year he was appointed consul of the Germans in fondaco dei Tedeschi. 1499th Francis Imhoff was a member of the Fraternity of Saint Roch in Venice and knew the local customs very well. And also the success of this saint cult. So it made sense for the Imhoff to make Rochus also known at home in Nuremberg. In the plague year 1484 was celebrated on 16 August in the Lorenz Church in Nuremberg the feast of Saint Roch, a little later probably Imhoff began building the altar. The altar Rochus includes not only the image of Rochus but also of Sebastian, the other plague saint, and is one of the most distinctive sign of early dissemination of the cult of Roch from Venice north of the Alps, before the 1500s. In the lower part you can see the coat of arms of the Imhoff and the Holzschuher, another Nuremberg family.
Numerous altars with paintings and carvings, sculptures in wood and stone, stained glass, some wall paintings, bells, epitaphs, dead shields and a choir from the late 15th Century complete the picture. Also mounted on the exterior are numerous sculptures, some are copies.
Bell
Tagmessglocke (a bell to call the churchgoers or monks)
Laurentia (prayer bell)
The bells of St. Lorenz church consists of 16 bells läutbaren (ringable) and thus representIing the second largest peal of a Protestant church in Germany. It consists of the main elfstimmigen (in eleven voices) bells (1-11 ) and the Cymbelgeläut (cymbeline ringing) ( 12-16). The fire bell is restored as a memorial to the two world wars on the west portal. The old silver bell hangs in the east choir and can be rung from there by cable, but it does not belong to the regular ringing bells ringing but only occasionally to Mittagslob (pray of noonday) on Krell altar. All the bells hang in a wooden belfries of wooden yokes. Due to static problems were in the course of a reorganization almost all the bells upper weights placed on the yoke to slow the Läuterhythmus (rhythm of ringing).
1 bell Christ Friedrich Wilhelm Schilling 1953 1815 4407 -4 h0 North Tower
2 Tagmessglocke 1552 Hans (III ) Glockengieser 1490 2006 d1 -1 North Tower
3 Laurentia ( prayer bell ) 1409 1608 2600 Hainrich Grunwalt e1 -1 south tower
4 dead memorial bell Friedrich Wilhelm Schilling 1953 1180 1153 fis1 ± 0 South Tower
5 Garausglocke ~ 1400 ( Hermann Kessler ) 1040 ~ 700 g # 1 +2 South Tower
6 Paul Bell 1953 988 668 Friedrich Wilhelm Schilling a1 -1 south tower
7 Luther Bell in 1953 Friedrich Wilhelm Schilling h1 +1 885 480 South Tower - octagon
8 Osianderglocke 1953 Friedrich Wilhelm Schilling 802 377 d2 ± 0 - south tower octagon
9 Lazarus Spengler bell Friedrich Wilhelm Schilling 1953 705 253 -1 South Tower e2 - octagon
10 Youth With Bell 1953 Friedrich Wilhelm Schilling fis2 630 185 -1 South Tower - octagon
11 Silver Bell 1960 Friedrich Wilhelm Schilling 39 389 d3 +6 silver turrets ( Westgebiel )
I Laudate 1954 Friedrich Wilhelm Schilling 505 90 a2 +4 North Tower octagon
Magnificat II 1954 Friedrich Wilhelm Schilling 454 h2 64 +5 North Tower octagon
Bendedictus 1954 Frederick William III Shilling sharp3 +5 410 39 North Tower octagon
Nunc Dimittis in 1954 Frederick William IV Shilling 355 35 e3 +5 North Tower octagon
V Adorate 1954 Friedrich Wilhelm Schilling 325 28 +4 fis3 North Tower octagon
- Old silver bell 2 H. 14 Century ( Hermann Kessler ) 375 d3 +6 ~ 30 east chancel
- Fire bell 1 H. 14 Century ( Hermann Kessler ) 1504 2637 e1 +0.5 parked at the west portal
Läuteordnung
Like other churches, too, St. Lorenz Church has a fixed Läuteordnung (regime of ringing) that lets the bells ring out both on a regular basis as well as on special occasions. At 8 am and in the evening by 21 clock rings the Tagmessglocke, the beep for lunch ringing by 12 clock to Laurentia, which was in 2009 600 years, the Garausläuten (burn out ringing) done with the Garausglocke depending on the sunset 16 to 20 clock. Fridays by 15 clock reminds the great bell at the crucifixion of Jesus Christ on Good Friday. Our Father in all worship the Paul Bell is rung. Saturday is by 14 clock of Sunday, heralded by the ringing of the bells 8, 7 , 6, 4 and 2 ( d2 h1 -a1 -d1 - f k1 ), which does not change over the church year. Depending on the form of worship, church festival degrees and years vary the number and/or the musical compositions (motives ) of the bells.
de.wikipedia.org/wiki/St._Lorenz_(N%C3%BCrnberg)
Shipping box from Fromuth Tennis contained some Wilson NXT String, Adidas Shoes, and US Open T-Shirts. Now it contains Cookie!
Tio's Tacos Restaurant
Riverside, CA
Tio's Tacos is a Mexican restaurant in Riverside, California. It is known for its many instances of folk art made from discarded items around its grounds.
Architect: Alschuler, Alfred S. (Alfred Samuel), 1876-1940 (John Sexton Building)
Description: View of the east facade of the John Sexton building (500 North Orleans Street), located at the northwest corner of North Orleans Street and West Illinois Street. This part of the John Sexton building was built twelve years after the original part of the structure was constructed. The entire building has been converted into condominiums.
Photographer: Brubaker, C. William, 1975
Architecture Date: 1929 (East part, John Sexton Building)
Geographic coverage: Near North Side (Chicago, Ill.); River North (Chicago, Ill.)
Collection: C. William Brubaker Collection (University of Illinois at Chicago)
Repository: University of Illinois at Chicago. Library. Special Collections Department
File Name: bru009_03_bF
Rights: This image may be used freely, with attribution, for research, study and educational purposes. For permission to publish, distribute, or use this image for any other purpose, please contact Special Collections and University Archives, University of Illinois at Chicago Library at lib-spec@uic.libanswers.com
For more images from the collection, visit collections.carli.illinois.edu/cdm/landingpage/collection/uic_bru...
Things I use on my new "green" walk to the grocery store! Reusable grocery store bags, sunglasses, and pedometer!
See my post about it here:
I’m Multi-Tasking: Exercise, Being Green, Getting Vitamin D & Running Errands
modern hygiene is a culture of disposable items. i like this use of a disposable glove as a place to put wrappers.
3M reusable respirator 6200, tight fitting, fit-factor (100+), source of un-comfort, weight, strap. Weight: respirator=80g, P95 filters=30g
PictionID:55776809 - Catalog:GD/Astronautics Models Details: Space Shuttle Booster Model - Title:Array - Filename:14_037790.tif - ---- Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
While I was back in my hometown over the holidays visiting family, I got a tour of the newly renovated Burlington Train Station by my brother's wife, Sheila Ireland, who was the lead architect on the project (more on that below). Although I only had my iPhone, i took these photos which turned out fine.
The Burlington Station first opened in 1898 in time for the Trans-Mississippi Exposition World's Fair held in Omaha. Designed by architect by Thomas Rogers Kimball in an Italianate style with massive granite columns evocative of a Greek temple, the station echoed the classical style of Trans-Mississippi International Exposition. The station underwent a major renovation and re-design in 1930 to compete with the new Art Deco Omaha Union Station just across the rail yard (see this set of photos shot a few days later).
Burlington Station closed in 1974 after Amtrak constructed a new station a block or so to the east. The building passed through several owners and unsuccessful plans for various renovations and adaptive reuses, including failed plans for office space and residential condos, until local ABC-affiliate KETV purchased the property to relocate it's TV station. Omaha-based architectural firm Leo A. Daly won project and Sheila Ireland become the lead architect in no small part because she had done her Master Thesis on adaptive reuse of the Burlington Station. See this brief tour of the station and interview with Sheila, which is excerpted from a longer special presentation on the newly opened station by KETV.
Here are some photos of the station before and after renovation from KETV. See also article from the Omaha World Herald.