View allAll Photos Tagged Solidity
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Olympiastadion (Olympic Stadium) in Berlin was built to host the 1936 Olympic Games on behalf of Adolf Hitler. The stadium had to be an imposing structure to express the power of the Nazi regime. Designed to hold 100 000 spectators, the stadium served as the centrepiece of the Reichsportfield, an Olympic complex of enormous dimensions. Solidity and authority were at the basis of the stadium project. These are now characterized by a colonnade of neoclassical origin that is placed along an elliptical structure. From a geometrical point of view, the colonnade is 'pure' and defines the external look in a powerful way. The interior ring of the tiers is dug into the ground. This enables the pillars of the colonnade to reach the top level of the stadium. The colonnade was designed to impress the spectators when accessing the stadium.
At one side of the stadium, the main axis is expressed by two identical towers. They indicate the main entrance. The Olympic rings are suspended between the towers to symbolically complete the design of the portal. At the other side of the stadium, the continuity of the tiers along the elliptical perimeter is suddenly interrupted by the 'Marathon Gate'. It is defined by two robust blocs that served to welcome the Olympic flame. The Marathon Gate contains the winners names of the Olympic Games. The axis subsequently culminates with the 'Führerturm' which is highest tower in front of the Marathon Gate. It heightens 75 meters (246 feet).
However, Hitler wanted a more noble stadium and assigned another architect at the end of the construction. Architect Werner March was replaced by architect Albert Speer, the trusted architect of the Führer. Later in history, Albert Speer would be called 'Architect of the Devil'.
After three years of hard labour, in 1936, the Olympiastadion was opened to the public with a total capacity of 100 000 and a seating capacity of 65 000. During the second world war, the stadium - symbol of the Nazi power - was bombed by the Allies. Afterwards, the stadium was completely restored and renovated.
On occasion of the World Cup 1974, the Olympiastadion was partly covered for the first time. A roof existing of steel and Plexiglas was added on the main tribunes. At that time, these were modern and light materials and gave the stadium a completely new look.
On occasion of the World Cup 2006, the stadium was yet again completely renovated. Works started in September 2000. The project of the renovated stadium respected the original structure of the Thirties. However, this time the stadium was completed covered by a new roof. Just like the tiers, the roof also interrupts at the Marathon Gate. A membrane of semitransparent Teflon was used to create the roof structure, contrasting the robust volume of the stadium.
River Dargle Flood Defence Scheme.
These images were taken during the 2nd week of September 2017.
Hard to believe - but I've been recording this project now for 5+ years.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
=================================================
Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress was rapid, the full stretch of wall completed, and the guys worked on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
They then clearing away material used to build access ramps down into the riverbed.
The thought crossed had my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Back in March of this year we could see the cleaned, exposed riverbank, we can see a substantial bedrock. Obviously this is not liable to subsidence. And there was evidence that sections of the slope had already been 'nailed' * to prevent slippage. But, in talking to the guys there, it would seem that further 'nailing' might be required later in the year.
6 months later, when passing by, I stopped to check . . . and confirmed that they had already completed the task of sheathing+nailing that section of the slope at most risk of destabilisation over the long term.
In 10, 20, 50 years time . . . what odds on further protection work here.
Hell, 10 10, 20, 50m months time . . . what odds . . . .!
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
*
Soil nailing is a construction technique that can be used as a remedial measure to treat unstable natural soil slopes or as a construction technique that allows the safe over-steepening of new or existing soil slopes.
The technique involves the insertion of relatively slender reinforcing elements into the slope – often general purpose reinforcing bars (rebar) although proprietary solid or hollow-system bars are also available.
Solid bars are usually installed into pre-drilled holes and then grouted into place using a separate grout line, whereas hollow bars may be drilled and grouted simultaneously by the use of a sacrificial drill bit and by pumping grout down the hollow bar as drilling progresses.
ObservatoriesTaipei 101 features an Indoor Observatory (89th floor) and an Outdoor Observatory (91st floor).[24] Both offer 360-degree views and attract visitors from around the world.
The Indoor Observatory stands 383.4 m (1,258 ft) above ground, offering a comfortable environment, large windows with UV protection, recorded voice tours in eight languages, and informative displays and special exhibits. Here one may view the skyscraper's main damper, nicknamed "Damper Baby", and buy food, drinks and gift items.
Two more flights of stairs take visitors up to the Outdoor Observatory. The Outdoor Observatory, at 391.8 m (1,285 ft) above ground, is the second-highest observation deck ever provided in a skyscraper and the highest such platform in Taiwan.
The Indoor Observatory is open twelve hours a day (10:00 am–10:00 pm) throughout the week as well as on special occasions; the Outdoor Observatory is open during the same hours as weather permits. Tickets may be purchased on site in the shopping mall (5th floor) or in advance through the Observatory's web site.[25] Tickets cost NT$400 (US$13) and allow access to the 88th through 91st floors via high-speed elevator.[26]
Taipei 101 was the first building in the world to break the half-kilometer mark in height[4] and the first record-setting skyscraper constructed in the new millennium - 3rd millennium.
The record it claimed for greatest height from ground to pinnacle now rests with the Burj Khalifa in Dubai (UAE): 828 m (2,717 ft). Taipei 101's records for roof height and highest occupied floor briefly passed to the Shanghai World Financial Center in 2009, which in turn yielded these records as well to the Burj.
Taipei 101 displaced the Petronas Towers in Kuala Lumpur, Malaysia, as the tallest building in the world by 57.2 m (188 ft).[5] It also displaced the 85-story, 347.5 m (1,140 ft) Tuntex Sky Tower in Kaohsiung as the tallest building in Taiwan and the 51-story, 244.2 m (801 ft) Shin Kong Life Tower as the tallest building in Taipei.[6]
Taipei 101 endures a typhoonVarious sources, including the building's owners, give the height of Taipei 101 as 508.0 m (1,667 ft), roof height and top floor height as 448.0 m (1,470 ft) and 438.0 m (1,437 ft). This lower figure is derived by measuring from the top of a 1.2 m (4 ft) platform at the base. CTBUH standards, though, include the height of the platform in calculating the overall height, as it represents part of the man-made structure and is above the level of the surrounding pavement.[7][8]
Structural Design
Location of Taipei 101's largest tuned mass damper.
Taipei 101 at night
The main tuned mass damper atop Taipei 101Taipei 101 is designed to withstand the typhoon winds and earthquake tremors common in its area of the Asia-Pacific. Planners aimed for a structure that could withstand gale winds of 60 m/s (197 ft/s, 216 km/h, 134 mph) and the strongest earthquakes likely to occur in a 2,500 year cycle.[9]
Skyscrapers must be flexible in strong winds yet remain rigid enough to prevent large sideways movement (lateral drift). Flexibility prevents structural damage while resistance ensures comfort for the occupants and protection of glass, curtain walls and other features. Most designs achieve the necessary strength by enlarging critical structural elements such as bracing. The extraordinary height of Taipei 101 combined with the demands of its environment called for additional innovations. The design achieves both strength and flexibility for the tower through the use of high-performance steel construction. Thirty-six columns support Taipei 101, including eight "mega-columns" packed with 10,000 psi (69 MPa) concrete.[10] Every eight floors, outrigger trusses connect the columns in the building's core to those on the exterior.
These features combine with the solidity of its foundation to make Taipei 101 one of the most stable buildings ever constructed. The foundation is reinforced by 380 piles driven 80 m (262 ft) into the ground, extending as far as 30 m (98 ft) into the bedrock. Each pile is 1.5 m (5 ft) in diameter and can bear a load of 1,000–1,320 tonnes (1,100–1,460 short tons).[10] The stability of the design became evident during construction when, on March 31, 2002, a 6.8-magnitude earthquake rocked Taipei. The tremor was strong enough to topple two construction cranes from the 56th floor, then the highest. Five people died in the accident, but an inspection showed no structural damage to the building, and construction soon resumed.
Thornton-Tomasetti Engineers along with Evergreen Consulting Engineering designed a 660 tonnes (728 short tons)[11] steel pendulum that serves as a tuned mass damper, at a cost of NT$132 million (US$4 million).[12] Suspended from the 92nd to the 88th floor, the pendulum sways to offset movements in the building caused by strong gusts. Its sphere, the largest damper sphere in the world, consists of 41 circular steel plates, each with a height of 125 mm (4.92 in) being welded together to form a 5.5 m (18 ft) diameter sphere.[13] Another two tuned mass dampers, each weighing 6 tonnes (7 short tons),[12] sit at the tip of the spire. These prevent damage to the structure due to strong wind loads.
Taipei 101's characteristic blue-green glass curtain walls are double paned and glazed, offer heat and UV protection sufficient to block external heat by 50 percent, and can sustain impacts of 7 tonnes (8 short tons).[9] Recycled water meets 20-30 percent of the building's water needs. Upgrades are currently under way to make Taipei 101 "the world's tallest green building" by LEED standards by summer 2011.[14]
for more: en.wikipedia.org/wiki/Taipei_101
Entrance foyer, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent.
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
River Dargle Flood Defence Scheme.
These images were taken during the second week of March 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
=================================================
Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
By now the guys had clearing away material used to build access ramps down into the riverbed.
The thought crossed had my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Now that we can see the cleaned, exposed riverbank, we can see a substantial bedrock. Clearly this is not liable to subsidence. And there evidence that sections of the slope had already been 'nailed' * to prevent slippage. But, in talking to the guys there, it would seem that further 'nailing' might be required later in the year.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
*
Soil nailing is a construction technique that can be used as a remedial measure to treat unstable natural soil slopes or as a construction technique that allows the safe over-steepening of new or existing soil slopes.
The technique involves the insertion of relatively slender reinforcing elements into the slope – often general purpose reinforcing bars (rebar) although proprietary solid or hollow-system bars are also available.
Solid bars are usually installed into pre-drilled holes and then grouted into place using a separate grout line, whereas hollow bars may be drilled and grouted simultaneously by the use of a sacrificial drill bit and by pumping grout down the hollow bar as drilling progresses.
Rohtas Fort, (Qila Rohtas) is an exceptional example of early Muslim military architecture in Central and South Asia, for it was built essentially for military purposes. Following the defeat of the Mughal Emperor Humayun in 1541, Sher Shah Suri built a strong fortified complex at Rohtas, a strategic site about 16 kilometres north-west of the city of Jhelum.
The gigantic fort is founded on steep rocks jutting into the river Kahan, its ramparts protected on the west and north sides by the river and by high hills on its east and south. It was never taken by assault and survives intact to the present day. The main fortifications consist of the massive walls, which extended for more than 4km; they are lined with bastions and pierced by monumental gateways.
There are indications that more structures had existed earlier, which either collapsed due to neglect, or were demolished in Mughal or later periods.
The Rohtas Fort is now a protected monument under the Antiquities Act 1975, and maintained by the Department of Archaeology, Government of Pakistan. Owing to its marvelous qualities of strength and solidity, and being the finest specimen of medieval military architecture in Pakistan, the fort was inscribed in the World Heritage List, by UNESCO, in 1997.
Although built for purely military purposes, yet a few of its twelve gates were exceptionally fine examples of the architecture of that period. The Sohail Gate, guarding the south west wall, is in fair condition even today and it is being used as a rest house. This gate is an example illustrating that how a feature built for strength could also be made architecturally graceful. As it is more than eighty feet in height so it provides a grand entrance to the magnificent fort complex. Every part of its structure has been carried out in broad and simple manner, each line and plane has a sober and massive elegance, while the whole is aesthetically competent. Within the fort a small town has developed and several thousand people live here.
Source: www.rohtasfort.com/
Broken Boundary Wall of the Rohtats Fort. Across the river village Baghalanwala is seen. Shot taken from Haveli Maan Sing during PPA's recent trip to Rohtas and Jhelum. It was a wonderful venture. Met many new fellows and enjoyed their company.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Back when paying $25 for a blank cassette tape didn't seem insane. The ultimate in cassette tape technology. The Sony Metal Master with its magnesium and ceramic shell has a heft and solidity that makes an iPod feel like a toy. These held an insane amount of signal, as well. I remember you had to erase them before reusing them because one pass of the erase head wasn't enough to wipe the tape.
Here's the latest iteration of my version of the Xenomorph Queen.
Changes since the first version:
- I made the arms longer,
- modified the tail to make sure it won't bend in unnatural ways,
- added two protuberances on her back so there are now six as it should be,
- changed the small arms so they look a little more like arms,
- modified the pelvis to use ball joints which greatly increases the stability,
- and finally modified the legs so their shape is now much more similar to the original.
Some other minor cosmetic and solidity-related changes were made, but there's really no need to detail them. ^^'
TRIUMPH MOTORCYCLES Ltd
Triumph Motorcycles Ltd is the largest UK-owned motorcycle manufacturer, established in 1983 by John Bloor after the original company Triumph Engineering went into receivership. The new company, initially called Bonneville Coventry Ltd, continued Triumph's lineage of motorcycle production since 1902. They have major manufacturing facilities in Thailand.
During the 12 months preceding June 2017, Triumph sold 63,400 motorcycles.
HISTORY
When Triumph Engineering went into receivership in 1983, John Bloor bought the name and manufacturing rights from the Official Receiver. The new company's manufacturing plant were outdated and unable to compete against the technology from Japanese manufacturers, so Bloor decided against relaunching Triumph immediately. Initially, production of the old Bonneville was continued under licence by Les Harris of Racing Spares, in Newton Abbot, Devon, to bridge the gap between the end of the old company and the start of the new company. For five years from 1983, about 14 a week were built at peak production. In the United States, owing to problems with liability insurance, the Harris Bonnevilles were never imported.
Bloor set to work assembling the new Triumph, hiring several of the group's former designers to begin work on new models. The team visited Japan on a tour of its competitors' facilities and decided to adopt Japanese manufacturing techniques and especially new-generation computer-controlled machinery. In 1985, Triumph purchased a first set of equipment to begin working, in secret, on its new prototype models. By 1987, the company had completed its first engine. In 1988, Bloor funded the building of a new factory at a 40,000 m2 site in Hinckley, Leicestershire. The first Hinckley Triumphs were produced for the 1991 model year. Bloor put between £70 million and £100 million into the company between purchasing the brand and breaking even in 2000.
At the same time as production capacity increased, Bloor established a new network of export distributors. He had previously created two subsidiary companies, Triumph Deutschland GmbH and Triumph France SA. In 1994, Bloor created Triumph Motorcycles America Ltd.
At 21:00 on 15 March 2002, as the company was preparing to celebrate its 100th anniversary as a motorcycle maker, half of the main factory including the assembly area and stores was destroyed by a fire which began at the rear of the facility. At the height of the blaze, over 100 firefighters with 30 vehicles were tackling the fire. Nevertheless, the company, which by then employed more than 650, quickly rebuilt the facility and returned to production by September that year.
In May 2002, Triumph began construction on a new sub-assembly manufacturing facility in Chonburi, Thailand to make various components. A second factory was opened in 2006 by Prince Andrew, Duke of York where a wet painting facility and assembly line have been established. A third factory was opened in 2007 to include high pressure die-casting and machining, and Triumph announced that they were expanding to increase capacity to over 130,000 motorcycles. Triumph Motorcycles (Thailand) Limited is a 100% UK owned company and now employs about 1000 staff.
In June 2009 Digby Jones, Baron Jones of Birmingham, the former Minister of State for Trade, became chairman and the 1,600 cc Thunderbird twin-cylinder cruiser was announced.
In early 2011 Nick Bloor, John Bloor's son, took over from Tue Mantoni as CEO of Triumph Motorcycles and in 2017 Triumph opened a new £4 million visitor centre, along with a collection of Triumph motorcycles, memorabilia, and a factory tour. In February 2020 it was announced that Triumph would be moving the remainder of large scale motorcycle production, including the Tiger 1200 and Speed Triple production lines to their Thailand factories, leaving only the specialist Triumph Factory Customs and prototype builds remaining in the U.K. While the R&D department remains within the U.K. (and 20 additional staff have been taken on in that department), substantially larger redundancies were announced amongst production staff.
FINANCIAL PERFORMANCE
In 2017, Triumph's revenue increased by 22 per cent to £498.5 million and this increased pre-tax profits to £24.7 million from £16.6 million the previous year.
Over 85 per cent of motorcycles are now sold in overseas markets, but the 9,400 motorcycles sold in the UK in 2017 represents a record for the company.
Bloor invested over £80 million in Triumph Motorcycles before it first broke even in 2000.
During the 2008 recession, Bloor Holdings – which controls Triumph - breached its banking covenants but was able to re-negotiate its loans with lenders.
MODEL RANGE
A range of new 750 cc and 900 cc triple-cylinder bikes and 1000 cc and 1200 cc four-cylinder bikes were launched at the September 1990 Cologne Motorcycle Show. The motorcycles used famous model names from the glory days of Meriden Triumph and were first made available to the public between March (Trophy 1200 being the first) and September 1991. All used a modular liquid-cooled DOHC engine design in a common large diameter steel backbone frame. The modular design was to ensure that a variety of models could be offered whilst keeping production costs under control—an idea originally put forward, in air-cooled form, in the early 1970s by Bert Hopwood but not implemented by the then BSA-Triumph company.
The first models, known generically as the T300s, all used a common piston diameter (76 mm) in a common wet cylinder liner. Basic engine variations were achieved through the use of two specifications of piston stroke: 65 mm to create individual cylinder capacity of 300 cc, and 55mm to create a 250 cc individual cylinder. Two 750 cc models were released – and the Daytona and Trident 750 triples (3 x 250 cc). There was one 1000 cc model – the Daytona 1000 four (4 x 250 cc). Two 900 cc models were the Trophy 900 and Trident 900 triples (3 x 300 cc). The Trophy 1200 four was the largest model (4 x 300 cc). All were remarkably smooth running. The three cylinder models were equipped with a contra-rotating balance shaft mounted at the front of the engine. The four cylinder models benefitted from twin balance shafts – unique at the time – mounted beneath the crank shaft. Contemporary road tests noted the solidity and smoothness of performance as positives but the weight of the machines as negatives. For brand new machines produced by a totally new concern, there were remarkably few early problems. These were an insecure oil pressure switch and a longer-lived problem with the starter (or sprag clutch). The cosmetic finish on the first machines was simple and not very robust. Revisions to crankcases for the three-cylinder models in 1993, together with a move to high pressure casting, reduced engine weight considerably. All painting and plating operations were brought in house in 1993, as the Hinckley factory benefitted from further investment after the initial success of the range. The result was improved quality and durability of finish, added to the basic engineering integrity of the engine and chassis, made for a long-lasting and robust motorcycle.
The range was largely revised in 1997 with the release of the T500 range, followed by a light-weight four-cylinder 600 cc sports TT600. The 600 was a major design departure and initially received a poor press: "unpleasant at low revs due to a lethargic and unpredictable throttle response, with anonymous styling". As sales built, the big fours were phased out of the lineup and parallel twins and triples became the marketing and development focus of Triumph's marketing strategy. Triumph also decided to exploit demand for retro motorcycles with modern engineering. The Triumph Thunderbird 900 exploited the styling cues of the 'old' Triumphs legendary designer, Edward Turner whilst retaining the modern triple engine. The 790 and 865 cc versions of the Triumph Bonneville and Thruxton look and sound original but internally they have modern valves and counterbalance shafts.
For their contemporary range, the triple is Hinckley Triumph's trademark, filling a niche between European and American twins and four-cylinder Japanese machinery. The 2,294 cc triple Rocket III cruiser was introduced in 2004. The first 300 Rocket III models were already sold before they were produced, and there was a long waiting list for Rockets into 2005.
On 21 July 2008, Triumph held a Global Dealer Conference where new models for 2009 were launched, including the official announcement of the parallel twin-cylinder Thunderbird.
Triumph's best selling bike is the 675 cc Street Triple. In 2010 they launched the Triumph Tiger 800 and Tiger 800 XC, dual-sport motorcycles, which uses an 800 cc engine derived from the Street Triple, and is designed to compete directly with the market leading BMW F800GS. In 2012, the Tiger 800 was joined by the shaft-driven Triumph Tiger Explorer.
TRIUMPF FACTORY CUSTOM MOTORCYCLES
In December 2018, Triumph said they were developing a new range of high spec limited edition motorcycles, called Triumph Factory Custom (TFC). The first model was the Thruxton TFC, with production run limited to 750 units. In May 2019, the second model, the Rocket 3 TFC, was introduced at a motorbike show at Shoreditch, London. In November 2019, Triumph announced a third TFC model, the Bobber TFC, at the EICMA Motorcycle Show in Milan.
RACING
From 2019 season onwards for a three-year contract, Triumph are the controlled-engine supplier for the FIM Moto2 World Championship. All Moto2 teams changed from a Honda CBR600 unit to a 765cc triple-cylinder engine supplied by Triumph that was originally developed from the Street Triple RS engine, but with additional race tuning that creates at least 138PS peak power. Engines are prepared by ExternPro, an independent business based in Spain.
MARKETING, PRODUCT PLACEMENT AND BRAND MANAGEMENT - UNBALANCED SCALES.SVG
In 1995, Triumph began selling the Triple Connection clothing and accessories range of products, designed by Triumph rather than licensed. In the 21st century, Triumph marketed lines of clothing with endorsements or likenesses of celebrities associated with the brand in the past, including Bob Dylan, and the deceased Marlon Brando, Elvis Presley, James Dean, and Steve McQueen. McQueen's name and likeness were particularly put to use, such as naming a special edition Bonneville after him.
WIKIPEDIA
Today I got hold of Lee Filters new Big stopper 10 stop filter. Being very windy at the time, i took it for a test run. I have to say having those extra 10 stops of darkness to the image really create some awesome effects. Being windy at the time, the tree is a skeleton, the grass a blur. The fence being the only item to retain some solidity. Really looking forward to playing around with this one.
La Vierge et l'Enfant en majesté entourés de six anges (The Madonna and Child in Majesty Surrounded by Angels), by one of the last great Byzantine Italian painters, Cenni di Pepo (Giovanni) Cimabue, also known as Bencivieni Di Pepo or in modern Italian, Benvenuto Di Giuseppe, was described by Vasari in 1568 as being found in the Church of Francesco in Pisa, whose high altar it adorned. Some historians have linked it, therefore, with Cimabue's stay in Pisa from 1301-1302. Stylistic analysis and comaprisons with a later Maestà by Cimabue for the Santa Trinità church in Florence, though, suggest an earlier date of execution--around 1820.
It sits in a frame decorated with twenty-six painted medallians depicting Christ, angels, prophets and saints. The iconography of the Maestà, the Child and the Virgin, glorified as queen of heaven, and surrounded by a host of angels, is accentuated by the monumentality of the retable and the sumptuous gold ground. The composition of the Maestà is symmetrical and dense. The imposing Virgin is hieratic, and the blessing gesture of the Christ Child is hardly child-like. Cimabue gently and subtly models the faces, endowing the figures with a new sense of humanity. The drapery, not simply drawn either, seems to fold naturally, following the movement of the bodies (for example, the cloaks of the two angels in the foreground whose knees protrude). Cimabue's palette is delicate, with shaded tones, notably in the angels' wings. The figures take on real solidity and an unprecedented visual presence. The artist prepared the ground for 14th-century Florentine art. His works raise the issues that would preoccupy his successors, notably Giotto: the representation of space, the representation of the body, and light.
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The parish of the Holy Rosary is the seventh oldest mission in the City of Leeds, with the first Church and School of the Holy Rosary built in Barrack Street in 1886 as a Chapel-of-Ease to St Anne’s Cathedral.
As the area from Sheepscar up to Moortown was developed, the population of the parish increased until in 1927 the first steps were taken to build a new church. Rev Canon Mitchell invited architects to submit plans for a new church with Marten & Burnett chosen as the architects for the building. A site was bought on Chapeltown Road in 1930 and then in 1935 test holes were dug in what was then the garden of Ashbourne House on Chapeltown Road. The foundation stone was laid on May 3rd 1936 by Canon Hawkswell. The church was completed at a cost of over £13,000, with Ashbourne House becoming the Presbytery of the new church.
The first mass was celebrated on September 30th 1937 by The Bishop of Leeds, Bishop Henry John Poskitt with Bishop Shine of Middlesbrough. Father Ward was the first priest in the parish.
Among the priests at the first mass in the new church in 1937 was a young priest who had been ordained in Ireland for the Leeds Diocese the previous year. In 1951, this priest, Canon P. O’Meara, became the first Parish Priest of the Holy Rosary, a position he held until his death in 1985. There is a commemorative plaque to Canon O’Meara in the church.
The first priest to be ordained from the Holy Rosary Parish was Father Gerald Creasey who was ordained in 1961.
In 1987 Father James Leavy instigated renovations to the church including: the relocation of the altar, removal of the communion rails, the font being moved to the chancel steps and the shortening of the nave creating a community room between the narthex and the main body of the church. The front of the original organ was retained above the community room and a new altar of Yorkshire Stone was created in the side chapel.
In 1989 the Presbytery, occupying what had been Ashbourne House, was split in two. The part nearest the church became the new presbytery and the House of Light took over the other half. At this time the presbytery was refurbished. The hall underneath the church was leased out to the Northern School of Contemporary Dance at this time.
The parish feast day is on October 7th, the feast of Our Lady of the Holy Rosary.
William Marshall, the last abbot of Kirkstall Abbey to die in office, came from what is now the Holy Rosary parish. He built the tower of Kirkstall Abbey in 1527, just twelve years before his successor, John Ripley, the 27th and last Abbot, had the sad duty of surrendering the Abbey to King Henry VIII. That the remains of the tower are still visible after 430 years is proof of the solidity of its construction, and a memorial to one who might be considered an early parishioner.
Another that could be seen as an early parishioner is William Scott of Scott Hall. Scott Hall was situated in Potternewton, just about where Scott Hall Place is now. This had been the home of the Scott family who had originated from Scotland. When the last of the family line died, the hall was demolished and the land was quarried, with the stone used for many Leeds buildings. When the quarry was worked out it was filled in and is now the playing fields on Scott Hall Road. When the A61 was built in the 1930s, it was named Scott Hall as a reminder of the former land use.
William Scott left a “parcel of land” on the corner of Vicar Lane and Kirkgate to the Parish Priest of Leeds Parish Church in 1470, on which a modest mansion was built. The site existed for almost 400 years and was known as Vicar’s Croft, until it was bought in 1857 by the Leeds Corporation and is now the home of the Leeds Markets.
Thanks to John for the above info:
River Dargle Flood Defence Scheme.
These images were taken during the second week of March 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
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Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
By now the guys had clearing away material used to build access ramps down into the riverbed.
The thought crossed had my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Now that we can see the cleaned, exposed riverbank, we can see a substantial bedrock. Clearly this is not liable to subsidence. And there evidence that sections of the slope had already been 'nailed' * to prevent slippage. But, in talking to the guys there, it would seem that further 'nailing' might be required later in the year.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
*
Soil nailing is a construction technique that can be used as a remedial measure to treat unstable natural soil slopes or as a construction technique that allows the safe over-steepening of new or existing soil slopes.
The technique involves the insertion of relatively slender reinforcing elements into the slope – often general purpose reinforcing bars (rebar) although proprietary solid or hollow-system bars are also available.
Solid bars are usually installed into pre-drilled holes and then grouted into place using a separate grout line, whereas hollow bars may be drilled and grouted simultaneously by the use of a sacrificial drill bit and by pumping grout down the hollow bar as drilling progresses.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
We keep revisiting Harris, this was taken on the first or second night of a visit.
I like the mix of solidity, dreamscape background, and feeling of passing time represented by the water. It just sums up why we keep returning, how its remembered while away, and the time spent away.
When Larry's brother was here, we went for lunch downtown to this pub. I feel it is the most sympathetic renovation and conversion of an historic property in Calgary. The bank reference is obvious. The baron reference is to George Stephen, 1st Baron Mount Stephen, financier behind the creation of the Canadian Pacific Railway in the 1800's, President of the Bank of Montreal, and the person after whom Stephen Avenue Walk, where this bank sits, was named.
From HistoricPlaces.ca
Built in 1930, the Bank of Nova Scotia building is an excellent example of the kind of architectural eclecticism that was popular in banks of the period. Designed to convey a sense of solidity and security, this bank building is impressive in the proportions and symmetry of its flattened classical facade. This rational plan is characteristic of architect John M. Lyle's Beaux-Arts classicism, and yet the building pushes the limits of that style in many of its decorative elements. Of primary significance is the program of low relief sculptural panels adorning the main facade. Designed by Lyle, these panels depict such western Canadian themes as agriculture, commerce, and ranching. The incorporation of such imagery into a traditionally classical building was groundbreaking, and the Bank of Nova Scotia building remains an outstanding example of such a sculptural program in Alberta. The traditional interpretation of a bank as a classical temple has here been reconciled by Lyle with a modern emphasis on linearity, its decoration and interior materials moving decidedly toward the streamlined Art Deco style.
Roof boss in St Edmund & St Dunstan's chapel.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
The Symbol of the Bodhi-Tree
The Bodhi-Tree meditation is based on the symbol of a tree, a banyan tree, which provides a multi-layered, rich, and complex symbol of the self and its journey towards enlightenment. Here we describe the symbol and its various levels of meaning:
The Bodhi-Tree or wisdom-tree is the world tree, and its roots drink deep of the waters of infinity. Its branches and leaves blow in the winds of the Void, and it is lit by the clear light. It is a tree of refuge, a place of safety from the raging tigers and dragons of desire.
Each leaf has the bright green of spring, and its bark has the darkness and fragrance of the forest. It has fruits of knowledge but these are not fruits forbidden to mankind by a jealous god. These fruits of knowledge are intended for all beings. While the fruits on the lower limbs give knowledge of good and evil, and awareness of many lives, those on the upper limbs give knowledge of unity and immortality.
In Western myth, only the lower fruits have been tasted - mankind was expelled from the garden before eating the fruit of immortality or gaining the knowledge of unity.
Because certain kinds of knowledge are not easily accessible, many people have given up and assume that they know all that is worth knowing. This is not the case. They have partial knowledge which cannot get them any further than the garden from which they were expelled. There they may have innocence, but also ignorance. There, the value of wisdom is unknown, as is indeed its existence.
This world tree, the Bodhi-Tree, unites all worlds, and it has no guardians to protect it. All sentient beings are welcome to gain as much wisdom as their minds can hold. But it is a long journey to that state, for the traveler must unravel the current life and many other past lives to see the components that have been woven together into the patterns of life. Then the strands must be woven again, to create a mind capable and worthy of returning to the source.
The image of the Bodhi-Tree at this site has two components - the tree itself and its reflection. The tree represents life which is outwardly full of desire, sorrow, and ignorance. Its reflected image represents life's perfection. It is life as reflected by pure, clean, awareness. It is what life can be in its ideal form and when understood in its true nature. Here, life is a set of changing reflections with no permanent anchor in physical form. The tree reflected in the water is like the self reflected in awareness. From a distance and without close examination, the tree like both the person and physical world appear to be whole and consistent things. Without meditation, physical forms appear solid and enduring. Their changing and fluctuating nature is not visible. The only direction of change is from one physical form to another. With meditation on the stages of the wisdom-tree or four watches of the night, multiple levels and directions of change appear. Both physical forms and individual personalities can be broken down into their component parts and the person can study the origin of these parts. There are components within components and reflections within reflections. As the physical tree becomes the reflected tree, it becomes shadows dancing on waves and its solidity disappears. So it is with the self and the world. Each must be recognized as parts of a larger whole, and waves upon the ocean of change.
While the mind of the individual starts out as a closed and tight center of awareness, as it relaxes and opens, it starts to look like a water-lily in a lake, and then begins to resemble the lake itself. One is no longer an observer watching the mind from a distance. One becomes awareness immersed in awareness, like a water droplet in the depths of a lake. There is no distance in thought, there is only immersion. All minds are united and all minds are ultimately free. The droplet bursts to engulf the lake, and the ocean, and infinity.
The Bodhi-Tree is a symbolic representation of the individual's journey to infinity. As the seed which begins tiny and hard grows open and free, so should the mind and heart. The tree is rooted in the ground as the self is rooted in matter. But the seed grows beyond the ground, as it perceives its environment, cares about it, and ultimately leaves the limitations of the body and matter behind. The branches reach towards the heaven yet the vines of the banyan reach towards the earth. Such is the state of mankind - always being pulled in two directions. One direction is freedom, ultimate liberation, and the transcendence of boundaries. The other direction is security, rootedness, comfort, and tradition - the self that will not turn away from the earth. The traditionalist may justify behavior by Buddhist or other ethics and ritual, but will ultimately seek comfort rather than freedom. Such people should rest peacefully at the roots of the tree and never climb it.
For the others, the spiritual explorers, comfort and security are left behind. There will ultimately come a question: Which world do you choose? Only those who seek the upper branches of the tree and liberation can progress and follow the stages of the watches of the night.
There were many reasons for the historical Buddha's incarnation. One was to provide a model for those that seek freedom.
Source: www.wisdom-tree.com/wisdom/symbolism.html
Original Tree of Life Image: baksheesh.wordpress.com/2010/03/14/the-tree-of-life/
More on this subject on Humanity Healing :
humanityhealing.net/2011/10/occult-anatomy-the-trees-of-l...
tags:
treeoflife, sacredspacestudio, omtimesmagazine, humanityhealing, deZengoDESIGNS, yoga, wellness healing
If there's one place in London that merits an Art Deco Fair, it's Eltham Palace,
with its Art Deco entrance hall, created by the textile magnates the Courtaulds in 1936. The much-loved weekend fair is held twice a year - once in the summer and a second time in September - giving visitors the chance to buy original 1930s objects, from furniture and collectables to hats, handbags and jewellery. Browse the original 1930s objects, from jewellery to furniture while you take in the magnificent Art Deco surroundings of the Palace. Ticket price includes entry to Eltham Palace and gardens and you can see the house by guided tour.
About Eltham Palace
Restored by English Heritage, this fantastic house boasts Britain's finest Art Deco interior and offers visitors the chance to indulge in the opulence of 1930s Britain whilst at the same time experiencing the solidity and symbolism of medieval London. Eltham Palace began to evolve during the 15th century when Edward IV commissioned the Great Hall, which survives today as a testament to the craftsmanship of the period. More about Eltham Palace
Bréton brut had as a style been established for a short while prior to this buildings inception, but it was its somewhat trend setting architect that gave widespread acceptability and validity to the movement. It captured the imagination of architects reacting against the recoil of New Humanism and restricted by the economics of the time.
The Unité d'Habitation built in Marseille, France in 1952 is absolutely of its time. Every tower block in the immediate vacinity appears to pay homage to the Unité, They are unashamed of their debt, aesthetic or otherwise, and yet even with benefit hindsight do not appear to be 'better buildings', mere pale imitations.
Steel being consumed in the war effort and the lack of skilled labour in France lead to the choice of concrete, with a more honest and rough finish. Banham says it is ever the more successful due to Corbusiers abandonment of the “pre-war fiction that reinforced concrete was a precise, ‘machine-age’ material”. This notion which had been maintained by extravagant and un-necessary means, such as “lavishing on it skilled labour and specialised equipment beyond anything the economics of the building industry normally permitted”. That is equipment that would give rise to the exacting edges and if these were not achieved then the “roughness and inaccuracies” were plastered over to give a more crisp image, hardly accepting the ‘realities of the situation’. The situation was firmly one of a “messy soup” with “dust, grits and slumpy aggregates, mixed and poured under conditions subject to the vagaries of weather and human fallibility”, hardly an image of high-technology.
The war had also changed Corbusiers perspective of technology’s place in architecture, compare for example the machine for living in, the Ville Savoye (Paris, 1929), compared with schemes such as (although later than the Unité) Notre Dame du Haut built at Ronchamp in 1954. The Unité had been described as “the first modern building that has room for cockroaches”, retort to Le Corbusier stating in a letter to Madame Savoye that “‘Home life today is being paralysed by the deplorable notion that we must have furniture” and that “This notion should be rooted out and replaced by that of equipment”. Banham in his book ‘The New Brutalism’ notes the Unité’s “originalities in sectional organisation”, with its rue Intérieure, apartments with double height spaces all of which in section span the entire width of the block. He also suggests “few buildings anywhere in the world had such a hold on the imagination of young architects especially in England”. Corbusier described his rough concrete style as béton brut, words which (rightly or wrongly) would come to be misinterpreted as representing the New Brutalist style as well as that of béton brut. The solidity of the Unité is furthered from mere concrete security by the setting back of “user-scale elements such as windows and doors” into the concrete frame of the building, giving a sense of a secondary boundary further to the superstructure of the building. As Banham describes it, a building where “word and building stand together in the psychological history of post-war architecture” . He attributes further its success to the “hard glare of the Mediterranean sun” . Something which does not quite translate so well in the greyer skies of Britain, something of the disappointment of driving a new car out of a showroom and home, notwithstanding your home being an equally apt setting.
Copyright PS
Zimmerman house, 223 Heather St. (by Union St).
Street side.
Set at an angle on the 3/4 acre site for best orientation and nature.
.............But if we’re going to grab the opportunity to explore a Frank Lloyd Wright house, perhaps we should recap some general background. I’ve unfairly extracted snippets from the man himself in “The Natural House”; (and remembering he grew up on a prairie farm):
Organic architecture:
a “...sense of earth” “... an organic simplicity in harmonious order”.
“...letting it lie comfortably flatwise with the ground... and an idea that shelter should be the essential look of any dwelling ... broad shelter in the open, related to vista, vista without and vista within”
Scale:
“Human scale as true building scale... heights not to impress the beholder, but only to comfort the human being...”
Natural materials:
“...elimination of the insignificant” of unrelated clutter, “..and in the beauty of the natural use of materials...” “... to see brick as brick...wood as wood”. “The material itself had possibilities of use peculiar to the nature of each.”
Continuity in integrity:
“ ... in the concept of the building as a whole...” “.. This ideal of the integration that is organic.” “... included making all furnishings integral parts of the architecture... belonging as part of the building.” “... only so does architecture completely live.”
Interior:
“...architecture conceived as enclosure of space to be lived in... a sense of interior space made exterior as architecture ... lived-in space revealed and playing in light... light is the beautifier of the building.”
Hearth and chimney:
“... necessity for one chimney. A generous one... a place for a real fire... So the integral fireplace becomes an important part of the building itself.” Hearth of the home.
Overhangs:
“I gave broad protecting roof shelter to the whole... overhangs had double value: shelter and preservation of the walls, as well as diffusion of light...” “The house associates with the ground and becomes natural to its site.”
Windows:
“... fewer window holes though much greater window area; windows and doors lowered to convenient human height” “The windows sometimes wrapped around the building corners as emphasis of “plasticity” and to increase the sense of interior space.”
Truly sentient architecture:
“Withal, the Usonian (cultured American) dwelling seems a thing loving the ground with the new sense of space, light, and freedom...” “ harmony was established not only in the house but with its site.”
From the “Usonian” exhibition of 1953:
“...spaciousness and sunlight, human scale, warmth and solidity, a feeling of shelter, and a sense of outdoors.”
“Clerestorey windows assuring natural light on all sides of a room whatever the orientation, yet affording privacy. ... and a brick wall pierced in natural block pattern.”
“...tall glass doors extending full height throwing the living-room open to outside terrace ... in warm red brickwork ... with skylight above central kitchen ... secure and intimate with rich wood finishes... belonging to the style of the whole.”
“What is needed most in architecture today is integrity...”
“In designing the Usonian house... I have always proportioned it to the human figure in scale.”
“The Usonian house aims to be a natural performance, one that’s integral to the life of the inhabitants, with the nature of materials, and to itself as a whole.”
“The best way to light a house is... the natural way.” “Proper orientation is the first condition of the lighting....” “Artificial lighting should be a built-in part...; the effect should be that it comes from the same source as natural light.” “Lighting fixtures should be absorbed in the structure... All this after the building has been properly orientated.”
“Furnishings that are suitable for a Usonian house are those, too, that are organic in character; that is, textures and patterns that sympathise in their own design with the design and construction of the particular house they occupy.”
“Coatings: We use nothing applied which tends to eliminate the true character of what is beneath...wood is wood. We like to have whatever we use demonstrate the beauty of its own character.”
“Every house worth considering as a work of art must have a grammar...Everything has an articulation related to the whole and all belong together, look well together because all are speaking the same language.”
“Nature is the great teacher.”
FLW
We'll see some of these ideas in the Zimmerman house. ...............
Note, above photo, the largely blank privacy wall on the street side; openings higher than eye-level. Also the natural site rock giving entrance focus, and further anchoring the house to the land.
I think the window blocks will be 2ft; half a four foot module.
Currier docent right.
More...............>
.
River Dargle Flood Defence Scheme.
These images were taken during the second week of March 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
=================================================
Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
By now the guys had clearing away material used to build access ramps down into the riverbed.
The thought crossed had my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Now that we can see the cleaned, exposed riverbank, we can see a substantial bedrock. Clearly this is not liable to subsidence. And there evidence that sections of the slope had already been 'nailed' * to prevent slippage. But, in talking to the guys there, it would seem that further 'nailing' might be required later in the year.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
*
Soil nailing is a construction technique that can be used as a remedial measure to treat unstable natural soil slopes or as a construction technique that allows the safe over-steepening of new or existing soil slopes.
The technique involves the insertion of relatively slender reinforcing elements into the slope – often general purpose reinforcing bars (rebar) although proprietary solid or hollow-system bars are also available.
Solid bars are usually installed into pre-drilled holes and then grouted into place using a separate grout line, whereas hollow bars may be drilled and grouted simultaneously by the use of a sacrificial drill bit and by pumping grout down the hollow bar as drilling progresses.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
via Image copyright Getty Images
The FTSE 100 share index came close to an all-time high after rising above 7,000 points as the pound plunged to a new 31-year low against the dollar.
London’s leading share index closed up 1.3% at 7,074.34 – just short of its record high of 7,103.98.
However, the pound fell to $1.2737 at one point – its lowest level against the US dollar since 1985.
Sterling has fallen for the past two days as traders study the Conservative Party conference for Brexit details.
Simon Jack: Why rising shares aren’t a sign of joy
Business Live: FTSE up, pound down
Against the euro, the pound was down 0.7% at 1.13840.
The FTSE 250 share index, which features more UK-focused companies, closed at a record high, surging 0.9% to 18,342.07.
Stock markets in Frankfurt and Paris also closed higher on Tuesday.
Click to see content: pounddollarlunch041016
Overseas profits
The FTSE 100 has benefitted from the fall in the pound since the Leave vote because the many international companies whose shares are traded in the UK tend to benefit from it.
Profits earned abroad by multinationals such as drugs giant GlaxoSmithKline and major mining companies are worth more when converted into sterling.
That makes a company’s shares appear better value when compared with the higher profits it will make, prompting a revaluation of the stock.
The FTSE 250 index, however, has lagged behind the FTSE 100 since the Brexit vote because gains from the weaker pound for the outward-looking businesses have been offset by fears about the fortunes of UK-focused companies.
The FTSE 250 contains a higher percentage of UK-facing businesses than the 100. Since June though, a string of better-than-expected economic news has also helped to lift their share prices.
On Tuesday, a closely watched survey suggested that the UK’s construction sector had unexpectedly returned to growth in September.
The latest Purchasing Managers’ Index for the construction sector rose to 52.3 from 49.2 in August. Any figure above 50 indicates expansion.
“Resilient housing market conditions and a renewed upturn in civil engineering activity helped to drive an overall improvement in construction output volumes for the first time since the EU referendum,” said Tim Moore, senior economist at IHS Markit, which compiles the survey.
Sterling ‘wounds’
On Sunday, Prime Minister Theresa May said she would trigger Article 50 by the end of March 2017.
Analysts say the pound has been hit by the prospect of the UK leaving the EU single market as part of the Brexit process.
Esther Reichelt, currency strategist at Commerzbank, said the government’s apparent insistence on limiting freedom of movement was causing particular uncertainty among investors.
“This increases fears of a ‘hard’ Brexit because so far nobody sees a possibility of achieving this without May having to accept notable restrictions when it comes to accessing the single market,” she said.
Connor Campbell, analyst at traders Spreadex, said: “It seems that it is going to be hard to provide a tourniquet for sterling’s recent wounds given the solidity of the newly announced Brexit timeline.”
Kathleen Brooks, research director at Forex.com and City Index, said the Tory party conference was turning into a sell for the pound given Mrs May’s “apparent sanguine attitude to leaving the single market, preferring to focus on immigration and UK sovereignty rather than the economic fallout of Brexit”.
She said comments by the Chancellor, Philip Hammond, in which he warned that the UK economy was heading for a “rollercoaster” ride over the coming years, had not helped.
Read more: www.bbc.co.uk/news/business-37549685
The post FTSE 100 soars as pound slides – BBC News appeared first on The Money Tribe.
www.themoneytribe.com/ftse-100-soars-as-pound-slides-bbc-...
Part of the view of Edinburgh from the Queen's Drive, the road and path which circles around Arthur's Seat, the extinct volcano which dominates our ancient city and which, millions of years ago, formed it landscape of great hills and valleys (which gives my city its remarkable backdrop so unlike most other cities in the world).
Regardless of which high vantage point you look from though, be it Arthur's Seat, from Castle Rock, the top of the Scott Monument, one thing you notice, both Old Town and Georgian era New Town, is that there are many spires which punctuate the skyline of this city of many levels, some hidden at bottom of valleys, others on flatter ground like here or on peaks, everywhere, some short, some towering, all carved from our native stone like most older structures here, giving them that feeling of age and confident solidity that comes with old stone buildings, as if our many centuries of history and geology combine to give birth to the shape of the city, which I suppose in some ways they do. Even friends from Dublin, taking in the view of the city one visit, were astonishing how many spires there were across Edinburgh.
I'm glad not to live in a new city of huge skyscrapers, these are high enough, tall enough for the spire to inspire, but still on a human scale, the blocks of stone by individual masons visible when you look, it makes it feel like a city reaching across time and also to the gods, but still planted solidly on the bedrock of its native soil, head in the clouds, feet on the ground, perhaps that is shorthand for Edinburgh...
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
The first forms the centrepiece to the entrance hall, where a bespoke oak and glass staircase rises effortlessly from an expanse of marble.
The open tread and the glass balustrades ensure that it does not overpower the surrounding space, which is uncluttered and minimalist. The straight flights reflect the clean modern lines of this house, whilst the burnished stainless steel fittings, incorporated as part of the design, enhance the contemporary appearance. The clever construction defies the solidity of the structure, the flying half-landings encased in glass almost appear to float.
Two other Kevala staircases are fitted in this property. A stair from the first floor to the second floor also using an open oak tread and glass balustrade design to maximise the expression of space. With a third staircase connecting the house to the space over the garage. Here, the dramatic lines of the straight stair are modified to allow an elegant twist, to complement the more intimate space. These stairs of lacquered pine are more functional, but the same attention to detail and quality of materials is evident.
River Dargle Flood Defence Scheme.
These images were taken towards the end of the second week of February 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
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Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
And, at the same time, the guys are clearing away material used to build access ramps down into the riverbed.
The thought crossed my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Bréton brut had as a style been established for a short while prior to this buildings inception, but it was its somewhat trend setting architect that gave widespread acceptability and validity to the movement. It captured the imagination of architects reacting against the recoil of New Humanism and restricted by the economics of the time.
The Unité d'Habitation built in Marseille, France in 1952 is absolutely of its time. Every tower block in the immediate vacinity appears to pay homage to the Unité, They are unashamed of their debt, aesthetic or otherwise, and yet even with benefit hindsight do not appear to be 'better buildings', mere pale imitations.
Steel being consumed in the war effort and the lack of skilled labour in France lead to the choice of concrete, with a more honest and rough finish. Banham says it is ever the more successful due to Corbusiers abandonment of the “pre-war fiction that reinforced concrete was a precise, ‘machine-age’ material”. This notion which had been maintained by extravagant and un-necessary means, such as “lavishing on it skilled labour and specialised equipment beyond anything the economics of the building industry normally permitted”. That is equipment that would give rise to the exacting edges and if these were not achieved then the “roughness and inaccuracies” were plastered over to give a more crisp image, hardly accepting the ‘realities of the situation’. The situation was firmly one of a “messy soup” with “dust, grits and slumpy aggregates, mixed and poured under conditions subject to the vagaries of weather and human fallibility”, hardly an image of high-technology.
The war had also changed Corbusiers perspective of technology’s place in architecture, compare for example the machine for living in, the Ville Savoye (Paris, 1929), compared with schemes such as (although later than the Unité) Notre Dame du Haut built at Ronchamp in 1954. The Unité had been described as “the first modern building that has room for cockroaches”, retort to Le Corbusier stating in a letter to Madame Savoye that “‘Home life today is being paralysed by the deplorable notion that we must have furniture” and that “This notion should be rooted out and replaced by that of equipment”. Banham in his book ‘The New Brutalism’ notes the Unité’s “originalities in sectional organisation”, with its rue Intérieure, apartments with double height spaces all of which in section span the entire width of the block. He also suggests “few buildings anywhere in the world had such a hold on the imagination of young architects especially in England”. Corbusier described his rough concrete style as béton brut, words which (rightly or wrongly) would come to be misinterpreted as representing the New Brutalist style as well as that of béton brut. The solidity of the Unité is furthered from mere concrete security by the setting back of “user-scale elements such as windows and doors” into the concrete frame of the building, giving a sense of a secondary boundary further to the superstructure of the building. As Banham describes it, a building where “word and building stand together in the psychological history of post-war architecture” . He attributes further its success to the “hard glare of the Mediterranean sun” . Something which does not quite translate so well in the greyer skies of Britain, something of the disappointment of driving a new car out of a showroom and home, notwithstanding your home being an equally apt setting.
The Castel Vecchio Bridge (Italian: Ponte di Castel Vecchio) or Scaliger Bridge (Italian: Ponte Scaligero) is a fortified bridge in Verona, northern Italy, over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m).
It was built (most likely in 1354-1356) by Cangrande II della Scala, to grant him a safe way of escape from the annexed eponymous castle in the event of a rebellion of the population against his tyrannic rule. The solidity of the construction allowed it to resist untouched until, in the late 18th century, the French troops destroyed the tower on the left bank (although it probably dated from the occupation of Verona by the Visconti or the Republic of Venice).
The bridge was however totally destroyed, along with the Ponte Pietra, by the retreating German troops on April 24, 1945. A faithful reconstruction begun in 1949 and was finished in 1951, with the exception of the left tower.
The bridge is in red brick in the upper part, as are all landmarks in Verona from the Scaliger era, and in white marble in the lower one. It includes three spans of decreasing length starting from pentagonal towers. The largest span, measuring 48.70 m, meant that the bridge featured at the time of its construction the world's largest bridge arch (the others measure 29.15 and 24.11 meters). The two pylons are 12.10 x 19.40 and 6.30 x 17.30 meters respectively.
The bridge has a total length of 120 m.
According to a legend, Cangrande awarded the designer of the bridge, Guglielmo Bevilacqua, with a sword which had belonged to Saint Martin.
Another legend tells that the designer presented himself at the inauguration riding a horse, ready to flee away in case the bridge had crumbled down.
Location is the outside of the ‘Chapel of Christ the Light of the World’ on the south west corner of Southwell Minster Notts on a late winters afternoon. The sun is very strong and gives some great contrast.
The plan was to was to capture the massive solidity of the stonework balanced by the deep shadows on the grass and the north transept.
One of the real pleasures of Flickr is finding out so much more about the areas you thought you knew.
I have been to Wymondham a few times, delivered beer to a hotel (more of that another time) and a friend used to run the Railway Inn near the station, but I hadn't really explored the town.
But having seen a friend's shots, I really thought I should go back and look at it anew. And then there was this building, the Abbey Church with two towers, ruins and all the associated history.
Whatever you think of the works inside, it is as a complete building, something to leave me, at least, in awe at the beauty. Of course, it might not please everyone, but it does me.
Many thanks to Sarah and Richard for taking me here.
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This massive church and its famous twin towers will be familiar to anyone who has ever been within five miles of Wymondham, pronounced Win-d'm; its presence always there above the roof tops, and still there on the horizon when the rooftops can no longer be seen. Closer to, it is like a mighty city on a hill. It is often referred to as Wymondham Abbey, which isn't entirely correct; but there was an Abbey here, and you can see a scattering of remains in the fields between the church and the river, gradually reduced over the centuries as the stone and rubble were taken away for use elsewhere.
We came to Wymondham on a day that was breathtakingly cold; although the temperature was hovering around freezing, there was a biting east wind that made it feel colder still. Hence, the clarity of the light in the photographs above. The top photograph, taken from the south on the far bank of the river, is worth a second glance, because it provides a number of clues as to how this extraordinary and magnificent building came to be the way it is today.
In the beginning, there was a Benedictine Priory, an offshoot of the Abbey of St Albans. It was founded here because, after the Conquest, William I granted the lands of Wymondham to the Duc d'Albini, and the Duke's brother was Abbot of St Albans. Part of the project consisted of building a massive Priory church, much bigger than the one you see today. In style, it was like the Abbey church of Bury St Edmund, or Ely Cathedral. It was a cruciform church about 70 metres long, and had twin west towers - you can see something similar today at Kings Lynn St Margaret. As at St Margaret, there was a third tower above the central crossing, the chancel extending a long way eastwards, and transepts that were as tall as the nave roof. It was completed during the 12th century.
You can see a surviving trace of the south-west tower in the photograph above. The base of its northern wall rises above the roofline at the western end of the clerestory, just beside the current west tower. The central crossing tower, however, was built to the east of the current east tower, the chancel extending eastwards beyond it.
D'Albini intended the church to serve the parish as well as the Priory, but this was not managed without recourse to the advice of Pope Innocent IV, who granted the people use of the nave and the north aisle, the Priory retaining the south aisle, transepts and chancel.
However, when the central crossing tower became unsafe in the late 14th century and had to be taken down, the Priory rebuilt it to the west of the crossing, actually within the nave. This is the east tower that you see today, now a shell. In turn, the parish extended the church further west, demolishing the two west towers and replacing them with the massive structure you see today. It really is huge; although it is not as tall as the church tower at Cromer, its solidity lends it a vastness not sensed there.
When the new east tower was built, the western face of it cut off the nave from the chancel, creating two separate spaces. When the west tower was built, it blocked off the former west window between the old towers. Because of this, Wymondham is the only medieval parish church in Norfolk, and one of the few in England, that has no window at either end.
Wymondham Priory became an Abbey in 1448, and seems to have lived its final century peaceably enough before being closed and asset-stripped by Henry VIII in the 1530s. The church then became solely the charge of the parish; the eastern parts, apart from the tower, were demolished.
Still without parapet or panelling, the west tower was never finished; but it features in the turbulent history of mid 16th century England because William Kett, one of the leaders of Kett's Rebellion, was hung from the top of it by Edward VI's thought police, a reminder of just how closely church and state became allied during the Reformation. It did give me pause for thought - hanging your enemy from a church tower seems such an obvious thing to do when you want to make a point. I wonder just how many more times it happened to less notable victims over the centuries, on church towers up and down the land?
You enter today through the great north porch, which is similar to that nearby at Hethersett, even to the extent of having an almost identical series of bosses. They depict rosary scenes in the life of Christ and the Blessed Virgin.
As I said, we came here on a spectacularly cold day, but I was delighted to discover that the interior of the church was heated, even on a Saturday. The church attracts a considerable number of visitors, as you might expect; but I still thought this was a nice gesture.
Wymondham church is above all else an architectural wonder; but in many ways this is a simple building, easy to explore and satisfying to visit. It has the feel of a small Anglican cathedral in that there is a pleasing mix of ancient Norman architecture and modern Anglican triumphalism; as in a cathedral, there are open spaces, and the old pews have been replaced with modern chairs, which almost always seems to work well. The glorious arcading, triforium and clerestory create a sense of great height; this, coupled with the lack of east or west windows, can make you feel rather boxed in, but I found I quite liked that; it made the place seem more intimate, despite its size.
The modern, triumphant feel to the place is largely owing to the vast reredos by Ninian Comper. This is generally considered to be his finest single work, and forms the parish war memorial. It was built and gilded during the 1920s and 1930s, and you have to say it is magnificent. It consists of three tiers of saints, with a glorious Christ in Majesty topping the tiers under the great tester. It was never completed; the space where the retable should be is now hidden by curtains.
The rood and beam, a bay to the west, is also Comper's work, and it is hard to conceive that work of this kind and to this scale will ever again be installed in an English church. The low sun, slanting through the south windows of the clerestory, picked out the gilding, and clever lighting from underneath helped to put Comper's vision of Heaven into practice. The row of candlesticks on the altar leaves you in no doubt in which wing of the Church of England Wymondham finds itself.
Comper's glory shouldn't distract you from the early 16th century facade above the sedilia. It is terracotta, and probably from the same workshop as the Bedingfield tombs at Oxborough. Here you see what might have happened to English church architecture if theReformation hadn't intervened. Looking west from the sanctuary, the original west window is clearly discernible, now home to the organ.
If Comper's work is a little rich for you, you may prefer the north aisle, which is wide enough to be a church in itself. Cleared of clutter, a few rows of chairs face a gorgeous early 20th century triptych depicting Mary and John at the foot of the cross. The Madonna and child towards the west is also Comper's, but the 1930s towering font cover on the typical East Anglian 15th century font is not; it is by Cecil Upcher. The south aisle is truncated, the eastern bays now curtained off; but here are the few medieval survivals in glass. From slightly later, but the other side of the Reformation divide, is an Elizabethan text on the arcade. It probably marks the point to which the pulpit was moved by the Anglicans in the 16th century.
St Mary and St Thomas of Canterbury is a church that it is easy to admire, and it certainly impressed me. Perhaps, it is not so easy a building to love. Inevitably, there is something rather urban in its grandeur, and even the warmth of the heating couldn't take the edge off the remoteness and anonymity you inevitably find in such a space.
However, the friendliness of the people on duty helped to make up for this. The area beneath the west tower has been converted into a shop, and the nice lady working there was very chatty and helpful. I have to say that I think it would concentrate my mind a bit, knowing that mighty weight was above me. The shop itself is good of its kind, selling books and religious items rather than just souvenirs, and more icons and rosaries than you would normally expect to find in an establishment of the Church of England.
The lady said that she was a Methodist really, and found the services rather formal, but she'd started coming to the Abbey because her daughter went there. "You ought to come, Mum, we're just like real Catholics!", she giggled, as she recalled her daughter's words. As a 'real Catholic' myself, I couldn't help thinking that we would have stripped out Comper's reredos long ago, and Masses would be accompanied by guitars and percussion, possibly with a modicum of clapping and the help of an overhead projector screen; but I kept my counsel.
Simon Knott, January 2006
Roof boss in the 14th century vault of the nave.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
The pair of windows in St Catherine & St John the Baptist's chapel off the south ambulatory were reglazed in 2002 with stunning new glass by Tom Denny. They were created by to celebrate the 900th anniversary of the monks’ arrival at the Abbey, the theme being the Benedictine motto ‘to work is to pray’.
www.thomasdenny.co.uk/tewkesbury-abbey-two-windows
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
1992 Tetsuo HARADA
LE 38ème PARALLÈLE
1992s234-38th parallele-kajigawa-Japan
Hauteur 4 m, l’axe 20 m, dallage 25 m2
Granit rose de la Clarté
Kajigawa, Niigata, Japon
La ville de Kajigawa, au Japon, est située sur le 38ème parallèle (latitude). Cette ligne sépare la Corée du Nord de la Corée du Sud.
Tetsuo Harada a réalisé cette sculpture pour la paix et la réconciliation entre les deux Corée. Les deux blocs de la pyramide se rejoignent exactement au niveau du 38ème parallèle et sont unis par une spère.
Le Tricot de la Terre, porteur de paix et d’union, est également présent dans cette sculpture.
Comme Tetsuo Harada, la ville de Kajigawa et le Ministère de l’Equipement qui ont commandé cette sculpture, souhaitent exprimer ce message de paix. Ils invitent les autres villes du monde situées également sur le 38ème parallèle à exprimer cet espoir par la culture, l'art ou le sport.
La ville d’Athènes, également située sur le 38ème parallèle, a adopté ce thème “38ème parallèle, horizon” pour le programme artistique et culturel des Jeux olympiques de 2004. Le 38ème traverse : Italie, Espagne, Portugal, Turquie, Iran, Turkmenistan, Tajikistan, Chine, Corée, Japon, Californie, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992
THE 38th PARALLEL
Height 4 m, axis 20 m, paving 25 m2
Pink Granite of Clarity
Kajigawa, Niigata, Japan
The city of Kajigawa, Japan, is located on the 38th parallel (latitude). This line separates North Korea from South Korea.
Tetsuo Harada created this sculpture for peace and reconciliation between the two Koreas. The two blocks of the pyramid meet exactly at the level of the 38th parallel and are joined by a marker.
The Knit of the Earth, bearer of peace and union, is also present in this sculpture.
As Tetsuo Harada, the city of Kajigawa and the Ministry of Equipment who commissioned this sculpture, wish to express this message of peace. They invite the other cities of the world also located on the 38th parallel to express this hope through culture, art or sport.
The city of Athens, also located on the 38th parallel, has adopted this theme "38th parallel, horizon" for the artistic and cultural programme of the 2004 Olympic Games. The 38th parallel runs through: Italy, Spain, Portugal, Turkey, Iran, Turkmenistan, Tajikistan, China, Korea, Japan, California, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992 KAGIGAWA-NIIGATA (JAPON)
ASSOCIATION DE VILLE ET DE L’EQUIPEMENT
Le 38ème parallèle sépare la Corée de nord de celle du Sud. Ce lieu particulier devient dans la ville de Kagigawa le symbole de la Paix. Tetsuo HARADA semble tout à fait indiqué en y installant le Tricot de la Terre. Les liens du Tricot de la Terre se tournent vers cette sculpture, forte, pyramidale, rehaussée d’une très belle colonne de granit. La solidité et le temps semble imposer leur sérénité. On y vient à pied, en vélo, en voiture sur cet air destiné à la rencontre et au dialogue. Du train on l’aperçoit petite et de plus en plus grande avant de disparaître dans son écrin de verdure et de rizières. Plus qu’une simple destination le 38ème parallèle entoure la terre et se veut réunir les hommes de Paix. Athènes contribue à donner une suite ...
Sur le 38ème le programme est ouvert pour Hamonten (Chine), San Fransisco (USA), Sado (Japon).
1992 KAGIGAWA-NIIGATA (JAPAN)
CITY AND EQUIPMENT ASSOCIATION
The 38th parallel separates North and South Korea. This particular place becomes in the city of Kagigawa the symbol of Peace. Tetsuo HARADA seems quite appropriate by installing there the Knitting of the Earth. The links of the Knitwear of the Earth turn towards this sculpture, strong, pyramidal, raised by a very beautiful granite column. Solidity and time seem to impose their serenity. One comes there on foot, by bicycle, by car on this air intended for the meeting and the dialogue. From the train you can see it small and getting bigger and bigger before disappearing into its green and rice fields. More than a simple destination, the 38th parallel surrounds the earth and is intended to bring together men of Peace. Athens contributes to give a continuation ...
On the 38th the program is open for Hamonten (China), San Fransisco (USA), Sado (Japan) ...
————————
ASSOCIATION OF THE CITY AND THE EQUIPEMENT
The 38th parallel separtes North and South Korea. The sculpture represents in a way the union of both these countries. This particular site in Kagigawa city becomes symbol of Peace. Tetsuo Harada’s ideas and interests find a great deal of expression here, through the theme of the “Earth Weaving”. The links of the “Earth Weaving” head towards this sculpture, strong pyramidal, matched with an imposing granite column. The solidity and the permanence seem to surround the site with serenity. One can go there walking or by car, the area is dedicated to meetings ans dialogue. By train, one can catch the sight of it, slowly disappearing amongst the setting of greenery and paddy fields. More than a mere destination, th e38th parallel surrounds the earth and aims to unify men of peace. Athena contributes to giving a continuation...
One the theme of the 38th, opportunieies are to be found the Hamonten (China), San Francisco (USA), Sado (Japan)...
El paralelo 38 separa Korea del norte de Korea del sur. La escultura representa en cierta manera la union de estos dos paises. Tetsuo Harada parece completamente la persona indicada en este lugar para construir “La tejeduria de la tierra”. Los vinculos de La tejeduria de la tierra vuelven hara esta escultura, fuerte piramidal realjada par una manestuosa columna de granito. La solidez y la parecn imponer su serenidad. Se viene en este sitio destinado a los encuentros y al dialogo andando, en bicideta, en coche. Desde el tren se preda divisar pequerran mas y mas grande, rapidamente desapareciedo joyera de verdura y de arrozales. Mas que una simple destincion, “el 38 paralelo” rodea toto el planeta y quiere runir los hombres de paz. Alterras contribuye a dar una continuacion...
A proposito des 38 paralelo, los aportunidades quedan abiertas en Hamonten (China), San Francisco (Estados Unidos), Sado (Japon)...
I made it from Hisashi Imai's plans (built around a layered core of cardboard to give it a greater solidity).
Notice how much bigger it is than my iPod Touch. It's also thicker than I expected it to be: 0.5 inch (13.4 mm) (although the real one tapers at the edges). And 1.5 lbs (0.68 kg) is going to feel fairly hefty (this one is very light of course: if I'd had easy access to lead shot I could have added that between the layers of cardboard).
1992 Tetsuo HARADA
LE 38ème PARALLÈLE
1992s234-38th parallele-kajigawa-Japan
Hauteur 4 m, l’axe 20 m, dallage 25 m2
Granit rose de la Clarté
Kajigawa, Niigata, Japon
La ville de Kajigawa, au Japon, est située sur le 38ème parallèle (latitude). Cette ligne sépare la Corée du Nord de la Corée du Sud.
Tetsuo Harada a réalisé cette sculpture pour la paix et la réconciliation entre les deux Corée. Les deux blocs de la pyramide se rejoignent exactement au niveau du 38ème parallèle et sont unis par une spère.
Le Tricot de la Terre, porteur de paix et d’union, est également présent dans cette sculpture.
Comme Tetsuo Harada, la ville de Kajigawa et le Ministère de l’Equipement qui ont commandé cette sculpture, souhaitent exprimer ce message de paix. Ils invitent les autres villes du monde situées également sur le 38ème parallèle à exprimer cet espoir par la culture, l'art ou le sport.
La ville d’Athènes, également située sur le 38ème parallèle, a adopté ce thème “38ème parallèle, horizon” pour le programme artistique et culturel des Jeux olympiques de 2004. Le 38ème traverse : Italie, Espagne, Portugal, Turquie, Iran, Turkmenistan, Tajikistan, Chine, Corée, Japon, Californie, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992
THE 38th PARALLEL
Height 4 m, axis 20 m, paving 25 m2
Pink Granite of Clarity
Kajigawa, Niigata, Japan
The city of Kajigawa, Japan, is located on the 38th parallel (latitude). This line separates North Korea from South Korea.
Tetsuo Harada created this sculpture for peace and reconciliation between the two Koreas. The two blocks of the pyramid meet exactly at the level of the 38th parallel and are joined by a marker.
The Knit of the Earth, bearer of peace and union, is also present in this sculpture.
As Tetsuo Harada, the city of Kajigawa and the Ministry of Equipment who commissioned this sculpture, wish to express this message of peace. They invite the other cities of the world also located on the 38th parallel to express this hope through culture, art or sport.
The city of Athens, also located on the 38th parallel, has adopted this theme "38th parallel, horizon" for the artistic and cultural programme of the 2004 Olympic Games. The 38th parallel runs through: Italy, Spain, Portugal, Turkey, Iran, Turkmenistan, Tajikistan, China, Korea, Japan, California, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992 KAGIGAWA-NIIGATA (JAPON)
ASSOCIATION DE VILLE ET DE L’EQUIPEMENT
Le 38ème parallèle sépare la Corée de nord de celle du Sud. Ce lieu particulier devient dans la ville de Kagigawa le symbole de la Paix. Tetsuo HARADA semble tout à fait indiqué en y installant le Tricot de la Terre. Les liens du Tricot de la Terre se tournent vers cette sculpture, forte, pyramidale, rehaussée d’une très belle colonne de granit. La solidité et le temps semble imposer leur sérénité. On y vient à pied, en vélo, en voiture sur cet air destiné à la rencontre et au dialogue. Du train on l’aperçoit petite et de plus en plus grande avant de disparaître dans son écrin de verdure et de rizières. Plus qu’une simple destination le 38ème parallèle entoure la terre et se veut réunir les hommes de Paix. Athènes contribue à donner une suite ...
Sur le 38ème le programme est ouvert pour Hamonten (Chine), San Fransisco (USA), Sado (Japon).
1992 KAGIGAWA-NIIGATA (JAPAN)
CITY AND EQUIPMENT ASSOCIATION
The 38th parallel separates North and South Korea. This particular place becomes in the city of Kagigawa the symbol of Peace. Tetsuo HARADA seems quite appropriate by installing there the Knitting of the Earth. The links of the Knitwear of the Earth turn towards this sculpture, strong, pyramidal, raised by a very beautiful granite column. Solidity and time seem to impose their serenity. One comes there on foot, by bicycle, by car on this air intended for the meeting and the dialogue. From the train you can see it small and getting bigger and bigger before disappearing into its green and rice fields. More than a simple destination, the 38th parallel surrounds the earth and is intended to bring together men of Peace. Athens contributes to give a continuation ...
On the 38th the program is open for Hamonten (China), San Fransisco (USA), Sado (Japan) ...
————————
ASSOCIATION OF THE CITY AND THE EQUIPEMENT
The 38th parallel separtes North and South Korea. The sculpture represents in a way the union of both these countries. This particular site in Kagigawa city becomes symbol of Peace. Tetsuo Harada’s ideas and interests find a great deal of expression here, through the theme of the “Earth Weaving”. The links of the “Earth Weaving” head towards this sculpture, strong pyramidal, matched with an imposing granite column. The solidity and the permanence seem to surround the site with serenity. One can go there walking or by car, the area is dedicated to meetings ans dialogue. By train, one can catch the sight of it, slowly disappearing amongst the setting of greenery and paddy fields. More than a mere destination, th e38th parallel surrounds the earth and aims to unify men of peace. Athena contributes to giving a continuation...
One the theme of the 38th, opportunieies are to be found the Hamonten (China), San Francisco (USA), Sado (Japan)...
El paralelo 38 separa Korea del norte de Korea del sur. La escultura representa en cierta manera la union de estos dos paises. Tetsuo Harada parece completamente la persona indicada en este lugar para construir “La tejeduria de la tierra”. Los vinculos de La tejeduria de la tierra vuelven hara esta escultura, fuerte piramidal realjada par una manestuosa columna de granito. La solidez y la parecn imponer su serenidad. Se viene en este sitio destinado a los encuentros y al dialogo andando, en bicideta, en coche. Desde el tren se preda divisar pequerran mas y mas grande, rapidamente desapareciedo joyera de verdura y de arrozales. Mas que una simple destincion, “el 38 paralelo” rodea toto el planeta y quiere runir los hombres de paz. Alterras contribuye a dar una continuacion...
A proposito des 38 paralelo, los aportunidades quedan abiertas en Hamonten (China), San Francisco (Estados Unidos), Sado (Japon)...
Paul Cezanne
French, 1839-1906
Oil on canvas
This painting dates from Cezanne's mature, most influential phase, during which he sought to, as he said, "make of Impressionism something solid and durable, like the art of the museums." The work's grid-like composition, tight integration of objects, and controlled brushwork convey a powerful sense of solidity. Three-dimensional forms, each rendered from different points of view, are bound together on the flat surface of the picture; and apple, for example, is captured by an arabesque escaping from the blue cloth.
River Dargle Flood Defence Scheme.
These images were taken during the second week of March 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
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Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
By now the guys had clearing away material used to build access ramps down into the riverbed.
The thought crossed had my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Now that we can see the cleaned, exposed riverbank, we can see a substantial bedrock. Clearly this is not liable to subsidence. And there evidence that sections of the slope had already been 'nailed' * to prevent slippage. But, in talking to the guys there, it would seem that further 'nailing' might be required later in the year.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
*
Soil nailing is a construction technique that can be used as a remedial measure to treat unstable natural soil slopes or as a construction technique that allows the safe over-steepening of new or existing soil slopes.
The technique involves the insertion of relatively slender reinforcing elements into the slope – often general purpose reinforcing bars (rebar) although proprietary solid or hollow-system bars are also available.
Solid bars are usually installed into pre-drilled holes and then grouted into place using a separate grout line, whereas hollow bars may be drilled and grouted simultaneously by the use of a sacrificial drill bit and by pumping grout down the hollow bar as drilling progresses.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Mother and Child Date:
1921
Artist:
Pablo Picasso
Spanish, active France, 1881–1973
ABOUT THIS ARTWORK
In 1917 Picasso traveled to Rome to design sets and costumes for Sergei Diaghilev’s famed Ballets Russes. Deeply impressed by the ancient and Renaissance art of that city, he began painting monumental figures inspired by antiquity. His new classical style was influenced by the finely modeled odalisques of Jean-Auguste-Dominique Ingres and the late, oddly proportioned female nudes of Pierre-Auguste Renoir. Mother and Child was also inspired by Picasso’s own life. Just three years earlier he had married Russian dancer Olga Khokhlova, and in 1921 their son Paolo was born. Between 1921 and 1923 he produced at least twelve works on the subject of mothers and children, returning to a theme that he had explored during his Blue Period. But whereas those figures are frail and anguished, his classical-period figures, with their sculptural modeling and solidity, are majestic in proportion and feeling. Here an infant sits on the mother’s lap and reaches up to touch her. The woman, dressed in a Grecian gown, gazes intently at her child. Behind them stretches a simplified background of sand, water, and sky. Picasso’s treatment of the pair is not sentimental, but the relationship expresses a serenity and stability that characterized his own life at this time.
From www.artic.edu/artexplorer/search.php?tab=2&resource=206:
As a young artist, Cézanne lived in Paris and exhibited with the Impressionist painters. Later he lived in the small village of L'Estaque on the southern coast of France. From the village, he could see the city of Marseilles, its harbor, and the coastal mountains, views he never tired of painting. Here you see the beautiful bay. Cézanne wrote of the view, "It is like a playing card. Red roofs on the blue sea. The sun is so terrifying that it seems as though the objects are silhouetted, not only in black and white, but in blue, red, brown, and violet."
An exploration of Cezanne's culminating painting in his series of views of the Mediterranean from the French seaside town of L'Estaque.
Between 1876 and 1885, Paul Cézanne made several visits to the seaside town of L'Estaque, in the south of France, producing a dozen canvases of the setting incorporating views of the Mediterranean. As a group, these works chart his gradual jettisoning of Impressionism, with its dissolution of form and local color, in search of greater solidity and structural integrity.
The Art Institute's Bay of Marseilles, Seen from L'Estaque, the largest and probably the culminating canvas of the series, is built around calculated formal contrasts. The viewer looks down on the town from an adjacent hill, which affords an unobstructed view of water, distant hills, and sky. The composition is anchored by the buildings arrayed across its bottom register. Many of the rooflines are horizontal, resonating with the bay's opposite shore, while chimneys and a large central building surge upward, their verticality countered by an implied diagonal linking a puff of smoke with a distant jetty. The more organic contours of the treetops, near shoreline, and mountain range soften this geometric compositional armature. Natural and man-made forms alike seem timeworn, and they do not so much interlock with one another as engage in a peaceable dialogue.
The whole surface is alive, Cézanne being ever wary of schematic description and alert to felicitous effects of rhythm and handling. The varied tans, ochers, and oranges in the foreground deftly evoke sun-baked surfaces. The water is a richly modulated Weld of blues and greens; the same pigments are repeated in the hills, where the artist applied them more lightly and complemented them with enlivening touches of mauve, yellow, gray, and brown. Capped by a loosely scumbled sky, The Bay of Marseilles has a calm majesty suggestive of dry, Mediterranean days.
Conversation, France, Between 1908 and 1912
by Henri Matisse, 1869-1954
State Hermitage Museum, Saint Petersburg, Russia
Photo taken on 10 May 2017
testmain.hermitagemuseum.org/wps/portal/hermitage/digital...
en.wikipedia.org/wiki/File:Matisse_Conversation.jpg
en.wikipedia.org/wiki/Henri_Matisse
en.wikipedia.org/wiki/Hermitage_Museum
"Conversation", painted in the artist's country house in the summer of 1909, is one of the important works Matisse produced during the highly productive period 1908-1913. Only slightly smaller than "The Red Room", the images are simplified, minimalised. The central figures of Matisse and his wife Amelie are schematic, while still retaining a portrait likeness. Most importantly, whilst depicting a moment in real life, Matisse "captures the truer and more profound meaning behind it, which serves the artist as a point of departure for a more consistent interpretation of reality," as he himself wrote in 1908. We enter into the blue world of the "Conversation", sink deep into the atmosphere of colour. The blue colour does not represent solidity; this is not the colour of the carpet or the colour of the wall. Filling a large part of the paintign space, the blue bears the concept of space through the force of the associations it gives rise to. It is cold; it is emotional and significant; it excites us with its profundity. Submitting to the blue's dominance, the green becomes not only the colour of the meadow but a symbol of the earth, a symbol of Life, an image which is reinforced by the straight, strong trunk of "the tree of life". In this ideal world of pure light-colour we find two figure-symbols embodying the two eternal sources of Life. In the contrast and mutual attraction of the straight lines (male) and the soft, emotional, lines curving (female) lies one of the mysteries of existence.
... State Hermitage Museum
The Conversation, painted in the artist's country house in the summer of 1909, is one of the important works Matisse produced during the highly productive period 1908-1913. Only slightly smaller than The Dessert: Harmony in Red, the images are simplified, minimalised. The central figures of Matisse and his wife Amelie are schematic, while still retaining a portrait likeness. Most importantly, whilst depicting a moment in real life, Matisse "captures the truer and more profound meaning behind it, which serves the artist as a point of departure for a more consistent interpretation of reality," as he himself wrote in 1908. We enter into the blue world of the "Conversation", sink deep into the atmosphere of colour. The blue colour does not represent solidity; this is not the colour of the carpet or the colour of the wall. Filling a large part of the paintign space, the blue bears the concept of space through the force of the associations it gives rise to. It is cold; it is emotional and significant; it excites us with its profundity. Submitting to the blue's dominance, the green becomes not only the colour of the meadow but a symbol of the earth, a symbol of Life, an image which is reinforced by the straight, strong trunk of "the tree of life".
Aside from the richest and lushest colors in any Matisse, The Conversation has much to recommend it to us humble observers. It is, for starters, the elegant confrontation of a man and a woman, in which Madame Matisse is bedecked in dark finery that would befit Queen Isabella greeting Columbus and, yet, Matisse himself stands grander still. Under his own brush, Matisse is tall, thin (!), regal and commanding, while still wearing the pajamas (which happened to serve double duty in the bedroom and the studio).
The picture has a double center: The lush window view, a Garden of Eden in the rearview mirror, symbolizing the past, fleeting happiness of a contentious couple and the extraordinary patch of blue, heralding the abstracting gestures to come in so many future Matisses, all the way to the cutouts three decades in the future. Yet, The Conversation is also a metaphor of art's progress - the overdressed, thoughtful, seated woman symbolizing the realist past and the erect yet casual man the brilliant painterly future of fields of color bedecked in perceptual approximations, which Matisse, beginning with The Conversation, made his own.