View allAll Photos Tagged Solidity
River Dargle Flood Defence Scheme.
These images were taken during the first week of October 2014. We tended to loose sight of the fact that (more) critically important has been on-going near the Silverbridge site, adjacent to the N11 carriageway.
Bank stabilisation works involving excavation, repair and building of a support wall structure are being carried out by JONS Construction also on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. One Friday afternoon I took a trip up there, walking back to the site along the side of the carriageway! Recognised some old faces. 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.
Creating satisfying and balanced compositions within a complex scene such as a rock-strewn, fast-flowing brook like this one at Crowden Clough is one the main attractions of photography, and the image-making process, for me. Here I was looking to use the key elements in a fairly tight arrangement to encapsulate the essence of the scene, i.e. the contrast between the fluidity, movement and transparency of the water with the solidity, stillness and tonal variety of the variously-sized rocks. As the saying goes, 'The water passes and the stones remain'. A focal length of 105mm helps to compress the distances, making the various elements appear closer to each other and to the viewer than they are in reality. The application of a mild 'poster edges' effect (using PS Elements 8) to the rocks and vegetation enhances the contrast with the water I feel and gives added impact to the image as a whole.
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.
This is not a gloat
This post might not impress everybody so I'm calling this an interesting find instead of a gloat.
I've always been fond of the smaller tool makers. So when I spotted an Aussie hand plane on a "Online auction site near you™, I had to make a run for it.
After a btalle with another curious yet uncertain buyer, I won the auction and a few days later arrived a Turner no 4 smoothing plane.
I won't show you any pictures before you have read far enough, as some of you might turn your eyes away in disgust. But I can assure you, there's no need for parental guiding the woodworking style.
Yes, it has plastic handles. Yes, it has a frog made of aluminum.
While you let tho sink in I will tell you the plane also has a very solid and well made body, the handles are translucent (á la MF permaloid) and that the plane is fitted with a Erik Anton Berg cutter made specifically for the Turner tool company.
I will not try to steal the show as all I know about this company is borrowed from the Village Woodworker down under:
thevillagewoodworker.blogspot.com/2012/11/turner-hand-pla...
What I can add is that I agree with his review. This is a very well made hand plane. The celluloid acetate handles feels good in my hands and bring a light smile to my face, much needed in the dark era of Finnish autumn awaiting the even worse. The aluminum frog is of course a slight concern. Will it hold up against had use? But as long as remember not to tighten either the lever cap or the frog screws too much I ought to be OK. And I just love having a Berg cutter made specifically for metal hand planes which can be used not in only in this plane but also my MF no 9.
This plane was purchased from an Englishman who says his father worked in Australia for a few years and who thinks his dad must have bought the plane during his stay. From what I know it hasn't been used for a long time. It's not unused but the scar tissue on the surface has more to do with being stored away improperly than from hard use. The plane has some shallow pitting on both sole and cheeks and I discovered rust on the handle bolts as well as the bolt housing. By the look of the bleached and very tatty box and the mildew stench coming from it, I would guess the plane has been stored in a outside shed but succumbed to sunshine and varying temperatures, which would very well explain why the plane has been corroded.
The handles are intact and I hope that adding some wax might help them to stay sound. Luckily the handles have not been subjected to direct sunlight.
There's a very nice addition t the fastening of the front knob. The raised housing on the body has a recess cut into it at the front side. The knob has a mating little toe which fits into the recess. This feature will keep the front knob from rotating and prevent the user from over tightening the knob. An ingenious invention which would be welcomed on other planes as well.
The plane has only been taken for a short spin on some ash, but it does feel promising. The cutter had been resharpened but not across its full edge so it needs a proper resharpening before I can provide a verdict.
What I can say is that I have compared the weight of this plane with a MF no 9 (Type 2) and a Stanley low knob no 4.
The Turner is the decidedly heaviest of them all, even considering this plane has plastic handles and a frog made of aluminum. It weighs in at 1750 grams.
The MF no 9 weighs 1680 grams and the Stanley no 4 a mer 1610 grams.
The difference are not mind blowing and might be moot for most users, but it does say something about the solidity of this plane.
This is not a gloat
This post might not impress everybody so I'm calling this an interesting find instead of a gloat.
I've always been fond of the smaller tool makers. So when I spotted an Aussie hand plane on a "Online auction site near you™, I had to make a run for it.
After a btalle with another curious yet uncertain buyer, I won the auction and a few days later arrived a Turner no 4 smoothing plane.
I won't show you any pictures before you have read far enough, as some of you might turn your eyes away in disgust. But I can assure you, there's no need for parental guiding the woodworking style.
Yes, it has plastic handles. Yes, it has a frog made of aluminum.
While you let tho sink in I will tell you the plane also has a very solid and well made body, the handles are translucent (á la MF permaloid) and that the plane is fitted with a Erik Anton Berg cutter made specifically for the Turner tool company.
I will not try to steal the show as all I know about this company is borrowed from the Village Woodworker down under:
thevillagewoodworker.blogspot.com/2012/11/turner-hand-pla...
What I can add is that I agree with his review. This is a very well made hand plane. The celluloid acetate handles feels good in my hands and bring a light smile to my face, much needed in the dark era of Finnish autumn awaiting the even worse. The aluminum frog is of course a slight concern. Will it hold up against had use? But as long as remember not to tighten either the lever cap or the frog screws too much I ought to be OK. And I just love having a Berg cutter made specifically for metal hand planes which can be used not in only in this plane but also my MF no 9.
This plane was purchased from an Englishman who says his father worked in Australia for a few years and who thinks his dad must have bought the plane during his stay. From what I know it hasn't been used for a long time. It's not unused but the scar tissue on the surface has more to do with being stored away improperly than from hard use. The plane has some shallow pitting on both sole and cheeks and I discovered rust on the handle bolts as well as the bolt housing. By the look of the bleached and very tatty box and the mildew stench coming from it, I would guess the plane has been stored in a outside shed but succumbed to sunshine and varying temperatures, which would very well explain why the plane has been corroded.
The handles are intact and I hope that adding some wax might help them to stay sound. Luckily the handles have not been subjected to direct sunlight.
There's a very nice addition t the fastening of the front knob. The raised housing on the body has a recess cut into it at the front side. The knob has a mating little toe which fits into the recess. This feature will keep the front knob from rotating and prevent the user from over tightening the knob. An ingenious invention which would be welcomed on other planes as well.
The plane has only been taken for a short spin on some ash, but it does feel promising. The cutter had been resharpened but not across its full edge so it needs a proper resharpening before I can provide a verdict.
What I can say is that I have compared the weight of this plane with a MF no 9 (Type 2) and a Stanley low knob no 4.
The Turner is the decidedly heaviest of them all, even considering this plane has plastic handles and a frog made of aluminum. It weighs in at 1750 grams.
The MF no 9 weighs 1680 grams and the Stanley no 4 a mer 1610 grams.
The difference are not mind blowing and might be moot for most users, but it does say something about the solidity of this plane.
Constant elements here by the lakeshore. The solidity of stone contrasted with the transparency of lake water. Light reflections and deep shadows.
Originally there was a dock here where people arrived on lake steamers and freight was unloaded from barges. But that's all gone now, people and freight now travel on the highways. A different era, such a short time ago.
River Dargle Flood Defence Scheme.
These images were taken during the second week of October 2016.
Meanwhile, at the Silverbridge site, adjacent to the N11 dual-carriageway:
We last visited here 2 years ago in November 2014, where bank stabilisation works involving excavation, repair and building of a support wall structure were being 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’ has 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 re-inforce the side access ramp down to the river.
Gabions consist of steel ‘baskets’ filled with rock pieces. They are filled and then fixed together to provide protection and strength to the existing river bank. They allow ground water to flow through them which helps prevent waterlogging of the bank behind them. Existing examples of these were used, back in 2012, to line the north bank of the existing riverbank adjacent to The Slang/Rehills stretch.
Long shallow versions of gabions, known as ‘mattresses’, were used to cover the excavated riverbed, and also to protect the edges of the river channel, particularly at bends in the river.
Working in these confined spaces puts a premium of safety and communication.
I particularly like the clever way in which the operator of the ‘Hitachi - Zaxis 130 LCN’ excavator is able to ‘slide’ laterally along the pipes without the need to crab sideways on the tracks.
River Dargle Flood Defence Scheme.
These images were taken during the third week of October 2016.
Meanwhile, at the Silverbridge site, adjacent to the N11 dual-carriageway:
We last visited here 2 years ago in November 2014, where bank stabilisation works involving excavation, repair and building of a support wall structure were being 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’ has 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 re-inforce the side access ramp down to the river.
Gabions consist of steel ‘baskets’ filled with rock pieces. They are filled and then fixed together to provide protection and strength to the existing river bank. They allow ground water to flow through them which helps prevent waterlogging of the bank behind them. Existing examples of these were used, back in 2012, to line the north bank of the existing riverbank adjacent to The Slang/Rehills stretch.
Long shallow versions of gabions, known as ‘mattresses’, were used to cover the excavated riverbed, and also to protect the edges of the river channel, particularly at bends in the river.
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 some form of extra 'pinning' is put in place.
River Dargle Flood Defence Scheme.
These images were taken during the third week of October 2016.
Meanwhile, at the Silverbridge site, adjacent to the N11 dual-carriageway:
We last visited here 2 years ago in November 2014, where bank stabilisation works involving excavation, repair and building of a support wall structure were being 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’ has 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 re-inforce the side access ramp down to the river.
Gabions consist of steel ‘baskets’ filled with rock pieces. They are filled and then fixed together to provide protection and strength to the existing river bank. They allow ground water to flow through them which helps prevent waterlogging of the bank behind them. Existing examples of these were used, back in 2012, to line the north bank of the existing riverbank adjacent to The Slang/Rehills stretch.
Long shallow versions of gabions, known as ‘mattresses’, were used to cover the excavated riverbed, and also to protect the edges of the river channel, particularly at bends in the river.
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 some form of extra 'pinning' is put in place.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
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.
This is not a gloat
This post might not impress everybody so I'm calling this an interesting find instead of a gloat.
I've always been fond of the smaller tool makers. So when I spotted an Aussie hand plane on a "Online auction site near you™, I had to make a run for it.
After a btalle with another curious yet uncertain buyer, I won the auction and a few days later arrived a Turner no 4 smoothing plane.
I won't show you any pictures before you have read far enough, as some of you might turn your eyes away in disgust. But I can assure you, there's no need for parental guiding the woodworking style.
Yes, it has plastic handles. Yes, it has a frog made of aluminum.
While you let tho sink in I will tell you the plane also has a very solid and well made body, the handles are translucent (á la MF permaloid) and that the plane is fitted with a Erik Anton Berg cutter made specifically for the Turner tool company.
I will not try to steal the show as all I know about this company is borrowed from the Village Woodworker down under:
thevillagewoodworker.blogspot.com/2012/11/turner-hand-pla...
What I can add is that I agree with his review. This is a very well made hand plane. The celluloid acetate handles feels good in my hands and bring a light smile to my face, much needed in the dark era of Finnish autumn awaiting the even worse. The aluminum frog is of course a slight concern. Will it hold up against had use? But as long as remember not to tighten either the lever cap or the frog screws too much I ought to be OK. And I just love having a Berg cutter made specifically for metal hand planes which can be used not in only in this plane but also my MF no 9.
This plane was purchased from an Englishman who says his father worked in Australia for a few years and who thinks his dad must have bought the plane during his stay. From what I know it hasn't been used for a long time. It's not unused but the scar tissue on the surface has more to do with being stored away improperly than from hard use. The plane has some shallow pitting on both sole and cheeks and I discovered rust on the handle bolts as well as the bolt housing. By the look of the bleached and very tatty box and the mildew stench coming from it, I would guess the plane has been stored in a outside shed but succumbed to sunshine and varying temperatures, which would very well explain why the plane has been corroded.
The handles are intact and I hope that adding some wax might help them to stay sound. Luckily the handles have not been subjected to direct sunlight.
There's a very nice addition t the fastening of the front knob. The raised housing on the body has a recess cut into it at the front side. The knob has a mating little toe which fits into the recess. This feature will keep the front knob from rotating and prevent the user from over tightening the knob. An ingenious invention which would be welcomed on other planes as well.
The plane has only been taken for a short spin on some ash, but it does feel promising. The cutter had been resharpened but not across its full edge so it needs a proper resharpening before I can provide a verdict.
What I can say is that I have compared the weight of this plane with a MF no 9 (Type 2) and a Stanley low knob no 4.
The Turner is the decidedly heaviest of them all, even considering this plane has plastic handles and a frog made of aluminum. It weighs in at 1750 grams.
The MF no 9 weighs 1680 grams and the Stanley no 4 a mer 1610 grams.
The difference are not mind blowing and might be moot for most users, but it does say something about the solidity of this plane.
This is not a gloat
This post might not impress everybody so I'm calling this an interesting find instead of a gloat.
I've always been fond of the smaller tool makers. So when I spotted an Aussie hand plane on a "Online auction site near you™, I had to make a run for it.
After a btalle with another curious yet uncertain buyer, I won the auction and a few days later arrived a Turner no 4 smoothing plane.
I won't show you any pictures before you have read far enough, as some of you might turn your eyes away in disgust. But I can assure you, there's no need for parental guiding the woodworking style.
Yes, it has plastic handles. Yes, it has a frog made of aluminum.
While you let tho sink in I will tell you the plane also has a very solid and well made body, the handles are translucent (á la MF permaloid) and that the plane is fitted with a Erik Anton Berg cutter made specifically for the Turner tool company.
I will not try to steal the show as all I know about this company is borrowed from the Village Woodworker down under:
thevillagewoodworker.blogspot.com/2012/11/turner-hand-pla...
What I can add is that I agree with his review. This is a very well made hand plane. The celluloid acetate handles feels good in my hands and bring a light smile to my face, much needed in the dark era of Finnish autumn awaiting the even worse. The aluminum frog is of course a slight concern. Will it hold up against had use? But as long as remember not to tighten either the lever cap or the frog screws too much I ought to be OK. And I just love having a Berg cutter made specifically for metal hand planes which can be used not in only in this plane but also my MF no 9.
This plane was purchased from an Englishman who says his father worked in Australia for a few years and who thinks his dad must have bought the plane during his stay. From what I know it hasn't been used for a long time. It's not unused but the scar tissue on the surface has more to do with being stored away improperly than from hard use. The plane has some shallow pitting on both sole and cheeks and I discovered rust on the handle bolts as well as the bolt housing. By the look of the bleached and very tatty box and the mildew stench coming from it, I would guess the plane has been stored in a outside shed but succumbed to sunshine and varying temperatures, which would very well explain why the plane has been corroded.
The handles are intact and I hope that adding some wax might help them to stay sound. Luckily the handles have not been subjected to direct sunlight.
There's a very nice addition t the fastening of the front knob. The raised housing on the body has a recess cut into it at the front side. The knob has a mating little toe which fits into the recess. This feature will keep the front knob from rotating and prevent the user from over tightening the knob. An ingenious invention which would be welcomed on other planes as well.
The plane has only been taken for a short spin on some ash, but it does feel promising. The cutter had been resharpened but not across its full edge so it needs a proper resharpening before I can provide a verdict.
What I can say is that I have compared the weight of this plane with a MF no 9 (Type 2) and a Stanley low knob no 4.
The Turner is the decidedly heaviest of them all, even considering this plane has plastic handles and a frog made of aluminum. It weighs in at 1750 grams.
The MF no 9 weighs 1680 grams and the Stanley no 4 a mer 1610 grams.
The difference are not mind blowing and might be moot for most users, but it does say something about the solidity of this plane.
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.
Scan of an analog photo taken in June 1997
Ponte Scaligero 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. The bridge's reconstruction by architect Libero Cecchini began in 1949 and completed in 1951, with the exception of the left tower.
Source: Wikipedia
Copyright PS
On Rothko, see previous.
1949, oil on canvas.
MoMA quote:
"Magenta, Black, Green on Orange follows a compositional structure that Rothko explored for twenty–three years beginning in 1947. Narrowly separated, rectangular blocks of color hover in a column against a colored ground. Their edges are soft and irregular, so that when Rothko uses closely related tones, the rectangles sometimes seem barely to coalesce out of the ground, concentrations of its substance. The green bar in Magenta, Black, Green on Orange, on the other hand, appears to vibrate against the orange around it, creating an optical flicker. In fact the canvas is full of gentle movement, as blocks emerge and recede, and surfaces breathe. Just as edges tend to fade and blur, colors are never completely flat, and the faint unevenness in their intensity, besides hinting at the artist's process in layering wash on wash, mobilizes an ambiguity, a shifting between solidity and impalpable depth.
The sense of boundlessness in Rothko's paintings has been related to the aesthetics of the sublime, an implicit or explicit concern of a number of his fellow painters in the New York School. In fact, the remarkable color in his paintings was for him only a means to a larger end: "I'm interested only in expressing basic human emotions—tragedy, ecstasy, doom," he said. "If you . . . are moved only by . . . color relationships, then you miss the point.""
Mark Rothko was born in 1903. After a long trek through Expressionism and Surrealism, his definitive style coalesced in 1950. Using canvases roughly the height and width of a human standing with outstretched arms, he created what he sometimes called “doors” and “windows” in luminous color. “ My pictures are indeed facades” he once said.
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Link to more on Rothko:
In Roccalumera there is an ancient guard-tower which is commonly called Tower of Sollima, from the name of the noble family of Messina owner of the building in the XVI century.The Tower is also called Saracen even if there are no recorded information about Arab origins of the building. The structure, cylindrical shaped and about 13 metres high, showed a conical roof, two windows with modest size and a small door. It was part of the guard and defensive system of Ionian coast against danger of enemy invasions.Outposts communicated to each other by smoke signallings during the day and fire signallings in the night. In the cases of extreme emergency were rung at the same time also alarm bells: people were in this way alarmed and began to escape among near heights. The tower of Roccalumera was considered by the then military architects the best of the area both for its strategical position and the solidity of its structure.After the end of Arab incursions the structure has undergone many changes: windows and the door became larger and was built a wide battlemented terrace which took the place of the previous conical roof.
Antica torre di guardia, comunemente detta “Torre Saracena”. La costruzione risale probabilmente all’inizio del ‘400 e non è improbabile che l’aggettivo “saracena” stia per significare “torre antica”.Le funzioni della torre, costruita nei pressi della spiaggia, erano di avvistamento, di prima difesa e all’occorrenza offriva rifugio ai contadini qualora ci fossero incursioni dei pirati. Le segnalazioni di pericolo si effettuavano di giorno con il fumo, e di notte con il fuoco acceso in apposite padelle. Alla torre si accedeva tramite una scala a corda. Scomparso il pericolo dei pirati, la torre fu adibita a torre telegrafo e metteva in comunicazione la contrada detta “Zia Paola”, nome derivato dalla locanda dove i viandanti solevano fermarsi per rifocillarsi, posta sulla Marina di Pagliara, con la cittadina di Barcellona, poco distante da Messina.el 1578 la “Torre saracena” presentava una struttura con un tetto conico, due lucernari sulla parte superiore, una porticina d’ingresso al di sopra della zoccolatura e, di fianco, alla stalla per il “cavallaio”, visibile ancora oggi.Dopo il 1830 furono aperte, nella parte superiore, due finestre a sesto acuto in pietra bianca e il tetto fu arricchito da una notevole merlatura che fungeva da terrazzo. La “Torre saracena” è divenuta nel tempo il simbolo di Roccalumera.Salvatore Quasimodo le fu particolarmente legato, dedicandole la poesia “Vicino ad una Torre Saracena per il fratello morto”, riprodotta su una lapide di marmo posta alla base della torre.
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
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.
This is not a gloat
This post might not impress everybody so I'm calling this an interesting find instead of a gloat.
I've always been fond of the smaller tool makers. So when I spotted an Aussie hand plane on a "Online auction site near you™, I had to make a run for it.
After a btalle with another curious yet uncertain buyer, I won the auction and a few days later arrived a Turner no 4 smoothing plane.
I won't show you any pictures before you have read far enough, as some of you might turn your eyes away in disgust. But I can assure you, there's no need for parental guiding the woodworking style.
Yes, it has plastic handles. Yes, it has a frog made of aluminum.
While you let tho sink in I will tell you the plane also has a very solid and well made body, the handles are translucent (á la MF permaloid) and that the plane is fitted with a Erik Anton Berg cutter made specifically for the Turner tool company.
I will not try to steal the show as all I know about this company is borrowed from the Village Woodworker down under:
thevillagewoodworker.blogspot.com/2012/11/turner-hand-pla...
What I can add is that I agree with his review. This is a very well made hand plane. The celluloid acetate handles feels good in my hands and bring a light smile to my face, much needed in the dark era of Finnish autumn awaiting the even worse. The aluminum frog is of course a slight concern. Will it hold up against had use? But as long as remember not to tighten either the lever cap or the frog screws too much I ought to be OK. And I just love having a Berg cutter made specifically for metal hand planes which can be used not in only in this plane but also my MF no 9.
This plane was purchased from an Englishman who says his father worked in Australia for a few years and who thinks his dad must have bought the plane during his stay. From what I know it hasn't been used for a long time. It's not unused but the scar tissue on the surface has more to do with being stored away improperly than from hard use. The plane has some shallow pitting on both sole and cheeks and I discovered rust on the handle bolts as well as the bolt housing. By the look of the bleached and very tatty box and the mildew stench coming from it, I would guess the plane has been stored in a outside shed but succumbed to sunshine and varying temperatures, which would very well explain why the plane has been corroded.
The handles are intact and I hope that adding some wax might help them to stay sound. Luckily the handles have not been subjected to direct sunlight.
There's a very nice addition t the fastening of the front knob. The raised housing on the body has a recess cut into it at the front side. The knob has a mating little toe which fits into the recess. This feature will keep the front knob from rotating and prevent the user from over tightening the knob. An ingenious invention which would be welcomed on other planes as well.
The plane has only been taken for a short spin on some ash, but it does feel promising. The cutter had been resharpened but not across its full edge so it needs a proper resharpening before I can provide a verdict.
What I can say is that I have compared the weight of this plane with a MF no 9 (Type 2) and a Stanley low knob no 4.
The Turner is the decidedly heaviest of them all, even considering this plane has plastic handles and a frog made of aluminum. It weighs in at 1750 grams.
The MF no 9 weighs 1680 grams and the Stanley no 4 a mer 1610 grams.
The difference are not mind blowing and might be moot for most users, but it does say something about the solidity of this plane.
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
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.
The last "52" of 2023. Made on a passerelle which I prefer to call by it's original name...
Location: Passerelle Léopold-Sédar-Senghor, Paris (F)
Coordinates: 48°51'42.7"N 2°19'28.9"E (Google Maps)
Reason: I was walking through the city to find a place during the scarce moments during this day and this week with sunlight. This was the moment and this was the place; Passerelle Léopold-Sédar-Senghor with the Jardin des Tuileries with the Musée de l'Orangerie in the background.
Solférino: Before 2006 this footbridge over the Seine connecting Jardin des Tuileries and Quai Anatole France was called Passerelle Solférino. Much easier to say than it's current name Passerelle Léopold-Sédar-Senghor. This explains the title of this photo as well.
Passerelle Léopold-Sédar-Senghor: The passerelle Léopold-Sédar-Senghor, formerly known as passerelle Solférino (or pont de Solférino), is a footbridge over the River Seine in the 7th arrondissement of Paris. It is served by the Metro station Assemblée Nationale.
The new passerelle de Solférino linking the Musée d'Orsay and the Jardin des Tuileries (Tuileries Gardens) was built between 1997 and 1999 under the direction of the engineer and architect Marc Mimram. Crossing the Seine with a single span and no piers, this metallic bridge is architecturally unique and covered in exotic woods (ipê, a Brazilian tree also used for outdoor flooring[1] at the Bibliothèque nationale de France) which gives it a light and warm appearance. Its solidity is, however, never in doubt - at either end, its foundations are in the form of concrete pillars extending 15m into the ground, and the structure itself is made up of six 150 tonne components built by the Eiffel engineering company, Eiffel Constructions métalliques. Its innovative architecture brought Marc Mimram the award "Prix de l'Équerre d'Argent" for the year 1999.
The bridge was renamed after Léopold Sédar Senghor on 9 October 2006 on the centenary of his birth.
FACTS & FIGURES
Crosses: River Seine
Next upstream: Pont Royal
Next downstream: Pont de la Concorde
Design: Marc Mimram
Total length: 106m
Width: 15m
Opened: 1999
[ Wikipedia - Passerelle Léopold-Sédar-Senghor ]
2023 52-Weeks Summary:
9 out of 52 selfportraits were made "stretched arm" (17.3%). In 2023 61.5% of all selfportraits were made outside the Netherlands (28 in France, 1 in Belgium, 2 in Morocco and 1 in Germany). More than 88% were made "solo" (only myself in the picture). Five out of 52 selfies were made indoors of which 1 at home. The average temperature when I took a selfportrait was 14.7° C. Lowest temperature was -1° C and warmest 39° C. Four photos were taken with temperatures of 30° or more.
Weather: Mostly cloudy, some sunbeams, 9°C
To Listen ♫: Not A Minute Without You - Nipika (Youtube)
Self-portrait technics: Camera on Joby portable gorillapod and mounted on a poubelle, timer on 10 seconds.
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.
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.
clinical waste / institutionalisation
An institution is any structure or mechanism of social order and cooperation governing the behavior of a set of individuals within a given human community. Institutions are identified with a social purpose and permanence, transcending individual human lives and intentions, and with the making and enforcing of rules governing cooperative human behavior.
Enoch Powell, when Minister for Health in the early 1960s, was a later opponent who was appalled by what he witnessed on his visits to the asylums, and his famous "water tower" speech in 1961 called for the closure of all NHS asylums and their replacement by wards in general hospitals:
"There they stand, isolated, majestic, imperious, brooded over by the gigantic water-tower and chimney combined, rising unmistakable and daunting out of the countryside - the asylums which our forefathers built with such immense solidity to express the notions of their day. Do not for a moment underestimate their powers of resistance to our assault. Let me describe some of the defences which we have to storm."
scandal after scandal followed, with many high profile public inquiries. These involved the exposure of abuses such as unscientific surgical techniques such as lobotomy and the widespread neglect and abuse of vulnerable patients in the USA and Europe. The growing anti-psychiatry movement in the 1960s and 1970s led in Italy to the first successful legislative challenge to the authority of the mental institutions, culminating in their closure.
During the 1980 s and 1990s the hospital population started to fall rapidly, mainly because of the deaths of long-term inmates. Significant efforts were made to re-house large numbers of former residents in a variety of suitable or otherwise alternative accommodation. The first 1,000+ bed hospital to close was Darenth Park in Kent, swiftly followed by many more across the UK. The haste of these closures, driven by the Conservative governments led by Margaret Thatcher and John Major, led to considerable criticism in the press, as some individuals slipped through the net into homelessness or were discharged to poor quality private sector mini-institutions. The resistance of many institutions to change, predicted by Enoch Powell, has continued into the 21st century, and there are still several thousand people permanently resident in the dwindling asylums and long stay hospital replacement campuses scattered across the UK.
Trained in Haarlem, the city where Gérard de Saint-Jean worked, then well received in Bruges, Gérard David became one of the great painters, extending the tradition of Hans Memling, who died in 1494: in 1484 he became a free master of the guild of painters he married in 1496 Cornelia Cnoop, daughter of the dean of the guild of goldsmiths. The altarpiece of the Virgo inter Virgines was donated in 1509 to the Carmelite convent of Sion in Bruges.
Mary sits enthroned between two musical angels with the Child shelling a bunch of grapes, a Eucharistic symbol. She receives the homage of an assembly of martyrs with childish charm, recognizable by their attributes treated in precious ornaments: from left to right, Dorothée with a basket of roses (the lawyer Théophile had made her the promise to convert if she sent her roses and apples from the garden of Christ), Catherine of Alexandria with her crown adorned with the wheel of torture (which broke miraculously instead of killing her), Agnès, a lamb at her feet (the saint died at 14 years old for having refused to marry a pagan), behind her, an anonymous woman, then Fausta with a saw (instrument of her martyrdom), Apolline with pliers (which were used to pull out her teeth), Godelive with a scarf (which her husband used to strangle her), Cécile next to an organ (she sang the Lord's praises to the end), Beard with a headdress adorned with a tower (her father locked her in it) and Lucie holding her eyes (which some say were torn out of her and others es that she would have ripped herself off). A man, at the top left, joins in this holy conversation, opposite a woman in a white cornette: it is the painter Gérard David himself and probably his wife, Cornelia.
The saints stand out against a neutral background with a plastic force that evokes a bas relief but is enlivened by the graceful emergence of the faces and the beauty of the materials. In this dense set, the virgin with accentuated verticalism unusual for the painter and of great statuary solidity, seems to respond to the Madonna of Bruges by Michelangelo who arrived in the city in 1506.
Source: Musée des Beaux-Arts de Rouen,
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.
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.
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
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.
--------------------------------------------
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
Fired up the profileinator tonight and fed stuff to the Ultimaker..
step 1: beat my old personal high score! :D
0.075mm layer height; 0.5mm thread width; 0.2 solidity; 8 solid surface layers (which is *still* a lot less actual height than the normal 3 at 0.25mm layers); about 23 minutes to print.
Bit of z wobble or something in there but not bad for a 1st try..
The elaborate canopied tomb of Hugh le Despenser (d.1349) and his wife Elizabeth Montacute (d.1359) on the north side of the high altar. This is the finest tomb in the Abbey, but the effigies are frustratingly difficult to see (being set too high up to be seen properly from the ambulatory, and the more accessible sanctuary side of course being off limits to casual visitors).
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.
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 were tapped to provide the full range of the extensive architectural metal and custom glass fabrication called for by Ellerbe Becket architects Carlos Zapata and Peter Pran in their design for this top accounting firm’s headquarters. Upon entering the lobby, visitors are met by a cantilevered stainless steel reception desk and their path through the office is traced by curving stainless steel hallway walls articulated with copper fins. Entrances and exits are made through our copper, glass and gunmetal doors and frames. The conference rooms and offices are separated by frosted glass and stainless steel, or convex copper panels suspended from the ceiling. Desks and conference tables punch through the walls, cantilevering out or supported on one leg, as in this boardroom table of marble and stainless steel. The space’s overall impression mixes strength and solidity with contemporary innovation and progress to underscore the firm’s institutional profile. To find out more about this custom-designed conference table visit www.mison.com/
In Roccalumera there is an ancient guard-tower which is commonly called Tower of Sollima, from the name of the noble family of Messina owner of the building in the XVI century.The Tower is also called Saracen even if there are no recorded information about Arab origins of the building. The structure, cylindrical shaped and about 13 metres high, showed a conical roof, two windows with modest size and a small door. It was part of the guard and defensive system of Ionian coast against danger of enemy invasions.Outposts communicated to each other by smoke signallings during the day and fire signallings in the night. In the cases of extreme emergency were rung at the same time also alarm bells: people were in this way alarmed and began to escape among near heights. The tower of Roccalumera was considered by the then military architects the best of the area both for its strategical position and the solidity of its structure.After the end of Arab incursions the structure has undergone many changes: windows and the door became larger and was built a wide battlemented terrace which took the place of the previous conical roof.
Antica torre di guardia, comunemente detta “Torre Saracena”. La costruzione risale probabilmente all’inizio del ‘400 e non è improbabile che l’aggettivo “saracena” stia per significare “torre antica”.Le funzioni della torre, costruita nei pressi della spiaggia, erano di avvistamento, di prima difesa e all’occorrenza offriva rifugio ai contadini qualora ci fossero incursioni dei pirati. Le segnalazioni di pericolo si effettuavano di giorno con il fumo, e di notte con il fuoco acceso in apposite padelle. Alla torre si accedeva tramite una scala a corda. Scomparso il pericolo dei pirati, la torre fu adibita a torre telegrafo e metteva in comunicazione la contrada detta “Zia Paola”, nome derivato dalla locanda dove i viandanti solevano fermarsi per rifocillarsi, posta sulla Marina di Pagliara, con la cittadina di Barcellona, poco distante da Messina.Nel 1578 la “Torre saracena” presentava una struttura con un tetto conico, due lucernari sulla parte superiore, una porticina d’ingresso al di sopra della zoccolatura e, di fianco, alla stalla per il “cavallaio”, visibile ancora oggi.Dopo il 1830 furono aperte, nella parte superiore, due finestre a sesto acuto in pietra bianca e il tetto fu arricchito da una notevole merlatura che fungeva da terrazzo. La “Torre saracena” è divenuta nel tempo il simbolo di Roccalumera.Salvatore Quasimodo le fu particolarmente legato, dedicandole la poesia “Vicino ad una Torre Saracena per il fratello morto”, riprodotta su una lapide di marmo posta alla base della torre.
Part of the complete sequence of seven early 14th century windows preserving most of their original glass in the choir clerestorey.
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.
Cnr Hunter St & Bolton St, Newcastle.
As New South Wales' second city, Newcastle was (and remains) a working city built on coal, steel and its port. Illustrating the mercantile links between the cities of the British Empire, it was Newcastle coal which fired the cities of India. Replacing an earlier building and reflecting the confidence of the 1920s, this purpose-built bank and office block was commissioned for the Commercial Bank of Sydney (established in 1848). It was designed by Sydney-based architects Kent & Massie in the style known as Inter-War Commercial Palazzo; the solid rusticated stone ground floor reflected the solidity one would expect of a banking chamber while the sandstone-clad upper storeys gave the building a modern, thrusting appearance in the style of early Chicago-style skyscrapers. The architectural motifs and elements are very similar to the CBC's headquarters in George Street, Sydney (see my photo at ); this is not surprising as both buildings were the products of the same architects.
Self-Portrait in a Casquette, France, Circa 1872 . 53x39,7 cm, O on C
by Paul Cezanne 1839-1906
State Hermitage Museum, Saint Petersburg, Russia
Photo taken on 10 May 2017
testmain.hermitagemuseum.org/wps/portal/hermitage/digital...
commons.wikimedia.org/wiki/File%3AC%C3%A9zanne%2C_Paul_-_...
en.wikipedia.org/wiki/Paul_C%C3%A9zanne
en.wikipedia.org/wiki/Hermitage_Museum
Painted in the early 1870s, at a time when Cezanne was closest of all to the Impressionists, this work shows the clear influence of Pissarro, with whom Cezanne worked. The composition in fact recalls Pissarro's own "Self-portrait" (Musee d'Orsay, Paris). The free brushstrokes and interest in lighting effects reveal the Impressionist trend in Cezanne's work, but the sketchy painting and unclear outlines do not totally break down the weight and solidity with which the artist endowed the objects in his paintings. Even here, in these relatively early works of the Impressionist period, the artist revealed his individual view of art. In the picture Cezanne seems to be older than he in fact was, which was characteristic of him. Perhaps this was due not only to the beard but also to the artist's state of permanent state of inner tension and loneliness.
... Hermitage
PAOLO ALDERIGHI & STEPHANIE TRICK DOUBLE TRIO
Dates: 1.7 - 2.7
Stephanie Trick, piano
Paolo Alderighi, piano
Nicola Stranieri, drums
Roberto Piccolo, bass
From: I-USA
Style: Stride Piano, Swing
Un superlativo show a quattro mani con una magica coppia del piano
Milanese, nato nel 1980, Paolo Alderighi è un autentico virtuoso del piano jazz, epigono di Fats Waller, il mitico pianista nero famoso per il gioco delle mani: la sinistra come un’intera sezione ritmica, la destra come un brillantissimo strumento solista. Accolto con ovazioni dal pubblico di Ascona durante la scorsa edizione, Alderighi si ripresenta col suo trio e soprattutto con la talentuosa e versatile pianista americana, nonché moglie, Stéphanie Trick. Quello di Paolo Alderighi e Stephanie Trick è uno show pianistico a quattro mani fresco ed inebriante. I due hanno registrato l’anno scorso l’album “Sentimental Journey”.
A superlative four-handed show with the magic piano duo
A Milan native, born in 1980: Paolo Alderighi is a true jazz-piano virtuoso with a style reminiscent of Fats Waller, the incredible black pianist famous for the solidity of his left hand and the endless melodic variations of his right hand. Alderighi's performances during last year's edition were met with standing ovations and this year he is back with his trio and with the talented and versatile American pianist – his wife – Stéphanie Trick. Their four-hands piano show is fresh and intoxicating. Together the two have also worked on two albums, one of which – “Sentimental Journey” – was recorded last year.
Eine grossartige Show zu vier Händen mit dem magischen Klavier-Duo
Der 1980 geborene Mailänder Paolo Alderighi ist ein wahrer Virtuose des Pianojazz. Sein Stil erinnert an Fats Waller den mythischen schwarzen Pianisten, der dafür bekannt war, dass er seine linke Hand als komplette Rhythmussektion einsetzte und seine rechte wie ein brillantes Soloinstrument. Letztes Jahr in Ascona frenetisch gefeiert, präsentiert sich Alderighi erneut, mit seinem Trio und vor allem mit der talentierten, vielseitigen amerikanischen Pianistin Stephanie Trick, seiner Ehefrau. Frisch und berauschend ist die Pianoshow zu vier Händen von Paolo Alderighi und Stephanie Trick. Letztes Jahr haben die beiden das Album "Sentimental Journey" aufgenommen.
Website:
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.
River Dargle Flood Defence Scheme.
These images were taken during the first week of October 2014. We tended to loose sight of the fact that (more) critically important has been on-going near the Silverbridge site, adjacent to the N11 carriageway.
Bank stabilisation works involving excavation, repair and building of a support wall structure are being carried out by JONS Construction also on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. One Friday afternoon I took a trip up there, walking back to the site along the side of the carriageway! Recognised some old faces. 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.
Located at no. 52 Grand River Street South.
"The Wolverton House is a Greek Revival style house located in Paris. It was built in the early 1850s and is located in what was the earliest residential area in Paris. The house was part of the underground railroad, serving as a destination for former slaves.
Asa Wolverton emigrated to Paris in the 1830s from Cayuga, New York, with his wife and family. He built a sawmill soon after his arrival. This enabled him to design and build his house, the two neighbouring houses to the south and quite probably the frame houses across the street. All three of the river properties have double or triple verandas overlooking the river. These houses were the nucleus of Paris's first residential area. The smooth, light effect of the Wolverton house is created by a white stuccoed surface. The design is a graceful and less cumbersome architecture of the neoclassic style which was out of favour by this date and the new demands for dignity and solidity in Greek form. Like many Greek Revival houses it is merely a traditional five bay gable end house with a Greek Doric double porch added as an entrance.
There are five original fireplaces in the house. Below the stairs is a recently opened cooking fireplace. The kitchen here was connected to the dining room above by a dumbwaiter. This explains the shape of the shelf opening beside the mantelpiece in the large dining room to the right. Double arcades on either side of the fireplace also hark back to the neo-classic. The parlor was to the left. Doors and windows in the rooms on either side of the hall have Greek Revival flat trim with molded center (three different forms) and the boxed corner necessary to avoid a mitered corner with this type of trim. A dining room window has the name of Sofia Sifton scratched on its glass. The house was one rented by Sir Clifford Sifton's family. The hall exhibits more neo-classic detail in a cornice staircase and divided archway.
The out buildings are connected to a parallel plan to the main section of the house. This sort of addition, possibly to form an L or to the rear, is common in New England and the Maritimes but is rare in Ontario. Immediately adjacent is the carriage house. Next is a lumber room which had two double entranceways under a triple paneled framework. The two storey barn with stables for animals underneath terminates the group.
A cobblestone garden was extended along the front of the property and included the Wells house to the south. Only the front wall had stones of a small and uniform size. The rest of the wall is made of larger stones with wide variation in size. The top was finished with wood planing pitched at 45 degrees to meet in the centre.
The original roof consisted of single layer of roofing board, widely spaced to ensure good ventilation. This was covered by a single layer of cedar shingles.
The Wolverton House was part of the underground railroad, being a safe destination for slaves living in freedom. Asa and his wife Juliet took in these people as well as had servants originating from Ireland. The Wolvertons were childless and this could be one of the reasons this home was built with just one bedroom. There was a large walk-in closet off the master suite and a bathing room adjacent to the closet. On the second floor is a ballroom with fireplace. In 2007, the Courtemanche family purchased this home and are spending endless hours to restore this manor back to its original splendor. It is estimated that it will take up to ten years to finish the project which will include not only the interior of this home, but the exterior architecture, walls, fences and gardens. It is interesting to note that the lower level of the barn is still in the original 1851 state with the animal stalls and water trough." - info from the County of Brant Public Library.
"Paris (2021 population, 14,956) is a community located in the County of Brant, Ontario, Canada. It lies just northwest from the city of Brantford at the spot where the Nith River empties into the Grand River. Paris was voted "the Prettiest Little Town in Canada" by Harrowsmith Magazine. The town was established in 1850. In 1999, its town government was amalgamated into that of the County of Brant, ending 149 years as a separate incorporated municipality, with Paris as the largest population centre in the county.
Paris was named for the nearby deposits of gypsum, used to make plaster of Paris. This material was discovered in 1793 while the area was being surveyed for the British Home Department. By late 1794 a road had been built from what is now Dundas, Ontario, to the east bank of the Grand River in what became Paris, called The Governor's Road (now Dundas St. in Paris). The town has been referred to as "the cobblestone capital of Canada" (in reference to a number of aged cobblestone houses).
The use of cobblestones to construct buildings had been introduced to the area by Levi Boughton when he erected St. James Church in 1839; this was the first cobblestone structure in Paris. Two churches and ten homes, all in current use, are made of numerous such stones taken from the rivers. Other architectural styles that are visible in the downtown area include Edwardian, Gothic, and Post Modern." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. During this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
Find me on Instagram.
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.
ما هي تقنية البلوك تشين و ما هي طرق الاستثمار فيها 2019؟
سنتحدث في تدوينتنا لهذا اليوم عن مفهوم البلوكشين Blockchain وكيف من اللازم فهمه قبل حتى أن تستوعب البرامج المبنية على هذا المفهوم والتي منها عملة ال Bitcoin وعملات كثيرة غيرها.
ما هي تقنية البلوك تشين؟
في الوضع الحالي، حتى تقوم بشراء سلعة او خدمة من شخص اخر يتحتم ان يكون هناك وسيط بينكم وهو البنك او شركة البطاقات الائتمانية هم الذين يقومون بعملية التسوية النقدية فيما بينكم. نظام أو تقنية البلوكشين يلغي مفهوم الوسيط و يمكنك من اتمام العملية مباشرة مع البائع.
تتم هذه العملية عن طريق تشفير كامل لعمليات التبادل ويتم تسجيلها في سجلات الكترونية غير مركزية اي بمعنى انها تكون متوفرة على شبكة واسعة من الكمبيوترات الجميع يستطيع رؤيتها. هذه الكمبيوترات يجب ان تقوم بالموافقة على عملية التبادل حتى يتم تأكيدها وتسجيلها.
معقد؟!
افضل طريقة لشرح مفهوم نظام البلوكشين Blockchain هو شرحه عن طريق مثال: في حالة Bitcoin وهي بالمناسبة عملة مشفرة وليست عملية رقمية. يريد الطرف A ان يرسل أموال الى الطرف B. يتم تمثيل هذا الطلب في الشبكة كـ Block من ثم يتم ارساله الى جميع من في الشبكة للتحقق و الموافقة على هذا الطلب، بعد ذلك يتم تسجيل هذه العملية في السجلات الالكترونية التي تعتبر غير قابلة للتعديل ومتاحة للجميع، بعد ذلك يتسلم الطرف B امواله التي قام بارسالها الطرف A
هذه أحد الأمثلة التي من الممكن ان تقوم بها تقنية البلوكشين ولها استخدامات عديدة جدا. من الممكن ان تستخدم في اي عملية يتم فيها تبادل للقيمة سواء كانت عملات او سلع او ممتلكات. ايضا من الممكن ان تقوم هذه التقنية بالحد من عمليات الاحتيال حيث ان جميع العمليات متاحة للجميع لرؤيتها
حاليا يمثل نسبة بسيطة جدا تمثل 0.025% من الناتج المحلي العالمي يتم تبادلها عن طريق البلوكتشين تمثل تقريبا ٢٠ مليار درلار ويتوقع ان يصل الى ١٠٪ بحلول ٢٠٢٥
بعض الحكومات والمؤسسات الخاصة قامت بالفعل بالبدء بتطبيق هذا المفهوم على عملياتها الخاصة ولكن على نطاق خاص ومحدود بالاعضاء الذي يُسمح لهم بالاطلاع والموافقة على العمليات. من مساوئ هذه الفكرة، المؤسسة تتحكم بـ ١٠٠٪ من الشبكة واي اختراق للشبكة يجعل هذه البيانات عرضة للتلاعب، على عكس الشبكة العالمية حيث اختراق وتعديل البيانات صعب الى درجة الاستحالة.
من النماذج المستخدمة عالميا في هذه التقنية هو تسجيل الاراضي في السويد حيث اظهرت التجارب ان عملية تسجيل الاراضي والصفقات اصبح اسرع من قبل، كذلك في جورجيا، الهند تقوم باستخدام هذه التقنية للحد من عمليات الاحتيال في صفقات الاراضي.
ايضا من نماذج الاعمال لاستخدام هذه التقنية هي العقود الذكية، من الممكن الان ان يتم عمل عقود الكترونية تكون سارية ويتم تطبيقها بدون اي تدخل بشري. احدى الافكار المستخدمة هي الضمانات الآلية. صندوق التقد الدولي يعتقد بأن البلوكشين سيخفف المشاكل الاخلاقية في العقود وتحسين عمل العقود، العقود الذكية ايضا يتم استخدامها للمغنين بشكل خاص حيث يتم برمجتها ليتم الدفغ الالي والفوري للمغني كلما قام احد بتشغيل اغنيته.
يتم استخدام بلوكتشين Ethereum Solidity بشكل خاص لعمل هذه العقود وبرمجتها بحيث تكون ساريه في حالة تم تحقيق شروط معينة في العقد في مثالنا السابق تشغيل اغنية لمغني واستلام المبلغ في لحظتها.
تقوم الان شركة ميكروسوفت بمحاولة دمج هذه التقنية في منصتها MS Visual Studio، ايضا هيئة الاسواق المالية الاسترالية قامت بشراء حصة في احد شركات متخصصة في تقنية البلوكشين لتطوير بنية لتحديد التداول وتسوية العمليات مما يفتح مجالا اوسع لطرح منتجات جديدة مستقبلا.
في أغسطس ٢٠١٦ قامت جامعة ميونيخ بعمل دراسة عن كيف يمكن لهذه التقنية ان تُخرّب القطاعات الحالية، قاموا بتحليل تمويل الشركات الناشئة واكتشفوا ان ١.٥٥ مليار دولار تم استثمارها في شركات تمويل وتأمين المعلومات والاتصالات والخدمات المهنية العامة.
في نهاية الأمر يجب ان نعرف شيء واحد فقط، ان هذه التقنية ستغير الطريقة والاسلوب الذي ننجز الاعمال فيه في يومنا هذا، كل شيء في المستقبل سيتم عمله بطريقة مختلفة تماما باستخدام هذه التقنية، يجب ان ندرك تماما بان ال Bitcoin هو فقط استخدام واحد لهذه التقنية من ضمن استخدامات كثيرة جدا.
ماهي القطاعات التي سيتم تخريبها خلال العشر سنوات المقبلة؟
البنوك وخدمات الدفع الالكتروني
الامن السيبراني
الخدمات اللوجستيه
التحليل والابحاث
انترنت الاشياء
التأمين
اقتصاديات المشاركة - اوبر و كريم
الخدمات السحابية
التبرعات
التصويت
البيروقراطية
توزيع المنح الحكومية
الخدمات الصحية
ادارة الطاقة
الموسيقى
خدمات التجزئة
العقار
التمويل الجماعي
كيف قامت الحكومات باستخدام تقنية البلوكشين وماهي اخر تجاربها في هذا المجال #blockchain
بحسب التوقعات، يتوقع ان تقوم 9 من اصل 10 حكومات بالاستثمار في تقنية البلوكشين خلال عام 2018، ستشمل الاستثمار في المعاملات المالية وادارة الاصول والعقود، أولى الدول التي قامت بتبني البلوكشين في نشاطها هي دولة جورجيا، قامت الدولة بتطبيقها في عملية تسجيل ملكيات الأراضي من خلال سلسلة خاصة بهم مربوطة بشكل مباشر مع الهيئات المعنية مما يمكن الحكومة من التحقق من ملكيات الاراضي واعتماد المستندات اللازمة من خلال التقنية.
الدولة الاخرى هي استونيا، حيث قامت بتطبيق تقنية البلوكتشين على مستوى الدولة كاملة حيث تقوم باصدار الهويات والاقامات الالكترونية المشفرة التي تمكنهم من استخدام الخدمات العامة للدولة ويقوم الافراد من التحقق من معلوماتهم التي تملكها الحكومة عنهم ومن يستطيع الاطلاع عليها، أيضا قامت استونيا بوضع جميع السجلات الطبية على البلوكشين لتقلل من خطر اختراقها من المجرمين وتغيير محتوياتها
سنغافورة أيضا قامت بتطبيق نظام دفع بين بنوكها عبر تقنية البلوكشين عن طريق مؤسسة النقد السنغافورية والتي تسهل من عملية تبادل الاموال بين البنوك بسرعة كبيرة باصدار عملية رقمية خاصة وبتكلفة أقل بكثير، الحكومة تدرس الآن ربط هذا النظام بنظام الدفع الدولي
حكومة دبي هي الأخرى قامت بتشكيل مجلس البلوكشين لتقوم بتطبيق التقنية في جميع مناحي الحياة في دبي وقاموا بتطبيقه على عدة برامج منها نقل الملكيات, السجلات التجارية, السجلات الطبية وتجارة الالماس وغيرها، و يتوقع ان تقوم الحكومة بتوفير 25 مليون ساعة عمل حتى عام 2020
كيف يمكن للبلوكتشين ان تحدث تغيير جذري في سرعة وحجم تمويل الشركات والمشاريع الناشئة؟ وكيف يتم تمويل المشاريع القائمة على تقنية البلوكشين Blockchain؟
أولا حتى نفهم الموضوع أكثر يجب أن نعرف مصطلحين هامين حتى يكون الشرح أسهل، هناك نوعين من العملات المشفرة المتداولة
Currency = عملة رئيسية
Token = عملة رمزية
العملات الرئيسية تكون قائمة على منصات Blockchain مختلفة تماما عن اي عملة اخرى مثال Bitcoin, Ethereum, Ripple
كل عملة من هذه العملات الرئيسية تختلف كمنصات عن العملات الاخرى كبنية تحتية من ناحية سرعة تنفيذ العمليات في كمية العمليات التي يتم تنفيذها خلال ثانيه واحدة وهكذا. وتسمح للمطورين ان يقوموا ببناء تطبيقاتهم على هذه البنية التحتية نظرا لقلة العدد المتاح من العملات الرئيسية، يقوم المطورون باصدار عملات جديدة خاصة بتطبيقاتهم وذلك يعود للسبب السابق وايضا حتى لا يتم خنق الشبكات بكمية العمليات اليومية، تقوم هذه العملات بوظيفتين تقريبا، تكون عملة متاحة للاستخدام فقط في المنصة الخاصة بها.
على سبيل المثال.. مطور قام بتطوير برنامج يقوم بتسجيل عمليات بيع الاراضي. حتى تستفيد من هذه الخدمة يجب عليك الدفع بالعملة التي اطلقها مطوروا هذا البرنامج.
الاستثمار في البلوك تشين
بعد ان فهمنا الفرق بين الاثنين.. كيف يمكن لهذه التقنية ان تحل مشاكل تمويل المشاريع الصغيرة والناشئة و كيف يمكننا أن نستثمر في هذه التقنية؟
في الوضع الطبيعي يتم تمويل الشركات عن طريقين اما اقتراض او شراء حصة في الشركة، البلوكشين قامت بانشاء طريقة اخرى لتمويل هذه المشاريع عن طريق ما يسمى ICO او initial coin offering
ICOs هي مشابهه تماما لعمليات الطرح الاولي IPO للشركات الراغبة ان تدرج في البورصة، في البلوكشين يقوم مطوروا البرامج باصدار عملة جديدة تحت أي مسمى يرغبونه ويقومون ببيع هذه العملة على المستثمرين الذي يرون في هذا التطبيق فرصة وقابلة للتحقيق.
على سبيل المثال المطورين يريدون جمع مبلغ ٥٠ مليون ريال عن طريق طرح ٥٠ مليون عملة رقمية قيمة كل عملة ريال واحد. عادةً يتم طرح و جمع هذه المبالغ أسرع من الطريق التقليدية، يستفيد المستثمر في هذه العملات من شيء واحد فقط هو احتمالية ارتفاع سعر هذه العملة وتحقيق ارباح رأس مالية وعادة يرتفع السعر اما عن طريق المضاربة او في حال تم عمل البرنامج وزاد الطلب على خدمات هذا البرنامج حينها يرتفع الطلب على العملة حتى يقومون بالدفع باستخدامها لاستخدام خدمات البرنامج.
لازالت هذه الطريقة في جمع الاموال جديدة ومن الممكن ان تتعرض للاحتيال في كثير منها ولكن هذه الطريقة المبتكرة في جمع الاموال ستسهل على الشركات تمويل مشاريعها بسهولة كبيرة وعلى نطاق عالمي دون النظر الى السوق المحلي فقط.
ارتفع عدد المشاريع الممولة عن طريق اصدار عملات على البلوك تشين ليبلغ ٢٣٤ مشروع في ٢٠١٧ مرتفعا ٤٠٩٪ وبلغ عدد المبالغ المجمعة ٣.٧ مليار دولار في ٢٠١٧ مقارنة مع ٩٦ مليون دولار في ٢٠١٦ مرتفعا ٣٧٠٠٪
و كخلاصة، أهم الطرق الحالية التي يمكن الاستثمار فيها عن طريق البلوكتشين هي كالتالي:
الاستثمار في العملات الرقمية المشفرة.
الاستثمار في الشركات الناشئة التي تستخدم تقنية البلوك تشين كما سبق و ذكرنا.
الاستثمار في صناديق المؤشرات المتداولة.
استثمار الوقت في تعلم تطوير وتحديث تقنية البلوك تشين.
الى هنا نكون قد إنتهينا و نتمنى أن نكون قد أجبنا على سؤال، ما هي طرق الاستثمار في تقنية بلوك تشين؟
المصدر: فهد المحارب Fahad Almoharib - @fmlog - بلوك تشين ويكيبيديا
via مشروع ift.tt/2OTpdtx
Henri Matisse's Reclining Nude III (1929). "Matisse pares the figure down to its essential lines, leaving details of the face, hands, and feet indistinct. Despite its scale, this small bronze sculpture possesses a monumentality in its solidity of form."
At the Museum of Fine Arts, Boston.
River Dargle Flood Defence Scheme.
These images were taken during the first week of October 2014. We tended to loose sight of the fact that (more) critically important has been on-going near the Silverbridge site, adjacent to the N11 carriageway.
Bank stabilisation works involving excavation, repair and building of a support wall structure are being carried out by JONS Construction also on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. One Friday afternoon I took a trip up there, walking back to the site along the side of the carriageway! Recognised some old faces. 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.
Within an hour of taking these photos, the rains began to fall with a vengeance. An Orange weather alert, with widespread flooding expected overnight. Non-essential work soon ceased.
River Dargle Flood Defence Scheme.
These images were taken during the first week of October 2014. We tended to loose sight of the fact that (more) critically important has been on-going near the Silverbridge site, adjacent to the N11 carriageway.
Bank stabilisation works involving excavation, repair and building of a support wall structure are being carried out by JONS Construction also on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. One Friday afternoon I took a trip up there, walking back to the site along the side of the carriageway! Recognised some old faces. 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.