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Amsterdam is the capital and most populous city of the Netherlands. Its status as the Dutch capital is mandated by the Constitution of the Netherlands, although Amsterdam is not the seat of the Dutch government which is The Hague. Amsterdam has a population of 802,938 within city limits, 1,560,414 in the urban region and 2,332,839 in the greater metropolitan area. The city is located in the province of North Holland in the west of the country. It comprises much of the northern part of the Randstad, one of the larger conurbations in Europe, with a population of approximately 7 million.

Amsterdam's name derives from Amstelredamme, indicative of the city's origin: a dam in the river Amstel. Originating as a small fishing village in the late 12th century, Amsterdam became one of the most important ports in the world during the Dutch Golden Age, a result of its innovative developments in trade. During that time, the city was the leading center for finance and diamonds. In the 19th and 20th centuries, the city expanded, and many new neighborhoods and suburbs were planned and built. The 17th-century canals of Amsterdam and the 19–20th century Defence Line of Amsterdam are on the UNESCO World Heritage List.

As the commercial capital of the Netherlands and one of the top financial centres in Europe, Amsterdam is considered an alpha world city by the Globalization and World Cities (GaWC) study group. The city is also the cultural capital of the Netherlands.] Many large Dutch institutions have their headquarters there, and 7 of the world's top 500 companies, including Philips and ING, are based in the city. In 2012, Amsterdam was ranked 2nd best city to live by the Economist Intelligence Unit (EIU) and 12th globally on quality of living by Mercer. The city was previously ranked 3rd in innovation by 2thinknow in the Innovation Cities Index 2009.

The Amsterdam Stock Exchange, the oldest stock exchange in the world, is located in the city center. Amsterdam's main attractions, including its historic canals, the Rijksmuseum, the Van Gogh Museum, Stedelijk Museum, Hermitage Amsterdam, Anne Frank House, Amsterdam Museum, its red-light district, and its many cannabis coffee shops draw more than 3.66 million international visitors annually.

The earliest recorded use of the name "Amsterdam" is from a certificate dated 27 October 1275, when the inhabitants, who had built a bridge with a dam across the Amstel, were exempted from paying a bridge toll by Count Floris V. The certificate describes the inhabitants as homines manentes apud Amestelledamme (people living near Amestelledamme). By 1327, the name had developed into Aemsterdam

Amsterdam's founding is relatively recent compared with much older Dutch cities such as Nijmegen, Rotterdam, and Utrecht. In October 2008, historical geographer Chris de Bont suggested that the land around Amsterdam was being reclaimed as early as the late 10th century. This does not necessarily mean that there was already a settlement then since reclamation of land may not have been for farming—it may have been for peat, used as fuel.

Amsterdam was granted city rights in either 1300 or 1306. From the 14th century on, Amsterdam flourished, largely because of trade with the Hanseatic League. In 1345, an alleged Eucharistic miracle in the Kalverstraat rendered the city an important place of pilgrimage until the adoption of the Protestant faith. The Stille Omgang—a silent procession in civil attire—is today a remnant of the rich pilgrimage history

In the 16th century, the Dutch rebelled against Philip II of Spain and his successors. The main reasons for the uprising were the imposition of new taxes, the tenth penny, and the religious persecution of Protestants by the Spanish Inquisition. The revolt escalated into the Eighty Years' War, which ultimately led to Dutch independence. Strongly pushed by Dutch Revolt leader William the Silent, the Dutch Republic became known for its relative religious tolerance. Jews from the Iberian Peninsula, Huguenots from France, prosperous merchants and printers from Flanders, and economic and religious refugees from the Spanish-controlled parts of the Low Countries found safety in Amsterdam. The influx of Flemish printers and the city's intellectual tolerance made Amsterdam a centre for the European free press

The 17th century is considered Amsterdam's Golden Age, during which it became the wealthiest city in the world. Ships sailed from Amsterdam to the Baltic Sea, North America, and Africa, as well as present-day Indonesia, India, Sri Lanka, and Brazil, forming the basis of a worldwide trading network. Amsterdam's merchants had the largest share in both the Dutch East India Company and the Dutch West India Company. These companies acquired overseas possessions that later became Dutch colonies. Amsterdam was Europe's most important point for the shipment of goods and was the leading Financial Centre of the world. In 1602, the Amsterdam office of the Dutch East India Company became the world's first stock exchange by trading in its own shares.

Amsterdam lost over 10% of its population to plague in 1623–1625, and again in 1635–1636, 1655, and 1664. Nevertheless, the population of Amsterdam rose in the 17th century (largely through immigration) from 50,000 to 200,000

Amsterdam's prosperity declined during the 18th and early 19th centuries. The wars of the Dutch Republic with England and France took their toll on Amsterdam. During the Napoleonic Wars, Amsterdam's significance reached its lowest point, with Holland being absorbed into the French Empire. However, the later establishment of the United Kingdom of the Netherlands in 1815 marked a turning point.

The end of the 19th century is sometimes called Amsterdam's second Golden Age. New museums, a train station, and the Concertgebouw were built; in this same time, the Industrial Revolution reached the city. The Amsterdam-Rhine Canal was dug to give Amsterdam a direct connection to the Rhine, and the North Sea Canal was dug to give the port a shorter connection to the North Sea. Both projects dramatically improved commerce with the rest of Europe and the world. In 1906, Joseph Conrad gave a brief description of Amsterdam as seen from the seaside, in The Mirror of the Sea.

Shortly before the First World War, the city began expanding, and new suburbs were built. Even though the Netherlands remained neutral in this war, Amsterdam suffered a food shortage, and heating fuel became scarce. The shortages sparked riots in which several people were killed. These riots are known as the Aardappeloproer (Potato rebellion). People started looting stores and warehouses in order to get supplies, mainly food.

Germany invaded the Netherlands on 10 May 1940 and took control of the country. Some Amsterdam citizens sheltered Jews, thereby exposing themselves and their families to the high risk of being imprisoned or sent to concentration camps. More than 100,000 Dutch Jews were deported to Nazi concentration camps of which some 60.000 lived in Amsterdam. Perhaps the most famous deportee was the young Jewish girl Anne Frank, who died in the Bergen-Belsen concentration camp. At the end of the Second World War, communication with the rest of the country broke down, and food and fuel became scarce. Many citizens traveled to the countryside to forage. Dogs, cats, raw sugar beets, and Tulip bulbs—cooked to a pulp—were consumed to stay alive. Most of the trees in Amsterdam were cut down for fuel, and all the wood was taken from the apartments of deported Jews.

The (reconstructed) bookcase that covered the entrance to the "Secret Annex" where Anne Frank hid from Germans occupying Amsterdam during World War II.

Many new suburbs, such as Osdorp, Slotervaart, Slotermeer, and Geuzenveld, were built in the years after the Second World War These suburbs contained many public parks and wide, open spaces, and the new buildings provided improved housing conditions with larger and brighter rooms, gardens, and balconies. Because of the war and other incidents of the 20th century, almost the entire city centre had fallen into disrepair. As society was changing, politicians and other influential figures made plans to redesign large parts of it. There was an increasing demand for office buildings and new roads as the automobile became available to most common people. A metro started operating in 1977 between the new suburb of Bijlmer and the centre of Amsterdam. Further plans were to build a new highway above the metro to connect the Central Station and city centre with other parts of the city.

The incorporated large-scale demolitions began in Amsterdam's formerly Jewish neighbourhood. Smaller streets, such as the Jodenbreestraat, were widened and saw almost all of their houses demolished. During the destruction's peak, the Nieuwmarktrellen (Nieuwmarkt riots) broke out, where people expressed their fury about the demolition caused by the restructuring of the city.

As a result, the demolition was stopped, and the highway was never built, with only the metro being finished. Only a few streets remained widened. The new city hall was built on the almost completely demolished Waterlooplein. Meanwhile, large private organisations, such as Stadsherstel Amsterdam, were founded with the aim of restoring the entire city centre. Although the success of this struggle is visible today, efforts for further restoration are still ongoing The entire city centre has reattained its former splendor and, as a whole, is now a protected area. Many of its buildings have become monuments, and in July 2010 the Grachtengordel (Herengracht, Keizersgracht, and Prinsengracht) was added to the UNESCO World Heritage List

Chasetown Civil Engineering Limited by Keltruck Scania

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New @ChasetownCivil #ScaniaXT R500 #SuppliedByKeltruck

#ChasetownCivilEngineering #Burntwood #Staffordshire #Staffs #WestMidlands #WestMids #WS7 #ChasetownCivil chasetowncivil.co.uk #ScaniaTough

👏 Tony Biddlestone

Spec & order your new #Scania at keltruckscania.com/sales

Current status. by CM Harrington

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Posted via email from ƒ•stop

Status Rock by John Turnbull

Seal Rocks

Status: Green by Courtney

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Today's light snowfall made for some festive looking status lights at LaSalle Street Station. While waiting for a press event to start, I went looking for something interesting to shoot.

Envirowales Limited by Keltruck Scania

twitter.com/keltruck/status/1190308735723261952

New #Envirowales R520 #V8 #SuppliedByKeltruck

#EbbwVale #BlaenauGwent #Gwent #Wales #SouthWales #Cymru #NP23 envirowales.com #ScaniaV8 #KingOfTheRoad #PrideOfTheFleet

👏 Richard Woodland

Spec & order your new #Scania at keltruckscania.com/sales

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"Having been driving a variety of truck makes since I passed my test in 1994 it has always been Scania that stood out for me. But it’s not all about the truck itself – as a Transport Manager you expect the economy and the technology that comes with a Scania, but just as important is the sales process and the aftersales services etc. I have to say that Keltruck Scania Caldicot has been outstanding in the two years that I have been with my present company. We have a small fleet, all but one are Scanias and delivery of sales, servicing, customer engagement has been top class, even when it comes to accessories that Keltruck/Scania do not sell, the staff at Caldicot have led me in the right direction. Big hands up to ‘our Rachael’ at Caldicot, as me and my drivers/staff call her – Rachael never fails to help out. The same goes for Chris who is as helpful as they come.

"What I dislike in a sales guy is pressure selling and the nonsense that comes with it. I’d rather not buy than put up with that but Richard Woodland is totally the opposite – honest and relaxed sales techniques with fantastic aftersales support. I can’t wait for my next new purchase. Keltruck Scania Caldicot makes my life easier. Keep it up guys – I know you will."

Jason Reeves, Logistics Manager, Envirowales Limited

'tache status by Michael Salerno

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153315 by Down to nowhere

The former main line status of Ormskirk can be seen in this view of 153315 waiting to depart with the 13:24 to Preston. Built by the East Lancshire Railway and opened in 1849, it connected Liverpool and it's docks to the cotton mills of East Lancashire. A branch to Skelmersdale and Rainford was opened by the Liverpool, Ormskirk and Preston Railway, but this closed to passengers in 1956, since when Skelmersdale has grown considerably. Through services between Preston and Liverpool via Ormskirk ceased in 1970, and so this end on meeting of two, now separate, railways came about. A frequent service from Ormskirk to Liverpool runs every 15 minutes during the day, while Preston is served by this infrequent, bumbling railcar.

195 Royal Blue / Blue-Violet by Rylie Howerter

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Status: Retired

BrickLink: Blue-Violet

Peeron: RoyalBlue

Used from 2004-2005, almost entirely in Knights Kingdom II (possibly two Duplo sets too?). The color appeared in quite a few parts, at least considering its limited run time.

113 Transparent Medium Reddish VIolet / Trans-Dark Pink by Rylie Howerter

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Status: Current

BrickLink: Trans-Dark Pink

Peeron: TrPink

Introduced in 1999 for Scala/Belville.

Does not glow under a UV light.

Garden status. 🐻🍃🎯 #Merida #Brave #FairytaleGarden #MagicKingdom #WaltDisneyWorld #DisneySideCast #UnforgettableCast by Parques @ Reunidos

by slightly_lost_boy ift.tt/1RRpps9

Emoji Status report by Marius Watz

Wreckage of Boeing B-17G Flying Fortress 43-37667 of the 709th Bombardment Squadron, 447th Bombardment Group, crashed on Meltham Moor, West Yorkshire, 6th April 1945, i took this photo on a very wet & misty day, 25th July 2004. by Dave Wragg

Crew / Passengers Rank - if applicable Position e.g. Pilot Status

Winston Johnson 2nd Lieutenant Pilot Injured (died in 1961 due to his injuries)

Raymond Parks 2nd Lieutenant Co-pilot Injured

Walter Vukelic 2nd Lieutenant Navigator Injured

Robert Schnug Sergeant Engineer Injured

Robert Woodbeck Sergeant Radio Operator Injured

The aircraft was on a test flight to put hours onto new engines which had been fitted to the aircraft. The flight was from Rattlesden near Stowmarket in Suffolk. The crew decided to head towards Manchester (for no real reason) when they got bored of flying around Suffolk but entered cloud on nearing the Pennines and became lost. While descending through cloud they struck the gently rising ground on Meltham Moor.

Text by kind permission of Alan L Clark www.peakdistrictaircrashes.co.uk

Operation Owl. by Steve Waterhouse

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Operation Owl.

Raptor persecution project.

mobile.twitter.com/DCPoliceRural_D/status/126129064465334...

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Status of Liberty by أحمد الحميد

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Recording status light by it-info info

76 CANTELEU - VILLE VERTE OPHLM DE LA SEINE MARITIME 1615 logements by Mémoire 2cité Vol 62

www.twitter.com/Memoire2cite 93 : Mémoire d un territoire - Documentaire de Yasmina Benguigui www.youtube.com/watch?v=-Pdmy0shDfY … PODCAST Au cœur des politiques publiques : la construction des grands ensembles Conférence d’Annie Fourcaut, historienne, professeur à l’Université Paris 1, directrice du Centre d’histoire sociale (CHS), animée par Danièle Voldman, histoirenne www.histoire-immigration.fr/agenda/2010-09/au-coeur-des-p... … … le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme 😊 De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM Quatre murs et un toit 1953 Scenario et réalisation Pierre Jallaud MRU (ministère de la reconstruction et de l'urbanisme) www.dailymotion.com/video/xk6xui twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …

archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...

museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije :- que dire de RICARDO BOFFIL Les meilleures balades que j’ai fait autour de Paris je les ai faites dans l’application Plans. Je ne minore pas le rôle de Google Maps, révolution cartographique sans précédent et sans égale, qui aura réalisé nos fantasmes d’Aleph borgesien — l’idée d’un point d’où le monde serait visible en totalité — parachevé Mercator et permis d’explorer des parties du globe inconnues de Cook, Bougainville et Amundsen. Je n’oublie pas non plus cet exercice de cartographie au collège, qui nous avait démontré que nous étions à 3 cartes IGN de la capitale, et que le tissu urbain était de plus en plus serré à mesure que nous avancions vers le nord. Mais Plan possédait une fonctionnalité inédite, le Flyover, technologie à l’origine destinée aux pilotes de chasse, et qui fournissait des rendus 3D spectaculaire des bâtiments survolés — ainsi que des arbres et des déclivités du sol.On quittait enfin les champs asphyxiants de la photographie aérienne pour des vues à l’oblique des villes visitées : après un siècle d’écrasement — la photographie aérienne est étroitement contemporaine du bombardement aérien — les villes reprenaient enfin de la vigueur et remontaient vers le ciel. J’avais d’ailleurs effectué moi-même une manœuvre de redressement similaire le jour où j’étais parti, à pied depuis Paris, visiter à Nanterre une exposition sur la photographie aérienne. J’étais à la quête des premières vues de Paris qu’avait prises Nadar depuis un ballon captif. À défaut de ces images, définitivement manquantes, j’avais parcouru, après la Grande Arche, les derniers kilomètres de la Voie Royale, cette prodigieuse perspective historique partie du Louvre — rare exemple de frise chronologique implémentée dans une structure urbanistique.J’avais en réalité un peu dévié de la ligne droite pour aller voir les tours Nuages d’Emile Aillaud, le Facteur Cheval du modernisme, dont je connaissais déjà les autres chefs d’œuvres d'architecture naïve, les nouilles chinoises de Grigny et le spaghetti de Pantin.C’était précisément l’usage que j’avais fait de l’application Plans : j’étais parti à la recherche de tous les groupements de tour qu’elle m’avait permis d’identifier, sur mon iPad. Je les faisais tourner avec deux doigts, comme un éclaireur qui marcherait autour d’un donjon, avant de les immortaliser, sous leur plus bel angle, par une capture d’écran.Un éclaireur autour d’un donjon : c’était exactement cela, qui m’avait fasciné. Les guerres territoriales entre Les Tarterêts de Corbeil et les Pyramides d’Evry avaient marqué mon enfance. La notion de cité, telle qu’elle avait été définie, à partir des années 80, dans le second âge des grands ensembles, l’âge du déclin, avait conservé un cachet médiéval. Ici, vivaient guetteurs et trafiquants, condottieres à la tête d’une écurie de go-fast et entretenant des chenils remplis de mâtins rares et dangereux. Ici, l’État central ne remplissait plus ses tâches régaliennes, ici la modernité laïque était entrée en crise. Mais ce que j’avais découvert, en collectionnant ces captures d’écran, c’était à quel point l’urbanisme de la banlieue parisienne était, strictement, d’obédience médiévale. On était passé, d’un seul mouvement et sans même s’en rendre compte de Château-Gaillard à la Cité 4000, du Donjon de Vincennes aux tours de Sarcelles, du château de Gisors aux choux fleurs de Créteil.J’ai même retrouvé la colonne détruite du désert de Retz dans le babylonien château d’eau de Noisiel.Des hauteurs de Rosny à celle de Chanteloup, du plateau de Clichy à la dalle d’Argenteuil, on avait bizarrement livré des pastiches inconscients de la grande architecture militaire médiévales : les environs de Paris s’étaient retrouvés à nouveau fortifiés, la vieille tour de Montlhéry n’était plus solitaire, et même les immeubles de briques rouges qui avaient succédé à l’enceinte de Thiers évoquaient des murailles.Et ce que j’avais initialement pris pour des anomalies, des accidents malheureux du post-modernisme, les grand ensembles voûtés et cannelés de Ricardo Boffil, étaient peut-être ce qui exprimait le mieux tout cela — ou du moins qui clôturaient avec le génie le plus clair cet âge des grands ensembles.Car c’était cela, ces Carcassonnes, ces Acropoles, ces Atlandides qui surnageaient avec le plus de conviction au milieu des captures d’écrans de ruines médiévales qui s’accumulaient sur mon bureau.Si décriées, dès leur construction, pour leur kitch intolérable ces mégastructures me sont soudain apparues comme absolument nécessaires.Si les Villes Nouvelles n’ont jamais existé, et persisteront dans la mémoire des hommes, elles le doivent à ces rêveries bizarres et grandioses, à ces hybridations impossibles entre les cités idéales de Ledoux et les utopies corbuséennes.

L’Aqueduc de Saint-Quentin-en-Yvelines, les Espaces d’Abraxas à Marne-la-Vallée, les Colonnes de Saint-Christophe à Cergy-Pontoise sont les plus belles ruines du Grand Paris.

www.franceculture.fr/emissions/la-conclusion/ricardo-bofill immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.

Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs.

Architecture d’Aujourd’hui n° 46, 1953 p. 58-55

C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP) sont créées, comprenant deux millions de logements, essentiellement de type populaire en Habitations à Loyer Modéré (HLM), mais pas exclusivement, remplaçant ainsi les anciennes Habitations à Bon Marché (HBM) crées en 1894. Selon le décret du 27 mars 1954 qui en fixe les conditions d’attribution, les bénéficiaires de la législation n’ont pas changé, ce sont toujours des « personnes peu fortunées vivant principalement de leur salaire », selon la loi Strauss de 1906. En 1953, tous les HLM voient leur surface maximale se réduire, en passant de 71 à 65 mètres carrés pour un quatre pièces. L’accès au logement des familles modestes se fera donc au détriment de la qualité et quantité de l’espace habité pour des familles nombreuses. À ce propos, le sociologue Thierry Oblet a bien montré comment se sont articulées les pensées des architectes et des ingénieurs modernistes, avec leur souci planificateur d’un État interventionniste[8] grâce à l’hégémonie du béton, de la ligne droite et de la standardisation de la construction.Les exemples de cette architecture restent nombreux : de la Cité de 4000 (pour 4000 logements) à la Courneuve en Seine-Saint-Denis (93) aux logements de 15 étages aux balcons pétales, appelés « Chou-fleur » à Créteil en Val-de Marne (94) dessinés au début des années 70 par l’architecte Gérard Grandval. De la Cité des nuages à Nanterre dans les Hauts-de-Seine (92) à la Grande borne construite entre 1967 et 1971 sur le territoire des communes de Grigny et Viry-Châtillon, dans l’Essonne (91) en passant par la Noé à Chanteloup-les-Vignes dans le département des Yvelines (78) scénario du célèbre film La Haine[9] de Kassovits.

Récemment, plusieurs expositions photographiques se sontconcentrées sur cette nouvelle figure de l’urbanisme fonctionnaliste français de l’après-guerre. Par exemple Toit&Moi, 100 ans de logement social (2012), Les Grands ensembles 1960-2010 (2012) produite par l’école supérieure d’arts & médias de Caen/Cherbourg, selon un projet du Ministère de la Culture et de la Communication. Enfin l’exposition Photographie à l’œuvre, (2011-2012) d’Henri Salesse, photographe du service de l’inventaire du Ministère de la Reconstruction et de l’Urbanisme et Voyage en périphérie (2012) de Cyrus Cornut.

Il s’agissait là non seulement d’un progrès matériel, mais aussi démocratique, donnant ainsi à chaque citoyen, la possibilité d’accéder à son petit appartement doté de tous les conforts de l’époque. La recherche d’économie et de rapidité dans la conduite des chantiers portent à l’utilisation du béton comme matériel privilégié et à des plans architecturaux aussi simples que possible avec la réalisation de logements standardisés, dont les barres et les tours deviennent les figures principales : Au mitan des années cinquante, apparurent d’étranges formes urbaines. Des immeubles d’habitation de plus en plus longs et de plus en plus hauts, assemblés en blocs qui ne s’intégraient pas aux villes existantes. Ces blocs s’en différenciaient ostensiblement et parfois comme systématiquement, s’en isolaient. Ils semblaient faire ville à part. Surtout ils ne ressemblaient pas à ce qu’on avait l’habitude d’appeler ville. Et leur architecture aussi, qui était tellement déroutante. On les a nommés » grands ensembles. Cité de l’Abreuvoir, Bobigny (93), 2003 (Inventaire général du Patrimoine, Région Ile de France / Stéphane Asseline)

Bref, entre 1946 et 1975 le parc immobilier français passe de 12,7 millions à 21 millions de logements. Environ 8 millions de ceux-ci sont neufs, construits entre 1953-1975 – dont la moitié sous forme de grands ensembles – et près de 80 % des logements grâce à une aide de l’État avec des crédits publics. Le nombre de logements sociaux passe de moins de 500.000 à près de 3 millions, dont 43 % en région parisienne, où la demande est la plus forte[11]. Ce qui témoigne d’un effort énorme. Secrétariat d’État à la Reconstruction et au Logement, Supplément du logement en 1954, cité par Bachmann, C. Le Guennec, N., Violences urbaines…Op.cit, p.24. Alors que l’hiver 1954 est particulièrement rigoureux, l’abbé Pierre lance un appel en faveur des sans-logis et déshérités et organise des collectes de vêtements et de nourriture pour les plus démunis. Cela nous rappelle également que les inégalités sociales restaient particulièrement importantes à l’époque, malgré les débuts de la croissance économique, et que la crise du logement n’était pas encore complètement résolue. Danièle Voldman, La reconstruction des villes françaises de 1940 à 1954 : histoire d’une politique, Paris, L’Harmattan, 1997. Les Actualités françaises, La crise du logement, un problème national, 17 juillet, 1957, in fresques.ina.fr/…/la-crise-du-logement-un-probleme-n…, consulté le 20/02/2014. C’est l’urbaniste Marcel Rotival dans un numéro d’Architecture d’Aujourd’hui de juin 1935 (vol.1, n°6, juin 1935, p.57) qui propose pour la première fois cette terminologie pour désigner les Habitations à Bon Marché (HBM) et leur transformation en Habitations à Loyer Modéré (HLM), par la loi du 21 juillet 1951: « Nous espérons, un jour, sortir des villes comme Paris, non seulement par l’avenue des Champs Elysées, la seule réalisation de tenue sans laquelle Paris n’existerait pas, mais sortir par Belleville, par Charonne, par Bobigny, etc., et trouver harmonieusement disposés le long de larges autostrades, au milieu de grands espaces boisés, de parcs, de stades, de grandes cités claires, bien orientées, lumineusement éclairées par le soleil. » Largement reprise depuis les années 1950 dans le jargon administratif et public, elle apparaît pour la première fois dans un texte officiel qu’en 1973 avec la Circulaire Guichard, alors Ministre de l’Aménagement du territoire, de l’Equipement, du Logement et du tourisme. Celui-ci met un terme à la politique initiée après-guerre afin « d’empêcher la réalisation des formes d’urbanisation désignées généralement sous le nom de “grands ensembles”, peu conforme aux aspirations des habitants et sans justification économique sérieuse ». Paradoxalement, le terme de grands ensembles s’officialise donc au moment même où ils son mis en question. ZUP est un acronyme qui signifie Zone à Urbaniser en Priorité. Elles ont été créées par le décret N°58-1464 du 31 décembre 1958, afin de planifier et d’encadrer sur le territoire national, le développement urbain pour répondre à la carence de logements face à l’accroissement démographique et favoriser enfin la résorption de l’habitat insalubre. Oblet, Thierry, Gouverner la ville. Les voies urbaines de la démocratie moderne, Paris, PUF, 2003. En particulier par l’intermédiaire de la Société centrale de construction et de la Société centrale pour l’équipement du territoire, créées au milieu des années 1950 en tant que filiales de la Caisse des dépôts et consignations.Cornu, Marcel, Libérer la ville, Bruxelles, Casterman, 1977, p.60. twitter.com/Memoire2citeil Les 30 Glorieuses . com et la carte postale ... Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye

www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I

Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondesSur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc … Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) - Annie Fourcaut « Les banlieues populaires ont aussi une histoire », Projet 4/2007 (n° 299), pp. 7-15.

Official Trailer - the Pruitt-Igoe Myth: an Urban History

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015 www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin) www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/

www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM...Quatre murs et un toit 1953 Scenario et réalisation Pierre Jallaud MRU (ministère de la reconstruction et de l'urbanisme) www.dailymotion.com/video/xk6xui twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... <a href="http://www.dailymotion.com/video/xyjudq?playlist=x34ije" rel

Frühlingsgold by Roland Moser

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Roland Bill Moser

Chronik

Aktuell

Status

Foto/Video

Lebensereignis

Status

Foto/Video

Lebensereignis

Neuigkeiten

Roland Bill Moser

1 Min ·

"Frühlingsgold"

Das Baselbiet begleitete mich die letzten zwei Wochen sehr intensiv. Wo es die erste Woche noch das untere Baselbiet war, war es diese Woche das obere Baselbiet, aber ganz im speziellen dieses Jahr die Gegend um Rüneberg. Letztes Jahr hatte ich diese Bildidee mit dem wohl bekanntesten Birnenbaum im Baselbiet. Noch das Jahr zuvor standen Adrian Wirz und ich noch so ziemlich ratlos vor diesem fantastischen Baum und fanden einfach keine ansprechende Komposition. Dann letztes Jahr war ich an einem morgen dort als die Obstbäumen blühten um einen anderen Baum zu fotografieren. Als ich so an dem Birnenbaum vorbei lief und mich immer weiter von ihm entfernte, sah ich plötzlich die zündende Bildidee für diesen Baum: Man muss ihn aus Distanz betrachten und mit den anderen Bäume als Vergleich ins Bild bringen. Bevor ich mich mit Adrian austauschen konnte, hatte er die gleiche Idee und dann zwei Tage später setzten wir diese Idee um. Aber am Abend machte das Licht noch nicht so mit und ich dachte, mit dieser Komposition ist dies eine Morgen-Location. Letztes Jahr hatte ich dann keine Zeit mehr, diese Idee umzusetzen, so war diese Bildidee umzusetzen eines der Ziele dieses Frühjahrs. Nachdem Adrian, letztes Jahr diese Idee schon als Bild umsetzte, hatte ich dann zuerst Zweifel, ob ich jetzt dieses Bild immer noch umsetzen will - ich beschloss es zu machen. Als ich am Freitag Morgen zum x-ten Mal vor Ort war, sah ich plötzlich als ich meinen Standort wechseln wollte, dass die Sonne zwischen den Ästen durchschien und schon hate ich diese Bildidee.

The last two weeks I have been exploring and traveling through northwestern switzerland to photograph the blooming fruit trees, which is Baselland famous for. Actually I've had a composition on my mind for almost a year now and I hoped for perfect conditions to take this shot. I've been visiting this place over and over again last week. Been there in the morning and been there again in the evening and finally on thursday the blossom hit its peak. Friday morning then I had the idea for this composition with the sunstar.

#allium status update by Buz Murdock Geotag

STATUS ~ Warm Connection ( Link In Bio ✅ ) by Aired

STATUS ~ Warm Connection

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• Available at FWRD Event 12/14/2024 ‼️

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Taxi 🚕 ~ maps.secondlife.com/secondlife/FWRD/228/88/44

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#SecondLife #secondlifeavi #secondlifestyle #secondlifeworld #secondlifefashion #secondlifer #secondlifeworld #secondlifeavi #edit #family #slfam #slfamily #secondlifeedit #spamemojis #spam #like #like4like #spam4spam #Event #FWRDEvent #FWRD #secondlifeavatar #secondlifemodels

G-MVPH Whittaker MW.6S Fatboy Flyer [PFA 164-11404] Henstridge~G 11/04/1992 by Ray Barber Thank you for viewing both mine & my friends images

G-MVPH Whittaker MW.6S Fatboy Flyer [PFA 164-11404] Henstridge~G 11/04/1992. From a slide. WFU cancelled 21-11-2014 permit to fly expired 23-08-1999. Status unknown.

Bowsette by Magmafrost13

I hope Im not *too* too late on this trend. Redhead Bowsette is best Bowsette.

Largely based on this piece of art . Inspired by Mike Dung's style

Current Garage Status by Phil Ostroff

2005 Holden Monaro and 1973 MG B.

Creative whatsapp status quotes by Katty Pan

Do you interested by creative whatsapp status quotes ? Being creative in terms of messages is sometimes said to have its owners but I will tell something different that you can use a creative whatsapp status quotes and still remain a favorite and relevant amongst your friend while using very l...

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Status Symbol by VipMediaStar

10 5

Maguro - Shira Nui AUD4.50 each - photo by David by Alpha

5 1

How do you make excellent quality tuna even better? Sear it on the outside leaving the inside rare!

The smoky sweet cooked flesh is a nice contrast to the cool briney centre.

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Dinner with Jennie and David, omakase-style at the sushi counter.

Shira Nui 不知火

247 Springvale Rd

Glen Waverley VIC 3150

(03) 9886-7755

Lunch Tue-Sat noon-2pm. Dinner Tue-Sun 6pm-10pm

Reviews:

- Shira Nui, by Dani Valent, Epicure, The Age May 22, 2007 Sit at the sushi counter. Order the omakase

- Shira Nui By Jane Faulkner, Epicure, The Age October 10, 2005 Shira Nui is worth crossing town for.

- Fusion without power By John Lethlean, The Age August 5 2003 At Shira Nui, only certain types of sushi will be delivered to the table, so fanatical is the chef. The full range is available only to a manageable group of sushi-bar diners. He makes; you eat immediately; then he makes again. This is the omakase menu, a sushi-only degustation that is the purest, most pleasurable dining experience I have had all year.

- Shira Nui ... again - TummyRumbles by mellie on May 17th, 2009

- Shira Nui - Miettas

Age Good Food Guide 2010 Score: 14.5/20

Age Good Food Guide 2009 Score: 14.5/20

Gourmet Traveller 2009 Australian Restaurant Guide "A nondescript Glen Waverley shopping strip is not the obvious place to seek boundarypushing Japanese food, but Shira Nui's camouflage partially explains its 'hidden treasure' status"

Age Good Food Guide 2008 Score: 15/20

Age Good Food Guide 2006 score 15/20

Age Good Food Guide 2005 score 14/20

AGFG 2004, score 14/20

- Shiranui - UrbanSpoon

- Shira Nui - Your Restaurants

Denis Francis Bunworth #6290 by Aussie~mobs

1 1

Regimental number - 6290

Place of birth - Normandy, Victoria

School - Werrangourt State School, Victoria

Religion - Roman Catholic

Occupation - Farmer

AddressByaduk, Victoria

Marital status - Single

Age at embarkation - 35

Next of kin - Mother, Mrs Ellen Bunworth, Byaduk, Victoria

Enlistment date - 30 September 1916

Rank on enlistment - Private

Unit name - 22nd Battalion, 18th Reinforcement

AWM Embarkation Roll number - 23/39/4

Embarkation details - Unit embarked from Melbourne, Victoria, on board HMAT A20 Hororata on 23 November 1916

Rank from Nominal Roll - Private

Unit from Nominal Roll - 22nd Battalion

Fate - Killed in Action 9 June 1918

Place of death or wounding - Ville sur Ancre, France

Age at death - 37

Age at death from cemetery records - 37

Place of burial - No known grave

Commemoration details - Australian National Memorial, Villers-Bretonneux, France

Villers-Bretonneux is a village about 15 km east of Amiens. The Memorial stands on the high ground ('Hill 104') behind the Villers-Bretonneux Military Cemetery, Fouilloy, which is about 2 km north of Villers-Bretonneux on the east side of the road to Fouilloy.

The Australian National Memorial, Villers-Bretonneux is approached through the Military Cemetery, at the end of which is an open grass lawn which leads into a three-sided court. The two pavilions on the left and right are linked by the north and south walls to the back (east) wall, from which rises the focal point of the Memorial, a 105 foot tall tower, of fine ashlar. A staircase leads to an observation platform, 64 feet above the ground, from which further staircases lead to an observation room. This room contains a circular stone tablet with bronze pointers indicating the Somme villages whose names have become synonymous with battles of the Great War; other battle fields in France and Belgium in which Australians fought; and far beyond, Gallipoli and Canberra.

On the three walls, which are faced with Portland stone, are the names of 10,885 Australians who were killed in France and who have no known grave. The 'blocking course' above them bears the names of the Australian Battle Honours.

After the war an appeal in Australia raised £22,700, of which £12,500 came from Victorian school children, with the request that the majority of the funds be used to build a new school in Villers-Bretonneux. The boys' school opened in May 1927, and contains an inscription stating that the school was the gift of Victorian schoolchildren, twelve hundred of whose fathers are buried in the Villers-Bretonneux cemetery, with the names of many more recorded on the Memorial. Villers-Bretonneux is now twinned with Robinvale, Victoria, which has in its main square a memorial to the links between the two towns.

Panel number, Roll of Honour,

Australian War Memorial - 95

Miscellaneous information from

cemetery records - Parents: Denis and Ellen BUNWORTH. Born at Byaduk, Victoria

Family/military connections - Brother: 5982 Pte Michael BUNWORTH, 8th Bn, killed in action, France, 1 August 1918.

Other details

War service: Western Front

{LORE} Status Signs by Lala L'amour [LORE]

Includes four sign types: Water Rationing, Air Quality, Security, and Biosecurity. Each sign has texture option of green, orange, yellow, or red alert levels. You can choose from local (just that sign) or simwide texture change to quickly put your city on lockdown or call the all clear!

Includes signs in English or alien text.

Each is only 1 land impact.

Great Reno Balloon Race, Reno, Nevada by Ken Lund

The Great Reno Balloon Race is a hot-air balloon race held each September in Reno, Nevada. The event is held at the Rancho San Rafael Park, just west of the University of Nevada, Reno. The event is free to the public, and completed its 30th year in 2011. Part of the mission statement of the race is to celebrate the joy of flight.

The Great Reno Balloon Race, the largest free hot air ballooning event in the country, is held the first weekend after Labor day each September at Rancho San Rafael Regional Park in Reno, Nevada. The GRBR draws in a crowd of 140,000 on average each year, making it the largest free event in Northern Nevada.

The first Balloon Race was in 1982, when a mere 20 balloons graced the crisp Nevadan sky. Today, upwards of 100 balloons participate each year. An event that was first started to create a tourist attraction between the Nevada State Fair and the Reno Air Races has become the icon of the community. Bringing people from all over together who share a love for family, community and ballooning, The Great Reno Balloon Race has become a beloved tradition which is embraced by locals and tourists alike.

One of the most spectacular shows over the three-day event is the Great Reno Balloon Race is Dawn Patrol. A term patented by the board of trustees when Federal Aviation officials approved predawn flying regulations in 1978. Safety precautions such as special navigation lights became the status quo and The Great Reno Balloon Race quickly became a national role model for pre-dawn events in 1990 when it began launching balloons before sunrise.

en.wikipedia.org/wiki/The_Great_Reno_Balloon_Race

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

"Should Scotland be an independent country?" No.1 by Graham Barnes

Those who do not live in Scotland may be unaware that this YES sign indicates an affirmative response to the question "Should Scotland be an independent country?".

In a referendum to be held on 18 September 2014 this issue will be decided by those who are registered to vote in Scotland.

In my view, the underlying belief of those on the YES side is that it is right and proper for a nation to aspire to govern itself, that it may experience difficulties in doing so but in working through those difficulties it will develop the maturity required to hold its head high in the community of nations. The YES side believes that now is the time to "grasp the thistle".

The NO side appears to hold the view either (i) that a 'mature nation' status is not worth working for or (ii) that, while it might be desirable to become a mature nation, the inevitable difficulties could not be overcome.

I listened live to the 2 hours and 40 minutes of this parliamentary debate and thought that Mike Russell's ten minute winding-up speech (transcript below) characterised by its positive approach, exemplified that contrast with the negative approach of his opponents during that debate.

THE PARLIAMENT OF SCOTS (12 AUGUST 2014)

DEBATE ON THE ECONOMIC OPPORTUNITIES OF INDEPENDENCE

WINDING UP SPEECH FROM MIKE RUSSELL

Official report:-

The Deputy Presiding Officer:

Thank you. I call Michael Russell to wind up the debate. Cabinet secretary, you have until 5 o’clock.

16:49

The Cabinet Secretary for Education and Lifelong Learning (Michael Russell):

Let me give the chamber a revelation: I think that on the evidence of this afternoon’s debate there are no votes in this chamber that are up for grabs in the referendum and that it is pretty clear that there are no undecideds on these benches.

However, there might be some undecideds watching at home. I suspect that they might well have turned off by now, particularly after Jenny Marra’s speech, but if they are still watching I suggest to them that, if they are trying to come to a judgment on the basis of this debate—there are people in the gallery who might want to make such a judgment—they should do so on the basis of what has been the positive view and what has been the negative view.

Look at the positive view that all my colleagues in the chamber have expressed and at the endless, destructive negativity that we have heard from Labour, the Liberals and the Tories.

I will start with the clearest view of the currency issue. As ever, the First Minister got it right in the chamber last week. I will repeat his exact words. He said:

“It is our pound, and we are keeping it.”

There are no ifs and no buts. That is the guarantee. That is plan A to Z. For the benefit of those who are still trying to frighten people out of what is theirs—people such as Mr Henry, who asserted that Scots will not be able to buy food or go on holiday after independence, and Mr Fraser, who tellingly referred—

Hugh Henry:

Will the cabinet secretary take an intervention?

Michael Russell:

No, I will not. I am sorry; one contribution from Mr Henry in an afternoon is more than enough.

Mr Fraser referred to the currency belonging to someone else, which was very interesting. I will repeat what the First Minister said so that there can be no doubt. He said:

“It is our pound, and we are keeping it.”—[Official Report, 7 August 2014; c 33159.]

Hugh Henry:

On a point of order, Presiding Officer. Mr Russell has just made a statement in which he attributed words to me that I did not say. Is it in order for members to fabricate words that were not said during the debate and attribute them to other members? [Interruption.]

The Deputy Presiding Officer:

Order, please. What members say in their speeches is entirely up to them. It is not for me to decide what they should and should not say. However, the Official Report undoubtedly shows every word that has been said in the chamber.

Michael Russell:

I am sure that Mr Henry will reflect on that when he looks at what he has said about me and my writings. I am sure that he will think about that carefully. Mr Henry’s words speak for themselves, as does his depressing demeanour.

The debate has been one of great contrasts. I go back to positivity and negativity. My friend Mr Swinney talked about ambition, achievement, resources, potential and raising the eyes of Scotland to what can be achieved. In my area of special interest, he talked about the need for transformative childcare and the world-leading position of Scottish higher education. What was the result? [Interruption.]

The Deputy Presiding Officer:

Order, please.

Michael Russell:

The result was that, 10 minutes in, Mr Rennie gave the knee-jerk plan B its first outing. Mr Brown then leapt back in. Project fear was in there working hard.

The other side of the unionist coin then showed itself. It was quite stunning. Alex Johnstone chuntered on from a sedentary position about the fact that everything that was mentioned was a product of the wonderful union, but he was interrupted by Jenny Marra, who said that everything was the result of the failed SNP. There we have it: that is a contrast. Labour hates the SNP more than anybody else, and the Tories love the union more than anything else. Neither of those is a prescription for a safe future.

Believing that a Labour Government will remove weapons of mass destruction is also not a prescription for a safe future. There is no evidence for that whatsoever. How else are we to get rid of weapons of mass destruction, except by independence? That is the reality.

It was telling that, when Mr Swinney mentioned Trident and what we need to do, the reaction from Labour and the Tories and even from the sole Lib Dem who was there was derision. They want to put bombs before bairns and Trident before teachers. That is their shame.

Let me carry on.

Neil Bibby (West Scotland) (Lab):

Will the cabinet secretary take an intervention?

Michael Russell:

No, I will not take an intervention. I am sorry.

The reality of the debate was shown clearly. It was about that negative view. Nothing could be done. We had to ask what that was about. Maureen Watt got it 100 per cent right. She analysed the debate early on. The great fear that exists in project fear is the could-should-must progression. If any member on the Labour benches could admit that Scotland could be independent—I will come to Elaine Murray in a moment, as she did that momentarily—the whole fantasy will collapse.

The reason why it collapses is that that leads to the argument that Scotland should be independent, which is the argument that my colleagues made this afternoon. It goes a step further to the argument that Scotland must be independent.

The biggest illustration of that was given by Malcolm Chisholm. Yet again, I was saddened by a speech by Malcolm Chisholm. I have admiration and time for Malcolm Chisholm; he is laughing, but I do. I do not think that he and I differ very much in some of the things that we want to see, but here is the difference. [Interruption.]

The Presiding Officer (Tricia Marwick):

Order.

Michael Russell:

Labour members want to laugh at this, because it is beginning to strike home.

The difference is that I and my colleagues have a plan for how to achieve those things. We know how poverty can be eliminated in Scotland. We know—

Iain Gray:

Will the minister give way?

Michael Russell:

No—I want to finish my point.

I know that it is annoying to Iain Gray, but the truth of the matter is that it is possible to have a plan to change Scotland and to do those things. We can set out with those intentions and we can work hard to meet them, or we can—as Labour members would have us do—simply keep our fingers crossed that we get a Labour Government that could possibly pursue the things that they want to see in Scotland rather than the things that Ed Balls and Miliband want to see south of the border. I say to Malcolm Chisholm that that is not a plan: that is keeping your fingers crossed and putting party before principle.

Malcolm Chisholm:

The cabinet secretary may have a plan, but the whole point of all the Labour speeches has been to point out that it is not a plan that can be delivered without an economic foundation. Before he gives us any more claptrap about the negativity of Labour members, will he reflect on the fact that by far the biggest and most disgraceful scare of the referendum campaign is what the yes side is saying about the NHS? [Interruption.]

The Presiding Officer:

Order! Order!

Michael Russell:

How interesting. Mr Chisholm is being wildly applauded by Jackson Carlaw, who—

The Presiding Officer:

Sit down, Mr Russell.

That is quite enough. There is far too much heckling and far too much noise. The minister is speaking, so allow him to do so. This is a Parliament; it is not a public meeting or a hustings. There are people in Scotland who are listening to the debate. Make it worthy of them.

Michael Russell:

Why was Jackson Carlaw—the person who got so agitated about the issue of the NHS last week—applauding so much? Because we have hit the nail on the head. If the financial power lies outside Scotland, the decision on the priorities of Scotland and how to deliver those priorities will always lie outside Scotland, too. For every £100 by which expenditure is reduced south of the border through privatisation of the health service—privatisation that was started by Labour—£10 is lost from the Scottish budget.

Neil Findlay:

Will the cabinet secretary give way?

Michael Russell:

No.

For every £100 that is removed from public expenditure through privatisation of higher education south of the border, we lose £10. That is the reality. That is the nub of the debate. We can choose to make our decisions in Scotland, to take our responsibilities in Scotland and to have opportunities in Scotland, or we can always dance to someone else’s tune.

Malcolm Chisholm wants to see the progress in Scotland that I want to see. I repeat what I said earlier: the SNP has the plan to do that. It puts its confidence—[Interruption.] We can hear the Tories laughing; we can always hear the Tories laughing when the people of Scotland want to progress.

Here is the choice: we can say to the people of Scotland, “Take responsibility, and then you will have the opportunity to change this country for the better”; or we can tell them to listen to those who will not accept the reality and who will always keep their fingers crossed that England votes the same way that they do. Those voices will always disappoint and let down the people of Scotland. That has got to stop.

The lesson this afternoon is entirely clear: there is a jobs plan for an independent Scotland, there is a finance plan for an independent Scotland, there is a currency plan for an independent Scotland and there is a plan to make an independent Scotland the country that it could and should be. The people who stand in the way of that are this unholy alliance between Labour and the Tories.

The Presiding Officer:

You need to finish, cabinet secretary.

Michael Russell:

They are the people who have plenty of ambition for their political parties and none for their country. [Applause.]

The Presiding Officer:

Order.

That concludes the debate on the economic opportunities of independence.

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SUNDAY TIMES - 21st September 2014

Michael Russell

In a sense I have been campaigning for independence across Scotland not just in the last four weeks but for forty years. But I don't think I have ever had such an emotional political experience as last Saturday standing in the Station Square in Oban listening to Dougie Maclean sing his anthem of Scottishness, Caledonia.

It didn't matter that someone had forgotten to bring an extension lead, so there was no power for the microphone. It was irrelevant that an early sea mist, now burning off, had prevented the First Minister from making a helicopter campaign stop and equally irrelevant was the stretch limo with a huge "NO thanks" logo tied round it ( one of the bizzarest sights of the campaign) that kept cruising past. Dougie sang and 250 people - young and old, from all parties but mostly none, sang along with a quiet intensity that brought tears to my eyes and to eyes of many others.

That event started a whole day of remarkable activities - a car cavalcade of more than sixty vehicles that wound its way across Mid Argyll with so many participants that a church hall in Lochgilphead had to be commandeered to feed them, a flash mob of dancers and musicians on a green beside the sea and finally a laser show lighting up a huge YES sign on the island of Kerrera in the bay facing the town.

This was politics, but not as I have known it. YES Scotland started out as an umbrella organisation and ended up as a mass movement . It's creativity and energy was replicated not just across my constituency - in Dunoon, in Campbeltown, in Rothesay, in Lochgoilhead, on Islay and on Mull - but across the whole of Scotland in a diverse, multi layered movement that demanded and will go on demanding not only attention but also real change.

Although Thursday night delivered a bitter blow to many of those who had invested so much of themselves in that movement I do not think it will go away. Indeed it must not go away. It's commitment, enthusiasm and vigour are needed as never before if Scotland is to move forward united.

It is this movement that can really test the will of politicians to deliver the new dispensation that the Westminster parties promised in the final days of the campaign and it is this movement that can press an agenda that is focussed on outcomes which benefit and empower real people not just the political classes.

As Alex Salmond said on Friday in his moving resignation statement, holding Westminster to account for the delivery of its new promises has to be done by the whole of Scotland and that process needs to be lead by citizens themselves. If it changes and benefits all the parts of the present UK so much the better as long as that not an excuse for endless delay.

I have undertaken more than sixty public meetings in Argyll & Bute over the past nine months. One of the biggest took place on Ardrishaig the night before the Dougie MacLean event at which I shared a platform with Professor Allan MacInnes and Lesley Riddoch, both longstanding friends. Lesley spoke about this new politics too and was given a standing ovation by the over capacity crowd jammed into a tiny church hall. That enthusiasm reflected growing demand for a different set of priorities and a changed way of doing things - bottom up not top down.

That is what independence is but it's core values - fairness, equity, hope, opportunity, equality, justice - go well beyond the the 1.6 million who chose that option. Lots of voters on both sides were sending a message about the need for those things that cannot now be ignored.

That is why the "faster, safer and better" change offered in the 3 UK leaders Daily Record "Vow" was in the end persuasive for so many. They disagreed on the means but not on the ends.

So that is also why the SNP as the Scottish Government has to be an active part of the process now being outlined by the UK Government. We must heed the urgings of those we have worked with and take part in a constructive, urgent and focussed process to decide on the range of powers required and accelerate their introduction whilst ensuring that they are devolved further into communities and made capable of adaptation to local need and local direction.

That will not be easy for anyone but it is the essential next step - a step demanded by Thursday's result and which can also act as a unifying mechanism. We can help make a new Team Scotland and learn from it though it will be a Team Scotland weakened when not led by Alex Salmond, to whom the whole country owes an enormous political debt.

I am undoubtedly still a nationalist and I want to see independence. But this referendum campaign, undertaken in an Indian summer of warm sunshine amongst the most beautiful scenery in the world, criss crossing sea lochs, sailing to islands and motoring amongst mountains, has taught me a great deal.

A passionate desire for a better country is shared by many of our fellow citizens, young and old inside and outside conventional politics. A different set of priorities and policies - some already introduced by an SNP Government over the past 7 years - is possible. Alienation from politics and society isn't inevitable because inspiration casts out indifference. Decisions are better when made with people, not for them.

I have had the great pleasure of an invigorating campaign in Dalmally and Dunoon, on Luing and Lismore, through Glendaruel (where I live) and Glen Barr and by the shores of Loch Etive and Loch Riddon. The conclusion of those journeys was not the one I hoped for a month ago when the Sunday Times asked me to contribute at the end of the campaign. But the people have spoken and when that happens politicians have to listen - wherever they are.

Status Update by Fee ♥ (fяαρρzιℓℓα ѕтυ∂ισ)

2 11

So I know its been a wee bit quiet around here the past few days. I thought that me feeling so bad was contributed to /that-time-of-the-month/ but just as I felt back to normal this morning, now Alex is poorly in bed. Sigh. Theres a whole bunch of in-progress wigs I was hoping to have done by today but it looks like they are going to take a couple days more. Its a bit crap whatever it is, but it makes even going to pee seem like a tremendous effort. No energy. Nausea. Headachey. Ugh.

Anyway, I'm using this brief downtime to do a little status update, fibre prep and working on some schedules. I love organisational days. Looks like we'll be complete (or near enough) by the end of the month so we can go into the new year all shiny and fresh with premades and very few (or hopefully no) commissions. YAY! We are ahead of schedule for the most part but I know we'll probably take a few days off around Christmas so we might overrun into the new year just a wee bit.

Tatjana, Kimmuh, Marianne, Casey All just awaiting their final "parting" layer~

Philippa is done~

Matty, last couple of alpacas, Christina (orange-red), all being dyed. Hoped it was going to be today but realistically thats going to be tomorrow or Friday now.

Liza, Christina; prepping your fibre now.

For the couple of resizes, working on those this week too.

Everyone who placed their orders on the new system (big cartel), its all systems go next week and we're hoping to plough through those nice and quickly. The new method works out tons better for us. I'm so glad we moved from etsy > - w <

In the meantime; hope you are all staying healthy with all the winter viruses flying around now and getting in the mood for Christmas! I'm trying to feel festive but its hard to when we're so far away from family. ;-;

Anyway, hopefully lots of wig photos coming towards the end of the week.

Status Error - Clothing & Merchandise by Dan Fegent

4 2

Automotive - Skate - Bmx inspired clothing & merchandise.

www.statuserror.co.uk/

Status by Hasan Hafiz Tushar

30 1

TSC , Dhaka , Bangladesh.

Geek Status by Jay Roeder

When you sit in a room full of technology that makes you smile… that’s geek status among many other things which I firmly embody and embrace. Here’s to everyone out there reppin’ geek status!

www.jayroeder.com

Patritti Porsche F1 Status by Chris Wevers

6 10

The F1 Status is a cosmetic package for the Porsche 996 Turbo so the car looks like the 911 GT1.

STATUS QUO #03 by Horst Hoch

4 9

Concert in Biberach 14.11.2008

current status #nofilter by Rick Scully

Status by Cajsa Lilliehook

Photography by Cajsa Lilliehook

for It's Only Fashion

Store info at Blogging Second Life

****SHOPPING LIST******

Poses: Status

Skin: [LeLutka]-Kit/PEARL-Makeup5

Makeup Tattoos:

Eyes: Poetic Colors

Lashes: Lelutka

Mani/Pedi: [ PXL ] Manicure - Pink #1

Hair: /Wasabi Pills/ Annette2 Mesh Hair - Rouge

Clothing: One Bad Pixel ::1bp:: Cigarette Pants M Peach

coldLogic top - ellis.coral (M)

Shoes: Baiastice_Etienne Mesh Pumps-Ombre sunset

Jewelry: Fresh Baked Goods Muted Jelly Tots (Vintage - no longer available)

27492 by Ben Abel

Winterbourne Botanical Gardens, Edgbaston, Birmingham, West Midlands.

Winterbourne Botanic Garden is the botanic garden of the University of Birmingham, located in Edgbaston, Birmingham. It is adjacent to Edgbaston Pool, a Site of Special Scientific Interest.

Set in 7 acres (28,000 m2), it is notable as a rare surviving example of an early 20th-century high status suburban "villa" garden, inspired by the Arts and Crafts movement of the Edwardian period. Both Winterbourne Botanic Garden and Winterbourne House are owned by the University of Birmingham and are open to the public as a heritage attraction. The site is also part of the University conference park.

The house and garden are family friendly with interactive exhibits and a beautiful terraced tearoom. The site boasts an on-site gift shop, plant sales, second hand books for sale and a gallery with a changing programme of guest exhibitions. Winterbourne is open daily for a small charge with hours varying between summer and winter. Staff and students at the University of Birmingham are entitled to free entry. It is also part of the Historic Houses Association.

Winterbourne House and Garden were designed in 1903 as a family home for John and Margaret Nettlefold. John Nettlefold commissioned local architect Joseph Lancaster Ball to design and build the house which was finished in 1904. The house was made of brick and tile and has an intentionally wavy roof line. Margaret Nettlefold designed the original garden herself. The influence of designer Gertrude Jekyll can be seen in the colour themed border planting.

The Nettlefolds lived in the house with their children until Nettlefold's health meant he had to move away. In 1919, Margaret Nettlefold sold Winterbourne and moved away to be closer to her husband. The property was then bought by the Wheelock family who had 9 children. Wheelock was a local lawyer. The Wheelocks stayed at Winterbourne until 1925 when it was purchased by John Nicolson who was a successful businessman. Nicolson was a keen gardener and made several improvements to the garden at Winterbourne including expanding the rock garden and adding an alpine area. Nicolson remained at the house until his death in 1944 and Winterbourne was bequeathed to the University. The house and garden remain a part of the University.

The University of Birmingham has made varied use of the building since 1944 but in 2010 it was restored to its former glory as a family home (complete with William Morris design wallpapers). The garden had already undergone a period of restoration. The house and garden are now open as a visitor attraction and the property is grade II listed.

The garden contains many plants from across the world. Highlights include an NCCPG collection of Anthemis, an orchid house, alpine garden, arid house, geographic beds and a Hazel (Corylus) tunnel. Other features of the garden include a restored wooden pergola, sunken rock garden, and a lean-to glasshouse that is notable for having been built on a slant. In 2011 a pleached lime walk was planted to reinstate one that was part of the original garden.

The design of the house was intended to make the best use of available light; notable features are its large windows, white painted panelling and south facing rooms. The house contains furniture dating from the late Victorian period to the 1920s. Restored rooms include a drawing room, study, bedroom and nursery. The visitor tearoom is located where the original dining room would have been.

Reroot Status by Ed's Toy Box

3 1

Still going, slowly. But it's beginning to look like something now.

Georgia O'Keefe by Martin Beek

5 3

Georgia O'Keefe is an artist I first became aware of when I visited America in 1982, she is not so well known in Europe. However in U.S.A. her art has taken on a great status and reproductions of her work are very common. Most of her paintings are small in scale, indeed the only O'Keefe on display at Chicago's Art Institute that I did not photograph was her huge panoramic view through clouds...this to me seemed less successful than the more intimate and smaller works. Her paintings are for the most part flatly painted with little in the way of impasto or surface texture, one could even say the paint application has something of a detached graphic like poster quality. Perhaps she is best known for her paintings in and around Taos New Mexico, she paints these landscapes very well and each image seems very well composed and full of taught power. Her paintings are indeed an American assertion that their art can be different and not reliant upon European Academic traditions. she seemed well aware of the art movements around her, and there are aspects of her work in Dove or Hartley and perhaps Marin. Her work shows the clear influence of photography upon painting in their tonality. Her best works have an almost hypnotic spiritual power, and her art was an enormous influence upon my first paintings of the American west. It was good to see so many together at Chicago's Art Institute. I do hope you enjoy this group, sadly I can add no more until I return to another american art gallery.

Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) Born near Sun Prairie, Wisconsin, O'Keeffe was a major figure in American art from the 1920s.She received widespread recognition for her technical contributions, as well as for challenging the boundaries of modern American artistic style. She is chiefly known for paintings of flowers, rocks, shells, animal bones, and landscapes in which she synthesized abstraction and representation. Her paintings present crisply contoured forms that are replete with subtle tonal transitions of varying colors. She often transformed her subject matter into powerful abstract images. New York Times critic Jed Perl in 2004 described her paintings as both "bold and hermetic, immediately appealing and unnervingly impassive." (Wikipedia)

Astrotrac_7865 by Craig Danvers

5 5

First shot with the new Astrotrac. 70mm, 30secs (left remote at home, couldnt do bulb). Trees were blocking the view to align the Astrotrac with the scope so used iPhone to set angle and tried to use a compass to get south, but it was a cheap one and couldnt find a magnet if it was sitting on so I guessed. Pretty close.

Love the Astrotrac, cant wait to get more accurate setups and a go out again with longer exposures.

VENICE BIENNALE @ BIENNALIST . MOBILE EMERGENCY by Thierry Geoffroy / Colonel : Artist

The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.

www.emergencyrooms.org

Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.

Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.

An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.

From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.

The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.

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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa

venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...

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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

www.emergencyrooms.org/biennalist.html

Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

www.colonel.dk

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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni

Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,

Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,

Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,

Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore

Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe

the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay

Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

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lists of artists participating at the Venice Biennale

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

Andorra

Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer

Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De Grandis

Venue: Arsenale di Venezia, Nappa 90

Angola

Artist: Edson Chagas

Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Venue: Palazzo Cini, San Vio, Dorsoduro 864

Argentina

Artist: Nicola Costantino

Commissioner: Magdalena Faillace

Curator: Fernando Farina

Venue: Pavilion at Arsenale

Armenia

Artist: Ararat Sarkissian

Commissioner: Ministry of Culture

Curator: Arman Grogoryan

Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.

Australia

Artist: Simryn Gill

Commissioner: Simon Mordant

Deputy Commissioner: Penelope Seidler

Curator: Catherine de Zegher

Venue: Pavilion at Giardini

Austria

Artist: Mathias Poledna

Commissioner/Curator: Jasper Sharp

Venue: Pavilion at Giardini

Azerbaijan

Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov

Commissioner: Heydar Aliyev Foundation

Curator: Hervé Mikaeloff

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

Bahamas

Artist: Tavares Strachan

Commissioner: Nalini Bethel, Ministry of Tourism

Curators: Jean Crutchfield, Robert Hobbs

Deputy Curator: Stamatina Gregory

Venue: Arsenale, Tese Cinquecentesche

Bangladesh

Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School

Commissioner/Curator: Francesco Elisei.

Curator: Fabio Anselmi.

Venue: Officina delle Zattere, Dorsoduro 947

Bahrain

Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia

Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture

Curator: Melissa Enders-Bhatiaa

Venue: Pavilion at Arsenale

Belgium

Artist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture

Curator: J. M. Coetzee

Deputy Curator: Philippe Van Cauteren

Venue: Pavilion at Giardini

Bosnia and Herzegovina

Artist: Mladen Miljanovic

Commissioners: Sarita Vujković, Irfan Hošić

Venue: Palazzo Malipiero, San Marco

Brazil

Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo

Curator: Luis Pérez-Oramas

Deputy Curator: André Severo

Venue: Pavilion at Giardini

Canada

Artist: Shary Boyle

Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada

Curator: Josée Drouin-Brisebois

Venue: Pavilion at Giardini

Central Asia

Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

Venue: Palazzo Malipiero, San Marco 3199-3201

Chile

Artist: Alfredo Jaar

Commissioner: CNCA, National Council of Culture and the Arts

Curator: Madeleine Grynsztejn

Venue: Pavilion at Arsenale

China

Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG)

Curator: Wang Chunchen

Venue: Pavilion at Arsenale

Costa Rica

Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco Elisei

Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Venue: Ca’ Bonvicini, Santa Croce

Croatia

Artist: Kata Mijatovic

Commissioner/Curator: Branko Franceschi.

Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919

Cuba

Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone

Commissioner: Miria Vicini

Curators: Jorge Fernández Torres, Giacomo Zaza

Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17

Cyprus

Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister

Commissioner: Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou

Curator: Raimundas Malašauskas

Czech Republic & Slovak Republic

Artists: Petra Feriancova, Zbynek Baladran

Commissioner: Monika Palcova

Curator: Marek Pokorny

Venue: Pavilion at Giardini

Denmark

Artist: Jesper Just in collaboration with Project Projects

Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh

Curator: Lotte S. Lederballe Pedersen

Venue: Pavilion at Giardini

Egypt

Artists: Mohamed Banawy, Khaled Zaki

Commissioner: Ministry of Culture

Venue: Pavilion at Giardini

Estonia

Artist: Dénes Farkas

Commissioner: Maria Arusoo

Curator: Adam Budak

Venue: Palazzo Malipiero, San Marco 3199, San Samuele

Finland

Artist: Antti Laitinen

Commissioner: Raija Koli

Curators: Marko Karo, Mika Elo, Harri Laakso

Venue: Pavilion at Giardini

France

Artist: Anri Sala

Commissioner: Institut français

Curator: Christine Macel

Venue: Pavilion of Germany at the Giardini

Georgia

Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze

Commissioner: Marine Mizandari, First Deputy Minister of Culture

Curator: Joanna Warsza

Venue: Pavilion at Arsenale

Germany

Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh

Commissioner/Curator: Susanne Gaensheimer

Venue: Pavilion of France at Giardini

Great Britain

Artist: Jeremy Deller

Commissioner: Andrea Rose

Curator: Emma Gifford-Mead

Venue: Pavilion at Giardini

Greece

Artist: Stefanos Tsivopoulos

Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports

Curator: Syrago Tsiara

Venue: Pavilion at Giardini

Holy See

Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro

Curator: Antonio Paolucci

Venue: Pavilion at Arsenale

Hungary

Artist: Zsolt Asztalos

Commissioner: Kunstahalle (Art Hall)

Curator: Gabriella Uhl

Venue: Pavilion at Giardini

Iceland

Artist: Katrín Sigurðardóttir

Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa

Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596

Indonesia

Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Commissioner: Soedarmadji JH Damais

Deputy Commissioner: Achille Bonito Oliva

Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

Venue: Pavilion at Arsenale

Iraq

Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)

Deputy Commissioner: Vittorio Urbani

Curator: Jonathan Watkins.

Venue: Ca' Dandolo, San Tomà, Venezia

Ireland

Artist: Richard Mosse

Commissioner, Curator: Anna O’Sullivan

Venue: Fondaco Marcello, San Marco 3415

Israel

Artist: Gilad Ratman

Commissioners: Arad Turgeman, Michael Gov

Curator: Sergio Edelstein

Venue: Pavilion at Giardini

Italy

Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa

Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi

Venue: Italian Pavilion, Tese delle Vergini at Arsenale

Ivory Coast

Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis

Curator: Yacouba Konaté

Venue: Spiazzi, Arsenale, Castello 3865

Japan

Artist: Koki Tanaka

Commissioner: The Japan Foundation

Curator: Mika Kuraya

Venue: Pavilion at Giardini

Kenya

Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti

Commissioner: Paola Poponi

Curators: Sandro Orlandi, Paola Poponi

Venue: Caserma Cornoldi, Castello 4142 and San Servolo island

Korea (Republic of)

Artist: Kimsooja

Commissioner/Curator: Seungduk Kim

Deputy Commissioner: Kyungyun Ho

Venue: Pavilion at Giardini

Kosovo

Artist: Petrit Halilaj

Commissioner: Erzen Shkololli

Curator: Kathrin Rhomberg

Venue: Pavilion at Arsenale

Kuwait

Artists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)

Curator: Ala Younis

Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova

Latin America

Istituto Italo-Latino Americano

Artists:

Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.

Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski

Commissioner: Sylvia Irrazábal

Curator: Alfons Hug

Deputy Curator: Paz Guevara

Venue: Pavilion at Arsenale

Latvia

Artists: Kaspars Podnieks, Krišs Salmanis

Commissioners: Zane Culkstena, Zane Onckule

Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

Venue: Pavilion at Arsenale

Lebanon

Artist: Akram Zaatari

Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)

Curators: Sam Bardaouil, Till Fellrath

Venue: Pavilion at Arsenale

Lithuania

Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister

Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute

Curator: Raimundas Malašauskas

Venue: Palasport Arsenale, Calle San Biagio 2132, Castello

Luxembourg

Artist: Catherine Lorent

Commissioner: Clément Minighetti

Curator: Anna Loporcaro

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

Macedonia

Artist: Elpida Hadzi-Vasileva

Commissioner: Halide Paloshi

Curator: Ana Frangovska

Venue: Scuola dei Laneri, Santa Croce 113/A

Maldives

Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler

Commissioner: Ministry of Tourism, Arts & Culture

Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled

Ramadan)

Deputy Curators: Maren Richter, Camilla Boemio

Venue: Gervasuti Foundation, Via Garibaldi

Mexico

Artist: Ariel Guzik

Commissioner: Gastón Ramírez Feltrín

Curator: Itala Schmelz

Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo

Montenegro

Artist: Irena Lagator Pejovic

Commissioner/Curator: Nataša Nikcevic

Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor

The Netherlands

Artist: Mark Manders

Commissioner: Mondriaan Fund

Curator: Lorenzo Benedetti

Venue: Pavilion at Giardini

New Zealand

Artist: Bill Culbert

Commissioner: Jenny Harper

Deputy Commissioner: Heather Galbraith

Curator: Justin Paton

Venue: Santa Maria della Pietà, Calle della Pietà, Castello

Nordic Pavilion (Finland, Norway)

Finland:

Artist: Terike Haapoja

Commissioner: Raija Koli

Curators: Marko Karo, Mika Elo, Harri Laakso

Venue: Pavilion at Giardini

Norway:

Artists: Edvard Munch, Lene Berg

Commissioner: Office for Contemporary Art Norway (OCA)

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa

Paraguay

Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi

Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck

Curator: Osvaldo González Real

Venue: Palazzo Carminati, Santa Croce 1882

Poland

Artist: Konrad Smolenski

Commissioner: Hanna Wróblewska

Curators: Agnieszka Pindera, Daniel Muzyczuk

Venue: Pavilion at Giardini

Portugal

Artist: Joana Vasconcelos

Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal

Curator: Miguel Amado

Venue: Riva dei Partigiani

Romania

Artists: Maria Alexandra Pirici, Manuel Pelmus

Commissioner: Monica Morariu

Deputy Commissioner: Alexandru Damian

Curator: Raluca Voinea

Venue: Pavilion at Giardini

Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan

Commissioner: Monica Morariu

Deputy Commissioner: Alexandru Damian

Curator: Anca Mihulet

Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214

Russia

Artist: Vadim Zakharov

Commissioner: Stella Kasaeva

Curator: Udo Kittelmann

Venue: Pavilion at Giardini

Serbia

Artists: Vladimir Peric, Miloš Tomic

Commissioner: Maja Ciric

Venue: Pavilion at Giardini

Singapore

Cancelled the participation

Slovenia

Artist: Jasmina Cibic

Commissioner: Blaž Peršin

Curator: Tevž Logar

Venue: Galleria A+A, San Marco 3073

South Africa

Contemporary South African Art and the Archive

Commissioner: Saul Molobi

Curator: Brenton Maart

Venue: Pavilion at Arsenale

Spain

Artist: Lara Almarcegui

Commissioner/Curator: Octavio Zaya

Venue: Pavilion at Giardini

Switzerland

Artist: Valentin Carron

Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo

Curator: Giovanni Carmine

Venue: Pavilion at Giardini

Syrian Arab Republic

Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti

Curator: Duccio Trombadori

Venue: Isola di San Servolo

Taiwan

Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU

Curator: Esther Lu

Organizer: Taipei Fine Arts Museum

Venue: Palazzo delle Prigioni, Castello 4209, San Marco

Thailand

Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Commissioner: Office of Contemporary Art and Culture, Ministry of Culture

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Venue: Santa Croce 556

Turkey

Artist: Ali Kazma

Commissioner: Istanbul Foundation for Culture and Arts

Curator: Emre Baykal

Venue: Pavilion at Arsenale

Tuvalu

Artist: Vincent J.F.Huang

Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour

Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih

Venue: Forte Marghera, via Forte Marghera, 30

Ukraine

Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna

Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano

United Arab Emirates

Artist: Mohammed Kazem

Commissioner: Dr. Lamees Hamdan

Curator: Reem Fadda

Venue: Pavilion at Arsenale, Sale d'Armi

Uruguay

Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale

Curators: Carlos Capelán, Verónica Cordeiro

Venue: Pavilion at Giardini

USA

Artist: Sarah Sze

Commissioners/Curators: Carey Lovelace, Holly Block

Venue: Pavilion at Giardini

Venezuela

Colectivo de Artistas Urbanos Venezolanos

Commissioner: Edgar Ernesto González

Curator: Juan Calzadilla

Venue: Pavilion at Giardini

Zimbabwe

Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota

Commissioner: Doreen Sibanda

Curator: Raphael Chikukwa

Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701

---

fut/spasta (SOC)_v_c_o_TPMBK (ca. 1981, unnumbered Boeing photo, poss. no. R-1839, 108-KSC-81РC-241 eq) by Mike Acs

25 4

“Space Operations Center

American manned space station. Study 1979. The Space Operations Center was proposed by NASA's Johnson Spaceflight Center in 1979.

Status: Study 1979.

Like most other space station studies from the mid/late 1970s its primary mission was the assembly and servicing of large spacecraft in Earth orbit -- not science. NASA/JSC signed a contract with Boeing in 1980 to further develop the design. Like most NASA space station plans, SOC would be assembled in orbit from modules launched on the Space Shuttle. The crew's tour of duty would have been 90 days. NASA originally estimated the total cost to be $2.7 billion, but the estimated cost had increased to $4.7 billion by 1981. SOC would have been operational by 1990.

NASA's Johnson Spaceflight Center extended the Boeing contract in February 1982 to study a cheaper, modular, evolutionary approach to assembling the Space Operations Center. An initial power module would consist of solar arrays and radiators. The next launches would have delivered a space tug 'garage', two pressurized crew modules and a logistics module. The completed Space Operations Center also would have contained a satellite servicing and assembly facility and several laboratory modules. Even with this revised approach, however, the cost of the SOC program had grown to $9 billion. Another problem was Space Operations Center's primary mission: spacecraft assembly and servicing. The likely users (commercial satellite operators and telecommunications companies) were not really interested in the kind of large geostationary space platforms proposed by NASA. By 1983, the only enthusiastic users for NASA's space station plans were scientists working in the fields of microgravity research and life sciences. Their needs would dictate future space station design although NASA's 1984 station plans did incorporate a SOC-type spacecraft servicing facility as well.”

Above & image from/at:

www.astronautix.com/s/spaceoperationscenter.html

Credit: Marcus Lindroos/Astronautix website

The abridged version of the above:

“The Space Operations Center was proposed by NASA's Johnson Spaceflight Center in 1979. Like most other space station studies from the mid/late 1970s its primary mission was the assembly and servicing of large spacecraft in Earth orbit -- not science.

NASA/JSC signed a contract with Boeing in 1980 to further develop the design. This illustration is from 1981. Like most NASA space station plans, SOC would be assembled in orbit from modules launched on the Space Shuttle. The Shuttle depicted here delivers a resupply module for the SOC crew; the tour of duty would have been 90 days.”

The above & image from/at:

www.pmview.com/spaceodysseytwo/station/sld002.htm

sites.google.com/site/spaceodysseytwo/station/soc81.jpg

Credit: PMView Pro website

8.625” x 10.875”.

Take a closer look at this, it’s exquisite, the perspective, the detail, the lighting/shading, etc., etc., right down to the "NO STEP" on the inboard elevon, which I don't think actually existed, but who cares, right?!? Houston/Galveston Bay are just above the orbiter.

Another John J. Olson masterpiece.

Last, but NOT least:

www.398th.org/Images/Images_Association/Text/Olson_Cleari...

Credit: 398th Bomb Group Memorial Association website

space.nss.org/national-space-society-governor-jack-olson-...

Credit: NSS website

PLEASE NOTE, AS IS SADLY BECOMING MORE PREVALENT WITH THE PASSAGE OF TIME, SOME OF THE LINKS ABOVE ARE NO LONGER MAINTAINED, OR ARE JUST GONE.

The Land That Time Forgot (1975) Screen Captures by Morbius19

Today, both "The Land That Time Forgot" and "The People That Time Forgot" are fan favorites and hold a special 'cult' status among film buffs. I just goes to show that sometimes great films

don't need huge budgets to succeed, just dinosaurs and sexy cave women.

The Land That Time Forgot (1975)

Additional Photos in Set.

www.flickr.com/photos/morbius19/sets/72157639657354056/

youtu.be/d0K97czqecQ?t=1s Trailer

Amicus Pictures

Directed By: Kevin Connor

Written By: Edgar Rice Burroughs, Jim Cawthorn, Michael Moorcock, Milton Subotsky

Cast:

Doug McClure as Bowen Tyler

John McEnery as Captain Von Schoenvorts

Susan Penhaligon as Lisa Clayton

Keith Barron as Bradley

Anthony Ainley as Dietz

Godfrey James as Borg

Bobby Parr as Ahm

Declan Mulholland as Olson

Colin Farrell as Whiteley

Ben Howard as Benson

Roy Holder as Plesser

Andrew McCulloch as Sinclair

Ron Pember as Jones

Grahame Mallard as Deusett

Andrew Lodge as Reuther

Runtime: 90 Minutes

Color: Color

Story

In the year 1916 during WW1, an Allied vessel carrying civilians, the SS Montrose, is torpedoed by a German submarine. The survivors manage to board the sub and successfully take control of it. After the two sides continuously plot to overthrow the other, the group become lost. With supplies and fuel dwindling, the two opposing factions decide to work together. They find a strange continent in the icy region of the Atlantic ocean, but strangely, the water surrounding it is warm. Christened Caprona by an early Italian navigator named Caproni, the ice encroached island has no place to land. Traversing a winding underwater cavern, the U-boat ascends into a river.

The group find themselves in a strange land filled with prehistoric creatures. With dangers lurking at every turn, the lost travelers haven't enough fuel for a return trip. The group journey North across the land of Caprona in search of fuel. The further north they go, the more highly advanced the creatures and inhabitants become. They later find crude oil deposits and build

machinery with which to refine the lubricant for use in the subs engines. Attempting to leave, the mysterious volcanic continent threatens to rip itself apart to keep the involuntarily exiled travelers from escaping The Land That Time Forgot.

The set design is amazing with the makers getting full use out of Shepperton Studios, the home of Amicus. Some years later, the famed Pinewood Studios would acquire Shepperton. The Director of Photography on LAND, Alan Hume, does an admirable job capturing the colorful landscapes and fauna of the lost world of Caprona. Hume also took the job of DP on the three other Connor directed monster movies. Hume would later perform photographic duties on several of the Bond pictures in addition to the comedic prehistoric opus, CAVEMAN (1981) starring Ringo Starr among a cast of other recognizable faces.

The first in a series of popular fantasy adventure movies from the team of producer John Dark and director Kevin Conner. A highly ambitious British film from Amicus Productions, the chief rival to Hammer Films. Hammer had done their own series of prehistoric epics beginning with ONE MILLION YEARS B.C. (1966). That film featured stop motion animation by famed animator Ray Harryhausen. The film was so successful a follow-up was ordered albeit somewhat hesitantly considering the length of time it took for the stop motion effects to be created.

Doug McClure leads the cast to Caprona in a role that suits his former cowboy persona on THE VIRGINIAN television program. McClure replaced Stuart Whitman who was originally cast. Apparently, Whitman never received his full compensation to not participate in the picture and McClure was a likewise unwanted commodity as well. At the time, he was going through a divorce and a spate of drinking which kept him in a volatile mood from time to time. However, according to Susan Penhaligon, McClure was always a gentleman with her. McClure is very good and any hint of rambunctious behavior behind the scenes isn't evident in his pulpy performance.

McClure would take the lead role for AT THE EARTH'S CORE (1976), in which he would be paired with a rather spunky Peter Cushing. In 1977's THE PEOPLE THAT TIME FORGOT, McClure took a 'Guest Star' credit and only appears during the finale although he's the main focus of the story when Patrick Wayne journey's to Caprona to rescue him. It's the only film in the series that is a direct link with one of the other pictures. The fourth film, WARLORDS OF ATLANTIS (1978), isn't a Burroughs tale and also isn't an Amicus picture. Columbia handled distribution in the US.

In the early 1970s’ Amicus Pictures (Owned by Milton Subotsky and Max J Rosenberg) decided to pump some life into the declining British fantasy film industry by bringing the works of Tarzan creator Edgar Rice Burroughs to the big screen. At about the same time the film company’s rival, Hammer, had abandoned its standard horror films for features starring half naked women in an attempt to put more bodies in the seats. Amicus felt that the time seemed right for a series of films based on Burroughs strait forward action tales to fill the cinematic void.

The first of the four Burrough’s stories to be produced by Amicus would be an adaptation of the short story “The Land That Time Forgot” which was first published in Blue Book Magazine in 1918. Milton Subotsky had first penned a screenplay for the film back in the early 1960s’ but his first draft was initially rejected by the late Burrough’s estate. It was under their prodding that the script was rewritten by Jim Cawthorn and Michael Moorcock. Their dialogue heavy, light on the action script however didn’t meet Subotsky’s approval, so it was reworked yet again.

"The Land that Time Forgot" began production at Pinewood Studios in April 1974 with a meager $750,000 budget that had been put up by American International Pictures in exchange for the American distribution rights. This extremely low budget forced the film-makers to settle for cost cutting measures in the effects department. Hand puppets were used for the films dinosaurs in many scenes where costly stop motion animation had intended to be used. The effect looks

primitive when compared to modern CGI effects, but for the time period in which it was created, these effects in "The Land That Time Forgot" fared well against most rival productions.

Script problems and hand held dino’s were not the only problems the production would face in its early stages. Originally Stuart Whitman was cast as the American engineer Bowen Tyler, but Samuel Arkoff of AIP protested. Their next choice, Doug McClure, finally agreed to take the role after initially passing on it. McClure was billed as the perfect leading man by director Kevin Connor. McClure had earned a reputation as a marketable lead on the TV Western “The Virginian.” On the set however, McClure earned another type of reputation after his tendency to hit the bottle caused him to miss a couple of days shooting and punch a hole in producer Johnny Dark’s office door. Despite this McClure was considered a nice guy by his costars. He even held the hand of a nervous Susan Penhaligon (cast as biologist Lisa Clayton) during the explosions of the films volcano erupting climax. John McEnry, who played the German U-boat Captain von Schoverts, was continually acting up on the set due to his belief that the production was beneath him as an actor. This lead to his voice being dubbed over by Anton Diffrin due to his demeanor and lackluster tone. Aside from this however none of the other off screen troubles manifested themselves in the finished product.

The films plot is a strait forward Burroughs adventure story.

John McEnery, who plays the somewhat honorable Captain Von Shoenvorts, the leader of the German forces, was dubbed by Anton Diffring. The first 15 or 20 minutes of the film are very well handled, having the American and British survivors take command of the Nazi sub only to have the Germans take the vessel back, only to lose it once more. During the final switch, the Allied survivors get some poetic justice on their German captors. When the sub is to rendezvous with a Nazi supply ship, Tyler quietly launches torpedoes destroying the enemy vessel in recompense for the prior destruction of the civilian ship.

Anthony Ainley as Dietz is the true antagonist of the picture. He appears to have much respect for his Captain, but at the beginning after the Germans have sunk the civilian vessel, Dietz asks if there is an order to surface to look for survivors. Capt. Von Shoenvorts declines, yet Dietz responds with, "Survivors may live to fight another day." The Captain then says, "They are in enough trouble already...besides, these were civilians." As the Captain walks away there is a look of unmitigated and deceitful envy on the face of Dietz.

He secretly harbors desires to command his own unit and this materializes during the finale when Dietz shoots his Captain and takes over the doomed submarine. Ainley played a much different character in THE BLOOD ON SATAN'S CLAW (1971) in which he played a priest who is seduced by a harbinger of the Devil.

Derek Meddings was in charge of special effects on the picture and his work here would foreshadow some great things to come. Meddings would tackle effects chores on a number of big movies including a slew of the James Bond movies and big budgeted fantasy pictures such as SUPERMAN 1 and 2, KRULL and the 1989 version of BATMAN.

Monster designer Roger Dicken was in charge of the ambitious dinosaur sequences seen in THE LAND THAT TIME FORGOT. He also created special effects for several Hammer films including WHEN DINOSAURS RULED THE EARTH (1970) in which Dicken worked alongside fellow luminaries, Jim Danforth and Dave Allen. Dicken was Danforth's assistant here but on LAND, Dicken was on his own.

Douglas Gamley composed the score which has that Amicus sound to it, but given the nature of the film, Gamley peppers the score with at least one rousing composition which is saved for the finale. The scene in question has Tyler and Lisa racing back to the refinery as the land explodes around them. The group has left without them, though. As the U-boat makes its way back across the now burning river, Tyler and Lisa watch as the sub is destroyed from the boiling water and overwhelming heat.

During the finale, Caprona (described as a gigantic volcanic crater) begins to seemingly erupt destroying life on the island. In the third film, also during the finale, Tyler tells his friend, McBride that the land is alive and will stop their escape. Tyler states that the volcano controls everything. This adds a mystical element to the narrative making Caprona a living character. Taking what is said by Tyler in the third film, the erupting of the volcano in LAND seems to be in retaliation against the stranded travelers attempting to escape the island. By destroying the sub and its inhabitants, Caprona's secret remains hidden away from the eyes of modern man. The film ends as it began, with Tyler tossing a canister with notes detailing Caprona and the creatures residing therein.

The survivors of a torpedoed allied cargo ship turn the tables on their German attackers and seize control of their U-boat. The ever scheming German crew manage to damage the ships compass and instead of steaming to a neutral port, the group finds itself off the coast of the legendary island of Caprona, where time has stood still since prehistoric times. Forced to venture ashore in search of food, supplies and fuel, the crew encounters a bevy of dinosaurs that intend on making sure no one escapes alive. As in all good adventure stories of this type, just about everything and everyone the group encounters is set on doing them mortal harm and danger lies behind every turn. The groups focus is a simple a straight forward one, keep from being eaten and figure out a way to get off the island before it consumed in a river of molten rock. Seems all good dinosaur flicks have to end in some kind of volcanic catastrophe, and this film is no exception, even though Moorcock had originally written it with a different ending.

James Cawthorn (1929-2008) Artist

Jim Cawthorn is best known to Burroughs fans for his early work on the British fanzine Burroughsiana, edited by Michael Moorcock from 1956-1958, and for Erbania, edited by Pete Ogden during the same period. He also illustrated for Tarzan Adventures, a series of Tarzan comics interspersed with other stories and articles, also edited by Michael Moorcock. The series was reprinted by Savoy in 1977.

American Burroughs fans were generally unfamiliar with the British Tarzan publications before the Internet came onto the scene, but they are certainly familiar with the film production of The Land That Time Forgot, for which Jim Cawthorn and Michael Moorcock wrote the screenplay.

This Amicus film starred Doug McClure, making his first appearance in a British film under the auspices of American International Pictures, Inc. Cawthorn is reported to have been dissatisfied with the changes made to their screenplay which was written and signed on October, 1973, and which was filmed a year later. Besides changing names, characters and situations, they blew up Caprona which did not sit well with most American fans.

Cawthorn had produced many unpublished comic strips, including The Land That Time Forgot, and was working on A Princess of Mars when he died on December 2, 2008. He and Moorcock edited Fantasy: The 100 Best Books, published in London by Xanadu in 1988.

Cawthorn had many admirers, including Tarzan artist Burne Hogarth who wrote that the young artist’s work had a quality "most compelling and fascinating... He has an authentic talent." Of the many Cawthorn illustrations available for viewing, we found an early (1958) original in the Burroughs Memorial Collection which he drew for one of Maurice B. Gardner’s Bantan books.

1:72 Vought F4U-4 ‘Corsair’, aircraft '24' of the Republic of South Korea Air Force (ROKAF; 대한민국 공군; Daehanminguk Gong-gun) 1 Squadron/10th FG, Gangneung (K-18) Air Base, early 1953 (What-if/Hobby Boss kit) by Dizzyfugu

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

The 1950s were a critical time for the ROKAF as it expanded tremendously during the Korean War. At the outbreak of the war, the ROKAF consisted of 1,800 personnel but was equipped with only 20 trainers and liaison aircraft, including 10 North American T-6 Texan advanced trainers purchased from Canada. The North Korean air force had acquired a considerable number of Yak-9 and La-7 fighters from the Soviet Union, dwarfing the ROKAF in terms of size and strength. However, in the course of the war the ROKAF acquired 110 aircraft from the USA which equipped three fighter squadrons and one fighter wing. The first combat aircraft received were North American F-51D Mustangs, along with a contingent of US Air Force instructor pilots, as part of Bout One Project.

From the start of the Korean War, the Mustang proved useful. A "substantial number" of stored or in-service F-51Ds were shipped, via aircraft carriers, to the combat zone, and were used by the USAF, the South African Air Force, and the ROKAF. The F-51 was used for ground attack, fitted with rockets and bombs, and photo reconnaissance, rather than as interceptors or "pure" fighters. However, the losses of the rather fragile Mustang due to AA fire and even through small caliber weapons were high – especially the ventral radiator for the liquid-cooled engine turned out to be highly vulnerable.
After the first North Korean invasion, USAF units were forced to fly from bases in Japan and the F-51Ds, with their long range and endurance, could attack targets in Korea that short-ranged F-80 jets could not. Due to its lighter structure and a shortage of spare parts, the newer, faster F-51H was not used in Korea, and the F-47 Thunderbolt, which would have been better suited for most typical missions over the Korean peninsula, was not available in sufficient numbers to employ them overseas.

Nevertheless, the ROKAF participated with its F-51s in bombing operations and flew independent sorties. The only other suitable piston engine aircraft at hand and available in sufficient numbers was the Vought F4U Corsair. As ROKAF F-51 losses rose, a handful of F4U-4s were transferred in 1952 to fill these operational gaps. These were revamped USN and USMC aircraft from local field workshops that had been damaged and grounded through enemy fire or accidents, replaced in American service with new machines from overseas.
The F4U-4 was the last Corsair variant that had been introduced during WWII, but it only saw action during the final weeks of the conflict. At the outbreak of the Korean War, it was the USN and USMC’s most common carrier-borne aircraft. It had a 2,100 hp (1,600 kW) dual-stage-supercharged -18W engine, and when the cylinders were injected with the water/alcohol mixture, power was boosted to 2,450 hp (1,830 kW). The aircraft required an air scoop under the nose and the unarmored wing fuel tanks of 62 US gal (230 L) capacities were removed for better maneuverability at the expense of maximum range. The partly fabric-covered outer wings from the former Corsair versions were retained. To better cope with the additional power, the propeller was changed to a four-blade type. Maximum speed was increased to 448 miles per hour (721 km/h) and climb rate to over 4,500 feet per minute (1,400 m/min) as opposed to the 2,900 feet per minute (880 m/min) of the F4U-1A. Other detail improvements were introduced with the F4U-4, too: The windscreen was now flat bullet-resistant glass to avoid optical distortion, a change from the curved Plexiglas windscreens with the internal plate glass of the earlier Corsairs. The cockpit hood was furthermore without bracing and slightly bulged, similar to the P-51B/Cs’ Malcolm hood, to give the pilot a better field of view, esp. backwards.

The "4-Hog" retained the original armament of six 0.5” machine guns and had all the external load (i.e., drop tanks, bombs) capabilities of the F4U-1D. A major sub-type, the F4U-4B, was the same but featured an alternate gun armament of four 20 millimeters (0.79 in) AN/M3 cannon, 300 were built. The F4U-4P was a rare photo reconnaissance variant (only eleven were built) with an additional camera compartment in the rear fuselage, but fully combat-capable. The F4U-4 was the oldest active Corsair variant during the Korean War, and new post-WWII variants like the AU-1 for the USMC, optimized for ground attacks and low-level operations, or the F4U-5 and its F4U-5N night fighter sub-variant with onboard radar, were exclusively used by American forces.

The ROKAF Corsairs were constantly and heavily used. They operated primarily as fighter bombers because of the type’s ability to absorb a lot of damage and to carry up to 4,000 lb of ordnance on centerline and underwing pylon racks. The machines, all standard F4U-4s with six machine guns to maintain ammunition commonality with the F-51Ds, were allocated to ROKAF 1 Squadron. They equipped a dedicated attack wing within the unit and were flown by both South Korean and American pilots. To differentiate them from American machines, the first Korean F4U-4s were stripped off of their characteristic allover dark blue paint, received large ROKAF roundels on fuselage and wings and colorful ID-markings. These included a yellow band around the fuselage, a large “K” on the fin, and a red ring around the cowling as a unit identifier. Some machines featured additional individual highlights, like colored fin tips and tail sections, some had the canopy frame painted in individual colors, too, or had taglines (in Hangul writing) added on the flanks.
Major maintenance and repairs were, however, still carried out by American personnel at USMC workshops, so that transfer flights were common practice and limited the number of operational machines to only about half a dozen at a time. As battle damage and losses were frequent, repairs with cannibalized parts from American aircraft and full replacements with revamped or operational American F4U-4s were common – resulting in a large variety of liveries within the unit, as some machine retained the American all-blue paint scheme or received blue replacement parts to speed up repairs.
Due to this practice the exact number of ROKAF Corsairs until the end of hostilities in mid-1953 remains uncertain. However, less than 25 documented complete airframes were supplied in total, and no more than 15 machines were active at any time.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

322 Medium Azur / Medium Azure by Rylie Howerter

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Status: Current

BrickLink: Medium Azure

Peeron: MdAzure

Introduced in 2012 with the Friends theme, this color has become quite common.

Joseph Merritt Group plc by Keltruck Scania

twitter.com/jarrodV8730/status/1057244959739428866

iChat status by Matt Haughey

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Being a remote employee, I live for IM and the entire office uses it religiously. We also use status as a presence monitor and I noticed today I have racked up a story of my life over the past six months, in statuses.

I felt like maybe starting another shared screenshot thing for flickr, so I encourage you to join in if you have a similar story to share.

Unusual visitor to the birdfeeder! by In Memoriam: macfudge1UK

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reed bunting ~ emberiza schoeniclus (male)

RSPB green status list.

This is a bird I have seen flying nearby for the last week or so. I was out in the garden with my camera when I spotted it on a birdfeeder and it stayed there just long enough for me to take a couple of photos before it took off. If there is a pair like last year then there is a female not far away.

Flickr problems again.

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