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Just some fun with the phone.
Camera: ancient HTC Desire HD
Exposure compensation and blur: Photoshop + Pixeluvo
PACIFIC OCEAN (Sept. 18, 2015) Aviation Structural Mechanic 1st Class David Filbert, a native of Westminster, Colo., and Aviation Structural Mechanic 3rd Class Aaron Gambill, a native of Miami, Okla., lift open the nose of an E-2C Hawkeye from the "Black Eagles" of Airborne Early Warning Squadron (VAW) 113 in the hangar bay of aircraft carrier USS George Washington (CVN 73). Washington is preparing to deploy around South America as a part of Southern Seas 2015. (U.S. Navy photo by Mass Communication Specialist Seaman Clemente A. Lynch/Released)
Ludlow Castle
Heritage Category: Scheduled Monument
List Entry Number: 1004778
More information can be found on the link below:-
historicengland.org.uk/listing/the-list/list-entry/1004778
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Ludlow Castle, Castle Square, Ludlow, Shropshire
Ludlow Castle the standing structural remains
Heritage Category: Listed Building
Grade: I Listed
List Entry Number: 1291698
Summary
The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.
Reasons for Designation
The standing structural remains of Ludlow Castle are listed at Grade I for the following principal reasons:
Historical: as one of England's finest castle sites, clearly showing its development from an enclosure castle into a tower keep castle in the C12; the castle played an important historical role particularly as seat of the President of the Council of the Marches; Architectural: the castle remains illustrate significant phases of development between the C11 and the C16; Survival: the buildings are in a ruinous condition, but nonetheless represent a remarkably complete multi-phase complex.
History
An enclosure castle is a defended residence or stronghold, built mainly of stone, in which the principal or sole defence comprises the walls and mural towers bounding the site. Enclosure castles, found in urban and in rural areas, were the strongly defended residence of the king or lord, sited for offensive or defensive operations, and often forming an administrative centre. Although such sites first appeared following the Norman Conquest, they really developed in the C12, incorporating defensive experience of the period, including that gained during the Crusades. Many enclosure castles were built in the C13, with a few dating from the C14, and Ludlow Castle is not alone in having begun as an enclosure castle and developed into a tower keep castle. At Ludlow, the large existing gate tower was converted into a tower keep in the early C12, providing more domestic accommodation, as well as defence.
Ludlow Castle occupies a commanding position at the steep-sided western end of a flat-topped ridge overlooking the valleys of the River Teme and the River Corve. The adjacent town of Ludlow, which was established by the mid-C12, lies to the south and east of the castle. The defences surrounding the medieval town are designated separately. The castle was probably founded by Walter de Lacy in about 1075 and served as the ‘caput' (the principal residence, military base and administrative centre) of the de Lacy estates in south Shropshire until the mid-C13. During the Anarchy of King Stephen's reign the castle was for Matilda until 1139, when it was besieged and captured by Stephen. The de Lacy family recovered the castle in the C12 and retained it, apart from occasional confiscations, until the death of Walter de Lacy in 1241. Ludlow Castle features in an ‘ancestral romance’ called ‘The Romance of Fulk FitzWarren', written in the late C13 about the adventures of a C13 knight. Other documentary sources indicate that when the castle was in royal control it was used for important meetings, such as that held in 1224 when Henry III made a treaty with the Welsh prince, Llewellyn. Following the death of Walter de Lacy in 1241 the castle came into the possession of the de Genevilles, and in the early C14, the castle passed through marriage to Roger Mortimer. Between 1327 and 1330 Roger Mortimer ruled England as Regent, with Edward II's widowed queen, Isabella. Mortimer had himself made Earl of March in 1328. In 1425 the Mortimer inheritance passed to Richard Plantagenet, Duke of York, who made Ludlow a favoured residence. His eldest son, who assumed the title of Earl of March, claimed the crown as Edward IV in 1461. Edward IV's son Edward was created Prince of Wales in 1471, and in 1473 was sent to Ludlow, where the administration of the principality known as the Council in the Marches was established. Both Edward and the Council remained at Ludlow until Edward IV's death in 1483. Ludlow Castle continued as an important royal residence and in 1493 the Council was re-established at Ludlow with Henry VII's son and heir, Prince Arthur as Prince of Wales. In 1501 Arthur was installed at Ludlow with his bride, Katherine of Aragon, and it was at Ludlow that Arthur died in 1502. In 1534 the Council in the Marches received statutory powers both to hear suits and to supervise and intervene in judicial proceedings in Wales and the Marches, and from that time until 1641, and again from 1660 to 1689, Ludlow's principal role was as the headquarters for the Council and, as such, the administrative capital of Wales and the border region. Milton’s mask, ‘Comus’, was first performed here in 1634 before John Egerton, 1st Earl of Bridgewater, in celebration of the earl’s new appointment as Lord President of Wales. On the dissolution of the Council the castle was abandoned and left to decay. Lead, window glass and panelling were soon removed for reuse in the town. In 1771, when the castle was leased to the Earl of Powis, many of the buildings were in ruins.
Since the late C18, the buildings have undergone repair and restoration at various times, as well as some further deterioration, with some rebuilding and replacement of stonework. Extensive archaeological excavations were undertaken by William St John Hope between 1903 and 1907. The castle is now open to the public.
Details
The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.
MATERIALS: the castle is constructed of a variety of local stones; it appears that the greenish-grey flaggy calcerous siltstones that underlies the castle was used in its initial phase, with local sandstones being used thereafter.
PLAN: the castle consists of an elliptical INNER BAILEY, in the north-west corner of the site, representing the earliest area of development, with the OUTER BAILEY, created in the second half of the C12, to the south and east.
BUILDINGS:
The curtain wall of the inner bailey incorporates four mural towers and the former gatehouse, all thought to have been constructed by 1115. Three of the four towers are open at the back and would originally have contained wooden scaffolding supporting look-out and fighting platforms. The fourth tower, known as the POSTERN TOWER, on the western side of the enclosure, has small ground-floor postern doorways on its north and east sides. The former gatehouse, situated at the south-eastern part of the enclosure, is rectangular in plan and was originally three storeys in height. Remaining in the ground-floor of the building is part of a wall arcade, thought to be late-C11, with ornamented capitals. In the early C12 a fourth storey was added to provide more domestic accommodation, thus converting the gatehouse into a tower keep, known as the GREAT TOWER. In the later C12 the original gatehouse entrance passage was blocked (the location of the former arch remains visible on the south elevation) and an archway was cut through the adjacent part of the curtain wall to the north-east, reached by a stone bridge. This archway was partially infilled and a smaller arch constructed in the C14. Access to the upper floors of the tower is by a spiral stair to the east, reached by an ornamented doorcase, the Tudor arch having a trefoiled lintel flanked by cusped panelling and trefoiled lintel, which also gives access to rooms in the Judges’ Lodgings (see below). On the first floor is the hall, with a chamber and garderobe to the west. In the second half of the C15 the north wall of the Great Tower was rebuilt and internal floors added to create new rooms lit by enlarged windows. Adjoining the Great Tower, in the south-west section of the inner bailey, is the INMOST BAILEY, a walled enclosure constructed in the C12 and C13 to provide greater security and privacy to those living in the Great Tower. There is a well within this enclosure surrounded by a low stone wall.
Located in the north-eastern sector of the elliptical enclosure of the inner bailey are the remains of the CHAPEL OF ST MARY MAGDALENE. This was built in the first half of the C12, probably by Gilbert de Lacy, and was remodelled in the C16, probably in two phases. In the first phase, thought to have been undertaken circa 1502 for the installation of Arthur, Prince of Wales, a first floor was inserted in the circular nave, together with additional openings, including a first-floor doorway which gave access to a passage linking the chapel with the Great Chamber Block to the north. In the second phase, during the presidency of the Council in the Marches of Sir Henry Sidney (1560-86), the original presbytery and chancel were taken down and a new chancel, or chapel, built, stretching as far as the curtain wall. The crenellated circular nave, which measures 8.3m in diameter internally, survives to its full height as a roofless shell, and contains much original carving to the round-headed order arches of the door openings, with chevron and billet mouldings, and to the internal blind arcade with a variety of capitals and moulded arches.
Since the late C12, the castle site has been entered through the two-storeyed GATEHOUSE within the eastern part of the curtain wall of the outer bailey. The wall originally had two adjoining rectangular mural towers of which the one to the north of the gatehouse survives as a standing structure; this, together with the adjacent section of the curtain wall form part of the CASTLE HOUSE built in the C18 (listed separately at Grade I). Protruding from the curtain wall defining the western side of the outer bailey are the remains of a semi-circular tower known as MORTIMER'S TOWER, possibly built in the early C13; this originally consisted of a ground-floor entrance passage, with two floors above, and was used as the postern entrance to the outer bailey until the C15. In the south-west corner of the outer bailey are the remains of ST PETER’S CHAPEL, originally a free-standing rectangular structure, founded by Roger Mortimer to celebrate his escape from the Tower of London in 1324, following his rebellion against Edward II. The chapel served as the Court House and offices of the Council in the Marches, for which an adjacent building to the west was constructed. The south-east corner of the chapel is now attached to a wall which completes the enclosure of the outer bailey’s south-west corner. In the north wall of the chapel is a blocked two-light window, enlarged at the bottom when a floor was inserted for the court house; a second original window towards the eastern end now contains a first-floor blocked doorway.
At the end of the C13 or in the early C14 an extensive building programme was initiated, replacing existing structures within the inner bailey with a grand new range of domestic buildings, built along the inside of the north section of the Norman curtain wall. The construction of these new buildings indicates the changing role of Ludlow Castle from military stronghold to a more comfortable residence and a seat of political power, reflecting the more peaceful conditions in the region following the conquest of Wales by Edward I. The first buildings to be completed were the GREAT HALL and the adjoining SOLAR BLOCK (private apartments). The Great Hall, which was used for ceremonial and public occasions, consisted of a first floor over a large undercroft, reached through a moulded pointed arch in the south elevation. The Hall was lit on both south and north sides by three pointed-arched windows with sunk chamfers and ‘Y’ tracery formed of paired cusped trefoil-headed lights, under hoodmoulds; these originally had seats, now partially surviving. The central south window was converted to a fireplace, replacing the louver which formerly covered the open fire towards the east of the Hall, its position indicated by elaborate corbels. At the west end, a series of openings lead into the Solar Block, only one of these (that to the north) being of the primary phase. Within the Hall, at the western end, is a timber viewing platform, which is not of special interest.* The Solar Block is thought to have been begun as a two-storey building, and raised to three storeys shortly afterwards, at which time the adjacent NORTH-WEST TOWER was raised, with the new CLOSET TOWER being built in the angle between the two. Each of the three floors of the Solar Block extended into the North-West Tower, with each being linked to a room in the Closet Tower. All three floors of the Solar were heated, the ground floor having a fireplace which originally had a stone hood; the first-floor room has hooded fireplace, on nearly triangular-sectioned jambs; the room above has a plainer hooded fireplace. The windows include original openings with ‘Y’ tracery and trefoil-headed lights, similar to those in the Hall, and a ground-floor mullioned window probably dating from the late C16.
In the early C14 two additional buildings containing more private apartments were constructed by Richard Mortimer. The three-storeyed GREAT CHAMBER BLOCK was built in about 1320 next to the Great Hall to balance the Solar Block to the west of the Hall. The connecting four-storeyed GARDEROBE TOWER, which projects from the curtain wall of the inner bailey, was also probably built about the same time. As in the Hall and Solar blocks, the floors are now lost but features in the walls remain to indicate layout and function. The main entrance to this block is through a recessed doorway in the south-west corner, with a pointed two-light window above. The undercroft was heated, and is lit by two two-light windows with stone side seats in the south wall. The tracery of the eastern of these windows has been lost. The first-floor main room, or ‘Great Chamber’, contains a grand hooded fireplace carried on a fourfold series of corbels; to either side of the fireplace are large head corbels with leafwork. The Tudor transomed and mullioned window probably replaced an earlier window. The upper room also has a large hooded fireplace, and was lit principally by a large trefoil-headed window with head-stopped hoodmould in the southern wall.
Following the establishment of the headquarters for the Council in the Marches at Ludlow, new buildings were constructed and many existing buildings changed their use. Within the inner bailey the main room in the Great Chamber Block became the council chamber, with additional chambers above. A new adjoining residential block, now called the TUDOR LODGINGS, was built to the east, replacing earlier structures. The block consisted of two sets of lodgings both being of three storeys with attic rooms above. The south wall of this block cuts across openings in the east wall of the Great Chamber Block. Between the lodgings, projecting from the south wall, is a circular stair tower, entered through an ogee-headed arch. The windows in the south elevation are mullioned; several have been blocked. In the north wall of the western lodging, at ground-floor level, is an opening with double trefoil head, having a divided light above. Otherwise, the features of this range are plain, with pointed door openings, and straight lintels to fireplaces.
As the power of the Council grew, further domestic accommodation was needed. To the east of the entrance within the inner bailey, a three-storeyed range, known as the JUDGES LODGINGS, was completed in 1581. On the south side, this building extends the curtain wall upwards, with two gables, and piercing for fenestration, the earlier arched entrance to the inner bailey becoming visually part of the newer building, with rooms above; stone arms set immediately over the archway dated 1581 commemorate the Presidency of the Council of Sir Henry Sidney. Rooms set above the arch leave a gate-passage leading through a second archway to the inner bailey, and giving access to both the Great Keep and the Judges’ Lodgings. The rooms above the gate-passage appear to have been accessed by the embellished Tudor-arched doorway in the Keep at the north end of the passage. The north side of the Judges’ Lodgings, within the inner bailey, has a polygonal stair turret (which originally had a pyramidal roof), with mullioned and transomed eight-light windows set regularly to either side. Within, some indication is given of the arrangement and appearance of the rooms by the survival of numerous fireplaces of red sandstone backed by brick set in herringbone pattern. The adjoining building to the east, originally two-storeyed, is thought to date from the C17.
Other developments during the C16 included changes to the south-west corner tower, enclosed within the inmost bailey, with the installation of a large oven at ground-floor level, with residential rooms above; the tower became known as the OVEN TOWER. In 1522 the PORTER'S LODGE was built in the outer bailey to the south of the gatehouse. The shell of this building now contains the castle shop; the modern structure and fittings of the shop are not of special interest.* Also dating from 1522 is the PRISON, adjoining to the south, which retains square-headed windows with moulded frames and hoodmoulds, and the stable block, completed in 1597, with mullioned windows. Like the porter's lodge, these buildings remain as incomplete shells.
*Pursuant to s.1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 ('the Act'), it is declared that these aforementioned features are not of special architectural or historic interest.
Sources
Books and journals
Cathcart-King, D J, Castellarium Anglicanum, (1983)
Goodall, J, The English Castle, 1066-1650, (2011)
H M Colvin, D R Ransome, The History of the KIng's Works, vol 3, (1975)
Kenyon, J, Castles in Wales and the Marches Essays in honour of DJ Cathcart King, (1987), 55-74
Pevsner, N, Newman, J, The Buildings of England: Shropshire, (2006)
R Allen Brown, H M Colvin, The History of the King's Works, vol 2, (1963)
Shoesmith, R, Johnson, A (eds), Ludlow Castle. Its History and Buildings, (2000)
'' in Archaeological Investigations Ltd, Hereford archaeology series, (1991)
W. H. St John Hope, , 'Archaeologia' in The Castle of Ludlow, (1908)
Other
Pastscape Monument No. 111057,
Shropshire HER 01176,
historicengland.org.uk/listing/the-list/list-entry/1291698
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Ludlow Castle, Castle Square, Ludlow, Shropshire
Construction of Ludlow Castle began in the late 11th century by the de Lacy's and held by them until the 13th century. In the 14th century it was enlarged by the Mortimers. In the 15th century ownership transferred between the House of York and Lancashire during the War of the Roses. In Elizabethan times the castle was further extended by Sir Henry Sidney. After the civil war the castle declined. It is now owned by the Earl of Powys for the crown.
Grade I listed.
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Welcome to Ludlow Castle, one of the finest medieval ruins in England. Set in the glorious Shropshire countryside at the heart of the superb, bustling black & white market town of Ludlow. Walk through the Castle grounds and see the ancient houses of kings, queens, princes, judges and the nobility – a glimpse into the lifestyle of medieval society
The Castle, firstly a Norman Fortress and extended over the centuries to become a fortified Royal Palace, has ensured Ludlow’s place in English history – originally built to hold back unconquered Welsh, passing through generations of the de Lacy and Mortimer families to Richard Plantagenet, Duke of York. It became Crown property in 1461 and remained a royal castle for the next 350 years, during which time the Council of the Marches was formed with responsibility for the Government of Wales and the border counties. Abandoned in 1689 the castle quickly fell into ruin, described as ‘the very perfection of decay’ by Daniel Defoe
Since 1811 the castle has been owned by the Earls of Powis, who have arrested further decline, and allowed this magnificent historical monument to be open to the public. Today the Castle is the home to Ludlow’s major festivals throughout the year and open for all to enjoy.
www.ludlowcastle.com/the-castle/
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See also:-
www.britainirelandcastles.com/England/Shropshire/Ludlow-C...
A national juried exhibition with a focus on structure, both natural and human-made. The exhibition features painting, sculpture, photography, drawing, and more by 30 artists from across the country.
The work for this exhibition was chosen by our wonderful jurors, Peter Gabak and Joanna Poag. Join us for the opening reception, where $1,000 in cash awards will be announced!
Artists Included:
Deborah Beardslee (NY), Jackie Brown (ME), Christina Cassone (PA), Theresa Devine (AZ), Zach Dietl (NY), Julianne French (FL), Nate Hodge (NY), Ellie Honl (IN), Kristy Hughes (IN), Jim Jacobs (UT), Yasemin Kackar-Demirel (NY), Ella Kampelman (MN), Susan Kaye (NY), Namdoo Kim (NY), Sassoon Kosian (NJ), Tom Kredo (NY), Yoonjee Kwak (NY), Pamela Markman (CA), Vanessa Michalak (MA), Nicole Mongelluzzo (NY), Kelly Nye (OH), Colleen O’Hara (NY), Chris Oliver (NY), Nancy Ridenour (NY), Ruth Simon McRae (GA), Jean Stephens (NY), Susan Stuart (NY), Tracy Wascom (MI), Doerte Weber (TX), Jere Williams (VA)
May 9–June 30, 2015
Opening Reception: Saturday, May 9, 4–7p.m.
SAIFD AIR Program "Form & Structure" with Kenneth Snauwaert, AIFD.
October 23rd, 2011
(Photo Credit: Sandra Austoni)
2018 Home Renovation New Year’s Resolution Ideas
#structural #design #architect #architecture #architectural #interior
s3da-design.com/2018-home-renovation-new-years-resolution...
A national juried exhibition with a focus on structure, both natural and human-made. The exhibition features painting, sculpture, photography, drawing, and more by 30 artists from across the country.
The work for this exhibition was chosen by our wonderful jurors, Peter Gabak and Joanna Poag. Join us for the opening reception, where $1,000 in cash awards will be announced!
Artists Included:
Deborah Beardslee (NY), Jackie Brown (ME), Christina Cassone (PA), Theresa Devine (AZ), Zach Dietl (NY), Julianne French (FL), Nate Hodge (NY), Ellie Honl (IN), Kristy Hughes (IN), Jim Jacobs (UT), Yasemin Kackar-Demirel (NY), Ella Kampelman (MN), Susan Kaye (NY), Namdoo Kim (NY), Sassoon Kosian (NJ), Tom Kredo (NY), Yoonjee Kwak (NY), Pamela Markman (CA), Vanessa Michalak (MA), Nicole Mongelluzzo (NY), Kelly Nye (OH), Colleen O’Hara (NY), Chris Oliver (NY), Nancy Ridenour (NY), Ruth Simon McRae (GA), Jean Stephens (NY), Susan Stuart (NY), Tracy Wascom (MI), Doerte Weber (TX), Jere Williams (VA)
May 9–June 30, 2015
Opening Reception: Saturday, May 9, 4–7p.m.
A national juried exhibition with a focus on structure, both natural and human-made. The exhibition features painting, sculpture, photography, drawing, and more by 30 artists from across the country.
The work for this exhibition was chosen by our wonderful jurors, Peter Gabak and Joanna Poag. Join us for the opening reception, where $1,000 in cash awards will be announced!
Artists Included:
Deborah Beardslee (NY), Jackie Brown (ME), Christina Cassone (PA), Theresa Devine (AZ), Zach Dietl (NY), Julianne French (FL), Nate Hodge (NY), Ellie Honl (IN), Kristy Hughes (IN), Jim Jacobs (UT), Yasemin Kackar-Demirel (NY), Ella Kampelman (MN), Susan Kaye (NY), Namdoo Kim (NY), Sassoon Kosian (NJ), Tom Kredo (NY), Yoonjee Kwak (NY), Pamela Markman (CA), Vanessa Michalak (MA), Nicole Mongelluzzo (NY), Kelly Nye (OH), Colleen O’Hara (NY), Chris Oliver (NY), Nancy Ridenour (NY), Ruth Simon McRae (GA), Jean Stephens (NY), Susan Stuart (NY), Tracy Wascom (MI), Doerte Weber (TX), Jere Williams (VA)
May 9–June 30, 2015
Opening Reception: Saturday, May 9, 4–7p.m.
3d Sectional cut-away
Project Name: Red Box
Project Type: 2 story addition to one story home
Location: Eagle Rock, CA
Status: Completed 2008
Designer: Jeremy levine design
This former coal factory closed in 1997 when the coal stopped being extracted in the area. Since, this big steelwork is abandoned. It has been seeting to fire several times, and recently in October 2011.
The mayor of the city and the factory owner deliver a judgment dealing with the ban of accessing this place, but the activity is still there (paintball/airsoft players, photographs, taggers, visitors...)
Shot with Canon EOS 5D Mk. I + Tamron SP AF Aspherical Di LD IF 17-35 f/2.8-4 @24mm
Post processed with Silver Efex Pro 2
No graphic content in comments please! Thanks
The temple of the goddess Isis at Philae is one of the most beautiful in Egypt, not as large as some but structurally largely complete, which is fitting for the temple believed to be the last to operate under the ancient Egyptian religion, having only formally closed for pagan worship in the 6th century AD.
It was also the first of Egypt's great temples I ever saw in person and left me spellbound, and thus it was fitting that this should again be the first we visited on this trip.
The temple sits in a uniquely picturesque setting on a small island in the Nile south of Aswan and thus has only ever been approached boat. The complex consists of the main temple building dedicated to Isis (wife of Osiris and mother of Horus) whose inner sanctum is entered via a forecourt with towering pylons guarding the inner and outer entrances. All this is approached from the Nile through an open court flanked by lengthy colonnades making an unforgettable first impression.
There are several subsidary buildings of note around the site, the most imposing of which is undoubtedly the large rectangular colonnaded structure known as 'Trajan's Kiosk', which features some beautifully carved capitals.
The temple is relatively new by Egyptian standards, begun under one of the last of the native pharoahs, Nectanebo I (c380-62 BC) but mostly dating to the Ptolemaic period (as do many of the better preserved temples in the south of the country).
The temple's long use and later conversion to a church along with its remote location helped preserve it more or less completely over the centuries, but in the 20th century it faced its biggest threat, the construction of the Aswan dams which are located either side and caused Philae island to flood. The first dam (built 1902) caused the temple to be inundated for much of the year (thus washing away all the remaining paintwork from the interior; 19th century watercolours record what a loss the coloured details were). The bigger threat came in the 1960s when the Aswan High Dam was built to the south, causing the water levels to rise enough to completely submerge most of the temple. For some years all that could be seen of Philae were the four main towers and the columns of Trajan's Kiosk emerging from the waters.
Fortunately salvation came in the 1970s following the campaign to rescue and relocate the Nubian temples further south also threatened by the rising waters. Following the construction of a coffer-dam around the temple the entire temple complex was dismantled and rebuilt on higher ground on the adjoining island of Agilkia where it can be enjoyed in its full splendour today.
For more on this wonderful site see below:-
The walls and ceiling of the concession stand at the Zoom Floom have been reduced almost entirely to their structural components ... and even those aren't doing too well.
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am....
From the book Structural Packaging by Josep Garrofé. Cut and cut-scored on my Craft ROBO from the book’s CD-ROM in less than 5 minutes.
Lake Oswego, OR
June 3, 2011
This wound will not heal over time, compromising the integrity and health of this urban tree.
© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
A national juried exhibition with a focus on structure, both natural and human-made. The exhibition features painting, sculpture, photography, drawing, and more by 30 artists from across the country.
The work for this exhibition was chosen by our wonderful jurors, Peter Gabak and Joanna Poag. Join us for the opening reception, where $1,000 in cash awards will be announced!
Artists Included:
Deborah Beardslee (NY), Jackie Brown (ME), Christina Cassone (PA), Theresa Devine (AZ), Zach Dietl (NY), Julianne French (FL), Nate Hodge (NY), Ellie Honl (IN), Kristy Hughes (IN), Jim Jacobs (UT), Yasemin Kackar-Demirel (NY), Ella Kampelman (MN), Susan Kaye (NY), Namdoo Kim (NY), Sassoon Kosian (NJ), Tom Kredo (NY), Yoonjee Kwak (NY), Pamela Markman (CA), Vanessa Michalak (MA), Nicole Mongelluzzo (NY), Kelly Nye (OH), Colleen O’Hara (NY), Chris Oliver (NY), Nancy Ridenour (NY), Ruth Simon McRae (GA), Jean Stephens (NY), Susan Stuart (NY), Tracy Wascom (MI), Doerte Weber (TX), Jere Williams (VA)
May 9–June 30, 2015
Opening Reception: Saturday, May 9, 4–7p.m.
Employees continue installing structural steel at the +77-foot elevation of the High-Level Waste Facility
24 March 2014 - Chinese Premier Li Keqiang (C) smiles as he flips through OECD's report "China: Structural reforms for inclusive growth" given by Secretary-General Gurría, while meeting participants of the China Development Forum inside the Great Hall of the People in Beijing . REUTERS/Lintao Zhang/Pool (CHINA - Tags: BUSINESS POLITICS) - RTR3IBT7 For more information about the report, visit: www.oecd.org/china/2014-03-China-report-EN.pdf
This is the view of the structural support on the spacship shaped Cardiff Bay visitor's centre. I particularly like the angles and Dof on this one.
SPECIFICATION
Length overall: 22’6″6.858m
Length over deck: 19’3”5.867m
Length of waterline: 17’7″5.334m
Beam: 7’2”2.184m
Draught:1’6” – 4’0”0.457m – 1.219m
Displacement: 2350lb1065kg
Sail area: 194ft218.02m2
Approx towing weight:3300lb1500kg
RCD categoryC
Shrimper 19 standard sail away specification
Hull Construction: Hand laid solid GRP hull with no foam core. Integral centerplate case laminated as part of the complete hull structure. Internal bunk and
forepeak moulding bonded into hull with internal structural bulkheads bonded to both hull and deck mouldings. Standard colours are off white, dark blue
or dark green. The hull and deck joint is by way of an overlap or ‘Biscuit Tin Lid’ with GRP bonding.
Rudder: The rudder is transom hung on two stainless steel hangings bolted through the transom with Hardwood backing pads. The rudder is constructed
from laminated plywood with a stainless steel lifting drop plate.
Engine Beds: Engine beds are incorporated in the GRP bunk moulding with mild steel mounts bonded into the bed design which incorporates an oil drip
tray.
Ballast: Ballast is by way of iron punchings encapsulated in resin inside the hull keel moulding. A galvanised steel centerplate forms part of the ballast
with a stainless steel lifting wire leading to a winch lifting system operated from the cockpit.
Boot Top: A single boot top moulded in gel coat located above antifouling level. Colour in contrast to main hull and normally matching the deck.
Deck Construction: Hand laid GRP with Balsa core in way of horizontal load areas. Hard wood pads under deck fittings and stress points.
Cockpit : Cockpit locker lids are hand laid with Balsa core. There is integrated non slip on horizontal surfaces with an optional two tone colour. A cockpit
drain is located in the center of the main foot well with additional drainage from the seats. A central watertight locker offers general storage or houses the
diesel engine when fitted.
Deck Fittings: Bespoke deck fittings including bowsprit, tabernacle and chain plates are made from stainless steel. 4 aluminium deck cleats are positioned
aft & amidships with two fairleads feeding a teak Sampson post forward. All sail controls are led aft to rope clutches / jammers with a single halyard
winch to starboard. Adjustable jib & mainsheet cars. Access below is via a teak lined sliding companionway hatch and split plywood / Perspex washboards.
Extra ventilation provided by an aluminium forward hatch.
Ports: 2 aluminium fixed ports are fitted one each in the hull topsides.
Chain plates: Chain plates are in stainless steel and through bolted on the hull sides.
Vents: Ventilation is via a washboard vent and opening forward hatch.
Miscellaneous Equipment: Fuel filler &tank vent.(Inboard version only), Life harness attachment point by the companionway, Rope tidies for halyards.
Cockpit Lockers: Two main watertight lockers with latches and padlocks are provided. A padlock is also provided for the companionway hatch.
Mainmast: Laminated in Sitka Spruce and treated with Sikkens Cetol including a stainless steel mast band to take Cap shrouds, jib and mainsail halyards.
All deck mounted on a substantial stainless steel tabernacle.
Main Boom: Laminated in Sitka Spruce and treated with Sikkens Cetol including a Stainless steel gooseneck fitting, kicker and mainsheet bands and all
associated reefing line leads / terminals.
Bowsprit: Laminated in Sitka Spruce and treated with Sikkens Cetol including a Stainless steel pivot fitting, end plate and bobstay take off points.
Gaff: Laminated in Sitka Spruce and treated with Sikkens Cetol including a Stainless steel gaff collar with rubber protection on bearing surface. Wire hoist
span and block.
Standing Rigging: Cap shrouds, lower shrouds & forestay in 4mm 1 x 19 stainless steel wire with swagged ends. Chromed rigging screws. Jib mounted on
reefing spar and controls led aft to cockpit.
Running Rigging: Main throat / peak halyards – 6mm braid. Jib &Staysail halyards – 6mm braid. Main topping lift – 6mm braid. Mainsail reefing lines –
6mm braid. Mainsail outhaul – 6mm braid. Mainsheet & Jib sheets – 10mm sheet rope. All associated blocks for purchase tackles.
Mainsail: Dacron in tan or cream. 2 reef points with tie in lacing. Luff and gaff lacing as required.
Jib: Dacron in tan or cream with wire luff and tell tails.
Boom Cover: In maroon, or cream acrylic. Fixings to allow for topping lift and mainsheet take off. All sails supplied with, sail numbers, logo and ties.
Engineering
Outboard Version
Outboard well: A teak engine mounting with stainless brackets. Engine well hull blank. GRP moulded fuel tank stowage and fuel lead splitter through aft
locker compartment. (fuel lead not supplied as standard)
Inboard Version
Stern Gear: A 1” stainless steel shaft is fitted, connected to the engine via a coupling and fitted with a Tides Marine ‘lip seal’ gland. The shaft drives a fixed
2-bladed propeller.
Engine: Yanmar 1GM10 9hp marine diesel engine. A 55 amp (12V) alternator is fitted to the engine.
Engine Instruments and Controls: The engine instruments are located at the rear of the cockpit coaming and are recessed with a clear cover. Instruments
include audible alarm, alternator warning light, start switch and stop control. A single lever engine control is supplied and fitted in the cockpit well.
Engine Cooling: The engine is directly salt water cooled. A 1/2″ diameter pipe leads from the main seawater inlet through a strainer to the engine and
discharges overboard through the exhaust.
Engine Exhaust: A flexible exhaust hose connects the exhaust via a swan neck with water trap to the outlet fitting through the transom.
Fuel System: A plastic diesel tank with a capacity of approximately 18 litres, breather and integrated fuel gauge. The tank is fitted with flow and return
lines, the flow line having a manual shut off valve.
Plumbing
Bilge System: 1 x Manual bilge pump operated from the cockpit with a handle stored in the aft locker.
Fresh Water Tanks: 2 x 10ltr plastic jerry cans with manual hand pump. Also a bucket / sink.
Soil System: When fitted the heads discharge directly to sea via a vent loop and skin fitting.
Inlet / Outlet Fittings: Engine: In through a single skin fitting with a valve and strainer, out via the exhaust system.
Gas System: There is a double burner hob cooker attached to a separately stored gas bottle.
12 volt DC system
Batteries: Engine – one 12 volt 55 amp/hour. (Optional on outboard version)
Charging: Via main engine – a 35 amp (at 12 volt) alternator.
Switchboard: An optional switch panel is fitted to boats that have additional electronics fitted.
Miscellaneous Standard Equipment
Deck: 1 x winch handle. 1 x bilge pump handle. Stowed in aft cockpit locker. 1 x fire extinguisher – situated down below.
Joinery: The interior joinery is constructed from high quality materials and in accordance with good yacht practice. Bulkheads and side back linings are
from plywood.
Finish: All cabin woodwork is finished in a mix of painted bulkheads and varnished trim.
Soles: Rubber textured sole throughout.
Upholstery: A choice of soft or wipe down plastic upholstery is available.
With external cross-bracing to withstand the wind and open up the internal floorplan the John Hancock Center anchors the north end of Michigan Avenue. At 100 stories it is third tallest building in Chicago (after the Sears Tower and the Aon (formerly Standard Oil) Center. Its another Skidmore, Owings and Merrill, this time designed by structural engineer Fazlur Khan and clearly in the modernist, structural expressionist style. While I've run my share of races I'll pass on the annual staircase climb to the "Top of the Cock." Once there, however, you can have an expensive drink and a marvelous view of 4 states from the Signature Room on the 95the Floor.
Les Grandes Marques du Monde au Grand Palais
Bonhams
Parijs - Paris
Frankrijk - France
February 2019
Estimated : € 20.000 - 30.000
Sold for € 16.100
One of the most influential automobiles of all time, the Alec Issigonis-designed Mini debuted in 1959 to universal acclaim. True, there had been numerous front-wheel-drive designs before the Mini's arrival, but the transverse engine layout allowed Issigonis to create a trend-setting masterpiece of automotive packaging.
Estate car versions of the Mini were introduced in January 1960 as the Countryman (Austin) and Traveller (Morris). Based on the Minivan platform, they were 4" (101.6mm) longer in the wheelbase and offered greatly increased luggage space, even with four passengers aboard. Both boasted non-structural wooden trim at the rear to create a 'woody' look. A cheaper all-metal version followed. Departures from saloon practice included double rear doors (like the Minivan), sliding rear side windows, twin wing mirrors, and mounting the battery and spare wheel beneath the rear floor.
Built up to November 1967, the original (retrospectively 'Mk1') version was powered by the 848cc engine, and like its 998cc Mk2 successor was only ever available with the rubber cone suspension. The De Luxe saloon's trim level was standard on the estates.
This left-hand drive Austin Mini Countryman left the factory on 23rd January 1963 bound for Sweden, and very sensibly was equipped with a heater. The accompanying BMIHT Certificate states that the original colour scheme was Smoke Grey with blue-grey interior.
The car has formed part of the vendor's extensive collection of British cars since 2017. Well presented and in a stunning colour combination, this very elegant Mini featured in 'Classic Motor' (October 2005 edition) and comes with a copy of the magazine.
Roberto Burle Marx (August 4, 1909, São Paulo – June 4, 1994, Rio de Janeiro) was a Brazilian landscape architect (as well as a painter, print maker, ecologist, naturalist, artist and musician) whose designs of parks and gardens made him world famous. He is accredited with having introduced modernist landscape architecture to Brazil. He was known as a modern nature artist and a public urban space designer.
Roberto Burle Marx's father was an emigrant from the city Trier in Germany. His mother was raised from an upper class family in Brazil. Burle Marx's first landscaping inspirations came while studying painting in Germany, where he often visited the Dahlem Botanical Gardens and first learned about Brazil's native flora. Upon returning to Brazil in 1930, he began collecting plants in and around his home. He went to school at the National School of Fine Arts in Rio in 1930 where he focused on visual arts under Leo Putz and Candido Portinari. While in school he associated with several of Brazil’s future leaders in architecture and botanists who continued to be of significant influence in his personal and professional life. One of these was his professor, Brazilian Modernism’s Lucio Costa, the architect and planner who lived down the street from Burle. In 1932, Burle Marx designed his first landscape for a private residence by the architects Lucio Costa and Gregori Warchavchik. This project, the Schwartz house was the beginning of a collaboration with Costa which was enriched later by Oscar Niemeyer who designed the Brazilian Pavilion at the New York World’s Fair in 1939. Niemeyer also designed the Pampulha complex in 1942 which Marx designed gardens for.
In 1949 he acquired the 365,000m² estate Barra de Guaratiba (just outside of Rio de Janeiro). Burle Marx began taking expeditions into the Brazilian rain forest with botanists, landscape architects, architects and other researchers to gather plant specimens. He learned to practice studying plants in situ from the botanist Henrique Lahmeyer de Mello Barreto and established his garden, nursery and tropical plant collection at Guaratiba. This property was donated to the Brazilian government in 1985 and became a national monument. Now called Sítio Roberto Burle Marx, under the direction of IPHAN-Instituto do Patrimônio Histórico e Artístico Nacional / Ministério da Cultura, it houses over 3,500 species of plants. The house was rebuilt in a valley on the site of a garden house belonging to the original plantation estate.
Roberto Burle Marx founded a landscape studio in 1955 and in the same year he founded a landscape company, called Burle Marx & Cia. Ltda.
Much of his work has a sense of timelessnes and perfection. His aesthetics were often nature based, for example, never mixing flower colours, utilisation of big groups of the same specimen, using native plants and making a rocky field into a relaxing garden. He was very interested in each plant's character and what effect that has on the whole garden. He opened an office in Caracas, Venezuela in 1956 and started working with architects Jose Tabacow and Haruyoshi Ono in 1968. Marx worked on commissions thorough out Brazil, Argentina, in Chile and many other South American countries, France, South Africa, Washington D.C. and Los Angeles. Additionally his artwork can be found displayed throughout the city of Rio de Janeiro “it is an open-air museum of works displaying his unmistakable style, one wholly his own” (Montero 2001 p. 29). Roberto Burle Marx’s 62 year career ended when he died June 4, 1994 two months before his 85th birthday.
He spent a lot of time in the Brazilian forests where he was able to study and explore. This enabled him to add significantly to the botanical sciences, by discovering new rocks and plants for example. At least 30 plants bear his name. Marx was also involved in efforts to protect and conserve the rain forest from the destructive commercial activities of deforestation for bananas and other crops and clear cutting of timber.
Marx’s work “can be summarized in four general design concepts—the use of native tropical vegetation as a structural element of design, the rupture of symmetrical patterns in the conception of open spaces, the colorful treatment of pavements, and the use of free forms in water features” (Vaccarino 2000, p. 17). This approach is exemplified by the Copacabana Beach promenade, where native sea breeze resistant trees and palms appear in groupings along Avenida Atlantica. These groupings punctuate Portugese stone mosaics which form a giant abstract painting where no section along the promenade is the same. This “painting” is viewed from the balconies of hotels, and offers an ever changing view for those driving along the beach. The mosaics continue the entire two and a half mile distance of the beach. The water feature, in this case, is of course the ocean and beach, which is bordered by a 30 foot wide continuous scallop patterned mosaic walk (Eliovson 1991; Montero 2001). Copacabana Beach is “the most famous in Brazil” (Eliovson 1991 p. 103).
Structurally crinkled gyprock in the Permian of New Mexico, USA.
This is the famous (& former) State Line outcrop, along Rt. 180/Rt. 62 at the New Mexico-Texas border. The cut contains finely-laminated gyprock (rock gypsum), a finely crystalline-textured, chemical sedimentary rock composed of the mineral gypsum (CaSO4·2H2O - hydrous calcium sulfate). Gyprock is an evaporite, which forms by the evaporation of water (usually seawater) and the precipitation of dissolved minerals. The whitish layers are gypsum. The dark brown layers are calcite. Each gypsum-calcite couplet represents one year's worth of deposition. These layers could be called varves. The calcite-gypsum (or -anhydrite) couplets have been successfully correlated throughout the Delaware Basin. Spectacular crinkling, small-scale folding, and small-scale faulting are present at this site. The folds and faults formed as a result of early Cenozoic structural deformation, not gypsum-to-anhydrite (or vice-versa) transformations (see Anderson & Kirkland, 1987).
The crinkling seen above is thought to have inspired the decorations seen on some southwestern American Indian pottery (see photo elsewhere in this photo album).
This world-class outcrop was destroyed in the late 2000s by the highway department to convert the two-lane highway into a four-lane divided highway.
Stratigraphy: Castile Formation, upper Upper Permian
Locality: State Line outcrop, roadcut on either side of Rt. 180/Rt. 62, between Carlsbad Caverns National Park and Guadalupe Mountains National Park, immediately north of the Texas border, southern Eddy County, southeastern New Mexico, USA (32° 00' 34.2" North latitude, 104° 29' 55.0" West longitude)
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Reference cited:
Anderson, R.Y. & D.W. Kirkland. 1987. Banded Castile evaporites, Delaware Basin, New Mexico. Rocky Mountain Section of the Geological Society of America, Centennial Field Guide Volume 2: 455-458.
From the book Structural Packaging by Josep Garrofé. Cut and cut-scored on my Craft ROBO from the book’s CD-ROM in less than 5 minutes.
Structural model for second year project. White painted MDF on a foam core base.
Checkout my latest model;
The Green Concept Home is a custom house designed and built by Modus V Studio Architects. This custom home was built with Premier Structural Insulated Panels, SIPs, walls and roofing. Premier SIPs provide a energy efficient and tight building envelope to help get your building to the uptmost green capacity.
2776 square feet of 6" wall panels
2296 square feet of 10" roof panels
This 2,840 sq.ft contemporary house, completed in October 2010, is located in the Greenwich Crest neighborhood in Bellevue, WA. This project aims to implement many concepts of green designs to create a holistic and sustainable way of life, without sacrificing functionality, style, comfort and cost.
The Green Concept Home is the first single-family residence in Bellevue, WA, registered under the internationally recognized “LEED for Homes” green certification program. The project is also registered under the regionally recognized “Built Green” program.
The goal of this website is to share information and our experience in order to encourage more green buildings in the future. We welcome you to tell us your thoughts, knowledge and experience and to join us in one of our upcoming green tours or open houses.
Although many fine “green” demonstration houses have already been built throughout the country, there needs to be many, many more of them, until there are enough so that virtually everyone has a chance to experience them.
Architect: Modus V Studio Architects- www.modusvarchitects.com/
For more information: www.greenconcepthome.com/
More information on Structural Insulated Panels: www.pbssips.com
A national juried exhibition with a focus on structure, both natural and human-made. The exhibition features painting, sculpture, photography, drawing, and more by 30 artists from across the country.
The work for this exhibition was chosen by our wonderful jurors, Peter Gabak and Joanna Poag. Join us for the opening reception, where $1,000 in cash awards will be announced!
Artists Included:
Deborah Beardslee (NY), Jackie Brown (ME), Christina Cassone (PA), Theresa Devine (AZ), Zach Dietl (NY), Julianne French (FL), Nate Hodge (NY), Ellie Honl (IN), Kristy Hughes (IN), Jim Jacobs (UT), Yasemin Kackar-Demirel (NY), Ella Kampelman (MN), Susan Kaye (NY), Namdoo Kim (NY), Sassoon Kosian (NJ), Tom Kredo (NY), Yoonjee Kwak (NY), Pamela Markman (CA), Vanessa Michalak (MA), Nicole Mongelluzzo (NY), Kelly Nye (OH), Colleen O’Hara (NY), Chris Oliver (NY), Nancy Ridenour (NY), Ruth Simon McRae (GA), Jean Stephens (NY), Susan Stuart (NY), Tracy Wascom (MI), Doerte Weber (TX), Jere Williams (VA)
May 9–June 30, 2015
Opening Reception: Saturday, May 9, 4–7p.m.