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Temporary roads are constructed for logging truck haul routes. After logging is complete, roads are decommissioned so the area can heal.
(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...
Temporary shelter constructed using a timber frame and CGI roofing. The material for the temporary shelter has been supplied by Danish Aid. The household has received the first tranche of the GoN housing reconstruction grant.
Dated; 26 February 2018.
I've temporarily run out of shots to upload so I'm dipping into my 'Rainy Day' shots, a set I have for such circumstances. Here it's very appropriate for this shot of a flooded Port Meadow in Oxford.
On a dreary day in March 1989, an eastbound Delaware & Hudson freight, now operated by the Susquehanna, approaches the road crossing at Montevideo Rd on CSX's Capitol Subdivision with F45 #3636 leading NS C30-7 #8059. Milepost 15 can also be seen on the north side of the #1 main. The NYS&W was a temporary operator of the D&H ordered by the bankruptcy court until a buyer could be found for the railroad. By 1991 the D&H became part of the Canadian Pacific and these post Conrail trackage rights trains to and from Potomac Yard would continue into the '90s before finally being given up by CP.
Pentax K1000
Kodak TMAX 400
Use a "C" Clamp to temporarily hold the antenna mast in place for testing. Move around for the best signal while listening to ATIS for a particular airport. Then "C" Clamp antenna in place.
Regional Trial Court Branch Judge Simeon Dumdum Jr. hears a case inside the temporary courthouse in the Quimonda IT Center.
Over the 2013 Christmas period and in to the new year, a period of persistent heavy rain and strong winds combined to cause widespread flooding and countless landslips. One such landslip undermined the carriageway on the approach to Alum Bay, thus curtailing route 7 at Totland over the Christmas period. By the 5th January 2014 when this photo of recently repainted 1102 (HW08 AOR) was taken, a temporary terminus had been established a few hundred yards along the road with buses turning in the entrance to Headon Hall.
Statue of Admiral David G. Farragut
•U.S. National Register of Historic Places
•Contributing Property to U.S. Historic District
•Part of: Civil War Monuments in Washington, D.C.
•NRHP Reference #: 78000257
•Added to NRHP: September 20, 1978
•Location: Farragut Square, Washington, D.C., United States
•Coordinates: 38.901944°N 77.038972°W
•Designer: Vinnie Ream
•Material: Bronze (sculpture); Granite (base)
•Length: 3 feet (0.91 m)
•Width: 3 feet (0.91 m)
•Height: 10 feet (3.0 m)
•Opening date: April 25, 1881
•Dedicated to: David Farragut
Admiral David G. Farragut is a statue in Washington, D.C. honoring David Farragut, a career military officer who served as the first admiral in the United States Navy. The monument is sited in the center of Farragut Square, a city square in downtown Washington, D.C. The statue was sculpted by female artist Vinnie Ream, whose best known works include a statue of Abraham Lincoln and several statues in the National Statuary Hall Collection. The monument was dedicated in 1881 in an extravagant ceremony attended by President James A. Garfield, members of his cabinet, and thousands of spectators. It was the first monument erected in Washington, D.C. in honor of a naval war hero.
The statue is one of eighteen Civil War monuments in Washington, D.C., which were collectively listed on the National Register of Historic Places in 1978. The bronze statue, which rests on a granite base, was cast from the USS Hartford bronze propellers and not from enemy cannon like most Civil War monuments in the city. The monument and surrounding park are owned and maintained by the National Park Service, a federal agency of the Interior Department.
History
Background
David Farragut (1801–1870) was a career military officer who first saw combat during the War of 1812 at the age of 9. He served on the USS Essex and was captured by the British. After the war, Farragut fought pirates in the West Indies on the ship USS Ferret, his first command of a United States Navy vessel. He also fought in the Mexican–American War and oversaw the construction of the Mare Island Naval Shipyard in San Francisco. Although Farragut and his wife were Southerners, they remained loyal to the United States during the Civil War. His success in capturing New Orleans resulted in Farragut being honored with a new title created by the Navy, rear admiral. He continued to have great success in defeating Confederate forces, most notably at the Battle of Mobile Bay, where he uttered his famous phrase “Damn the torpedoes! Full speed ahead!” Following the war, President Andrew Johnson promoted Farragut to admiral, the first U.S. naval officer to receive the title.
Soon after Farragut’s death in 1870, there were calls for a memorial to honor the naval hero. Representative Nathaniel P. Banks introduced a resolution in Congress for the erection of a monument to Farragut. The resolution stated that the statue was to be “after a design molded from life”, a subtle caveat intended to assist someone Banks already had in mind to create the statue, sculptor Horatio Stone of Washington, D.C., who claimed to have met Farragut and had already begun working on a statue. Bank’s resolution was referred to the Joint Committee on Public Buildings and Grounds, where the committee chose to hold a competition, much to the dismay of Stone. Sculptors were only given sixty days to submit models of the statue, but when the congressional act approving the monument passed on April 16, 1872, the resolution was amended and the deadline for design submissions was extended by nine months.
Vinnie Ream (1847–1914), a sculptor who at age nineteen had received the first government commission ever granted a female artist when she created a bust of President Abraham Lincoln, began working on a bust of Farragut, whom she had met several times. Farragut’s widow, Virginia, admired Ream’s design and became a strong advocate for the artist’s model to be selected. Virginia wrote letters of endorsement to committee members and supplied Ream with the names of Farragut’s friends so that they too would offer their endorsements to the committee. There were thirteen artists who submitted models with Ream being the only woman. Their designs were displayed in the basement of the United States Capitol and several were severely criticized by the press, most notably the models by J. Wilson MacDonald, Randolph Rogers, and Edward Watson.
Stone and Ream’s model received the most praise. Stone’s model was praised by several naval officers who called it “true to life” and “unsurpassed by similar works.” Ream’s model received praise from several high profile individuals, most notably President Ulysses S. Grant, who called it “first rate”. Admiral David Dixon Porter said the model “of Miss Vinnie Ream is the only likeness in the lot.” General William Tecumseh Sherman, who was reportedly infatuated with Ream, also became a strong advocate for her model. He wrote to the committee that “the plaster model of Vinnie Ream struck me decidedly as the best likeness, and recalled the memory of the Admiral’s face and figure more perfectly than any other model there on exhibition.” The decision by the committee ultimately ended in a three-way tie between Ream, Stone, and MacDonald. The project stalled until the next Congress convened in 1874. A commission to select the winning model was created and consisted of Virginia, Sherman, and Secretary of the Navy George M. Robeson. Virginia and Sherman voted to approve Ream’s design, though Robeson refused to accept the result and tried in vain to convince Virginia to change her mind. Two months after the vote, Robeson relented and Ream’s model was officially selected.
Ream was awarded $20,000 for the design and worked on the statue for the next few years. She consulted Virginia and incorporated her suggestions, much to the delight of Virginia. In 1879, Ream announced that the model was ready to be cast and that the process would take place at the Washington Navy Yard, which had never before cast such a large statue. She continued to perfect the model while at the Navy Yard, much to the delight of the sailors. Although many of the city’s statues of military heroes were cast from captured enemy cannon, Farragut’s statue was cast from the USS Hartford bronze propellers that were removed and shipped to the Navy Yard. The amount of bronze yielded from the propellers was enough not only for the statue, but the four mortars on the corners of the statue base.
The site chosen for the statue was Farragut Square, a park renamed in honor of the admiral shortly after his death. The original dedication date, March 4, 1881, was pushed back because the statue base wasn’t ready. The base did not arrive until April 20, five days before the dedication, resulting in Ream’s husband, Lieutenant Richard L. Hoxie, working around the clock with a crew of workers to make sure the site was ready. The base was completed and statue erected just hours before the ceremony began.
Dedication
The statue was dedicated at 1 pm on April 25, 1881, becoming the first monument erected in Washington, D.C. in honor of a naval war hero. Government employees were dismissed at noon, the same time a procession began at the base of Capitol Hill. The military contingent, led by Commodore Charles H. Baldwin, moved west on Pennsylvania Avenue, where houses were decorated with bunting, and past the White House, before heading north on Connecticut Avenue. The homes surrounding the square were decorated with streamers and flags. Nearly 4,000 invited guests, including members of the Grand Army of the Republic and fellow sailors who served alongside Farragut, listened to John Philip Sousa conduct the Marine Band as they filled three temporary stands that were built on three sides of the statue. Distinguished guests included President James A. Garfield and his wife, Lucretia, members of the President’s cabinet, Virginia Farragut, and Ream.
An opening prayer was led by Reverend Arthur Brooks followed by the statue being unveiled by two members of Farragut’s Hartford crew, Quartermaster C. B. Knowles and Boatswain James Wiley. When the statue was unveiled, the Marine Band began playing a march and a seventeen gun salute was fired from nearby Lafayette Square. Secretary of the Navy William H. Hunt then introduced the President, who formally accepted the statue on behalf of the American people and gave a brief address. He stated: “Today we come to hail this hero, who comes from the sea, down from the shrouds of his flagship, wreathed with the smoke and glory of victory, bringing 60 years of national life and honor, to take his place as an honored compatriot and perpetual guardian of his Nation’s glory. In the name of the Nation I accept this noble statue, and his country will guard it as he guarded his country.” Speeches were then given by former Postmaster General Horace Maynard and Senator Daniel W. Voorhees followed by the Marine Band playing “Hail to the Chief” and another seventeen gun salute. At the conclusion of the ceremony, the military procession saluted the statue as they marched back down Connecticut Avenue, past the White House, and down Pennsylvania Avenue.
Later History
The Farragut statue is one of eighteen Civil War monuments in Washington, D.C., which were collectively listed on the National Register of Historic Places on September 20, 1978, and the District of Columbia Inventory of Historic Sites on March 3, 1979. It is one of the few Civil War monuments that is a not an equestrian sculpture. The others are the Dupont Circle Fountain, Stephenson Grand Army of the Republic Memorial, Nuns of the Battlefield, the Peace Monument, and statues of Brigadier General Albert Pike and General John A. Rawlins. The monument and park are owned and maintained by the National Park Service, a federal agency of the Interior Department.
Design and Location
The statue is located in the center of Farragut Square, a park in downtown Washington, D.C., bordered by K Street (north), I Street (south), and 17th Street NW (east and west). Two sidewalks bisect the park from the northwest to southeast corners, running along either side of the statue, on axis with Connecticut Avenue. Another sidewalk leads from the northeast to southwest corners and runs along the statue. A small, ornamental iron fence surrounds the statue base.
The bronze statue measures 10 ft (3.0 m) tall, 3 ft (0.91 m) wide, and 3 ft (0.91 m) long. Farragut is depicted in his military uniform and standing on the deck of his ship, facing south towards the White House. His right knee is bent as his right foot rests on a capstan. He is holding a telescope with both hands. The base, made of granite from Rockland, Maine, is 16 ft (4.9 m) tall, 18 ft (5.5 m) long, and 24 ft (7.3 m) wide. It is a square, three-tiered base with a chopped mortar on each corner. The inscription “FARRAGUT” is on the front of the base. Inside the base is a box containing documents related to Farragut’s career, a history of the sculpture, a copy of the Army and Navy Register, and a bronze model of the propeller used to cast the statue and mortars.
Early January rain storms created many 'temporary lakes' throughout California's Central Coast. These lakes will dry up as the frequency and intensity of winter rain and snow eases and California returns to its normally bone dry weather pattern
So I mentioned that the Rapax shutter on the 101mm Raptar lens that came with the camera could use some love. I'm trying to decide if I should spend the money to have a CLA (clean, lube and adjust) done on it or if I should get adventurous and try it myself. For the time being, it's half usable. I think the high speed mechanism is ok and the T&B settings are functional. So it's ok for everything except the 1/10th to 1 second settings.
While I ponder what to do with the original lens/shutter combo, I decided to put together another lens/shutter that I could sub in if need be. The lens is a Kodak 105mm Anastigmat in a Kodak Compur shutter that came off an old Kodak Recomar folding 6x9 camera (another project...don't ask...). I'm pretty sure this is another Tessar derived lens, so it should be a decent performer when stopped down. While the slow shutter speeds are a little slow on the Compur, they're at least predictable (as opposed to the Rapax that is not predictable in the slightest). I whipped up a rough but functional lensboard out of some 3/32" bass wood. Should I need shutter speeds longer than a 1/10th but shorter than something I could reliably time on the bulb setting, I can get the Anastigmat to fill in.
I'm keeping an eye open for a 101mm Kodak Ektar which was kind of the benchmark for the 2x3 press cameras. If I can pick one of those up, I might do so and then tear down the Rapax on my own. If not, reports on the 101m Raptar aren't too bad, so it might be worth the cost of a professional CLA.
wishing it was this warm and sunny again. taken in tucson, arizona.
This work is licensed under a Creative Commons Attribution-NoDerivs 2.5 Canada License.
The Torf Gallery, in which 50 of the MFA's Impressionist works are on temporary display while the regular Impressionist Gallery undergoes renovations.
The Sci-Arc/CalTech Hanwhua Solar House, CHIP (Compact Hyper-Insulated Prototype), 2011
Exposition park
700 Exposition Drive
Los Angeles, CA 90037
SciArc/CalTech for the US Department of Engergy Solar Decathalon, 2011
2011 Decathalon Winner
An "Exposition Park" needs to be about emerging technologies -- not just a museum of past discoveries. CHIP carries on this tradition, and should be a permanent fixture on the campus. Tucked away behind the California Science Museum, this temporary exhibit was a delightful find. Although it's small, It's very livable. Well done!
__________
Architecturally, the crown jewel of Exposition Park is the 1913 Natural History Museum (renamed the Los Angeles County Museum of Natural History), designed by the prominent team of Frank Hudson and William Munsell. The Natural History Museum is mostly Beaux Arts, capped by a large dome of stained glass, supported by marble pillars. The building accents are Romanesque and Spanish Plateresque.
The Sunken Garden (renamed the Rose Garden in the 1920's) is the park's other National Register site. There are more than 20,000 rose bushes, with more than 200 varieties. The Rose Garden, with the Natural History Museum in the background has been captured in numerous films and TV shows, most recently featured as the home of the "Jeffferson Institute" on the TV crime drama Bones. The park's past is checkered. Originally it was a vanue for horse, camel, dog, and later automobile racing; it also reportedly housed the city's longest bar and "one of its most stylish brothels."
Also lining the Rose Garden are other architectural treasures. The Beaux Arts/Classical Exposition Building (renamed the California Science Center) runs parallel to the garden, and opposite the Natural History Museum is the Beaux Arts/Egyptian Revival Armory Building (Now the Science Center School and Amgen Center for Science Learning. Next to the Armory Building is the 1984 Frank O Gehry and Associatiates California Aerospace Museum. Elsewhere in the park is The Museum of African-American History, designed in 1984 by Jack Haywood and Vincent J Proby. The Memorial Coliseum was designed by John and Donald Parkinson.
Exposition park holds the distinction of the only venue in the world to host two olympic summer games (X and XXIII) and two Superbowls (I and VII). During the 1990's the park's popularity decreased and it was possible to spend time in the Rose Garden and almost not see another person. Today the park has regained its popularity.
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The park is public space owned by the state of California, whose major cultural facilities mentioned above are operated by both the state and Los Angeles County. The 160-acre (0.65 km2) site served as an agricultural fairground from 1872 to 1910 (hence its original name Agricultural Park). Farmers sold their harvests on the grounds, while horses, dogs, and even camels competed along a racetrack where the rose garden now blooms.
In 1880, John Edward, Ozro Childs, and former Governor Downey persuaded the State of California to purchase 160 acres (0.65 km2) in Los Angeles to foster agriculture in the Southland. Soon after USC was built in 1880, the city's most influential families moved into the neighborhood, but did not appreciate the racing and the gambling that came with it. As a result, the rose garden replaced the racetrack, and the park became what it is now with its grand museums.
Wikipedia - Exposition Park: en.wikipedia.org/wiki/Exposition_Park_(Los_Angeles)
Temporary flowering meadow, Birrarung Marr, City of Melbourne, Victoria, Australia
This image represents one in a series of biodiversity photorecords gathered as part of the insect ecology, biodiversity and conservation project The Little Things that Run the City.
This project was co-funded by The City of Melbourne and RMIT University, and is part of the core research being conducted by the Clean Air and Urban Landscapes Hub of the National Environmental Science Program. Findings from this project have contributed to the City of Melbourne's Nature in the City urban ecology and biodiversity strategy.
The wet and the dry of the terraces are temporary. Change appears slow in our lifetimes, but changes in the blink of an eye geologically.
as yesterday was the first advent, the christmas tree in Riga's Dome Square was finally lit. after waiting 30 minutes for speeches to be finished, the tree was lit and the square was littered with gigantic tinsel and flooded with bubbles. this was to make up for the fact that we don't have snow.
or maybe new hideouts for birdwatching?
Actually film set for series The Vikings!
www.birdwatchireland.ie/Default.aspx?tabid=221
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Another view of the house, sculpture by American artist Mike Bouchet. An installation for the Venice Biennale d'Arte 2009.
South Yorkshire PTE 'Temporary Stop' bus stop sign. Part of my collection for many years after being rescued from a muddy lake in Bentley, South Yorkshire.
1807, Friedland
ca. 1861-1875
Ernest Meissonier (French, Lyons 1815–1891 Paris)
Oil on canvas
Meissonier, largely self-taught, established his reputation in the 1840s as a painter of small-scale genre scenes rendered in meticulous detail. An 1864 history painting, "1814, the Campaign of France" (Musée d'Orsay, Paris), signaled the artist's new interest in epic Napoleonic subjects. Countering that image of Napoleon in defeat, "1807, Friedland," Meissonier's largest and most ambitious painting, evokes one of the emperor's greatest victories. These two paintings were the only realized works in a projected cycle of five episodes in the life of Napoleon.
"1807, Friedland" gained notoriety in 1876 when the American department store magnate Alexander T. Stewart (1803–1876) purchased it from the artist, sight unseen, for an astronomical sum. Judge Henry Hilton acquired the work at Stewart's estate sale and in 1887 bequeathed it to the Metropolitan Museum.
Gift of Henry Hilton, 1887
87.20.1
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.