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Avro tutor G-AHSA at Old Warden during a Shuttleworth air show in 2023. Owned and operated by the Shuttleworth Collection, this is the only surviving example of this type and is painted to represent K3241 of the Central Flying School aerobatic team circa 1936. The RAF operated the Tutor in the basic training role from 1933 to 1939, and the type was supplied to several other nations including Greece and South Africa.
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Royal Canadian Air Force (RCAF - ARC)
SNOWBIRDS
performing during the 2019 London Air Show
at London International Airport (YXU)
The current century old Miami-Dade County Courthouse at 73 Flagler Street will see a new neighbor rise across the street; the new 474-foot-tall, 25-story Miami-Dade County Civil and Probate Courthouse was approved by the Miami-Dade Rapid Transit Developmental Impact Committee back in February of 2021. Designed by HOK, the 537,968-square-foot courthouse building is anticipated to become one of the tallest governmental-use towers in Miami.
Plenary Group, an Australian infrastructure investment firm, is the developer behind the proposals for the new courthouse under Plenary Justice Miami, LLC. The narrow piece of property is located within the western portion of Downtown Miami, also recognized as a part of the Central Business District, and in close proximity to the Government Center Metromover Station and the Interstate 95; bounded by Northwest 1st Avenue to the west, West Flagler Street to the south, Northwest 1st Street to the north and the HistroyMiami Museum to the south. Being that the property is owned by Miami-Dade County, developers had to submit a bid to be selected, where Plenary Group’s proposal was picked as the winner, likely due to the lower construction costs for the project. Other competing proposals were submitted by M-S-E Judicial Partners LLC and Sacyr Infrastructure USA.
Renderings from HOK reveal several elevations with offset window forms, creating a jagged-like texture from afar. The structure will be made of reinforced concrete and clad in what appears to be light-grey masonry with hints of metal trims scattered throughout the building and large floor-to-ceiling glazed windows. The eastern elevation facing the old courthouse features a slightly protruding volume enclosed in glass as well.
Likely due to minimizing construction costs, Miami-Dade County is permitting the project to proceed overriding several regulations. The parking garage will not require screening, and only 11% of the site will be open space whereas the requirement is typically 15%. A building’s facade normally requires 40% glazing, but in this case it will be at 27%. The proposed development can have blank walls facing the public without an artistic expressions such as mosaics or murals, and 0 site trees will be planted, whereas the required amount is 30.
Credit for the data above is given to the following websites:
rel="noreferrer nofollow">www.hok.com/news/2022-11/construction-continues-on-new-mi...
skyscraperpage.com/forum/showthread.php?t=232269
www.thenextmiami.com/vertical-construction-underway-at-do...
floridayimby.com/2021/04/the-474-foot-civil-courthouse-se...
www.tutorperini.com/projects/justice/miami-dade-county-ci...
www.hok.com/news/2022-11/construction-continues-on-new-mi...
www.tutorperini.com/projects/justice/miami-dade-county-ci...
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Strobist:SB-900 and Quadra A-head (in B port) aimed at wall behind.Quadra A-head in 100 cm Elicnhrom softbox high camera left (A port). Skyport trigger. Dodged the background in post.
Well, when placed upside down in a museum foyer!
When I visited Canada in 2017, I knew I'd see a Canadair Tutor at long last, a type that was introduced into service in 1964 and a small number are retained for use by the Snowbirds aerobatic team.
This one is 114155.
Rockcliffe, Ottawa, Canada
6th October 2017
20171006 IMG_6391
D: argggg...can we just take a break for a sec?
A: go a head, try. if you so desperately want to fail at potion again, i wont bother.
D: ....................
The Shuttleworth Collection's 1931 Avro Tutor flying at the Evening Air Show on 19th May 2018. This aircraft was used by the RAF College Cranwell and Central Flying School (CFS) before being retired and returned to civilian use as G-AHSA
Owned and operated by the Shuttleworth Collection.
Her actual military serial is 'K3215'.
Seen displaying at the collections Evening Airshow, Old Warden Aerodrome, Bedfordshire, UK.
17th June 2017.
The details below are from the Shuttleworth Collection website:-
The Tutor was designed as a replacement for the Avro 504 trainer. The prototype was fitted with the lower powered Armstrong-Siddeley Mongoose engine, but production aircraft were fitted with the Lynx engines. The Tutor entered service with the RAF in 1933 and from 1933-36, Tutors from the Central Flying School were famed for their impressive formation aerobatic displays. Tutors were also used throughout the RAF as elementary training aircraft. The Tutor was a luxurious and well-equipped aeroplane for its time, with a tailwheel, effective brakes, seats that could be adjusted for height and rudder pedals for distance, spacious cockpits and a variable incidence tailplane. The Tutor was mainly a military aeroplane and only nineteen appeared on the civil register. K3215 was civilianised as G-AHSA and is now the sole surviving Avro Tutor. It was built as part of the RAF's main production batch in 1933. It is believed to have been the last Tutor on RAF strength when struck off in December 1946. It was owned by John Neasham of Darlington & District Aero Club. It was later bought by Wing Commander Heywood, when unfortunately it suffered an engine crankshaft failure. After this it was purchased by the Collection and was restored to airworthy condition. K3215 is now the sole surviving example of the Avro Tutor worldwide.
My summer 2022 series from my week as a tutor at Marlborough College Summer School. July 24-30-2022.
London (Ontario), 4 June 1988.
114173 wears the markings of the Central Flying School.
This plane joined the Snowbirds in 2000. The jet crashed on 10 December 2004 after a mid-air collision with another Snowbird. The Tutors collided at the top of a loop during a training. The pilot of 173 was killed, the other pilot was literally thrown from his plane (114064) and managed to open his parachute.
Photos by my old tutor, who gave me these awesome headphones <3
I'm hoping to do more with them soon :)
Tutoring Center Brochure design template by Jenna Ebanks.Showcased on Inkd.com.
This brochure is appropriate for a tutoring center interested in developing a personalized learning plan for each and every child. The open book graphic represents every students potential to grow and learn.
.........with due homage to Gary Larson and The Farside :)
F146HGP, a Chevrolet 'Caprice Estate' station wagon with its enthusiastic passenger is seen in the West London sunshine earlier today.
My new math tutor asked to see some origami of mine to talk about how the algebra and origami connect. I set up a little display for him and put them on my practice papers as a joke.
Tarantula, Praying Mantis, Dancing Crane
Designed by Lang folded by me from uncut squares of origamido and painted tissue.
The Château de Chenonceau is a French château spanning the river Cher, near the small village of Chenonceaux, Indre-et-Loire, Centre-Val de Loire. It is one of the best-known châteaux of the Loire Valley.
The estate of Chenonceau is first mentioned in writing in the 11th century. The current château was built in 1514–1522 on the foundations of an old mill and was later extended to span the river. The bridge over the river was built (1556-1559) to designs by the French Renaissance architect Philibert de l'Orme, and the gallery on the bridge, built from 1570 to 1576 to designs by Jean Bullant.
An architectural mixture of late Gothic and early Renaissance, Château de Chenonceau and its gardens are open to the public. Other than the Royal Palace of Versailles, it is the most visited château in France.
The château has been designated as a Monument historique since 1840 by the French Ministry of Culture. Today, Chenonceau is a major tourist attraction and in 2007 received around 800,000 visitors.
In the 13th century, the fief of Chenonceau belonged to the Marques family. The original château was torched in 1412 to punish the owner, Jean Marques, for an act of sedition. He rebuilt a château and fortified mill on the site in the 1430s. Jean Marques' indebted heir Pierre Marques found it necessary to sell.
Thomas Bohier, Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle: MDXIII–MMXIII), though its 15th-century keep was left standing. Bohier built an entirely new residence between 1515 and 1521. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.
In 1535 the château was seized from Bohier's son [fr] by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river.[8] In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.
Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her.
After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.
As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the corps de logis, as well as a service wing on the west side of the entry courtyard.
Catherine considered an even greater expansion of the château, shown in an engraving published by Jacques Androuet du Cerceau in the second (1579) volume of his book Les plus excellents bastiments de France. If this project had been executed, the current château would have been only a small portion of an enormous manor laid out "like pincers around the existing buildings."
On Catherine's death, in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next 11 years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.
Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the ancien régime to visit.
The Château de Chenonceau was bought by the Duke of Bourbon in 1720. Little by little, he sold off all of the castle's contents. Many of the fine statues ended up at Versailles.
In 1733 the estate was sold for 130,000 livres to a wealthy squire named Claude Dupin. His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress Manon Dancourt, whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theatre in her blood." Claude Dupin, a widower, had a son, Louis Claude, from his first wife Marie-Aurore de Saxe, who was the grandmother of George Sand (born Aurore Dupin).
Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on Émile at Chenonceau, wrote in his Confessions: "We played music there and staged comedies. I wrote a play in verse entitled Sylvie's Path, after the name of a path in the park along the Cher."
The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."
In 1864 Marguerite Pelouze [fr ], a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.
José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.
During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940.[20] It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies on 7 June 1944, when the chapel was hit and its windows destroyed.
In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.
Chenonceaux is a commune in the French department of Indre-et-Loire, and the region of Centre-Val de Loire, France.
It is situated in the valley of the river Cher, a tributary of the Loire, about 26 km (16 mi) east of Tours and on the right bank of the Cher.
The population of permanent residents hovers about 350, but there is a large influx of tourists during the summer months because the village adjoins the former royal Château de Chenonceau, one of the most popular tourist destinations in France. The château is distinctive in being built across the river. The village is also situated in Touraine-Chenonceaux wine-growing area, and bordered on its northern edge by the Forest of Amboise.
Name
The difference in spelling between the Château's name (Chenonceau) and the village (Chenonceaux) is attributed to Louise Dupin de Francueil, owner of the château during the French Revolution, who is said to have dropped the "x" at the end of its name to differentiate what was a symbol of royalty from the Republic. As a result of her good relations with the village, the Château was spared the iconoclastic damage suffered by many other monuments during the Revolution. Although no official sources have been found to support this claim, the Château has ever since been referred to and spelled as Chenonceau.
Mme Dupin hosted the philosopher Jean-Jacques Rousseau in Chenonceau as tutor to her children, and among her descendants was the writer George Sand, born Aurore Dupin.
Philibert de l'Orme (pronounced [filibɛːʁ də lɔʁm]) (3-9 June 1514 – 8 January 1570) was a French architect and writer, and one of the great masters of French Renaissance architecture. His surname is also written De l'Orme, de L'Orme, or Delorme.
Biography
Early career
Philbert de l'Orme was born between 3 and 9 June 1514 in Lyon. His father was Jehan de L'Orme, a master mason and entrepreneur, who, in the 1530s, employed three hundred workers and built prestigious buildings for the elite of the city.[3] When Philibert was nineteen he departed Lyon for Italy, where he remained for three years, working on building projects for Pope Paul III. In Rome he was introduced to Cardinal Jean du Bellay, the Ambassador of King François I to the Vatican, who became his protector and client. Du Bellay was also the patron of his friend Francois Rabelais. In about 1540 de l'Orme moved to Paris, and was soon occupied with royal projects.
Royal architect of Henry II (1548-1559)
On April 3, 1548 he was a named architect of the King by Henry II. For a period of eleven years, he supervised all of the King's architectural projects, with the exception of changes to the Louvre, which were planned by another royal architect, Pierre Lescot. His major projects included the Château de St Maur-des-Fossés, the Château d'Anet, the Château de Chenonceau in the Loire Valley; the royal Château de Madrid in the Bois de Boulogne; the Château de Vincennes, and major modifications to the Palace of Fontainebleau.
He also made a reputation as a writer and theorist, and as an innovator in building techniques. He invented a new system for making the essential wooden frameworks for constructing stone buildings, called charpente à petits bois, which was quicker and less expensive than previous methods and used much less wood. He demonstrated it before the King in 1555, and put it to work in construction at the new royal Château de Montceaux and at the royal hunting lodge La Muette [fr] in the Forest of Saint-Germain-en-Laye.
Out of favor - architectural theorist (1559-1563)
The death of Henry II of France on July 10, 1559 suddenly left him without a patron and at the mercy of rival architects who resented his success and his style. Two days later, on 10 July, he was dismissed from his official posts, and replaced by an Italian artist and architect, Francesco Primaticcio, whose work was much in fashion. He had joined a religious order, and decided to turn his attention to meditation, scholarship and writing. He made another trip to Rome to inspect the new works of Michelangelo. Beginning in 1565 wrote the first volume of a work on architectural theory, which was scientific and philosophical. It was published in 1567, and was followed by new editions after his death in 1576, 1626 and 1648.
Royal architect again (1563-1570)
Under Charles IX and Catherine de Medici, he returned to royal favor. He was employed on the enlargement of the Chateau of Saint Maur (1563) and, along with Jean Bullant, on additions to the Tuileries Palace (1564). He died in Paris in 1570, while this project was underway.
Reputation
In the 17th century, during the period of Louis XIV style that followed his death, his reputation suffered. The grand stairway that he built at the Tuileries Palace was demolished in 1664, as was his Château de Saint-Léger in 1668, to make way for classical structures. In 1683, he was denounced by François Blondel of the Royal Academy for his "villainous Gothic ornaments" and his "petty manner". Nonetheless, his two major theoretical works on construction and design continued to be important textbooks, and were regularly republished and read.
His reputation rose again in the 18th century, through the writings of Dezallier d'Argenville, who wrote in 1787 that he had "abandoned the Gothic covering in order to redress French architecture in the style Ancient Greece." D'Argenville wrote the first biography and catalog of works. Though few of his building survived to be studied carefully, later important academic works on de l'Orme were written in the 19th and 20th centuries by art historians including H. Clouzot and Anthony Blunt.
One of De l'Orme's primary accomplishments was to change the way architects trained and studied. He insisted that architects needed formal education in classical architecture, as well as in geometry and astronomy and the sciences, but also needed practical experience in construction. He himself was an accomplished scholar of ancient Greek and Roman architecture, as well as a humanist scholar. He argued that architects needed to be able to design and manage every aspect of the building, from the volumes to the lambris to adding up the cost, making detailed three-dimensional drawings of vaults, judging if wood was dry enough, and knowing to stop digging the foundation when the first sand was encountered. He had scorn for those architects who could design a facade but had no knowledge actual construction. His opponents scorned him for his background as the son of a masonry contractor. He was referred to by Bernard Palissy as "The god of the stone masons", which deeply offended him.
His other major accomplishment was to resist the tendency to simply copy Italian architectural styles; he traveled and studied in Italy, and borrowed much, but he always added a distinctly French look to each of his projects.
The first major building of de l'Orme was the Château of Saint Maur (1541), built for the Cardinal Jean du Bellay, whom de l'Orme had met during his time in Rome. Its plan showed the influence of the Italian villas; and, like the Italian buildings, it was decorated with frescoes.
Much of his work has disappeared, but his fame remains. He was an ardent humanist and student of the antique, he yet vindicated resolutely the French tradition in opposition to Italian tendencies; he was a man of independent mind and a vigorous originality. His masterpiece was the Château d'Anet (1552–1559), built for Diane de Poitiers, the plans of which are preserved in Jacques Androuet du Cerceau's Plus excellens bastimens de France, though only part of the building remains. His designs for the Tuileries (also given by Androuet du Cerceau), begun by Catherine de' Medici in 1565, were magnificent. His work is also seen at Chenonceau and other famous châteaux; and his tomb of Francis I at Saint Denis Basilica remains a perfect specimen of his art.
The most easily viewed work of de l'Orme in Paris is the court facade of the Chateau d'Anet, which was moved to Paris after a major portion of the chateau was demolished, to illustrate for students the major works of the French Renaissance. It is attached to the front wall of the chapel of the Ecole des Beaux-Arts, and is visible from Rue Bonaparte.
Partial list of works
Château de Saint-Maur (1541), demolished in 1796
Tomb of François Ie in the Basilica of Saint-Denis, Paris (1547)
Château d'Anet (1547-1555), built for Diane de Poitiers. Only one wing remains.
Plans of the Chapel of Saint-Éloi, Paris (1550-1566), (Long attributed, but not documented. Only a portion of the facade remains)
Attribution du château d'Acquigny
Facade of the residence of the Vicomte of the Duchy of Uzès (attributed)
Completion of Sainte-Chapelle at the Château de Vincennes (1552)
Château de Villers-Cotterêts, southern portion( 1547-1559)
Chapel of the Château of Villers-Cotterêts (1552-1553)
Royal Château of Saint-Léger-en-Yvelines (demolished)
Château de Meudon (attributed)
Château de Montceaux
Château de Thoiry (1560s)
The bridge upon which the Château de Chenonceau is constructed
Portions of the Louvre
Portions of the new Chateau of Saint-Germain-en-Laye
Portal of Château d'Écouen, now the National Museum of the French Renaissance (mid 16th century). The wing he designed was destroyed in 1787, but vestiges are displayed inside the Chateau.
Roofs of the towers of the Château de Bonnemare.