This will be Part 1 of an ongoing series documenting the sporadic increase of "foreign" power on UP rails in Utah. For this first installment, lets dive back to just two weeks ago.

On June 14th, I received word that an all CN consist was yet again on the UEPJU1-11, an exact repeat of a train that passed through the state last year in April.

With a bit of luck due to mechanical issues, leading to the addition of a UP loco, I was able to intercept the train west of Evanston, WY. We picked up the chase west of town at the County Road 111 grade crossing. One thing that immediately caught our eyes was the use of the marker lights, a feature unique to a very small number of freight railroads.

Train: UEPJU1-11 (Unit Ethanol-Sioux City, IA, to Port Stockton, CA)

Consist:

CN 8929 (SD70M-2)

CN 8017 (SD70M-2)

CN 5772 (SD75I)

UP 8984 (SD70AH)

I posed the question the night before, that I wondered if the bells of the Minster would chime all night, and so would they be made silent after, say, eleven? I can now reveal that the bells did chime all night. I would like to say it was kind of re-assuring, but the ringing, not only of the hours but an attractive peal before the hours were chimed, was loud, loud enough to wake me from my slumber on a few occasions.

We arranged to meet Bradey at eight for breakfast, and in an unusual move we had to exit the guesthouse and go in the front door for the breakfast room. It worked, and soon we were tucking into toast, cereal and a huge cup of coffee or two.

Before breakfast, Jools and I walked round the monster, and saw that it opened at nine, so we hoped to load the car and be at the doors at the final stroke of nine so we could hit toe road as soon as we, or rather, I had my shots.

And this is what happened. The car loaded, we walked to the monster to find the door unlocked, but the church deserted. So, I rushed round getting my shots, it is always wonderful to have a building to oneself, but one as grand and as special as Beverley Minster was a rare treat.

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Beverley Minster, in Beverley, East Riding of Yorkshire, is a parish church in the Church of England. It is one of the largest parish churches in the UK, larger than one third of all English cathedrals and regarded as a gothic masterpiece by many.

Originally a collegiate church, it was not selected as a bishop's seat during the Dissolution of the Monasteries; nevertheless it survived as a parish church and the chapter house was the only major part of the building to be lost. It is part of the Greater Churches Group and a Grade I listed building.[1] Every year it hosts events in association with local schools. Including the Beverley Minster Primary School Nativity Performance and the Beverley Grammar School Speech Night.

The minster owes its origin and much of its subsequent importance to Saint John of Beverley, who founded a monastery locally around 700 AD and whose bones still lie beneath a plaque in the nave. The institution grew after his death and underwent several rebuildings. After a serious fire in 1188, the subsequent reconstruction was overambitious; the newly heightened central tower collapsed c. 1213 bringing down much of the surrounding church. Work on the present structure began around 1220.

It took 200 years to complete building work but, despite the time scale involved, the whole building has coherent form and detail and is regarded[who?] as one of the finest examples of Perpendicular design, the twin towers of the west front being a superlative example. These formed the inspiration for the design of the present Westminster Abbey.

Saint Thomas Becket of Canterbury, (c. 1118–29 December 1170) was named Provost of Beverley in 1154.

Henry Percy, 4th Earl of Northumberland (1449–1489), was buried in the church after being murdered by the citizens of York in 1489 during the Yorkshire Rebellion over high taxes imposed by King Henry VII.

As with many English churches during the wars of religion in the 16th century, Beverley Minster was not immune to dissension. Church authorities cracked down hard on those they felt were part of the "Popish" conspiracy contrary to Royal decrees. "Among those holding traditional beliefs were three of the clergy at the minster, who were charged with Popish practices in 1567; John Levet was a former member of the college and Richard Levet was presumably his brother. Both Levetts were suspended from the priesthood for keeping prohibited equipment and books and when restored were ordered not to minister in Beverley or its neighbourhood."[2]

In the 18th century the present central tower replaced an original lantern tower that was in danger of collapse. This central tower now houses the largest surviving treadwheel crane in England, which is used when raising building materials to a workshop located in the roof. A distinctive feature of both the north and south transepts is the presence of rose windows, and a White Rose of York, with ten equal parts. Daily tours to the crane and rose windows are available to the general public, subject to other church commitments.

Features of the interior include columns of Purbeck Marble, stiff-leaf carving and the tomb of Lady Eleanor Percy, dating from around 1340 and covered with a richly-decorated canopy, regarded[who?] as one of the best surviving examples of Gothic art. A total of 68 16th century misericords are located in the quire of the minster and nearby is a sanctuary or frith stool dating back to Anglo-Saxon times.

The misericords were probably carved by the Ripon school of carvers and bear a strong family resemblance to those at Manchester Cathedral and Ripon Cathedral.

The church contains one of the few remaining Frith Stools (also known as Frid Stools, meaning "peace chairs") in England. Anyone wanting to claim sanctuary from the law would sit in the chair. The chair dates from Saxon times before 1066.[3][4][5][6]

The organ is mounted above a richly carved wooden screen dating from the late 19th century. There is a staircase in the north aisle which would have been used in collegiate times to gain access from and to the chapter house.

Improvements to the choir were made during the 16th and 18th centuries and medieval glass, which was shattered by a storm in 1608, was meticulously collected and installed in the East Window in 1725. The Thornton family, great craftsmen of the early 18th century, were responsible for the font cover and the west door. Another notable feature is the series of carvings of musicians which adorn the nave.

en.wikipedia.org/wiki/Beverley_Minster

Beverley Minster is the Parish Church of St. John and St. Martin

John, bishop of York, founded a monastery on the site where Beverley Minster stands.

John died in 721 and his body was buried in a chapel of the Saxon church.

He was canonised in 1037.

The present church was built around his tomb.

Building work began in 1220 and was completed in 1425.

Throughout the Middle Ages miracles which took place at his tomb attracted pilgrims from far and wide.

Today the church is still a place of pilgrimage for visitors. It also continues to be a place of prayer and worship at the heart of the community.

beverleyminster.org.uk/about-us/

Bourbon, my lurcher, when he was a tiny puppy. He will be 1 next month.

Shea Stadium, originally to be called Flushing Meadows Stadium Park but instead named after William A. Shea, the man who brought National League baseball back to New York, was opened on April 17, 1964 after 29 months and $25.5M of construction. Located right next to LaGuardia Airport, Shea Stadium is known for the roar of overhead airlines.

The architectural firm of Praeger-Kavanagh-Waterbury designed the stadium to be the first all-purpose facility. In addition to serving as the home to the New York Mets, Shea also hosted the New York Jets until 1983, the New York Yankees and New York Giants during construction on Yankee Stadium (1974-75, and briefly in 1998), and numerous concerts including the opening of the 1965 North American Beatles tour, which was the first concert held at a major outdoor stadium.

With a seating capacity of 55,000+, Shea is a circular stadium, with the grandstand forming a perfect circle around the field, ending a short distance beyond the foul lines. The remainder of the perimeter is mostly empty space beyond the outfield fences--occupied by the bullpens, scoreboards, and a section of bleachers. Shea Stadium, with its swirling winds and poor batter's eye has historically played as a pitcher's park.

Square sections which hold the ramps from level to level pop out of the stadium's perimeter. After the Jets left for the Meadowlands in 1983, the exterior was masked with large blue wind screen panels and neon silhouettes of baseball players were placed on each of the six panels. In 2003, large murals celebrating the Mets' two world championships in 1969 and 1986 were put up, covering the two ends of the grandstand. The 1986 mural was removed following the 2006 season.

A distinctive Big Apple emerges from the Mets Magic Top Hat, a giant upside-down black top hat, and flashes whenever a Mets player hits a home run. the hat features the words home run in big letters. Prior to 1984, the hat featured the words "Mets Magic" in honor of the slogan used in 1980 declaring that "The Magic Is Back."

Prior to the construction of Citizens Bank Park, Shea Stadium's 175' x 86' scoreboard topped with a Bulova clock 25 feet beyond the right field fence was the largest in major league baseball. A new LED system was installed prior to the 2004 season, replacing an older light bulb display that had been in place since 1987. The scoreboard is topped by the New York skyline. Since 9/11 the Twin Towers of the World Trade Center have been kept unlit, a red, white, and blue ribbon placed over them. In the aftermath of the terrorist attacks, Shea served as a relief center.

A DiamondVision video board in left center field was installed in 1982, replaced in 1992 by a higher resolution CRT board, and then again by a high-definition LED board manufactured by Mitsubishi. The screen--35 feet, 8 inches wide by 26 feet, 3 inches high -- shows replays, special in-game features, statistics and more.

Shea Stadium Firsts:

* Game: April 17, 1964 - Pirates 4, Mets 3 (WP-Bob Friend; LP-Ed Bauta)

* Batter: Dick Schofield, Pirates (popped up to Mets second baseman Larry Burright against pitcher Jack Fisher)

* Met Batter: Tim Harkness (grounded out, shortstop Dick Schofield to first baseman Donn Clendenon against Bob Friend)

* Hit: April 17, 1964 - Willie Stargell, Pirates; second inning home run off Jack Fisher

* Met Hit: April 17, 1964 - Tim Harkness, third-inning single off Bob Friend

* Met Victory: April 19, 1964 - Mets 6, Pirates 0 (WP - Al Jackson; LP - Bob Veale)

Lelystad 19-06-2016. Alblas Events BE-40-68, Bedford SB5 / Duple Midland, registered in the Netherlands on 22-02-2000 and new in the UK as 1194 NT with Hoggins, Wrockwordine Wood on 02-09-1963.

First a rant, then a review. I (try) to work hard at my job to be able to afford to try new beers and eventually review them. However, it pisses me the eff off when one of my roommates has been stealing my beers and beer glasses for weeks now. I had a hoard of Quebec beers, I wanted to drink my bottle of Unibroue "U" Rousse, and hmm.. for some reason the bottle was opened and empty. That's not like me.. EVERY time I try/drink a beer, I post it on untappd, even if it's Club or OV. But this time, I looked to see if I had it very late at night when I may have had a few too many.. nope. I didn't check in.. so something's up. I look in a box where I had 12 different Quebec beers.. oh look.. 6 of them are all empty.. I didn't even get to try them! Then the other day I wanted to drink a bottle of Unibroue 17 Grande Réserve out of my Unibroue glass (Note: I bought one for $25 + shipping off eBay and got another two from my friend Jonny, but the other two are at the farm), the Unibroue glass is missing! I live in a place that's basically a dorm meets rooming home, everyone here's about my age. None of them really like beer, so it seems really unusual that someone would be stealing my beer I used my HARD EARNED MONEY to buy.. IN QUEBEC! You may be saying "but Cody? Why don't you move out?" Well, I'm perpetually broke. I can't afford to move out. Every time I do have money, I save it for my Quebec bièrcation fund ($50 or so per paycheque) and the rest goes to bills bills bills. I'm sick of this fucking shit.. I work my ass off (even if some don't think I do.. I honestly try my best) and this is the thanks I get. What does this have to do with tonight's review? One beer that fortunately DIDN'T get stolen out of the box was the new Big Bison ESB by Fort Garry Brewing.

Matt & team over at Fort Garry Brewing have been working on a bunch of new seasonals/one-offs for quite a while now, and I still remember reviewing their very first craft beer, Munich Eisbock back in 2011.. oh how the times have changed!

Appearance: Big Bison, like most of their seasonals/Brewmasters beers comes in a painted 650mL bottle. Big Bison has a portrait of a.. bison with the words Big Bison on it, with a 1970 Manitoba centennialesque "Manitoba" logo. Pours a somewhat clear slightly reddish-honey golden ale, thick amount of creamy beige head, fluffy as heck.

Aroma: Has a kind of Fort Garryesque aroma to it, reminiscent of Fort Garry's Rouge in aroma, some moderate amount of bitterness from the hops, a whiff of barley, sweet caramel malt notes and slightly bready.

Taste: While it's called a "bitter", it's quite moderate in bitterness to the tongue.. hi-oh ;) It has a bit of a creamy mouthfeel, floral yet somewhat bitter hops, caramel maltiness, slightly grainy, and somewhat toasted. The flavour is very much of a Fort Garry taste to it, it has a combination of Fort Garry of the past meets Fort Garry of the present. Notes that remind me of Fort Garry Rouge and Gibraltar yet flavours we should expect from Brewmaster Matt.

Overall Thoughts: I'm nowhere near as cranky as I was when I was starting this piece, the beer really calmed me down, soothed me to the point I'm just about ready to go to sleep. I've had quite a few Extra Special Bitters (ESBs) in the past few weeks thanks to taste testing beers at the Lt Governor's Winter Festival, and this is an incredibly solid ESB, nice moderate amount of bitterness, creamy on the palate, caramel notes, a bit toasty, not a beer you would see in Manitoba circa 1970 but this is a style that seems to be one of the "next big styles" in beer, as I've seen a few of my favourite breweries starting to experiment with ESBs as of late. Costs $6.55/650ML bottle at the Liquormart. 5.5% ABV and 45 IBU. I love the name, it's really a Manitoban kind of beer name, and the 1970 "Manitoba" logo reminds me of Manitoba's past. This will of course, pair well with a local bison burger topped with fresh bacon (with a bit of drizzling of maple syrup), Bothwell's award winning Monterey Jack cheese, buns from Le Croissant, Minary Homestyle Bakery in Souris or my favourite.. Stella's Cracked Wheat buns. Oh and don't forget to have a bit of BBQ sauce for the Big Bison burger.. a stout/dark ale BBQ sauce will do its trick!

Okay.. I'm hungry.

"I'll be back so soon you won't have time to miss me.

Look after my heart -- I've left it with you." - Edward Cullen

first of all, this was inspired by my friend Julie, who made a pic w/ her fav quote from the Twilight saga: www.flickr.com/photos/starphotography/3081659196/

this quote is from Eclipse...and in a nut shell, defines how perfect Edward is (the book version not Rob Pattinson)....if only he were real..

Explore # 209....I AM SO EXCITED...my 1st pic ever to be on Explore...thanks everyone!! :)

“…You know the rules? Burglary to be carried out within three days and the loot to be worn for at least an hour in a public place……”

Noreen rose suddenly, her gown swirling to her heels, the diamonds encircling her neck and swaying from her ears rippled into blazing life. She pulled her wonderfully embroidered shawl round her, looking hungrily into his eyes. “Drive me somewhere in the car. Down to the docks. Somewhere horrible and exciting. Wait a minute….” She reached up an unclasped the diamonds from around her neck. “You’d better take these again. I don’t want to be murdered for them!”

,,,,,from The Manhood of Edward Robinson

A butler who isn’t a butler…. A duchess who isn’t a duchess…A madman who isn’t a madman….. A corpse that is not a corpse...A thief who isn’t a thief…..Agatha Christie turns her talents to mischief, mayhem, and murder. Her gallery of rogues, rascals, and evildoers don the most outlandish disguises in this outstanding collection of clever crimes and ingenious intrigue.

The Golden Ball and Other Stories

by Agatha Christie

3.68 • rating details • 685 ratings • 48 reviews

Is it a gesture of good will or a sinister trap that lures Rupert St. Vincent and his family to magnificent estate? How desperate is Joyce Lambert, a destitute young widow whose only recourse is to marry a man she despises? What unexpected circumstance stirs old loyalties in Theodora Darrell, and unfaithful wife about to run away with her lover? In this collection of short stories, the answers are as unexpected as they are satisfying. The Queen of Crime takes bizarre romantic entanglements, supernatural visitations, and classic murder to inventive new heights.

The Golden Ball and Other Stories is a short story collection written by Agatha Christie and first published in the US by Dodd, Mead and Company in 1971[1][2] in an edition priced at $5.95[2]. It contains fifteen short stories.

Containing Thirteen of the famous mystery writer's earliest short works including the lighthearted and suspenseful ""The Listerdale Mystery,"" the supernatural ""The Hound of Death,"" and the romantic ""Magnolia Blossom.""

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The Listerdale Mystery

The Girl in the Train

The Manhood of Edward Robinson

Jane in Search of a Job

A Fruitful Sunday

The Golden Ball

The Rajah's Emerald

Swan Song

The Hound of Death

The Gypsy

The Lamp

The Strange Case of Sir Arthur Carmichael

The Call of Wings

Magnolia Blossom

Next to a Dog

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SBB Lokomotive Ae 3/6 II 10439 ( Baujahr 1925 - Hersteller SLM Nr. 3013 - MFO - Elektrolokomotive Triebfahrzeug - Stangenantrieb ) und ..

SBB Lokomotive Be 4/7 12504 ( Baujahr 1921 - Hersteller SLM Nr. 2716 - SAAS - Spitzname grosse Sécheron - Elektrolokomotive Triebfahrzeug ) am ...

Bahnhof Luzern ( Lucerne Lucerna ) im Kanton Luzern in der Zentralschweiz - Innerschweiz der Schweiz

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SBB Lokomotive Ae 3/6 II

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- Nummerierung : 1 0 4 0 1 - 1 0 4 6 0

- Anzahl : 60

- Hersteller : SLM W.interthur, Maschinenfabrik O.erlikon

- Baujahr(e) : 1921-1926

- Ausmusterung : 1965 - 1977

- Achsformel : 2’C1’

- Länge über Puffer : 14’090 mm

- Höhe : 4’500 mm

- Dienstmasse : 98.5 t ( 1 0 4 0 1 - 1 0 4 2 0 ) bzw. 96.7 t ( 1 0 4 2 1 - 1 0 4 6 0 )

- Reibungsmasse : 55.3 t ( 1 0 4 0 1 - 1 0 4 2 0 ) bzw. 56.3 t ( 1 0 4 2 1 - 1 0 4 6 0 )

- Höchstgeschwindigkeit : 100 km/h

- Stundenleistung : 1'475 kW ( 2’000 PS ) bei 65 km/h

- Dauerleistung : 1’225 kW ( 1’665 PS ) bei 75 km/h

- Treibraddurchmesser : 1'610 mm

- Laufraddurchmesser : 950 mm

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Die Ae 3/6II war eine Schnellzuglokomotive der Schweizerischen Bundesbahnen (SBB).

Ihr geplantes Einsatzgebiet waren die Hauptstrecken der SBB, die nach Abschluss der

Elektrifizierung der G.otthardbahn in rascher Folge elektrifiziert wurden. Diese Aufgabe

teilte sie mit den Ae 3./.6.I, Ae 3./.5 und Ae 3./.6.I.I.I.

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Vorgeschichte

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Die SBB bestellten 24. Mai 1921 bei SLM und MFO 13 Lokomotiven der Serie Ae 3/6 II.

Ab 1924 wurden in vier Losen weitere 47 Maschinen bestellt.

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Pflichtenheft

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Die SBB verlangten von der Industrie die Erfüllung des nachfolgenden Pflichtenheftes:

- Höchstgeschwindigkeit 90 km/h

- Beförderung von 480 t Anhängelast auf 2 ‰ Steigung bei 90 km/h

- drei Hin- und Rückfahrten Z.ürich – St. G.allen (85 km) mit 480 t Anhängelast in 10 Stunden

- drei Hin- und Rückfahrten V.illeneuve – B.rig (117 km) mit 480 t Anhängelast in 11½ Stunden

.. mit jeweils 15 Minuten Aufenthalt in den Endbahnhöfen

- Anfahren einer Anhängelast von 480 t auf einer Steigung von 10 ‰ und Beschleunigung auf

.. 55 km/h in höchstens vier Minuten

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Inbetriebnahme

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Die Ae 3/6II 1 0 4 0 1 wurde bereits am 19. Januar 1923 in Betrieb genommen und

in der Folge sofort ausgiebig erprobt. Die Inbetriebnahme der restlichen Lokomotiven

erfolgte zwischen F.rühling 1924 und S.ommer 1926.

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Technik

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Der mechanische Teil

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Die Ae 3/6II basiert auf der Konstruktion der Probelokomotive B.e 3./.5. Da aber anstatt

deren zwei nur ein Transformator eingebaut wurde und in der Lokomotivmitte wegen

der grossen Triebmotoren kein Platz vorhanden war, musste der Transformator nach

aussen versetzt eingebaut werden. Dies führte zur Achsfolge 2’C1’.

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Fahrwerk

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Das Fahrwerk bestand aus drei fest im Lokomotivrahmen gelagerten Triebachsen. Die

mittlere Triebachse hatte dabei ein Seitenspiel von 2 x 15 mm. Am einen Ende der

Lokomotive war eine Laufachse angeordnet. Diese war als Bisselachse ausgebildet

und hatte ein Seitenspiel von 2 x 83 mm ( 1 0 4 0 1 - 1 0 4 2 0 ) bzw. 2 x 70 mm ( 1 0 4 2 1 -

1 0 4 6 0 ). Auf der anderen Seite befand sich das zweiachsige Laufachsdrehgestell.

Diese hatte als ganzes ein Seitenspiel von 2 x 80 mm.

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Zugkraftübertragung

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Die Übertragung der Zug- und Stosskräfte erfolgte von den Triebachsen auf den

Lokomotivrahmen.

Von dort wurden die Kräfte aussen auf die Zughaken und Puffer weitergeleitet.

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Antrieb

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Die zwei hochliegenden Fahrmotoren waren im Lokomotivrahmen fest verschraubt.

Von den gefederten Fahrmotorritzeln wurde das Drehmoment auf zwei Vorgelegewellen

übertragen, die auch fest im Lokomotivrahmen gelagert waren. Die beiden Vorgelege-

wellen trugen gemeinsam eine Schlitztreibstange. Diese trieb über ein vertikal verschieb-

bares Lager direkt die mittlere Triebachse an. An der dreiecksförmigen Schlitztreibstange

( Dreieckstange ) waren kurze Kuppelstangen gelagert, welche die äusseren Triebachsen

antrieben.

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Lokomotivkasten

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Der Lokomotivkasten der Fahrzeuge war auf dem Rahmen aufgeschraubt. An den Seiten-

wänden befanden sich zwei Jalousien, ab Nummer 1 0 4 2 1 waren es drei. Ebenfalls ab

Nummer 1 0 4 2 1 wurden über den zwei grossen Führerstandsfenstern kleine Sonnen-

blenden angeordnet. Die Fahrmotoren waren durch Trennwände vom restlichen

Maschinenraum abgetrennt. Zugänglich waren sie durch Türen im rechten Seitengang.

Der Dachaufbau über den Motoren beinhaltete ohmschen Fahrmotorshunts und die

Überschaltdrosselspule. Bei der Lokomotive 1 0 4 0 1 war auch die B.litzschutzspule in

diesem Aufbau angeordnet. Die Kühlluft für die Fahrmotoren wurde mit einem Ventilator

aus dem Maschinenraum angesaugt. Nach Kühlung der bestrichenen Apparate

verliess sie die Lokomotive durch die seitlichen Jalousien des Dachaufbaus.

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Bremsanlage

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Die automatische, einlösige Westinghouse - Bremse und die Regulierbremse wirkten

beidseitig auf jedes der drei Triebräder und einseitig auf die Räder des Laufdrehgestells.

Die Bisselachse war ungebremst.

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Sandstreueinrichtung

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Die druckluftbetriebene Sandstreueinrichtung konnte einfach gehalten werden, da

die drei Triebachsen durch Kuppelstangen verbunden waren und deshalb, anders

als beim Einzelachsantrieb, eine einzelne Achse alleine nicht Schleudern konnte.

Es wurde deshalb nur die jeweils vorauslaufende Triebachse gesandet.

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Der elektrische Teil

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Hauptstromkreis

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Auf dem Dach der Lokomotive befanden sich die zwei von den Führerständen pneumatisch

betätigten Stromabnehmer. Von diesen wurde der Fahrleitungsstrom dem Ölhauptschalter

zugeführt. Dieser befand sich bei den Nummern 1 0 4 0 1 -1 0 4 1 3 in einem rechteckigen

Gehäuse und war elektropneumatisch betätigt. Die den Nummern 1 0 4 1 4 -1 0 4 6 0 ein

elektromotorisch angetriebener Ölhauptschalter in einem runden Gehäuse eingebaut, der

ab diesem Zeitpunkt als Normalapparat bei allen SBB-Lokomotiven eingebaut wurde. Bei

den Lokomotiven 1 0 4 0 1 - 1 0 4 1 3 konnte der Hauptschalter notfalls auch von Hand mit

einem Steckschlüssel am Schalter selbst eingeschaltet werden. Bei den restlichen

Lokomotiven erfolgte dies von den Führerständen aus. Für die Notauslösung des Haupt-

schalters war in jedem Führerstand in unmittelbarer Reichweite des Lokomotivführers ein

Hebel vorhanden.

Vom Hauptschalter gelangte der Strom zum Transformator. Dieser befand sich über der

ersten Triebachse und dem Drehgestell im Lokomotivkasten. Niederspannungsseitig

besass er zwei Wicklungshälften mit je acht Anzapfungen zur Stromversorgung der Fahr-

motoren. Die Spannungen an diesen Anzapfungen lagen beiden den Nummern 1 0 4 0 1 -

1 0 4 2 0 zwischen 134 V und 536 V, bei den restlichen Lokomotiven zwischen 99 V und

545 V.

An einer Wicklungshälfte waren bei allen Lokomotiven überdies Anzapfungen für 220 V

für die Hilfsbetriebe. Diese Wicklungshäflte hatte dazu noch eine Zusatzwicklung für

Zugheizung mit 800 V und 1’000 V ( bei den Nummern 1 0 4 0 1 - 1 0 4 2 0 ursprünglich

auch für 600 V ).

Die Leistung des Transformators der Nummern 1 0 4 0 1 - 1 0 4 2 0 erwies sich für die

thermisch reichlich dimensionierten Fahrmotoren als etwas zu schwach. Deshalb

wurde bei den folgenden Lokomotiven ein leistungsfähiger, aber gleichzeitig auch

leichterer Transformator eingebaut. Deshalb waren die Lokomotiven 1 0 4 2 1 - 1 0 4 6 0

mit einem Dienstgewicht von 96.7 t auch etwas leichter als die Vormodelle mit 98.5 t.

Ein weiterer Nachteil bei den Transformatoren der ersten 20 Maschinen war die grobe

Abstufung der ersten Fahrstufen. Das Anfahren war deshalb sehr ruppig und manchmal

auch schwierig bis unmöglich.

Für die Regulierung der Spannung waren zwei Stufenschalter vorhanden. Dies waren

vor dem Transformator in Längsrichtung angeordnet und vom Führerstand I aus zu-

gänglich. Die Stufenschalter waren als nockengesteuerte Hebelwerke mit Funkenlösch-

Schaltern und Überschalt-Drosselspulen gebaut. Sie waren elektromotorisch ange-

trieben an konnten insgesamt 17 Fahrstufen schalten. Im Falle einer Störung konnten

die Stufen mittels eines aufsteckbaren Handrades von beiden Führerständen aus ge-

schaltet werden.

Bei der Stufenschalterkonstruktion handelte es sich übrigens um die Gleiche, die schon

für die C.e 6./.8.I.I. Die gleiche Schaltung wurde später auch für die C.e 6./.8.I.I.I wieder

verwendet.

Die Fahrmotoren wogen etwa 10 t und hatten einen Durchmesser von 1'800 mm. Sie

waren die grössten je für die SBB gebauten Motoren. Sie waren dauernd in Serie ge-

schaltet. Fiel ein Motor aus, konnte am zugehörigen Wendeschalter das Trennmesser

entfernt und zwischen den Motoren eingelegt werden. In gleicher Weise wurde verfahren,

wenn ein Stufenschalter oder Wendeschalter ausfiel. Es konnte dann, wenn möglich,

mit halber Leistung weitergefahren werden.

Die Betätigung der Wendeschalter erfolgte mechanisch von den Führerständen aus.

Abweichend davon hatte die Nummer 1.0.4.0.1 elektropneumatische Wendeschalter,

die auch nach dem Ausbau der Rekuperationsbremse beibehalten wurden.

.

.

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Hilfsbetriebe

**************************************************************************************************************

.

.

Auf der Lokomotive befanden sich die nachfolgend beschriebenen, mit 220 V betriebenen

Hilfsbetriebe :

.

.

- ein Kompressor hinter dem Führerstand II ( 1 0 4 0 1 - 1 0 4 3 5 : Rotations-,

. 1 0 4 3 6 - 1 0 4 6 0 Kolbenkompressor

- ein Ventilator für die Kühlung der Fahrmotoren, direkt mit ihnen zusammengebaut

. eine Ölpumpe mit Ölkühler hinter dem Führerstand II

- Umformergruppe für die Batterieladung über die Ölpumpe

- Führerstandsheizung und Ölwärmeplatte

.

.

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Elektrische Bremse

**************************************************************************************************************

.

.

Die Ae 3/6II 1 0 4 0 1 besass eine Rekuperationsbremse. Sie war damit bis zu deren

Stilllegung und der weitgehenden Normalisierung der Ausrüstung im Jahr 1928 ein

Einzelgänger.

.

.

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Vielfachsteuerung

**************************************************************************************************************

.

.

Die Ae 3/6II besassen nie eine Vielfachsteuerung.

.

.

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Wesentliche Umbauten

**************************************************************************************************************

.

.

Die Ae 3/6II waren vor grösseren Umbauten verschont. Die wesentlichen Änderungen waren:

- Erhöhung der Höchstgeschwindigkeit von 90 km/h auf 100 km/h im Jahre 1929

- Versuche mit fett- statt ölgeschmierten Stangenlagern in verschiedenen Varianten ab

. 1957 bei den Nummern 1 0 4 0 6, 1 0 4 0 7, 1 0 4 1 5 und 1 0 4 3 9. Die Variante auf

. der 1 0 4 0 6 mit sogenannten schwimmenden Büchsen aus Tokat - Bronze mit Stahl-

. seele war dabei die Beste und wurde ab 1960 eingebaut.

- Nach Versuchen mit geteilten Bremsklötzem und Bremgestängestellern ab 1961 auf

. der Lokomotive 1 0 4 4 9 wurde diese Anordnung bei den meisten Lokomotiven noch

. eingebaut.

.

.

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Betriebseinsatz

**************************************************************************************************************.

.

.

Mit der Ae 3/6II 1 0 4 0 1 wurden nach der vorzeitigen Indienststellung am 19. Januar

1923 sofort intensive Probefahrten durchgeführt. Dass der Transformator etwas schwach

war, stellte sich dabei sehr bald heraus. Ansonsten gab es aber keine Probleme mit der

Erfüllung des Pflichtenheftes.

Ab April 1924 begann dann die Ablieferung der Serie. Diese erstreckte sich bis zum Juni

1926. Die Depotzuteilung ab Fabrik war dabei wie in der nachfolgenden Tabelle gezeigt:

.

.

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Nummern Depots

**************************************************************************************************************

.

.

- 1 0 4 0 1 - 1 0 4 0 4 Z.ürich

- 1 0 4 0 5 - 1 0 4 1 3 O.lten

- 1 0 4 1 4 - 1 0 4 3 8 B.asel

- 1 0 4 3 9 - 1 0 4 4 9 O.lten

- 1 0 4 5 0 -1 0 4 6 0 L.uzern

.

.

.

Die Anzahl der gelieferten Lokomotiven überstieg dabei den Bedarf. Die im Sommer

1925 abgelieferten Nummern 1 0 4 3 3 - 1 0 4 3 8 wurden im SBB-Kreis II als „über-

zählig“ erklärt. Mit Fortschritt der Elektrifizierung in den zwanziger Jahren des 20.

Jahrhunderts war der Bedarf aber durchaus gegeben und die Lokomotiven wechselten

in der Folge die Depotzuteilung und die Einsätze häufig.

.

.

.

Die Lokomotive 1 0 4 5 2 wurde weitgehend in ihren Ursprungszustand ( inklusive

braunem Anstrich ) zurückversetzt und bleibt so der Nachwelt als betriebsfähige

Lokomotive erhalten. Weil zuerst zugunsten der Erhaltung von 10439 entschieden

worden war, diese sich aber in schlechtem Zustand befand, wurde 1 0 4 5 2 zu

10439 umnummeriert. Um Stillstandsschäden zu vermeiden, wird sie von Zeit zu

Zeit mit leichten Aufgaben auf die Strecke geschickt. Ansonsten steht sie für

Sonderfahrten zur Verfügung.

.

.

.

**************************************************************************************************************

Fazit

**************************************************************************************************************

.

.

.

Die Lokomotive war in ihrer Konstruktion zwar robust, aber mit dem Stangenantrieb

nicht mehr auf dem aktuellen Stand der Entwicklung, was darauf zurückzuführen war,

dass die MFO, anders als ihre Konkurrenten BBC und SAAS, über keinen erprobten

Einzelachsantrieb verfügte.

Die Lokomotive war dank ihrer hochliegenden Fahrmotoren im Winterbetrieb wesentlich

unempfindlicher als ihre Schwestern Ae 3./.6.I, Ae 3./.5 und Ae 3./.6.I.I.I. Der Instand-

haltungsaufwand war aber, insbesondere wegen des Stangenantriebs, wesentlich höher.

.

.

.

.

( BeschriebAe3/6II AlbumBahnenderSchweiz Zug Train Juna Zoug Trainen Tog Tren

Поезд Lokomotive Паровоз Locomotora Lok Lokomotiv Locomotief Locomotiva

Locomotive Elektrolokomotive Eisenbahn Railway Rautatie chemin de fer Ferrovia 鉄道

Spoorweg Железнодорожный Centralstation Ferroviaria )

.

.

.

.

***************************************************************************************************************

.

.

A.usf.lug an den G.otth.ard am Samstag den 06. Oktober 2012

.

.

Mit dem Z.ug von B.ern nach L.uzern

.

.

F.otografieren des E.xtraz.uges am B.ahnh.of L.uzern

.

.

Mit dem Z.ug von L.uzern nach F.aido an der G.otth.ard S.üdr.ampe

.

.

F.otografieren des E.xtraz.uges oberhalb F.aido

.

.

Mit dem Z.ug von F.aido nach A.irolo und weiter per A.utos.top ( ? ) auf den G.otth.ardp.ass

.

.

B.esichtigung des S.asso S.an G.ottardo ( F.estung aus dem z.weiten W.eltkrieg )

.

.

Per A.utostop ( A.G ) vom G.otth.ardp.ass nach G.öschenen und weiter mit dem B.us bis W.assen

.

.

F.otografieren des E.xtraz.ug in W.assen bei der K.irche

.

.

Per A.utos.top ( U.R ) von W.assen nach E.rstf.eld und weiter mit dem Z.ug bis L.uzern

.

.

F.otografieren des E.xtraz.ug am B.ahnh.of L.uzern

.

.

Mit dem Z.ug von L.uzern zurück nach B.ern

.

.

***************************************************************************************************************

Hurni121006 AlbumZZZZ121006A.usf.lugG.otth.ardp.ass KantonLuzern AlbumBahnenDerSchweiz

E - Mail : chrigu.hurni@bluemail.ch

***************************************************************************************************************

Letzte Aktualisierung - Ergänzung des Textes : 231223

***************************************************************************************************************

NIF

Sturt Street School is a private residence but surrounded by commerical property and is likely to be demolished soon.

Brief History of Mt Gambier – the second city of SA after Adelaide (region population nearly 35,000, urban 28,000).

Lieutenant James Grant aboard the Lady Nelson sighted and named Mt Gambier in 1800 after a Lord of the Admiralty. The first white man to traverse the area was Stephen Henty of Portland in 1839 when he sighted the Blue Lake. He returned with cattle and stockmen in 1841. He later claimed that had he known the lake and volcano he had discovered in 1839 was in SA he would have immediately applied for an 1839 Special Survey. But Henty thought he was squatting on land in NSW and he was not an official SA settler so the government ordered him off the land in 1844. Thus the first official white settler of the South East and the Mt Gambier district became Evelyn Sturt, brother to Captain Charles Sturt, who took up an occupational license in March 1844 and a property he named Compton just north of the present city. In April 1844 Governor Grey and a party of assistants including the Assistant Surveyor General Thomas Burr and artist George French Angas explored the South East naming Robe and doing the first surveys. Evelyn Sturt became the first to have an occupational license to squat and the first purchase freehold land near Mt Gambier which he did in 1847- a section of 77 acres when 80 acres was the norm. He left the district in 1854 selling his freehold land to Hastings Cunningham who in 1855 subdivided some of this land thus creating the town of Gambierton. The town lands were adjacent to the site of the first police station selected near what is now Cave Gardens by the government in 1845. A small bush inn also operated at this spot. The first streets were named after early locals such as Evelyn Sturt, Compton, Ferrers and Crouch (built the first general store before the town was created) etc. The town grew quickly because of the mild climate, fertile soils, plentiful water and the influx of settlers from across the border in what was to become the colony of Victoria. Cunningham himself was a great benefactor and donated land for the first school in 1856. In 1861 the town name was changed by act of parliament to Mt Gambier. The Hundred of Mt Gambier (along with three other hundreds) was declared in 1858 and began the closer settlement of the South East.

Unlike other areas of SA the South East was seen as paradise for pastoralists and the optimistic pastoralists flocked to the area with their flocks in 1845. The large runs locked up the land and prevented farmers from settling in the region except for the fertile lands around Mount Gambier. Here small scale farmers had small properties and grew potatoes, hops, and later had dairy cows as well as growing wheat and oats. Land acts in the early 1870s designed to break up the big runs only partially succeeded in the South East where most station owners bought up their lands freehold. It was after 1905 before the big pastoral estates were really broken up for farmers and closer settlement, except for near Mt Gambier. Apart from Evelyn Sturt the other early white settlers of the South East in 1845 were Alexander Cameron at Penola, John Robertson at Struan, William Macintosh and George Ormerod at Naracoorte, the Austin brothers at Yallum Park (later John Riddoch), the Arthur brothers (nephews of Governor Arthur of Van Diemen’s Land) at Mt Schanck( now Mt Schank) and the Leake brothers at Glencoe. In fact in 1845 nineteen leasehold runs were taken up in the South East with a further thirty runs in 1846 and most had several 80 acres sections of freehold land near the main homestead. Most had got to the South East from Casterton and Portland in Victoria as the swamps near the coast were too difficult to traverse except for the country near Robe. Many of the estates were huge. Evelyn Sturt on the Compton/Mt Gambier run had 85 square miles as well as his freehold land; Robertson had 135 square miles at Struan; George Glen (and William Vansittart) of Mayurra had 110 square miles; the SA Company had 159 square miles on the Benara run; the Leake brothers had 194 square miles on Glencoe; Hunter had 56 square miles on Kalangadoo; Neil Black of Noorat Victoria had 45 square miles on Kongorong run and 101 square miles at Port MacDonnell and the Arthur brothers had a huge run at Mt Schanck. By 1851 almost 5,000 square miles of the South East was occupied by Occupational License and most licenses were converted to 14 year leases in that year. A third of all leasehold land in SA was taken up in the South East because of its higher rainfall and suitability for pastoralism and a third of all sheep in the colony were in the South East. When Hundreds were declared in the South East in the late 1850s and early 1860s pastoralists bought up the land. In one case John Riddoch of Yallum Park owned the entire Hundred of Monbulla. Another pastoralist W. Clarke who had purchased Mt Schancke station from the Arthur brothers in 1861 owned SA land valued at £1.25 million when he died in 1874 and he had 120,000 acres freehold in Victoria, 75,000 acres freehold in SA( Mt Schank) and 50,000 acres freehold in each of NSW and Tasmania! Mt Schanck was changed in Schank in 1917 when German place names in SA were changed as Schank without the second “c” is an old English name!

In the 1850s Mt Gambier was a shanty village as the South East was a region of large pastoral estates and little agricultural farming and very low population numbers. It was far from Adelaide and remote and it was only after the Princeland episode in 1862 with the threat of possible secession to a new state that the Adelaide government began to invest in the South East and really encourage settlement there. The Border Watch newspaper was established in 1861, the Mt Gambier Hotel opened in 1862 and the Mt Gambier Council was formed in 1863.By the early 1860s Mt Gambier had almost 1,000 residents making it one of the largest towns in SA after the copper mining centres of Burra, Kadina and Moonta. By the 1881 SA census Mt Gambier had 2,500 residents making it the biggest town outside of Adelaide. In 1865 four iconic historic buildings were erected-the Courthouse, the Gaol, Christ Church Anglican and the Post Office and Telegraph Station. The flourmill which later became the Oat Mill opened in 1867 as wheat farmers had now taken up lands around the Mount. Mt Gambier was growing into a fine prosperous looking town with churches, stores, banks, hotels and fine residences. In the 1870s the rural population increased dramatically with tenant potato farmers on Browne’s Moorak estate and intensive hop growing in several localities such as Yahl and OB Flat and Glenburnie etc. Also in 1876 the first commercial forestry was started at the behest of George Goyder. A tree nursery was established on the edge of Leg of Mutton Lake in 1876 on a site selected by George Goyder himself. A stone cottage for the first nurseryman Charles Beale was constructed and it survived until demolished in 1969 but the nursery closed in 1929. The nursery propagated eucalypts, Oak, Elm, Ash, Sycamore, and North American pines. Pinus radiata was first grown at Leg of Mutton Lake and was being dispersed to other areas by 1878. Pinus canariensis was also grown in the 1880s. Pinus radiata is now the most commonly grown commercial forest tree in SA and Australia. Also in the 1870s the first hospital was erected and Dr Wehl, the town’s doctor for many years was in residence.

In the mid 1880s the first rail line was laid as the railway lines pushed out from Mt Gambier to Naracoorte. The service to Naracoorte began in 1887 and connected on with the line to Bordertown and Adelaide. By 1897 a railway connected Mt Gambier to Millicent and the port at Beachport. The railway line across the border to Heywood and Melbourne was not completed until 1917 as the SA government resisted a line that would take goods and passengers from Mt Gambier to Port Melbourne rather than to Port Adelaide. Mt Gambier railway station used to be a hive of activity with daily trains to Adelaide and an overnight sleeper services several times a week. Passenger trains to Mt Gambier from Adelaide stopped in 1990 after Australian National took over the SA railway network. Freight services stopped in 1995 and the railway line and station was formally closed. The railyards and other buildings were cleared in 2013.

:)

I'm starting a new series soon that I am very excited about. Be on the lookout for that. :)

Smile and have a great day.

+++ DISCLAIMER +++

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

Some Background:

The Royal Libyan Air Force (سلاح الجو الملكي الليبي , Al Quwwat al Jawwiya al Malakiya al Libiyya) was established in September 1962 by a decision of the minister of defense Abd al-Nabi Yunis. Lt. Col. al-Hadi Salem al-Husomi was assigned to lead the new force. It was originally equipped with a small number of transports and trainers. In May 1967, the Kingdom of Libya reached an agreement with the United States to supply Northrop F-5A and Bs to the Royal Libyan Air Force and more advanced trainers, in the form of six Cessna T-37C trainers.

During the following months, Libya distanced itself from the United Kingdom and the United States and the serviceability of the older American aircraft quickly declined, especially the F-5s were affected. Eight F-5 single-seaters and two two-seaters had been delivered until then, as well as four T-37Cs - the rest of the order was cancelled. Educated service personnel for these aircraft was initially loaned from Greece as an emergency measure, but this did not help much, and most were eventually sold to Turkey (the F-5s) and Greece (the T-37Cs). Instead, close ties were developed with France, and, accordingly, an order for 110 Dassault Mirage 5s fighter bombers, twelve Fouga Magisters, ten Aérospatiale Alouette IIIs and nine Aérospatiale SA 321 Super Frelons was signed in December 1969, and in 1971 the LARAF still received eight C-130Hs from the United States. Negotiations for the purchase of Soviet military aircraft only started in 1973, in the light of the experiences of the Yom Kippur War, but relations with France were maintained.

General characteristics:

Crew: 2

Length: 29 ft 3 in (8.92 m)

Wingspan: 33 ft 99.3 in (12.581 m)

Height: 9 ft 2 in (2.79 m)

Wing area: 201 sq ft (18.7 m²)

Aspect ratio: 6.2:1

Airfoil: NACA 2418 at root, NACA 2412 at tip

Empty weight: 5,484 lb (2.490 kg)

Max takeoff weight: 8,000 lb (3.632 kg)

Powerplant:

2× Continental-Teledyne J69-T-25 turbojets, 1,025 lbf (4.56 kN) thrust each

Performance:

Maximum speed: 595 km/h (370 mph)

Cruise speed: 360 mph (580 km/h, 310 kn) at 35,000 ft (11,000 m)

Stall speed: 85 mph (137 km/h, 74 kn)

Range: 932 mi (1,500 km, 810 nmi) with internal fuel

Service ceiling: 38,700 ft (11,800 m)

Rate of climb: 3,370 ft/min (17.1 m/s)

Armament:

2 underwing pylons for stores up to 500 lb (227 kg) each

The kit and its assembly:

This small but exotic what-if model was inspired by decals for an RLAF F-5A from a Colorado Decals sheet – and I had stumbled upon these rather hapless aircraft that only served for a few months under this flag in a F-5 book. I found the historic time slot interesting and wondered about other aircraft that could have been introduced in 1968 and found that Libya might have needed some more and more modern jet trainers than the three T-33 it had. My first choice was the British Jet Provost, but since Libya procured the equipment from US sources, a Hasegawa A-37 kit from a lot (and without any plan for it yet) came to the rescue.

At first I wanted to build the Tweet OOB, but found that the A-37 was a little “too much” for Libya’s needs, so I decided to retrograde it to a T-37C – a light trainer, but still armed. Biggest changes were the omission of the refueling probe, the gun port was faired over, and I left away the optional tip tanks and replaced them with scratched wing tips, made from styrene. A small dorsal antenna fairing “hump” was added, a smaller one that the A-37s feature. Even though they were not necessary to represent the real aircraft I added styrene tube dummies to the exhaust ports - the gaping OOB holes did not convince me.

The underwing hardpoints were reduced to just a pair of pylons, and the light armament now consist only of a pair of LAU-7 unguided missile launchers (from the Italeri NATO weapons set). The single-piece canopy was cut into two parts for open display, in the cockpit two gunsights, seat belts and a hydraulic piston for the open canopy were added.

Painting and markings:

The RLAF F-5s were the benchmark, and they carried a rather simple/dry livery: the were painted overall in a dull silver lacquer (not NMF), similar to the USAF prototypes, with a black anti-glare panel. Finding a good paint for this look/finish was not easy, though, and I eventually settled for Humbrol 11 (Silver) with a light black ink washing and post-panel-shading with Humbrol’s Matt Aluminum metallizer (27002).

The cockpit interior became medium grey while landing gear and air intakes became white. The LAU-7 pods became very light grey.

To emphasize the Tweet’s trainer role I pimped the uniform silver livery with dayglo orange markings, procured from an Airfix Jet Provost sheet. National markings were taken from the aforementioned Colorado Decals F-5 sheet, even though its national markings are wrong: they lack green, they were just printed in 2C. To mend this flaw, I just added a thin green decal stripe to the flag on the fin, and the roundels, which are pretty small on the F-5, were completely replaced with bigger alternatives: Albanian air force markings from an Antonov An-2 (Balkan Models sheet), with a small green decal circle added to their center. Simple, but effective, and in combination with the orange stripes the whole aircraft looks quite attractive. The tactical codes were taken from a Myanmar MiG-29 (Caracal Models sheet). Most stencils were taken from the OOB sheet, with some more added from the 1/72 A-37 aftermarket sheet from PrintScale.

After a light treatment with graphite around the jet nozzles the model was sealed overall with matt acrylic varnish (Italeri), and this IMHO comes pretty close to the real world RLAF F-5 finish.

A small project, even though the tank-less wing tips were quite challenging. However, the Libyan Tweet looks very convincing, and with the high-viz trainer markings the whole package even has a stylish touch. The early Libyan roundels are also quite exotic, since they were only used for a couple of months

Lady Gaga

ARTRAVE "THE ARTPOP BALL"

Boardwalk Hall

Atlantic City, NJ

June 28th, 2014

© 2014 LEROE24FOTOS.COM

ALL RIGHTS RESERVED.

THIS MATERIAL MAY NOT BE PUBLISHED,

BROADCAST, REWRITTEN OR REDISTRIBUTED.

All photos are protected by copyright BACHULLUS™ DESIGN Barbara Augustynowicz do not use without permission.

Wszelkie wykorzystanie prac bez zgody autora - zabronione ( Zgodnie z przepisami USTAWY z dnia 4 lutego 1994 r. o prawie autorskim i prawach pokrewnych).

Kopiowanie i rozpowszechnianie ich w jakiejkolwiek formie jest zabronione.

Although Arif Hikmey Bey was unable to give a date, it must be the last days of 1925 or the first months of 1926. It must be such cold months, since the architect remembers the frosty winds that crashed on the city with their all might. Arif Hikmet Bey is together with the construction workers and the museum is still under construction. “I have an important and endearing memory” he says and continues:

“There was a snowstorm; everywhere was covered with snow. We were continuing the construction inside the museum. We already installed some panes for one or two windows and stonemasons were working inside the big halls. I was cutting the zinc patterns of decorations on a table under the big dome for the stonemasons. Carpenters were also working in some areas where we were able to seal off. One of the workers came running and shouted: ‘The Pasha is here.’

We were all surprised; we wondered which Pasha would come under such terrible weather? The worker responded: ‘Mustafa Kemal Pasha is here’. Meanwhile the makeshift door we previously had installed opened and Atatürk entered the building with his clothes covered full of snow. I greeted him, he asked:

‘Hikmet, why are you all working under this cold weather?’

‘According to our contract, we are running out of time; some workers are even working at night time using gas lamps.’ I answered. ‘May God give you strength’ Pasha said. He set on a chair and we shut the door. My clerk Bahri brought a kerosene heater and placed it next to the Pasha. ‘You must be kidding, there are almost no walls here, why bother with the heater?’ said Pasha. ‘At least your nose will get warmer, it is all red because of the cold’ Bahri responded. We all laughed. The Pasha stayed for half an hour and chatted with the workers. It wasn’t snowing anymore. Pasha, looking to the snowy Ankara plain through the front door, said: “The view is incredible; probably the weather under this dome will be quite cold in the summer; I would like to sit under this dome and watch the view in my spare time.’ and then left for his car walking through the snow. ‘After his death, he rested right under this dome for a long time, an unfortunate coincidence one might say’. (1)

The ground for Ethnography Museum was broken on September 25, 1925.

Etnografya Müzesi

Tarih vermiyor Arif Hikmet Bey; ama 1925 yılının sonları ya da 1926 yılının ilk ayları olmalı. O aylar; çünkü mimar, anılarında, mevsim karının, yüz kesen step ayazının olanca ağırlığıyla kentin üzerine çöktüğü günlere dönmüş. Arif Hikmet Bey işçilerle birlikte, müzenin yapımı sürüyor. “Mühim ve sevimli bir hatıram var,” diyor. Devam ediyor:

“Kar tipi halinde yağıyordu, her taraf bembeyaz karlar altında idi. Müzenin inşaatına içerde devam ediyorduk. Bir iki pencereye çerçeve takmış büyük salonların içinde mermer taşçılarımızı çalıştırıyorduk. Ben büyük kubbenin altında ve bir iş masasında, taşçılara yapacakları bazı tezyini işlerin çinko kalıplarını kesiyordum. Bazı kapatabildiğimiz yerlerde marangozlar da çalışıyordu. Bir işçimiz dışarıdan koşarak geldi ve heyecanla: ‘Efendim, Paşa geldi.’ dedi.

Şaşırmıştık, bu havada gelen hangi paşa idi? İşçi tekrarladı: ‘Mustafa Kemal Paşa.’ Bu esnada ön cephedeki kapılardan birine iğreti olarak taktığımız kapı açıldı, üstü başı kar içinde kalmış olan Atatürk içeri girdi. Karşıladım, ilk sözü:

‘Yahu Hikmet, bu havada inşaat yapılır mı?’ oldu. Cevap verdim, ‘Paşam, inşaat anlaşmamıza göre süremiz çok az. Havaya filan bakmadan işe devam mecburiyeti var, hatta işçilerimizden bazıları gaz lambası yakarak geceleri de çalışıyorlar.’ Paşa, ‘Allah kuvvet versin’ dedi, ilerledik, oradaki tahta bir iskemleye oturdu. Kapıyı da kapattık. İnşaat kâtibim Bahri elindeki gaz sobasıyla geldi. Paşa’nın yanına koydu. Atatürk gülerek, ‘Bahri şaka mı ediyorsun, her taraf açık, gaz sobası neye yarar, buna Okmeydanı’nda buhur yakmak derler’ dedi. Bahri de cevaben, ‘Hiç olmazsa Paşam biraz burnunuz ısınsın, soğuktan kıpkırmızı olmuş’ dedi. Hep gülüştük. Yarım saat kadar oturdu, işçilerle konuştu. Kar durmuştu, ön kapıdan Ankara’nın karlı ovasına bakarak ‘Manzara çok güzel, bu kubbenin altı yazın her halde çok serin olacak, İşim olmadığı zaman gelip bu kubbenin serinliğinde, bu güzel ovaya karşı oturmak isterim’ demiş ve karlara bata çıka otomobiline kadar gitmişti. Ne hazin bir tesadüftür ki vefatından sonra, uzun bir müddet burada, bu kubbenin altında ebedi istirahatına dalmış, yatmıştı.” (1)

Etnografya Müzesi’nin temeli 1925’in 25 Eylülünde atıldı.

1 “Merhum Mimar Arif Hikmet Arif Koyunoğlu’nun Anıları: 4”, Tarih ve Toplum, Sayı: 38, Şubat 1987, s. 48.

Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.

HISTORY

The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.

CHARACTERISTIC

Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.

Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.

Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.

Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.

Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.

Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.

All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.

Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.

FAMOUS HAVELIS IN INDIA

The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.

Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.

The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.

The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.

FAMOUS HAVELIS IN MAWAR AREA (SIKAR DISTRICT)

"Nadine Le Prince Haveli"

FAMOUS HAVELIS IN MAWAR AREA (JODHPUR DIVISION)

The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.

The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone.They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.

The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.

FAMOUS HAVELIS OF PAKISTAN

There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.

Below is a list of some of the historically and architecturally significant havelis in Pakistan:

Kapoor Haveli in Peshawar

Fakir Khana Haveli and Museum, in Lahore

Mubarak Haveli in Lahore

Haveli Asif Jah in Lahore

Haveli Wajid Ali Shah in Lahore

Choona Mandi Haveli in Lahore

Haveli Nau Nihal Singh in Lahore

Haveli Barood Khana in Lahore

Lal Haveli or Chandu Di Haveli in Lahore

Haveli Man Singh in Jhelum

Lal Haveli in Rawalpindi

Saad Manzil in Kamalia

Khan Club in Peshawar

Waziristan Haveli in Abbottabad, home of Osama bin laden

Janjua Haveli in Malowal, Gujrat, Pakistan

Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi

HAVELIS IN POPULAR CULTURE

Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.

WIKIPEDIA

+++ DISCLAIMER +++

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

Some background:

The roots of the Estonian Air Force go back to the Russian revolution of February 1917, after which the Estonian state obtained a degree of autonomy within Russia, which included the establishment of national armed forces. Thus many Estonians in the Russian Army returned home to take up arms for their homeland. The Estonian Declaration of Independence in early 1918 was not recognized by Germany, which invaded and occupied the country during 1918. The Estonian armed forces were disbanded.

Plans to acquire Spitfires and Lysanders from Britain were thwarted when the outbreak of World War II in 1939 forced Britain to cancel all export orders. After the defeat of Poland, Estonia was forced to accept a Mutual Assistance Pact with the Soviet Union, signed on 28 September 1939. This allowed the Russians to establish military bases in Estonia, which were later used in the Winter War against Finland. On 17 June 1940 the three Baltic States were invaded by Soviet forces. During the June 1940 invasion the Air Defence took no action and subsequently aircraft remained locked in their hangars. The air force became the Aircraft Squadron of the 22nd Territorial Corps of the Soviet Army in the summer of 1940.

General characteristics:

Crew: 1

Length: 25 ft 4 in (7.72 m)

Wingspan: 33 ft 2 in (10.11 m)

Height: 10 ft 2 in (3.10 m)

Wing area: 293 ft² (27.22 m²)

Empty weight: 1,960 lb (890 kg)

Max. takeoff weight: 2,885 lb (1,310 kg)

Powerplant:

1× Bristol Jupiter V 9-cylinder radial engine, 480 hp (345 kW)

Performance:

Maximum speed: 165 kn (190 mph, 305 km/h) at sea level

Range: 271 nmi (310 mi, 500 km)

Service ceiling: 27,000 ft (8,230 m)

Rate of climb: 3,200 ft/min (10.480 m/min)

Endurance: 1 hour 20 minutes

Climb to 10,000 ft: 6 min 20 sec

Armament:

2× 0.303 in (7.7 mm) Vickers machine guns

Provision for up to 4× 20 lb (9 kg) bombs under the lower wings

The kit and its assembly:

I had bought an incomplete Matchbox A.W. Siskin kit a while ago, but lacked a good idea. This eventually came when I searched through the decal stack and came cross a Blue Rider sheet with Estonian triangles (see below) - and thought that an Estonian Siskin could be a good and exotic use. This was quite plausible because the Baltic country actually operated the type before WWII.

However, for a more whiffy touch, and in order to replace some missing parts, a few conversions had to be made. One modification concerns the landing gear, which had to be improvised; the struts came from a Revell Sopwith Triplane, IIRC, and the wheels from a Matchbox Gloster Gladiator.

The engine was replaced, too, with a Bristol Jupiter from a Mistercraft PZL P.7 fighter, and a leftover propeller from a Matchbox Gloster Gladiator. While the new engine appears a little large, the whole affair looks quite plausible and would even allow a free field of fire for the cowling-mounted, original armament.

Otherwise the simple but pleasant kit was built OOB. Rigging was done with heated black sprue material, glued into place with white glue after painting and decaling.

Painting and markings:

Well, there were not many Estonian aircraft, and most from the inter-war era seemed to carry a NMF/aluminium dope finish. I was able to dig up a profile of an Estonian Siskin IIIDC trainer, and it also shows some dark green round the cockpit area.

I used this as a starting point for a more camouflaged finish, also inspired by Latvian and Swedish Gloster Gladiators of that era, with dark green (FS 34079) upper surfaces, combined with aluminium dope on the undersides. In order to liven things up a little I also added an RAF Dark Green (ModelMaster) area in front of the cockpit, inspired by the Matchbox box art – but the different green tones are hard to tell apart.

Some metal panels were painted with Aluminium (Revell 99), while the fabric-covered areas, incl. the wings' undersides, were painted with Humbrol 56. The upper wing’s supporting struts were painted in black, as well as the cockpit interior – even though the latter is blocked by the pilot figure.

The Estonian national markings come from a Blue Rider sheet and actually belong to a modern 1:72 An-2. The tactical code was created with two layers of white over black single digits from TL Modellbau, creating a fake shadow effect for a better contrast. In order to liven things up a little more, I also a small unit badge to the fuselage flank under the cockpit, even though this was not typical for Estonian Air Force aircraft.

Some light dry-brushing with light grey was done in order to emphasize the nice surface structure of the Matchbox kit. Finally, the kit was sealed with matt acrylic varnish (Italeri).

A relatively simple build, but the overall result looks quite convincing, despite the exotic markings and the large diameter engine from the PZL P.7. Made me wonder what an Estonian Spitfire – had it been delievered – might have looked like? Hmmm…

+++ DISCLAIMER +++

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

Some background:

The 80th Pursuit Group (Interceptor) was constituted on 13 January 1942 and activated on February 1942. It was redesignated as the 80th Fighter Group in May 1942. During World War II, the group was the first USAAF unit to be stationed in Burma after the Allied retreat in 1942. During its two years in combat, this group, which called itself the Burma Banshees, kept the supply lines open to China while clearing the way for Allied forces and US Army units such as Merrill's Marauders to sweep Japanese forces from northern Burma.

By the end of the war, the group had destroyed more than 200 bridges and killed scores of bridge repair crews. Air-to-air and air-to-ground sweeps by the group's pilots claimed 80 enemy planes destroyed in the air or on the ground. The 80th Fighter Group was withdrawn from combat in May 1945 and inactivated in November.

General characteristics:

Crew: 1

Length: 36 ft 1.75 in (11.02 m)

Wingspan: 40 ft 9 5/16 in (12.429 m)

Height: 14 ft 8 1/16 in (4.472 m)

Airfoil: Seversky S-3

Empty weight: 10,000 lb (4,536 kg)

Max takeoff weight: 17,500 lb (7,938 kg)

Powerplant:

1 × Pratt & Whitney R-2800-59 18-cylinder air-cooled radial piston engine, 2,000 hp (1,500 kW),

driving a 4-bladed Curtiss Electric C542S constant-speed propeller, 13 ft (4.0 m) diameter

Performance:

Maximum speed: 426 mph (686 km/h, 370 kn) at 30,000 ft (9,100 m)

Range: 1,030 mi (1,660 km, 900 nmi)

Service ceiling: 42,000 ft (13,000 m)

Armament:

8x 0.5” caliber (12.7 mm) M2 Browning machine guns (3.400 rounds)

Up to 2,500 lb (1,100 kg) of bombs, drop tanks and/or up to ten 5” (130 mm) unguided rockets

The kit and its assembly:

This is a very modest what-if model – just a fictional livery on a stock model, and part of the ongoing plan to “build down” The Stash™ of kits during the ongoing Corona lockdown. The idea behind it was spawned by a number of decals for P-40s for the 80th FG I found in my scrap box, which all carried spectacular skull markings on their noses. I wondered if and how these could be adapted to another aircraft type – and the P-47 lent itself for this project due to its sheer “canvas” size, despite having a radial engine, and being the natural successor of the P-40 in USAAF service.

From that I spun the idea further and settled for an early Razorback P-47D, in the form of the very nice Academy kit. The kit was basically built OOB, it went together nicely without major fights – a trait that I really like about most Academy kits. The only true weak spot of the P-47 is the flaps’ undersides: they are pretty thick/massive, so that there are shallow sinkholes. These are easy to fill, though, even though I ignored this flaw and rather lowered the flaps, a mod that’s pretty easy to do.

An addition is a scratched D/F loop antenna on a streamlined socket behind the cockpit, a typical feature of P-47s operated in the BMI theatre. The loop was created with thin wire, the socket is a piece of sprue, integrated into the spine with some putty. As a late-production Razorback Thunderbolt I gave the aircraft a Curtiss Electric paddle-bladed propeller, which the Academy kit offers as an optional piece.

The ordnance was also taken from the kit: a pair of Bazooka triple launchers for ground attack duties and a drop tank under the fuselage.

Painting and markings:

A simple affair: as an early P-47, I gave the aircraft the standard USAAF livery of olive drab and neutral grey. I used Tamiya XF-62, IMHO the best interpretation of the tone, and ModelMaster 1740, actually FS 36231 instead of FS 36173, but the Dark Gull Grey is a bit lighter than Neutral Grey and looks IMHO better on the 1:72 scale model. AFAIK, no P-47 carried the earlier mid-green blotches on the wings anymore. The cockpit was painted in Interior Green, while the landing gear wells became zinc chromate yellow, very traditional.

The individual aircraft markings were more spectacular and also challenging. The real eye-catcher is pair of 80th FG skulls on the cowling flanks, even though these had to be completed with paint since they come from a Hobby Boss P-40N and feature empty sections for the exhaust stubs. The empty eye sockets had to be added manually, too, and since there was now a lot of white, I added – after consulting pictures of 80th FG P-40s - thin black lines to the skull with a felt tip pen. A real improvement, and it’s even authentic!

Furthermore, I added 1st Air Commando Group markings in the form of five white diagonal stripes around the rear fuselage. This group operated in the BMI area, e.g. P-51s, B-25s and even P-47s, but the 80th FG was not part of it. Nevertheless, the stripes suit the Razorback very well, and they were created with generic 2mm decal stripes from TL Modellbau. Each stripe had to be applied and trimmed individually, not an easy task on the conical tail with its concave and convex surface. The result is not perfect, but I am fine with it, and it looks very cool.

Pictures of early USAAF P-47s in the BMI are hard to find, but what I found suggests that Allied machines wore single bands on wings and tail surfaces as additional ID markings from 1943 on, much like the P-47s over Europe. On later NMF aircraft, these were dark blue (on both USAAF and RAF aircraft), and I was lucky to have a complete set of white P-47 markings left over from an Xtradecal set for SEAC RAF Thunderbolts, which comes with pre-cut bands in white and blue, very convenient! On the downside, the white fuselage stripes dramatically revealed that the P-47’s OOB decals, esp. the Stars and Bars, lacked opacity, so that I had to add some white paint manually to hide the resulting mess.

Typical unit markings of the 89th FS are a red spinner, and since the P-47 has only a small one, I added a thin red frame around the cowling, as carried by later real-world 89th FS P-47s, which were left in bare metal, though. As a gimmick I painted the wheel hubs in red, too. As a personal marking of the pilot I christened the aircraft “The Big Fella”, taken from an Irish pre-WWII armored car, and I added some air victory markings.

As usual, the kit received a black ink washing overall and some post panel shading with Revell 42 and 46 on the upper surfaces and ModelMaster 2105 (Dark French Blue Gray) underneath for visual drama and weathering. Some light soot stains around the gun muzzled were created with graphite, oil stains under the fuselage with Tamiya “Smoke”.

While this was not a complex build and even the livery is pretty close to real world standards, I like the outcome and how the skull markings stand out on the huge P-47. The array of fuselage stripes are an interesting visual extra, even though I was afraid that they were, together with the white ID stripes on the wings, a bit too much. The red highlights are an interesting contrast, too, and IMHO the whole decoration works fine. Everything fictional, but plausible and believable.

funny time in summer vacation*

go to beach and have fun with my classmate*we took a lot of photos and these are one of them*i am not a naught girl*i don't want to be a paparazzi but the photo in the right hand side is just my mistake that let me shot the lover*oh forgive me it only my careless mistake*

+++ DISCLAIMER +++

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

Some background:

Due to increasing tensions in Europe which led to World War 2, AVRO Aircraft started developing combat aircraft, and as a subsidiary of Hawker, they had access to the Hurricane plans. At the time that the Hurricane was developed, RAF Fighter Command consisted of just 13 squadrons, each equipped with either the Hawker Fury, Hawker Demon, or the Bristol Bulldog – all of them biplanes with fixed-pitch wooden propellers and non-retractable undercarriages. After the Hurricane's first flight, Avro started working on a more refined and lighter aircraft, resulting in a similar if not higher top speed and improved maneuverability.

Several machines were retained as trainers, messenger aircraft or instructional airframes. 20 late production Mk. IIs were sold to the Irish Air Corps, and a further 50 aircraft were sent to Canada as advanced fighter trainers, where they served until the end of the hostilities in 1945.

General characteristics:

Crew: 1

Length: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

Powerplant:

1× Rolls-Royce Merlin III liquid-cooled V-12, rated at 1,310 hp (977 kW) at 9,000 ft (2,700 m)

Performance:

Maximum speed: 366 mph (590 km/h) at 20,000 ft (6,096 m)

Range: 320 miles (515 km)

Service ceiling: 36,000 ft (10,970 m)

Rate of climb: 2,780 ft/min (14.1 m/s)

Wing loading: 29.8 lb/ft² (121.9 kg/m²)

Power/mass: 0.15 hp/lb (0.25 kW/kg)

Armament:

2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG

4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG

The kit and its assembly:

This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing conceived by fellow forum member nighthunter: an Avia B.135, outfitted with a Merlin engine, a ventral radiator in the style of a Hawker Hurricane, and carrying RAF markings.

I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, a vintage KP Models kit of the early B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

Many donation parts for the Swallow, including the Merlin engine, propeller, landing gear and radiator, were taken from an AZ Models Spitfire Mk. I/II/V, from a Joy Pack, which comes with three of these kits without decals.

New landing gear wells had to be carved out of the massive lower wing halves. Since the original Swallow profile did not indicate the landing gear design, I went for an inward-retracting solution, using parts from an early Spitfire. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.

The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.

Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.

The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L

Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.

Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.

Finally, I installed my trademark propeller adapter: a styrene tube inside of the fuselage that holds a long metal axis with the propeller, so that it can spin freely.

Painting and markings:

Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.

The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.

The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.

Some light weathering and panel shading was done, as well as some light soot stains around the exhausts and the gun ports on the wings (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.

A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.

From the early 50's until a fire in the 80's this was the site of Gold Star Studios, then the center of rock music recording on the West Coast. Located on Santa Monica Boulevard near Vine Street (about a mile south of Hollywood & Vine), it is near Paramount Studios (incorporating the former RKO/Desilu Studios) and the Hollywood Forever Cemetary where numerous famous stars are buried.

As one of the first independent recording studios it was not constrained by the "old line" policies of the majors and developed its own unique commercially succesful sound. Using custom-built recording equipment and its "best ever" echo chamber, it was home to Phil Spector's "Wall of Sound", an unmatched "Wrecking Crew" house band, and source of hundreds of hit records.

A very abbreviated list of top artists that were associated with Gold Star:

Hal Blaine - the world's most recorded drummer

Tommy Tedesco - the world's most recorded guitarist

Jack Nitzsche - arranger - including many hits produced by Phil Spector. Co-wrote "Up Where We Belong".

Sonny Bono - percussion. Brought his girlfriend Cher to Gold Star. The backing on his defiantly patriotic "Revolution Kind" is a great example of the Gold Star sound.

Cher - graduated from backing singer to superstar. Recorded "Bang Bang" and "You Better Sit Down Kids" at Gold Star

Ronnettes - recorded "Be My Baby" at Gold Star -- favorite song of Brian Wilson of the Beach Boys. The elaborate intro to their "Do I Love You?" clearly highlights the elements of the Gold Star sound.

Beach Boys - recorded "Don't Worry Baby" at Gold Star - a tribute to "Be My Baby" with same Hal Blaine drum intro

Paul Revere & the Raiders - recorded "Kicks" and "Hungry" at Gold Star with Hal Blaine on drums

Buffalo Springfield - recorded "Expecting to Fly" at Gold Star with Jack Nitzsche as arranger

Righteous Brothers - recorded "Ebb Tide", "Unchained Melody", "You've Lost That Loving Feeling" (the most played song ever on US radio), and many others at Gold Star

Ike & Tina Turner - recorded "River Deep-Mountain High" and "I'll Never Need More Than This" at Goldstar - Tina was never hotter and no one ever did a better job of soaring over the Wall of Sound

Darlene Love - recorded the best rock Christmas song ever at Gold Star: "Christmas (Baby Please Come Home)"

Crystals - recorded "Uptown", "He's a Rebel", and the quickly withdrawn "He Hit Me and It Felt Like a Kiss" at Gold Star. Group often included Darlene Love.

Glen Campbell - started as session guitarist at Gold Star

Leon Russell - played keyboards at Gold Star early in his career

Later recordings that paid tribute to the Gold Star sound include:

Bruce Springsteen - "Born to Run"

The Tubes - "Don't Touch Me There"

Eddie Money - "Take Me Home Tonight" which featured Ronnie of the Ronnettes reprisng the chorus from "Be My Baby"

(These are the one's that instantly come to mind -- there are hundreds more).

------------------------------------------------------------------------------------------------------------------------

Added February 2013: As the result of a comment, the photo has been updated. According to Wikipedia:

"Gold Star Recording Studios was located at 6252 Santa Monica Boulevard near the corner of Vine Street in Hollywood. The studio closed in 1984. A fire occurred in the structure after its closure, but all contents had been removed prior to the fire. The building was later demolished. A strip mall currently stands on the original location."

6252 Santa Monica Boulevard is now occupied by the water store in the above photo. The photo previously here was 6223 Santa Monica Boulevard, across the street. It had a "strong resemblence" to an alleged photo of the studio on a now non-existent web site.

Postseason, here we come! 29 years in the waiting. The KC Royals last made the MLB Playoffs in 1985. Tonight they clinched at least a Wild Card spot with two games remaining in the regular season and trailing only one game behind the Detroit Tigers for an AL Central Championship. Anything can happen.

Taken for the Jules October Photo Challenge.

4 tombstones with pictures on them (pics of the people buried there)

"She was a beautiful mother to Owen and Max. Now she is their beautiful angel"

"In order to be irreplaceable one must always be different" ~ Coco Chanel

One of my favorite quotes...

I know what you're thinking: "Another bird on a wire picture - that's not different at all..." But what is different isn't the image - it's the bird. I was out 'trying' to take pictures of my toddler today and I noticed this little guy fly in - all alone. There was no flock of friends anywhere to be found; not even a lover. Just him, rather lonely seeming, and curious as to what my little one and I were up to. He bowed there, upside down, for quite a few minutes just looking toward us and I mused at how different he seemed. And perfect for my favorite quote :)

flickr group

creative blog

Sarah Gardner Texture

Our Daily Challenge 24-30 September : Just in Case

Cloth shopping bag, inhaler, antihistamine cream, sticking plasters and a tenner!

BTW I once taught a boy called Justin Case.

This is the only picture I took at the meet today that was held for ma burfday :D (ps I'm 21 today heheheheheh yay)

Chloe does not belong to me, erin does ^_^

We found this museum to be a wonderful place to spend a couple of hours - just the right size, with a collection that was well organized and beautifully presented.

www.museepicassoparis.fr/en/the-collection/

www.museepicassoparis.fr/en/

"The Musée Picasso is an art gallery located in the Hôtel Salé in rue de Thorigny, in the Marais district of Paris, France, dedicated to the work of the Spanish artist Pablo Picasso (1881–1973. The hôtel particulier that houses the collection was built between 1656 and 1659 for Pierre Aubert, seigneur de Fontenay, a tax farmer who became rich collecting the gabelle or salt tax (the name of the building means "salted"). It is considered to be one of the finest historic houses in the Marais.

The mansion has changed hands several times by sale or inheritance. The occupants have included the Embassy of the Republic of Venice (1671), then François de Neufville, duc de Villeroi; it was expropriated by the State during the French Revolution; in 1815 it became a school, in which Balzac studied; before housing the Ecole Centrale des Arts et Manufactures in 1829. It also housed the municipal École des Métiers d'Art. It was acquired by the City of Paris in 1964,

The Hotel Salé was selected for the Musée Picasso after some contentious civic and national debate. A competition was held to determine who would design the facilities. The proposal from Roland Simounet was selected in 1976 from amongst the four that were submitted. For the most part, the interior of the mansion (which had undergone significant modifications) was restored to its former spacious state.

In 1968, France created a law that permitted heirs to pay inheritance taxes with works of art instead of money, as long as the art is considered an important contribution to the French cultural heritage. This is known as a dation, and it is allowable only in exceptional circumstances. Dominique Bozo, a curator of national museums, selected those works that were to become the dation Picasso. This selection was reviewed by Jean Leymarie and ratified in 1979. It contained work by Picasso in all techniques and from all periods, and is especially rare in terms of its excellent collection of sculptures. Upon Jacqueline Picasso's death in 1986, her daughter offered to pay inheritance taxes by a new dation. The collection has also acquired a number of works through purchases and gifts.

Picasso once said "I am the greatest collector of Picassos in the world." He had amassed an enormous collection of his own work by the time of his death in 1973, ranging from sketchbooks to finished masterpieces. The Musée Picasso has over 5,000 works of art by Picasso including 3,700 works on paper, ceramics, sculptures in wood and metal, and paintings. This is complemented by Picasso's own personal art collection of works by other artists, including Cézanne, Degas, Rousseau, Seurat, de Chirico and Matisse. It also contains some Iberian bronzes and a good collection of African art, by which Picasso was greatly inspired. The museum also contains a large number of works that Picasso painted after his seventieth birthday."

en.wikipedia.org/wiki/Musée_Picasso

...

Inspector Paul Rowe in the vehicle's blind spot.

Road safety campaigners joined forces today (24 October) on Albert Square, Manchester to demonstrate how the emergency services work together to rescue road accident victims trapped under cars.

The dramatic stunt was staged by the emergency services to highlight the dangers posed to cyclists and bikers straying into the blind spots of HGVs and buses. It was timed to coincide with a potential increase in cyclist and biker deaths and serious injuries due to mornings and evenings being darker in the winter months.

In the five years 2007/2011 there have been 12 motorcyclists and pedal cyclists killed and 44 seriously injured as a result of accidents with HGVs and buses on the roads of Greater Manchester. In the same period five road deaths and 10 serious injuries occurred where the driver’s vision was affected by the vehicle’s blind spot.

Campaigners say that cyclists, bikers and HGV drivers should take extra care when sharing the road to ensure that they are visible to each other. Drivers should especially watch out for cyclists when turning left.

Cyclists are warned to give HGVs a wide berth and remember that behind a lorry is the safest place to be. They should also move forward when stopped in front of a truck and only overtake on the right when safe to do so to ensure that they remain visible to the driver.

This increased policing focus on road safety is a part of Operation Dice launched earlier this year in response to a shocking increase in road deaths in 2011 when 75 people lost their lives on the roads of Greater Manchester. This was an increase of 42 per cent on the previous year and reversed a long term downward trend in road deaths.

Under Operation Dice Greater Manchester Police is working with other emergency services and partners to increase public awareness of the ‘fatal four’ factors that feature in most road accidents ie drink driving, speeding, drivers using mobile phones and drivers and passengers not wearing seatbelts.

It also tackles drivers putting their own lives and that of their passengers and road users at risk through dangerous driving and flouting road safety laws.

Inspector Paul Rowe from GMP’s Roads Policing Unit said; “Stay safe, stay back is the most important message we can give to cyclists and bikers. They, by the very nature of their mode of transport are especially vulnerable on the roads and should along with other road users take extra care when sharing our roads.

“Visibility is the key factor in many traffic accidents and cyclists and bikers can increase theirs by good road positioning, ensuring they use front and rear lights and wearing high-vis clothing.

Area Manager Dave Keelan, GMFRS’ Head of Prevention Services, said: “Our fire fighters rescue more people from road traffic collisions than they do from house fires, so we’re committed to improving the safety on our roads.

“We know what devastation a road traffic collision can have, not only on those involved but on their family and the wider community. We are determined to do all we can to reduce these collisions and the number of people that are killed or seriously injured on our roads.”

Karen Delaney from DriveSafe said: “Greater Manchester has some of the busiest roads in the country and being a major hub for commercial activity has more than its fair share of HGVs either visiting or passing through the county. Road safety is the responsibility of all road users so I would urge everyone, especially in the dark mornings and evenings to take extra care and give each other loads of room so everyone can get home safe.”

Vist Dicing with Death for more information.

To find out more about policing in Greater Manchester please visit our website.

www.gmp.police.uk

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

Ciara came all the way from Northern Ireland, we spend 4 lovely hours dressing her up and transforming her into this marvelous creation you can see from those pictures!

Boys Will Be Girls, London's Luxurious Dressing Service

www.boyswillbegirls.com

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“The artist is not a different kind of person, but every person is a different kind of artist”

"Not that I am speaking of being in need, for I have learned in whatever situation I am to be content." Philippians 4:11 (ESV)

Photo: Mihai Tamasila. Otelu-Rosu, Caras-Severin, Romania

Design: Logan Weiler III

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Kek Lok Si Temple, Penang 槟城极乐寺 ...

cwwongphotography.blogspot.com/2011/09/be-kind-to-your-ey...

More photographs of the Malvern Hills, can be viewed by visiting my photography website - Beautiful England

The Malverns have attracted many famous and non famous visitors over the centuries. George Bernard Shaw described Malvern as, "Quite the best bit of England". To Sir Edward Elgar, a country life was essential, 'Here the conditions are exactly what I require', he wrote.

As you approach Malvern from across the Severn Plain, the Malvern Hills rise dramatically to the highest point (425 metres) at Worcestershire Beacon. They consist of a ridge nine miles long running North to South and have been designated an Area of Outstanding Natural Beauty. From these easily accessible hills can be seen six counties.

Great Malvern is a superb example of a Victorian spa town, but its roots are much older. The oldest part of the town is the Priory Church, founded in 1085 by Benedictine monks. It contains some of the finest medieval stained glass in England. Close by, is the Abbey Gateway, which contains Malvern's Museum.

Malvern Water is Britain's oldest and best known mineral water – 'The Original English Mineral Water'. In the 1750's, Doctor John Wall, analysed the content of some natural springs and publicised its purity – "famous for containing nothing at all". Doctors Gully and Wilson brought "The water cure" from Austria and built the first water cure house in 1845, which resulted in Malvern becoming a popular Victorian Spa resort. Over sixty springs can be found in and around Malvern. Her Majesty Queen Elizabeth II takes this water with her on overseas trips. It can be sampled for free at St. Ann's Well, a short walk from the town and from the fountains, close to Belle Vue Terrace. Commercially, Malvern Water is supplied by the Coca Cola Schweppes Company, who have bottled it from their site in Colwall, since 1892.

Great Malvern Railway Station was built in 1861 to meet the needs of the Victorian visitors. It is one of the best preserved ornate small stations in the country and still has a direct link to Paddington Station in London. The platform roof columns are each decorated with a different design.

Gas lamp lights can still be seen in Malvern. They are believed to be the inspiration for the lamp in the forest of C. S. Lewis's, 'Chronicles of Narnia – The Lion, the Witch and the Wardrobe'. The original lamps can be found in the Priory Churchyard, Holywell Road in Malvern Wells and Moorlands Road in Malvern Link.

Sir Edward Elgar and his music are inextricably part of the Malverns. He was born in 1857, a few miles away at Lower Broadheath. The cottage now houses The Elgar Birthplace Museum. He lived and worked in Malvern for thirteen years until 1904 and was inspired by the Malvern Hills, which he loved for their "Englishness". 'Caractacus' was inspired by The Herefordshire Beacon.

Elgar is buried beside his wife, Alice, in the graveyard of St. Wulstan's Catholic Church, on the slopes of the Malvern Hills. She died fourteen years before him. He said, "All I have done was owing to her". He wrote, 'The place she chose long years ago is too sweet – the blossoms are white all round and the illimitable plain, with all the hills and churches in the distance which were hers from childhood, looks just the same – inscrutable and unchanging'. His daughter, Carice, is close by. His funeral in 1934 was a private ceremony, without any music being played and the only flowers, a bunch of daffodils.

The unofficial English National Anthem, "Land of Hope and Glory", is sung to, 'Elgar's Pomp and Circumstance March No. 1'.

The Morgan Motor Company, the last wholly owned British carmaker, in the country, has its factory (the "Works") on Pickersleigh Road. It was established in 1918 and tours can be arranged to see the production of the hand-made cars.

Film here youtu.be/iD9hGiPqLiU

Blog report here : steamingboots.weebly.com/blog/kayak-island-wild-camping-o...

Shepherd's Bush freebie

Size: 12x5x3cm, weight: XXXgr.

Density: X,XXgr./cm³ / Estimated grit size: very variable 4K-8K

Usage: with water or oil, water should be preferred

Colour: differs totally from which quarry and which layer the stone was quarried. To identify and get further more information about the different kinds, read Henk Bos - Grinding and Honing Part 4 about Belgian Whetstones in detail (www.bosq.home.xs4all.nl) additional a visit of Coticule.be (maintained & created by Bart Torfs) is recommended! (www.coticule.be)

A Sharpening Stone which is known as a Coticule, Belgian Waterwhestone or in german "Gelber Belgischer Brocken" which is also shortened as GBB. There is also a second type which is and in the past was mostly used a the backing of the Coticule, the "Belgian Blue Waterwhetstone" or in german "Blauer Belgischer Brocken" shortened as BBW/BBB. Coticules are very interesting in their apperance, none is like the other and sometimes they have really nice structures (banding, gradients, inclusions).

Concerning the performance of the stones, the Coticules are very flexible in usage. That means that the stones with a very thick slurry used with more pressure work quite fast and remove a lot of material! A moderate slurry is a bit slower, using plain water is the slowest way which is used to polish the bevel and finish on the Stone. Later on there is a link to both Sharpening techniques brought to paper from Coticule.be named "Unicot" und "Dilocut" which are both great if they are well learned.

"About this Stone"

A very thick stone (3cm) with a mixed up Coticule layer, on certain areas it has several hybrid layer inclusions (Quartz). It has a natural grown BBW backing. At the End on one side both layers (Coticule/BBW) get mixed up together, this is quite rare and ive never seen any comparable stone.

more about the History of Coticules can be found here:

www.ardennes-coticule.be/en/ardennes-coticule-en.html

General information on coticules:

Wikipedia.de: "Belgischer Brocken"

de.wikipedia.org/wiki/Belgischer_Brocken

Coticule.be

www.coticule.be

Salmchateau.be: "Le Coticule de Salchateau"

www.salmchateau.be/article39.html

Vielsalm.be: "Musee de Coticule"

www.vielsalm.be/loisirs-et-tourisme/culture/les-musees/mu...

Sources of buying coticules:

Ardennes-coticule.be, Founder is Maurice Celis

www.ardennes-coticule.be

Belgischer-Brocken.com, Site from Steffen J. Lindner:

www.belgischerbrocken.de/

The Supirior Shave (TSS):

thesuperiorshave.com/

How to use a coticule:

Coticule.be: "Méthode Unicot" with PDF Files in EN, NL, IT, FR, ES, DE

(Link: www.coticule.be/unicot.html)

Coticule.be: "Méthode Dilucot" with PDF Files in EN, NL, FR, ES

(Link: www.coticule.be/dilucot-honing-method.html)

Geological Information:

Région Walonne, Bra Lierneux, 55/3-4: "Carte Géologique de Wallonie "

Échelle: 1/25000, Notice Explicative

(Link: geologie.wallonie.be/files/content/sites/geoprod/files/re...)

Literature:

[1] Bos, Henk - "Grinding and Honing Part 4 Belgian Whetstones", Info 20M, ISSN 1872-7824

(Link: www.xs4all.nl/~bosq)

[2] Boulvain, F. Prof. & Pingot, J. L. Dr. - Excursions: "Une introduction à la GEOLOGIE de la WALLONIE", Université de Liège, Faculté des Sciences, Département de Géologie, 2014

(Link: www2.ulg.ac.be/geolsed/geolwal/geolwal.htm)

[3] Boulvain, F. Prof. - Excursions "Excursions des cours de Processus Sedimentaires et Geologie de la Wallonie", Université de Liège, Faculté des Sciences, Département de Géologie, 2013

[4] Caubergs Michel - "Inventaire de quelques anciennes mines et carrieres souterraines de Wallonie", Essai D'archeologie miniere, 1991

[5] Devleeschouwer, Xavier / Mullard, Cyril / Goemaere, Eric - "Underground Workings of Slate Vein and Coticule in the commune of Vielsam (Belgium): The Geological Risk Management through Database and GIS", Post-Mining 2005, November 16-17, Nancy, France

(Link: gisos.ensg.inpl-nancy.fr/fileadmin/File/PM_2005/PM05_pdf/...)

[6] Gaspard, Charles - "L'industrie de la Pierre a rasoir dans le region de Sart-Lierneux", Extraites des Enquêtes du Museé de la Vie Wallonie, TOME XIV (No. 5 157-160)

[7] Goemaere, Eric - "Ardoise et coticule en Terre de Salm, Des pierres et des Hommes", Collection Geosciences du Service Géologique de Belgique, Institut Royal des Sciences Naturelles de Belgique, ISBN : 978-2-9600676-1-3

(Link: www.sciencesnaturelles.be/institute/structure/geology/gsb...)

(Extrait "L'atelier Burton: www.sciencesnaturelles.be/institute/structure/geology/gsb...)

[8] Goemaere, E. & Declercq, P-Y. , 2012. "Le "coticule" de Vielsalm et Lierneux (Belgique)" une pierrre à aiguiser au passé mondial. Ann. Soc. géologique du Nord, 19 (2e série), 117-131

[9] Lessuise, A., "Le coticule. Situation géographique et géologique des gisements. Exploitation et préparation des pierres abrasives. Valorisation des déchets d’exploitation" Annales des Mines de Belgique, 1: 101-125, 1981

[10] Remacle, A. - "Les ardoisières de l’Ardenne belge" Intérêt biologique et état des lieux des sites en surface. Région wallonne, Direction Générale des Ressources Naturelles et de l’Environnement, Division de la Nature et des Forêts, Travaux n° 30, 189 p., 2007

[11] Renard, A. & S.J. - "Sur la structure et La Composition Minéralogique Du Coticule et sur ses Rapports avec Le Phyllade Oligistifère, 21.10.1876

[12] Knight, Richard - Appendix No. V Pages 231-237, Paragraph Nr. 15 in "Transactions of the Society instituted at London for the...Encouragement of Arts, Manufacturers and Commerce, Vol. L, 1836

███▓▒░░.Text and Links created by RAZORLOVESTONES 05.09.2014.░░▒▓███

Build a life you can be proud of by achieving success with your own rules. Everyone has a chapter they don't read out loud. But you can make your life from here on out one your proud to share by building it and defining it on your own terms.

Copyright photo.

The Victoria and Albert Museum, Cromwell Rd, Kensington, is said to be the world's greatest museum of art and design.

I made another visit, but rather hurried, and the light is of course too low for deserving-quality hand-held photos -- they have a good web-site however.

Interests this time included the Europe Medieval and Renaissance (Ten contiguous galleries Level 1 and Level 2); Modern, 20th C Level 3; Islamic Middle East (Jameel) Room 42 Level 1 (ground); and the V&A/RIBA Architecture Gallery.

The Combined pair above is just as a reminder from the Medieval and Renaissance.

On the right, above: Chancel from Santa Chiara, Florence (1494 - 1500) Sangallo.

wikimapia

V & A:

discover-the-v-and-a

Short video of flickr V&A Medieval and Renaissance group:

vam/medieval-and-r...

Click diagonal arrows upper right and then press F11 Fullscreen.

Extract from "More Rough Travel Notes with an Architectural Eye - 2012":

Ah ha! The V & A Museum’s open late on a Friday. You’ll know it’s the world’s largest museum of applied arts and design; 145 galleries. It would take more than a day. But, no. Better in accumulated installments I think; so let’s add a snatch more.

It began its days collecting objects from the Great Exhibition of 1851. (I’ve mentioned the early plastercasts before for instance.) Thus established the gathering of museums around Exhibition and Cromwell Roads, heart of South Kensington.

But we’ll start where we left off last time, the RIBA gallery, Level 4. (I mentioned from previous visit this architectural display, established 2004, with its hundreds of thousands of drawings and photographs.) Here’s the model of Lutyens — caricature of a character — complete with pith helmet and puffing his pipe. I guess the heat-hat implies his Indian work — shouldn’t we re-visit Delhi? When it was made capital in 1911, it was Lutyens who planned New Delhi, inaugurated 1931; think of Connaught Place circle as well as generously-designed individual buildings. Well, his picturesque English country houses, garden layouts, and influences of the time in New Zealand too, sometimes displayed nostalgic extravagance.

And here’s a model of Rietveld’s Schroeder house, Utrecht. I saw it in 1968. Architecture as graphics — like a natty bit of modern sculpture (1924), it is however, attached unrelated to the end of a dull traditional block of apartments usually unshown though vaguely suggested by shadow-line backing of this model. Very Mondrian as everyone points out. The forward-looking Dutch De Stijl movement of Van Doesberg and co had belief in a visual abstraction — rectangular, straight lines, primary colours, strictly. However, the contrast between solid, middle-class 19th C taste and the lighter, more open 20th C crisp clarity is starkly expressed. Perhaps a bit art-theory conscious, but so seminal at the time. And it’s that sharp composition that communicates well in the V & A model.

See my photo:

peteshep/7967309806/in/set-72157631...

The light is of course too low for deserving-quality hand-held photos — they have a good web-site however.

A quick look at some fine-design ceramics in the Jameel (Middle-East/Persian) section,

Level 1. You may recall my photo of the Ardabil carpet from the previous visit.

Then to the new European Medieval and Renaissance section. Its ten contiguous galleries are on Levels 1 and 2. A skilled recent job by MUMA Architects — now a highlight of the

V & A, a museum within a museum but far from in the dead sense. Early Byzantine ivories, telling Romanesque sculptures, exquisite carving, a monumental arched stone screen from 1160, the essential power of the Romanesque. Works from Spain, France, Germany, Italy, especially old England. 12th C gilded foliage. And a large glass cabinet of superbly designed, crafted, and presented vestments including the Syon Cope — 1300s but with modern clarity — silk and silver thread by craft team; perfectly lit, fresh.

Then the great 13th C stained glass such as from Ste Chapelle and Winchester college. Hard to fully capture photographically, but stunning colour. 14th C tapestries and illuminated manuscripts. And there’s a whole marble chancel (1494 -1500) by Pisano transposed somehow from Santa Chiara Florence. (Combined photo.)

Upstairs we find a gallery devoted to Donatello sculptures — evolving sophistication in alive and expressive aesthetic art. Late Gothic, early Renaissance, naturalism of Rosselino. And a gallery “The Renaissance City”. Some of the most famous treasures in such well-presented collection to experience. The whole project was designed by MUMA in collaboration with the V & A.

And there’s the Arts and Crafts Morris Room restaurant with Pre-Raphaelite panels. And the Complete Frank Lloyd Wright room. More time — visit layer by layer.

Syon Cope Link:

www.vam.ac.uk/vastatic/microsites/bbchistory/object_text0...

There’s a V & A group on flickr:

groups/va_medren/pool/with/7967309312/ligh...

Click “older” for more.

P :-)

Cats in Revin

Canon EOS 550D

16-35mm f/2.8L II Lens @ 29mm; f/3.5; 1/400s

ISO 400

Edited in Aperture 3

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Took this picture on my very first street session. We were in Mannheim and we played it like a game: No one was allowed to watch at the cam after the picture was shot. So the result of that day's shoot was a surprise. A great surprise :)

Well I am, what I am, what I am, could be who you are?

Is your pain, when you smile 'cos you built a wall around your heart?

Do the thoughts in your head keep you up 'cos you feel alone?

(Thoughts in your head, thoughts in your head, thoughts in your head)

And are you strong enough to be yourself?

(Be yourself)

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A kiss to those who see the photo in large view on black

+++ DISCLAIMER +++

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

Some background:

Alexander Martin Lippisch (November 2, 1894 – February 11, 1976) was a German aeronautical engineer, a pioneer of aerodynamics who made important contributions to the understanding of flying wings, delta wings and the ground effect.

Anyway, the Li 383's overall impact was not significant. Production numbers remained low, and all in all, only a total of 80-100 machines were completed and made operational when the hostilities ended.

General characteristics:

Crew: one

Length: 7.78 m (25 ft 5 1/2 in)

Wingspan: 12.67 m (41 ft 6 in)

Height: 3.86 m (12 ft 8 in)

Wing area: 46.8 m² (502.1 ft²)

Empty weight: 4,600 kg (10,141 lb)

Loaded weight: 6,912 kg (15,238 lb)

Max. takeoff weight: 8,100 kg (17,857 lb)

Powerplant:

1× BMW 018A turbojet, 25kN (5.200 lb)

Performance:

Maximum speed: 977 km/h (estimated) (607 mph) at 12,000 meters (39,000 ft)

Service ceiling: 16,000 m (estimated) (52,000 ft)

Rate of climb: 22 m/s (estimated) (4,330 ft/min)

Wing loading: 147.7 kg/m² (20.2 lb/ft²)

Thrust/weight: 0.34

Armament:

4× 30 mm (1.18 in) MK 108 cannons around the air intake with 75 RPG

2x underwing hardpoints for two 300l drop tanks or 2x 250 kg (550 lb) bombs;

alternatively, various weapon sets (Rüstsätze) were available, including racks for 8× (R1) or 12× (R3)

R 65 “Föhn” or for 24x R4M unguided missiles (R2), or for 2× Ruhrstahl X-4 Wire Guided AAMs (R4)

The kit and its assembly:

This fictional Luft ’46 aircraft was inspired by the question what a further developed Ta 183 could have looked like, and it was also influenced by the many tailless Lippisch designs that never left the drawing board.

From the hardware perspective, the design is more or less the salvage of the most useable parts of the PM Model Horten IX/Go 229 kit – namely the outer wing sections. The PM Model Ta 183 is only marginally “better”, and I had one of these in the stash (Revell re-boxing), too. So, why not combine two dreadful kits into something …new?

Well, that was the plan, and building was rather straightforward. In the cockpit, I added simple side consoles, a dashboard, some oxygen flasks, a different seat and a pilot figure (seatbelts simulated with tape strips) – the kit would be finished with closed canopy.

An exhaust pipe was integrated and the air intake filled with a better compressor fan (from an Airfix D.H. Venom, IIRC, fits perfectly). The inner walls of the landing gear wells (well, they are not existent) were cut away and replaced with leftover jet engine parts, so that there was some structure and depth. The landing gear was taken OOB, though, I just used slightly bigger wheels, since the “new” aircraft would have considerably more mass than the Ta 183.

The highly swept, long Ta 183 tail was cut off and replaced by a surplus Me 262 fin and tail section (Matchbox). Despite the different shape and size, and the resulting side view profile reminds strangely of the Saab 29?

The original Ta 183 wings were not mounted and their attachment points on the fuselage cut/sanded away. Instead, I used the outer wing sections from the Go 229, with clipped wing tips for a different shape.

When I held the wings to the fuselage, the whole thing looked …boring. Something was missing, hard to pinpoint. After consulting some Luft ’46 literature I adapted a trick for better stability: a gull wing shape. This was achieved through simple cuts to the wings’ upper halves. Then the wings were bent down, the gap filled with a styrene strip, and finally PSRed away. Looks very dynamic, and also much better!

Another late addition was the underwing armament. I was about to start painting when I again found that something was missing… The new wings made the aircraft pretty large, so I considered some underwing ordnance. Anyway, I did not want to disrupt the relatively clean lines with ugly bombs or drop tanks, so I installed a pair of racks with six launch tubes for R 65 “Föhn” unguided AAMs into the lower wing surfaces, in a semi-recessed position and with a deflector plate for the rocket exhausts.

Painting and markings:

As a high altitude interceptor and late war design, this one was to receive a simple and relatively light livery, even though I stuck with classic RLM tones. The Li 383 was basically painted all-over RLM 76 (Humbrol 247), onto which RLM 75 (from Modelmaster) was added, in the form of highly thinned enamel paint for a cloudy and improvised effect, applied with a big and soft brush. On top of the wings, a typical two-tone scheme was created, while on the fuselage’s upper sides only some thin mottles were added.

In order to lighten the scheme up and add a unique twist, I added further mottles to the flanks and the fin, but this time with RLM 77. This is a very light grey – originally reserved for tactical markings, but also “abused” in the field for camouflage mods, e. g. on high-flying He 177 bombers. I used Humbrol 195 (RAL 7035), again applied with a brush and highly thinned for a rather cloudy finish.

The air intake section and the intake duct were painted in aluminum, while the engine exhaust section as well as the missile racks and the areas around the gun ports were painted with Revell 99 (Iron Metallic) and Steel Metallizer.

The cockpit interior became dark grey (RLM 66) while the landing gear, the wells and the visible engine parts inside became RLM 02.

The kit was lightly weathered with a thin black ink wash and some dry-brushing.

The markings were puzzled together; due to the light basic tones of the model, the upper crosses became black, with only a very small cross on the flanks due to the lack of space, and for the wings’ undersides I used “old school” full color markings in black and white. The red color for the tactical code was basically chosen because it would be a nice contrast to the bluish-grey overall livery.

Finally the kit was sealed with matt acrylic varnish and some gun soot stains added with grinded graphite, as well as some traces of flaked paint on the wings’ leading edges and around the cockpit.

Well, the attempt to bash two mediocre (at best) kits into something else and hopefully better worked out well – the Li 383 does not look totally out of place, even though it turned out to become a bigger aircraft than expected. However, the aircraft has this certain, futuristic Luft ’46 look – probably thanks to the gull wings, which really change the overall impression from a simple kitbash to a coherent design which-could-have-been. The livery also fits well and looks better than expected. Overall, a positive surprise.

The robins descended en masse today at the birdbath.