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FreeStyle
The competition in the FreeStyle class was just outstanding with a high-level of detail, fit and finish displayed by all builders. But in the end, it was Freakshow Choppers that took the trophy and the big check. Freakshow Choppers –brought their “Santa de Muerte” ( Saint of the Dead) 2012 Freakshow Pro-Street Bagger to the Ultimate Builder Custom Bike Show to Seattle. It features a S&S 124 Twin Cam with T-Man Stage 4 heads. The Chassis is hand built, raked and sports front and rear air ride, single-sded swingarm and custom wheels.
1. Jay, Freakshow Choppers – Saint of the Dead, Freakshow Choppers
2. Mike Fobes – Twisted Evil, ’11 Fobes Twisted
3. Bear – Hellboy, ’09 Anarchy MoCo
MOD Harley
Dorian Kelly rolled Jon Doe into the Seattle Convention Center into the most competitive class of the weekend. Any of the competitors could have taken 1st place, it was that close. Many of the judges commented on the flawless paint and the classic black and chrome color scheme. Russ Foy of Custom Classic took charge of the paint. The bike features an air ride, Carlini bars, custom exhaust, extended bags, fenders and diamond cut motor. Ridewright provides the wheels, PM takes care of braking and Danny Gray built the gator seat.
1. Dorian, Cycle Path / Megal Kelly – Jon Doe, ’05 Road King Classic,
2. Lorenzo Marr, Urban Custom Bikes – Usian Bolt, ’10 H-D FLHR
3. Freddie Manning, Urban Custom Bikes – 2003 H-D FLSTS
Performance Custom
Geoffrey Rossi competed with Build 43, his 2012 Full Custom Ducati sport bike. It’s based on a DS1000. And it contains all the HI-PO goodies cradled on a full custom Ducati-red frame. Additional custom features include BST Carbon rear wheel, GSXR Frame, wire loom, Watson LED blinkers and MotoGadget instruments.
1. Geoffrey Rossi – Build 43, 2012 Full Custom
2. Premium Custom Cycles – 503 Iericho, 2004 Yamaha R1
3. David Clark, Premium Custom Cycles – Untamed Busa, 2009 Hayabusa
Retro MOD
The Deuce takes Retro MOD in Seattle. The last Ultimate Builder Custom Bike Show of 2012 ends with a bang as the most hotly contested class, say Mike Boehlke with his 1953 Harley-Davidson FL taking the win from Hell Mutts 1971 Triumph by 1 point. The 74 CI Panhead features custom pan covers with S&S heads. It sports a bobber chassis with hand built exhaust, taillight assembly, shaved gas tank and custom sheet metal.
1. Mike Boehlke – Duece, ’53 H-D FL
2. Billy Davis, Hell Mutts – Jaded, ’71 Triumph
3. Andrew Robinson – The Stingray, ’65 triumph
MOD Street
Greg Whiteside of Premium Custom Cycles brought 4 bikes to the Ultimate Builder and came away with a win with Ms Carolina, a 2007 Kawasaki ZX 10R that features Paint by Punk.
1.Danielle Veney, Premium Custom Cycles – Ms. Carolina, 2007 Kawasaki ZX10R
2.Eddie Castro, Premium Custom Cycles – Reddy, 2007 GSXR 600
3.Steve Hegel - Hurri-Kane, 2008 Triumph Rocket III
Jessica of Urban Custom Bike won the Show Dog Award sponsored by Rocking K Custom Leather for her tireless promotion on the show floor and for her ability to engage the audience and to promote her business.
The Ultimate Builder Custom Bike Show is produced by www.bikerpros.com. At each round of the competition Biker Pros photographs each bike and makes them available in their Flickr gallery at www.flickr.com/photos/bikerpros.
model: Petr Popko /
makeup: Natalya Burya
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The SOCAL edition of the 2013 Ultimate Builder Custom Bike Show featured a distinct Hollywood theme with Batman and Cat Woman-styled vehicles delighting the crowd. Forty custom sleds and over $1,000,000+ were on display. Enthusiasts were treated with some of the most outstanding designs and creativity seen on the circuit to date.
Ultimate Builder FreeStyle Class
Ultimate Builder is known for the diversity of styles, innovation and designs and SOCAL was a treat for enthusiasts checking out the show. From ground up builds to tractor design queues to choppers to Hot Rod-styled FXRs, it had everything.
Sam Baldi of Profile Cycles took 1st place in the FreeStyle class with Lost Angel and won the $2,500 check. Lost Angel is a custom 2013 build with an EVO Patrick Racing 113 mil softail with trans brake, centrifugal clutch and Paul Cox seat. Paint is by One Xtreme.
Ultimate Builder FreeStyle Winner
1.Sam Baldi, Profile Cycles - Lost Angel, 2013 Custom
2.Gary Savill, Silver Wraith Choppers – Wraith Heimdall Slammer, 2013 Wraith Heimdall Slammer
3.Quentin Gutierrez, Seth Slagiel / Craft Kustoms – Twisted Knuck, 1940 Knucklehead
Ultimate Builder MOD Harley Class
It was touch and go for Chris Richardson of LA Speed Shop as he had finished his build in the early morning hours of the show. Since the clear was still wet, he rolled it in on Saturday morning; a significant disadvantage in the judged competition.
Richardson had an idea for a Bagger (LA Speed Shop style).He takes elements from his bobber style and combined it with a fairing and hard bag to deliver an exceptional low-slung and skinny Bagger. The bike features a 3 inch stretch in the rear, hand-made custom saddle bags, fairing, oil tank, gas tank, exhaust, narrowed rear fender and narrowed springer front end.
Ultimate Builder MOD Harley Winner
1.Chris Richardson, LA Speed - 1959 Harley-Davidson FL
2.K&N, RSD - K&N Softail, 2006 Harley-Davidson Softail
3.Shannon Venturo, Devas Bling – Dazln, 2011 Softail Deluxe
Ultimate Builder Retro MOD Class
Rett Comer wheeled in his 1965 BSA Lightning named Teal Terror. The BSA Lightning was designed as the all-round sportbike of the 1960s with an engine aimed to improve mid-range and ride ability.
Rett’s custom sled features custom tanks, forks, front wheels, pipes and custom paint from Casey Johnson of Headcase Kustom Art.
Ultimate Builder Retro MOD Winner
1.Rett Comer, C&C – Teal Terror, 1965 BSA Lightning
2.Hudson Motorycles, Kios Garage – Cherry Blossom, 1970 Kios Garage
3.Jay LaRossa, Lossa Engineering – 1970 Honda CL450
Ultimate Builder Performance Custom Class
Tony Sesto of Sesto Custom Cycles rolled in 4 bikes into the Ultimate Builder show and took home a 1st in Performance Custom and a 3rd in MOD Street. Tony’s outrageous Double Take started out as a 2013 Yamaha R1 and features a single sided swing arm front and back. Two Brothers took charge of the exhaust, fuel management and air cleaner. Top mounted velocity stacks funnel air into the throttle bodies. Additional features include tooled leather grips, seat, frame inserts, mirror block-off plates, PSR kick stand, levers and oil plug.
Ultimate Builder Performance Custom Winner
1.Tony Sesto, Sesto Custom Cycles – Double Take, 2013 Yamaha R1
2.Charlie Thomas, Executives Garage – King Ghost Rider, 2007 Suzuki GSX-R
3.George Roybal, G&A Kustoms – Hayabusa, 2008 Hayabusa
Ultimate Builder MOD Street Class
Two BSA motorcycles entered into the Ultimate Builder Custom Bike Show and both won their class. The Bonnie Killer, a rigid 1967 BSA, was built by Headcase Kustom Art and features oil in frame, rust, Japanese parts and hand made everything.
Ultimate Builder MOD Street Winner
1.DJ Tambe, Headcase Kustom Art - Bonnie Killer 1967 BSA
2.Hudson Motorcycles – BMW M Series Tribute, 2012 S1000RR
3.Tony Sesto, Sesto Custom Cycles – Rossi Replica, 2007 R1
I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.
I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.
I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.
In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?
The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.
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Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.
You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.
In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.
I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.
So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.
But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.
The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.
The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.
However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Simon Knott, June 2006, updated July 2010 and January 2017
One of the more striking ads we saw in Japan.
As an American, it was odd to see cigarette machines on every other block and cigarette advertising all over the place, but beyond that reality, this ad was just plain odd...
The eastbound Empire Builder makes its station stop at Whitefish, Montana during sunrise in October. The next stop is West Glacier, 20 miles east of Whitefish and a gateway to Glacier National Park.
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FreeStyle
The competition in the FreeStyle class was just outstanding with a high-level of detail, fit and finish displayed by all builders. But in the end, it was Freakshow Choppers that took the trophy and the big check. Freakshow Choppers –brought their “Santa de Muerte” ( Saint of the Dead) 2012 Freakshow Pro-Street Bagger to the Ultimate Builder Custom Bike Show to Seattle. It features a S&S 124 Twin Cam with T-Man Stage 4 heads. The Chassis is hand built, raked and sports front and rear air ride, single-sded swingarm and custom wheels.
1. Jay, Freakshow Choppers – Saint of the Dead, Freakshow Choppers
2. Mike Fobes – Twisted Evil, ’11 Fobes Twisted
3. Bear – Hellboy, ’09 Anarchy MoCo
MOD Harley
Dorian Kelly rolled Jon Doe into the Seattle Convention Center into the most competitive class of the weekend. Any of the competitors could have taken 1st place, it was that close. Many of the judges commented on the flawless paint and the classic black and chrome color scheme. Russ Foy of Custom Classic took charge of the paint. The bike features an air ride, Carlini bars, custom exhaust, extended bags, fenders and diamond cut motor. Ridewright provides the wheels, PM takes care of braking and Danny Gray built the gator seat.
1. Dorian, Cycle Path / Megal Kelly – Jon Doe, ’05 Road King Classic,
2. Lorenzo Marr, Urban Custom Bikes – Usian Bolt, ’10 H-D FLHR
3. Freddie Manning, Urban Custom Bikes – 2003 H-D FLSTS
Performance Custom
Geoffrey Rossi competed with Build 43, his 2012 Full Custom Ducati sport bike. It’s based on a DS1000. And it contains all the HI-PO goodies cradled on a full custom Ducati-red frame. Additional custom features include BST Carbon rear wheel, GSXR Frame, wire loom, Watson LED blinkers and MotoGadget instruments.
1. Geoffrey Rossi – Build 43, 2012 Full Custom
2. Premium Custom Cycles – 503 Iericho, 2004 Yamaha R1
3. David Clark, Premium Custom Cycles – Untamed Busa, 2009 Hayabusa
Retro MOD
The Deuce takes Retro MOD in Seattle. The last Ultimate Builder Custom Bike Show of 2012 ends with a bang as the most hotly contested class, say Mike Boehlke with his 1953 Harley-Davidson FL taking the win from Hell Mutts 1971 Triumph by 1 point. The 74 CI Panhead features custom pan covers with S&S heads. It sports a bobber chassis with hand built exhaust, taillight assembly, shaved gas tank and custom sheet metal.
1. Mike Boehlke – Duece, ’53 H-D FL
2. Billy Davis, Hell Mutts – Jaded, ’71 Triumph
3. Andrew Robinson – The Stingray, ’65 triumph
MOD Street
Greg Whiteside of Premium Custom Cycles brought 4 bikes to the Ultimate Builder and came away with a win with Ms Carolina, a 2007 Kawasaki ZX 10R that features Paint by Punk.
1.Danielle Veney, Premium Custom Cycles – Ms. Carolina, 2007 Kawasaki ZX10R
2.Eddie Castro, Premium Custom Cycles – Reddy, 2007 GSXR 600
3.Steve Hegel - Hurri-Kane, 2008 Triumph Rocket III
Jessica of Urban Custom Bike won the Show Dog Award sponsored by Rocking K Custom Leather for her tireless promotion on the show floor and for her ability to engage the audience and to promote her business.
The Ultimate Builder Custom Bike Show is produced by www.bikerpros.com. At each round of the competition Biker Pros photographs each bike and makes them available in their Flickr gallery at www.flickr.com/photos/bikerpros.
JORDI COLOMER
Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.
Desde el 14 de septiembre
Precio: Entrada libre
Institución:
Abierto x Obras
Inauguración: Viernes 14 de septiembre a las 20 h.
Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.
'Os será más fácil sacarles el oro a los hombres que a los ríos'1
"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.
Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.
En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".
Jordi Colomer
1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.
2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923
BIOGRAFÍA
Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.
Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.
Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.
PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER
(Didactic work on the foundation of a paradise city)
From 14 of september
to 09 of december
Price: Free
Institution:
Abierto x Obras
GALERÍA DE FOTOS
[ver + fotos]
'It's easier getting gold out of men than from rivers'. Bertolt Brecht,
The Rise and Fall of the City of Mahagonny, 1927-30
The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.
There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.
In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.
Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).
I think there had been a castle building contest that weekend (I saw an ad) and this guy was left still building this beauty...
You can't imagine our rage when the morning after we saw a kid climbing on top of it (even though there were ropes around it to protect it, in theory) and destroying one of the towers, under the permissive look of his father, that did nothing to stop him. I hate rude people without any manners or sensitivity towards art.
Let this be a tribute to the artist's skills!
Asbury Park's beach
New Jersey
By the grace God has given me, I laid a foundation as a wise builder, and someone else is building on it. But each one should build with care. For no one can lay any foundation other than the one already laid, which is Jesus Christ. If anyone builds on this foundation using gold, silver, costly stones, wood, hay or straw, their work will be shown for what it is, because the Day will bring it to light. It will be revealed with fire, and the fire will test the quality of each person’s work. If what has been built survives, the builder will receive a reward. If it is burned up, the builder will suffer loss but yet will be saved—even though only as one escaping through the flames.
[1 Corinthians 3:10-15 NIV]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
FreeStyle
The competition in the FreeStyle class was just outstanding with a high-level of detail, fit and finish displayed by all builders. But in the end, it was Freakshow Choppers that took the trophy and the big check. Freakshow Choppers –brought their “Santa de Muerte” ( Saint of the Dead) 2012 Freakshow Pro-Street Bagger to the Ultimate Builder Custom Bike Show to Seattle. It features a S&S 124 Twin Cam with T-Man Stage 4 heads. The Chassis is hand built, raked and sports front and rear air ride, single-sded swingarm and custom wheels.
1. Jay, Freakshow Choppers – Saint of the Dead, Freakshow Choppers
2. Mike Fobes – Twisted Evil, ’11 Fobes Twisted
3. Bear – Hellboy, ’09 Anarchy MoCo
MOD Harley
Dorian Kelly rolled Jon Doe into the Seattle Convention Center into the most competitive class of the weekend. Any of the competitors could have taken 1st place, it was that close. Many of the judges commented on the flawless paint and the classic black and chrome color scheme. Russ Foy of Custom Classic took charge of the paint. The bike features an air ride, Carlini bars, custom exhaust, extended bags, fenders and diamond cut motor. Ridewright provides the wheels, PM takes care of braking and Danny Gray built the gator seat.
1. Dorian, Cycle Path / Megal Kelly – Jon Doe, ’05 Road King Classic,
2. Lorenzo Marr, Urban Custom Bikes – Usian Bolt, ’10 H-D FLHR
3. Freddie Manning, Urban Custom Bikes – 2003 H-D FLSTS
Performance Custom
Geoffrey Rossi competed with Build 43, his 2012 Full Custom Ducati sport bike. It’s based on a DS1000. And it contains all the HI-PO goodies cradled on a full custom Ducati-red frame. Additional custom features include BST Carbon rear wheel, GSXR Frame, wire loom, Watson LED blinkers and MotoGadget instruments.
1. Geoffrey Rossi – Build 43, 2012 Full Custom
2. Premium Custom Cycles – 503 Iericho, 2004 Yamaha R1
3. David Clark, Premium Custom Cycles – Untamed Busa, 2009 Hayabusa
Retro MOD
The Deuce takes Retro MOD in Seattle. The last Ultimate Builder Custom Bike Show of 2012 ends with a bang as the most hotly contested class, say Mike Boehlke with his 1953 Harley-Davidson FL taking the win from Hell Mutts 1971 Triumph by 1 point. The 74 CI Panhead features custom pan covers with S&S heads. It sports a bobber chassis with hand built exhaust, taillight assembly, shaved gas tank and custom sheet metal.
1. Mike Boehlke – Duece, ’53 H-D FL
2. Billy Davis, Hell Mutts – Jaded, ’71 Triumph
3. Andrew Robinson – The Stingray, ’65 triumph
MOD Street
Greg Whiteside of Premium Custom Cycles brought 4 bikes to the Ultimate Builder and came away with a win with Ms Carolina, a 2007 Kawasaki ZX 10R that features Paint by Punk.
1.Danielle Veney, Premium Custom Cycles – Ms. Carolina, 2007 Kawasaki ZX10R
2.Eddie Castro, Premium Custom Cycles – Reddy, 2007 GSXR 600
3.Steve Hegel - Hurri-Kane, 2008 Triumph Rocket III
Jessica of Urban Custom Bike won the Show Dog Award sponsored by Rocking K Custom Leather for her tireless promotion on the show floor and for her ability to engage the audience and to promote her business.
The Ultimate Builder Custom Bike Show is produced by www.bikerpros.com. At each round of the competition Biker Pros photographs each bike and makes them available in their Flickr gallery at www.flickr.com/photos/bikerpros.
Building a new wooden floor in the backyard.
Call me Bob the builder or Frank the failure.
Either name fits and I have become a regular and infamous customer at the local timber yard....
File name: 06_05_000035
Accession no.: 1956.1.1
Title: Builders
Alternative title:
Creator/Contributor: Bellows, George, 1882-1925 (artist)
Date created: 1922
Physical description: 1 drawing : crayon on lightweight wove paper ; 12 3/8 x 10 1/8 in.
Genre: Drawings
Notes: Initialed "GB"
Provenance: Sold by Childs Galleries to the Boston Public Library, 1956.
Location: Boston Public Library, Print Department
Rights: No known restrictions
Bassin de la Sourderie 24/06/2014 11h33
The lake with the two projects of Ricardo Bofill, Le Viaduc and Les Arcades du Lac designed by Ricardo Bofill. The lake is surrounded by a beautiful urban park.
Ricardo Bofill, also Ricard Bofill Leví, is a Spanish architect, who, since 1963, continues to lead the international architectural and urban design practice Ricardo Bofill Taller de Arquitectura. Ricardo Bofill was born into a family of builders in 1939 in Barcelona, Spain. He studied at the Barcelona University School of Architecture and graduated from the School of Geneva. At the age of seventeen Ricardo Bofill designed his first project, a summer home in Ibiza, and by twenty-three became lead architect of el Taller. Over fifty years later, Bofill still leads Ricardo Bofill Taller de Arquitectura, with over 1000 projects to date in over 50 countries.
FreeStyle
The competition in the FreeStyle class was just outstanding with a high-level of detail, fit and finish displayed by all builders. But in the end, it was Freakshow Choppers that took the trophy and the big check. Freakshow Choppers –brought their “Santa de Muerte” ( Saint of the Dead) 2012 Freakshow Pro-Street Bagger to the Ultimate Builder Custom Bike Show to Seattle. It features a S&S 124 Twin Cam with T-Man Stage 4 heads. The Chassis is hand built, raked and sports front and rear air ride, single-sded swingarm and custom wheels.
1. Jay, Freakshow Choppers – Saint of the Dead, Freakshow Choppers
2. Mike Fobes – Twisted Evil, ’11 Fobes Twisted
3. Bear – Hellboy, ’09 Anarchy MoCo
MOD Harley
Dorian Kelly rolled Jon Doe into the Seattle Convention Center into the most competitive class of the weekend. Any of the competitors could have taken 1st place, it was that close. Many of the judges commented on the flawless paint and the classic black and chrome color scheme. Russ Foy of Custom Classic took charge of the paint. The bike features an air ride, Carlini bars, custom exhaust, extended bags, fenders and diamond cut motor. Ridewright provides the wheels, PM takes care of braking and Danny Gray built the gator seat.
1. Dorian, Cycle Path / Megal Kelly – Jon Doe, ’05 Road King Classic,
2. Lorenzo Marr, Urban Custom Bikes – Usian Bolt, ’10 H-D FLHR
3. Freddie Manning, Urban Custom Bikes – 2003 H-D FLSTS
Performance Custom
Geoffrey Rossi competed with Build 43, his 2012 Full Custom Ducati sport bike. It’s based on a DS1000. And it contains all the HI-PO goodies cradled on a full custom Ducati-red frame. Additional custom features include BST Carbon rear wheel, GSXR Frame, wire loom, Watson LED blinkers and MotoGadget instruments.
1. Geoffrey Rossi – Build 43, 2012 Full Custom
2. Premium Custom Cycles – 503 Iericho, 2004 Yamaha R1
3. David Clark, Premium Custom Cycles – Untamed Busa, 2009 Hayabusa
Retro MOD
The Deuce takes Retro MOD in Seattle. The last Ultimate Builder Custom Bike Show of 2012 ends with a bang as the most hotly contested class, say Mike Boehlke with his 1953 Harley-Davidson FL taking the win from Hell Mutts 1971 Triumph by 1 point. The 74 CI Panhead features custom pan covers with S&S heads. It sports a bobber chassis with hand built exhaust, taillight assembly, shaved gas tank and custom sheet metal.
1. Mike Boehlke – Duece, ’53 H-D FL
2. Billy Davis, Hell Mutts – Jaded, ’71 Triumph
3. Andrew Robinson – The Stingray, ’65 triumph
MOD Street
Greg Whiteside of Premium Custom Cycles brought 4 bikes to the Ultimate Builder and came away with a win with Ms Carolina, a 2007 Kawasaki ZX 10R that features Paint by Punk.
1.Danielle Veney, Premium Custom Cycles – Ms. Carolina, 2007 Kawasaki ZX10R
2.Eddie Castro, Premium Custom Cycles – Reddy, 2007 GSXR 600
3.Steve Hegel - Hurri-Kane, 2008 Triumph Rocket III
Jessica of Urban Custom Bike won the Show Dog Award sponsored by Rocking K Custom Leather for her tireless promotion on the show floor and for her ability to engage the audience and to promote her business.
The Ultimate Builder Custom Bike Show is produced by www.bikerpros.com. At each round of the competition Biker Pros photographs each bike and makes them available in their Flickr gallery at www.flickr.com/photos/bikerpros.
Builder: design-build loft in wicker park, utilizing reclaimed materials and working with the clients to achieve their desired sense of style
Photo by Clayton Hauck for Builder
Make :- Ashok Leyland Limited in India
Model :- Viking 210
Chassis Model :- ALPSV 4/88
Coach Builder :- Ruby Coach Builders Ltd in India
Engine :- H Series Turbo Intercooler BS 3 category engine
Wheel Base :- 5334 mm
Front Overhang :- 1912 mm
Rear Overhang :- 3122 mm
Steering type :- Power
Seating Capacity :- 54
Year of Manufacturing :- 2014
Date of Registration :- 09.10.2014
No of Buses :- 1827
SLTB type :- B+
Status :- In Service
Information as at 01.04.2026
The Grange was the home of Augustus Pugin, and the design and decoration of the house, and of course the church next door are simply stunning.
And yet, I could not get away from the feeling this was not a house, or did not feel like one. Of course I am looking at it with modern eyes, but an effigy of the Madonna and child in the entrance hall, and one of the Virgin Mary looking down on the marital bed does not seem normal to me, but then who am I to judge.
Also wonderful was the wallpaper which covered all rooms, but this was my favourite, much more to come.
---------------------------------
The Grange is important today because it is the house Augustus Pugin built for himself and his family. Listed Grade I, it was rescued from development by the Landmark Trust in 1997 with a grant from the Heritage Lottery Fund. The HLF provided a further grant for its repair and restoration (2004-6), with generous additional support from English Heritage, Thanet District Council, charitable trusts and many private individuals.
Augustus Welby Northmore Pugin (1812-52) was one of the most influential and prolific architects and designers of the 19th century. Only 40 years old when he died, Pugin spent his life trying to revive medieval Gothic architecture and design as the only fit architecture for a Christian society, part of a movement known as the Gothic Revival. He looked back wistfully and sometimes whimsically to medieval society, which he thought morally superior to the increasingly mechanised and secular society he saw around him. A devout convert to English Catholicism, Pugin built many churches, schools, convents, monasteries and country houses. He also designed the interiors for the Houses of Parliament. As a man, Pugin was passionate, intense, naïve, impatient, combative and funny. He worked ceaselessly to recreate, in his own life and works, the Gothic life that he idealised, supported by a loyal team of craftsmen and builders who translated into reality his countless designs.
Pugin built few domestic houses and the site in Ramsgate is particularly important because here he was building for himself, to create his ideal setting for his family. He wanted to bring Catholicism back to this part of Kent and so a church and monastery were also part of his plan, to recreate the medieval social structure that he so admired. Here he was able to build according to his own true principles, imposing ‘No features … which are not necessary for convenience, construction or propriety.’ Built of yellow stock brick and surrounded by walls of knapped flint, The Grange was not an inherently extravagant house despite the richness of its interiors. However, it is quietly revolutionary in the arrangement of rooms and their outward expression in architecture. Pugin was reacting against mainstream Classical architecture, which had been the most popular style for the past hundred years and which he considered pagan. Pugin’s starting point for The Grange was not outward symmetry but internal function - how he and his large family were to live in the house. Windows, roofs and chimneys were placed to suit life inside rather than external appearance. This cheerful and uncontrived asymmetry became and remains such a familiar feature of English domestic architecture that it is easy to forget how radical it was after the formal terraces of the 18th century. The principle it reflects, that form should follow function, remains central to much of today’s architecture.
Pugin bought the site on the West Cliff at Ramsgate in 1841. The house was built between 1843 and 1844 by his builder, George Myers. The original floorplan (now reinstated) was a distinctive ‘pinwheel’ arrangement: three principal ground floor rooms (the drawing room, library and dining room) grouped around a square entrance hall, with a corridor leading off to a small kitchen, a square tower (from which Pugin would watch for vessels in distress on the Goodwin Sands) and a private chapel. The house was designed to enjoy views of the sea and the monastic site next door from all angles and was richly wallpapered, painted and panelled. It was full of furniture to Pugin’s own designs and of the paintings and 'objets' that he collected avidly.
As his second wife Louisa died in 1844 just before the family moved into the house, it was only after his marriage to Jane Knill in 1848 that the house became the happy family home he dreamed of. Sadly, Pugin himself died in 1852, just two years after the interiors were completed, worn out by his pace of work and unbalanced and poisoned by the mercury prescribed to cure recurring eye inflammation.
After a decade away, Augustus’s eldest son Edward Pugin returned to live in the house in 1862 with his stepmother Jane and other family members. Edward too was an architect and became a substantial local figure in his own right. It was Edward who designed and built most of St. Augustine’s monastery and finished the church. He also altered his father’s house, adding the entrance corridor and the gate piers, extending the drawing room, adding a conservatory and making various extensions and changes to the internal layout to adapt it for mid-Victorian life. The house remained in family ownership until the death of Augustus’s last son Cuthbert in 1928, after which its contents were dispersed and it became a school run by the monks of St Augustine’s monastery next door. It passed into private ownership in the early 1990s, but sadly continued to deteriorate until it was put on the market again with talk of turning it into flats. By now, its importance was more widely recognised and the Heritage Lottery Fund stepped in to enable Landmark to acquire it.
www.landmarktrust.org.uk/our-landmarks/properties/grange-...
Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
FreeStyle
The competition in the FreeStyle class was just outstanding with a high-level of detail, fit and finish displayed by all builders. But in the end, it was Freakshow Choppers that took the trophy and the big check. Freakshow Choppers –brought their “Santa de Muerte” ( Saint of the Dead) 2012 Freakshow Pro-Street Bagger to the Ultimate Builder Custom Bike Show to Seattle. It features a S&S 124 Twin Cam with T-Man Stage 4 heads. The Chassis is hand built, raked and sports front and rear air ride, single-sded swingarm and custom wheels.
1. Jay, Freakshow Choppers – Saint of the Dead, Freakshow Choppers
2. Mike Fobes – Twisted Evil, ’11 Fobes Twisted
3. Bear – Hellboy, ’09 Anarchy MoCo
MOD Harley
Dorian Kelly rolled Jon Doe into the Seattle Convention Center into the most competitive class of the weekend. Any of the competitors could have taken 1st place, it was that close. Many of the judges commented on the flawless paint and the classic black and chrome color scheme. Russ Foy of Custom Classic took charge of the paint. The bike features an air ride, Carlini bars, custom exhaust, extended bags, fenders and diamond cut motor. Ridewright provides the wheels, PM takes care of braking and Danny Gray built the gator seat.
1. Dorian, Cycle Path / Megal Kelly – Jon Doe, ’05 Road King Classic,
2. Lorenzo Marr, Urban Custom Bikes – Usian Bolt, ’10 H-D FLHR
3. Freddie Manning, Urban Custom Bikes – 2003 H-D FLSTS
Performance Custom
Geoffrey Rossi competed with Build 43, his 2012 Full Custom Ducati sport bike. It’s based on a DS1000. And it contains all the HI-PO goodies cradled on a full custom Ducati-red frame. Additional custom features include BST Carbon rear wheel, GSXR Frame, wire loom, Watson LED blinkers and MotoGadget instruments.
1. Geoffrey Rossi – Build 43, 2012 Full Custom
2. Premium Custom Cycles – 503 Iericho, 2004 Yamaha R1
3. David Clark, Premium Custom Cycles – Untamed Busa, 2009 Hayabusa
Retro MOD
The Deuce takes Retro MOD in Seattle. The last Ultimate Builder Custom Bike Show of 2012 ends with a bang as the most hotly contested class, say Mike Boehlke with his 1953 Harley-Davidson FL taking the win from Hell Mutts 1971 Triumph by 1 point. The 74 CI Panhead features custom pan covers with S&S heads. It sports a bobber chassis with hand built exhaust, taillight assembly, shaved gas tank and custom sheet metal.
1. Mike Boehlke – Duece, ’53 H-D FL
2. Billy Davis, Hell Mutts – Jaded, ’71 Triumph
3. Andrew Robinson – The Stingray, ’65 triumph
MOD Street
Greg Whiteside of Premium Custom Cycles brought 4 bikes to the Ultimate Builder and came away with a win with Ms Carolina, a 2007 Kawasaki ZX 10R that features Paint by Punk.
1.Danielle Veney, Premium Custom Cycles – Ms. Carolina, 2007 Kawasaki ZX10R
2.Eddie Castro, Premium Custom Cycles – Reddy, 2007 GSXR 600
3.Steve Hegel - Hurri-Kane, 2008 Triumph Rocket III
Jessica of Urban Custom Bike won the Show Dog Award sponsored by Rocking K Custom Leather for her tireless promotion on the show floor and for her ability to engage the audience and to promote her business.
The Ultimate Builder Custom Bike Show is produced by www.bikerpros.com. At each round of the competition Biker Pros photographs each bike and makes them available in their Flickr gallery at www.flickr.com/photos/bikerpros.