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Texas' Jordan Shipley runs a drill at the NFL football scouting combine in Indianapolis, Sunday, Feb. 28, 2010. (AP Photo/Michael Conroy)
Tennessee's Eric Berry runs a drill at the NFL football scouting combine in Indianapolis, Tuesday, March 2, 2010. (AP Photo/Darron Cummings)
Yeshimebet Abebe, Deputy Assistant Secretary for Departmental Management (DM) offered closing remarks at the U. S. Department of Agriculture (USDA) in Washington, D. C. Tue. Sept. 27, 2016. This year’s Combined Federal Campaign (CFC) theme encourages all employees to, “Show Some Love” by getting involved in the campaign and making a pledge to one or more of the many worthy charities in the CFC Catalog of Caring. USDA photo by Bob Nichols.
A combine coming down my street.
Camera: Kalimar KX 5000
Lens: Minolta MD Rokkor-X 45mm, f/2.0
Film: Lucky SHD100 black and white 35mm
Shooting Program: Manual
Aperture: f/8
Shutter Speed: 1/60 sec.
Date: September 28th, 2016, 5.10 p.m.
Location: Norris City, Illinois, U.S.A.
Developing chemicals:
Caffenol CM-RS: 11 mins.
Water Rinse: 1 min.
Ilford Ilfostop Stopbath: 1 min.
Water Rinse: 1 min.
Ilford Hypam Fixer: 8 mins.
Water Rinse: 5 mins.
Kodak PhotoFlo 200: 1 min.
Kalimar Lucky 100 24df
Crystal Houses / MVRDV
MVRDV’s Crystal Houses began its existence with the request of Warenar to design a flagship store combining both Dutch heritage and international architecture on the PC Hooftstraat, Amsterdam’s one and only luxury brand street that was previously primarily residential. MVRDV wanted to make a representation of the original buildings and found a solution through an extensive use of glass. The near full-glass façade mimics the original design, down to the layering of the bricks and the details of the window frames, but is stretched vertically to comply with updated zoning laws and to allow for an increase in interior space. Glass bricks stretch up the façade of Crystal Houses, eventually dissolving into a traditional terracotta brick façade for the apartments (as stipulated in the City’s aesthetics rules), which appears to be floating above the shop floor. The design hopes to provide a solution to the loss of local character in shopping areas around the world. The increased globalisation of retail has led to the homogenisation of high-end shopping streets. Crystal Houses offer the store a window surface that contemporary stores need, whilst maintaining architectural character and individuality, resulting in a flagship store that hopes to stand out amongst the rest.
“We said to the client, ‘Let’s bring back what will be demolished but develop it further’” explains Winy Maas, architect and co-founder of MVRDV. “Crystal Houses make space for a remarkable flagship store, respect the structure of the surroundings and bring a poetic innovation in glass construction. It enables global brands to combine the overwhelming desire of transparency with a couleur locale and modernity with heritage. It can thus be applied everywhere in our historic centres.”
After conceiving the initial idea MVRDV worked closely with a number of partners to develop the technologies to make it possible. Solid glass bricks were individually cast and crafted by Poesia in Resana, near Venice. Research undertaken by the Delft University of Technology, in partnership with engineering firm ABT and contractor Wessels Zeist, led to the development of structural solutions and fabrication techniques, with the use of a high-strength, UV bonded, transparent adhesive from Delo Industrial Adhesives in Germany to cement the bricks together without the need for a more traditional mortar.
Six to ten experts worked every day for a whole year (!) in a place that bore more resemblance to a laboratory than a construction site. Due to the sensitivity of the materials, an extremely high level of accuracy and craftsmanship was required and a technical development team was onsite throughout the process. Since this construction is the first of its kind, new construction methods and tools had to be utilised: from high-tech lasers and laboratory grade UV-lamps, to slightly lower-tech Dutch full-fat milk, which, with its low transparency, proved to be an ideal liquid to function as a reflective surface for the levelling of the first layer of bricks. Despite its delicate looks, strength tests by the Delft University of Technology team proved that the glass-construction was in many ways stronger than concrete. The full-glass architrave, for instance, could withstand a force of up to 42.000 Newton; the equivalent to two full-sized SUVs.
The development of new construction methods unearthed additional possibilities for future building, such as the minimisation of waste materials. In essence, all of the glass components are completely recyclable. Waste materials from the project, such as imperfect bricks, could simply be (and were) melted down and re-moulded or entirely repurposed. Such is also true for the entire façade itself, once the building has reached the end of its life span, the whole facade can be melted down and given a new life. The only exceptions to this rule are added features which ensure the security of the building, such as a concrete ram-raid defence plinth, hidden in a blend of reflective and translucent materials and built to withstand the force of a car crashing into the building. Repair-protocols were developed in the event of any damage, allowing for the replacement of individual bricks.
With a façade made primarily out of glass it was important to ensure that energy requirements were supplied through renewable sources. Therefore, the building was designed around a ground source heat pump, its pipes leading up to 170 metres underground, allowing for an optimal indoor climate throughout the year. A crucial element when dealing with delicate, sophisticated detailing while striving for a proper energy balance at the same time.
U.S. Soldiers of 5th Squadron, 7th Cavalry Regiment, 3rd Infantry Division give information through the radio while conducting cordon and search training during exercise Combined Resolve VI at the U.S. Army’s Joint Multinational Readiness Center in Hohenfels, Germany, May 22, 2016. Exercise Combined Resolve VI is designed to exercise the U.S. Army’s regionally allocated force to the U.S. European Command area of responsibility with multinational training at all echelons. Approximately 570 participants from 5 NATO and European partner nations will participate. The exercise involves around 500 U.S. troops and 70 NATO and European partner nations. Combined Resolve VI is a preplanned exercise that does not fall under Operation Atlantic Resolve. This exercise will train participants to function together in a joint, multinational and integrated environment and train U.S. rotational forces to be more flexible, agile and to better operate alongside our NATO Allies. (U.S. Army photo by Spc. Lloyd Villanueva/Released)
U.S. Soldiers of 5th Squadron, 7th Cavalry Regiment, 3rd Infantry Division provide security with a M3 Bradley Fighting Vehicle while conducting cordon and search scenario during exercise Combined Resolve VI at the U.S. Army’s Joint Multinational Readiness Center in Hohenfels, Germany, May 22, 2016. Exercise Combined Resolve VI is designed to exercise the U.S. Army’s regionally allocated force to the U.S. European Command area of responsibility with multinational training at all echelons. Approximately 570 participants from 5 NATO and European partner nations will participate. The exercise involves around 500 U.S. troops and 70 NATO and European partner nations. Combined Resolve VI is a preplanned exercise that does not fall under Operation Atlantic Resolve. This exercise will train participants to function together in a joint, multinational and integrated environment and train U.S. rotational forces to be more flexible, agile and to better operate alongside our NATO Allies. (U.S. Army photo by Spc. Lloyd Villanueva/Released)
A look at Conwy Castle, part of a UNESCO World Heritage site with the other North Wales Edward I castles, as well as with the Town Walls.
Didn't really come to Conwy for the castle, mainly for the Conwy Suspension Bridge and Aberconwy House. Also have been to two of the other castles in this UNESCO listing months earlier (Beaumaris and Caernarfon). Although did see Beaumaris once more during this second holiday in North Wales in summer 2018.
Conwy Castle (Welsh: Castell Conwy, English: Conway Castle) is a medieval fortification in Conwy, on the north coast of Wales. It was built by Edward I, during his conquest of Wales, between 1283 and 1289. Constructed as part of a wider project to create the walled town of Conwy, the combined defences cost around £15,000, a huge sum for the period. Over the next few centuries, the castle played an important part in several wars. It withstood the siege of Madog ap Llywelyn in the winter of 1294–95, acted as a temporary haven for Richard II in 1399 and was held for several months by forces loyal to Owain Glyndŵr in 1401.
Following the outbreak of the English Civil War in 1642, the castle was held by forces loyal to Charles I, holding out until 1646 when it surrendered to the Parliamentary armies. In the aftermath the castle was partially slighted by Parliament to prevent it being used in any further revolt, and was finally completely ruined in 1665 when its remaining iron and lead was stripped and sold off. Conwy Castle became an attractive destination for painters in the late 18th and early 19th centuries. Visitor numbers grew and initial restoration work was carried out in the second half of the 19th century. In the 21st century the ruined castle is managed by Cadw as a tourist attraction.
UNESCO considers Conwy to be one of "the finest examples of late 13th century and early 14th century military architecture in Europe", and it is classed as a World Heritage site. The rectangular castle is built from local and imported stone and occupies a coastal ridge, originally overlooking an important crossing point over the River Conwy. Divided into an Inner and an Outer Ward, it is defended by eight large towers and two barbicans, with a postern gate leading down to the river, allowing the castle to be resupplied from the sea. It retains the earliest surviving stone machicolations in Britain and what historian Jeremy Ashbee has described as the "best preserved suite of medieval private royal chambers in England and Wales". In keeping with other Edwardian castles in North Wales, the architecture of Conwy has close links to that found in the kingdom of Savoy during the same period, an influence probably derived from the Savoy origins of the main architect, James of Saint George.
Grade I listed building
History
Conwy Castle was begun in 1283 following the successful conquest of Snowdonia by the armies of Edward I of England. It was one of a defensive ring of castles erected around the North Wales coast from Aberystwyth to Flint, and in addition protected a walled town that was the largest of the medieval boroughs of North Wales. Work began with digging the rock-cut ditches, under the direction of Richard of Chester, master engineer. The design of the castle and supervision of building was under the control of James of St George, Master of the King's Works in Wales and the foremost secular architect of his age. Other subordinate master craftsmen included Henry of Oxford and Laurence of Canterbury, both master carpenters, and John Francis who, like James of St George, was from Savoy. The castle and town wall were substantially complete by 1287.
Modifications were made to the buildings in 1346-7 by Henry de Snelleston, mason to Edward, Prince of Wales (the Black Prince). This included replacing original roof trusses and strengthening the roofs by adding masonry arches. By the end of the C15 its military importance was diminishing and the castle slowly decayed. It was described as in poor condition in 1627, and in 1631 it was sold to Charles I's secretary of state, who assumed the title Viscount Conway of Conway Castle. During the Civil War the castle was repaired and fortified for the Royalists under the leadership of John Williams, exiled archbishop of York and a native of Conwy. The castle surrendered in 1646 and in 1655 the castle was 'disabled' by blowing up a portion of the bakehouse tower, making a substantial breach. The castle was restored to the Conway family after the Restoration, when some of the buildings, and the lead roofs, were taken down. Ownership passed to the Seymour family until, in 1865, it was given to the town. During this period there was some restoration and the bakehouse tower was rebuilt by the LNWR, whose railway line passed the foot of the castle. Since 1953, when more substantial conservation work began, the castle has been a guardianship monument in the care of the state.
Exterior
A castle whose compact design is dictated by the rocky outcrop on which its stands. Roughly rectangular in plan, it has a curtain wall with 8 higher round towers enclosing an outer ward on the W side, and smaller near-square inner ward to the E overlooking the river. Additional defence was provided by barbicans at E and W entrances. Walls are coursed rubble, with freestone dressings of pink sandstone. They are embattled with saddleback copings to the merlons, which also have arrow loops on the towers. The round towers have loops and openings of 2-light mullioned windows, although few of the mullions have survived, and higher round stair turrets. Many features are consistent throughout the building, including freestone fireplaces with raked stone hoods, and window seats.
The main entrance from the town is on the W side. It retains part of a ramp on the N side from the modern Castle Square. The gap over which the drawbridge was lowered has been covered by a timber platform. The entrance arch to the W barbican has a pointed arch with portcullis slots, flanked by round turrets with corbel tables. Inside the gateway are later stone steps to a gate passage, where there is a modern breach in the wall for visitor access, and the springers and draw-bar sockets of another gateway. The W barbican has an almost straight wall with 3 turrets. The town wall is attached to the southernmost turret.
Entrance to the E barbican was from the Water Gate. The outer steps have disappeared, probably lost when Thomas Telford built the suspension bridge in 1822-6, but they are shown on the Buck brothers' 1742 engraving of the castle. Steps inside the barbican have survived, but of the doorway in the barbican wall only the draw-bar sockets have survived. The faceted E barbican wall has 3 turrets similar to the W side.
The castle has 8 towers, of which 6 enclose the outer ward, one at the corners and one half way along each of the N and S walls, and 4 enclose the inner ward, of which 2 (stockhouse and bakehouse towers) are common to both inner and outer wards. In the outer ward the S wall is faceted and the W wall is narrower than the E. Otherwise the whole castle is rectangular in plan. The W wall of the outer ward has a pointed arch, below deep corbels of former machicolations. On the N side of the outer ward, both sections of wall have 2 loops and 2 latrine shafts, including one on the W side contained within a shallow projection and low round turret. Attached to the stockhouse tower, between inner and outer wards, is the town wall. The inner ward N wall has 2 loops and 2 low-level outlets of latrine shafts. On the S side each section of the outer ward has 3 windows, 2 loops to the cellar and latrine shaft at wall-walk level. The bakehouse tower between inner and outer wards is partly rebuilt in snecked stone, with a battered plinth of rock-faced stone, repairs carried out by LNWR in the 1870s of the deliberate breach made in 1655. The inner ward S wall has a doorway at ground-floor level above a battered rubble plinth (the only section not built directly on bedrock). At 1st-floor level are 2 loops, a larger opening centre-R, and a former doorway at the R end. Above 1st-floor level are 3 latrine shafts. The E wall, from the E barbican, has a shoulder-headed doorway, 4 1st-floor windows with stepped lintels, and deep corbelled machicolations, although the embattled parapet has not survived.
In the outer ward, the gate passage has portcullis slots and draw-bar sockets, and a high-level door on the S side, to stone steps up to the wall walk. The inner side of the wall is corbelled out at parapet level. The NW and SW towers form a pair. They each have 2 superimposed newel stairs restored in concrete. Both have fireplaces to 1st and 2nd floors. In addition the SW tower has a domed bread oven at ground floor, and latrine to the 1st floor. The kitchen tower in the centre of the N side of the outer ward has a ruined newel stair. The wall walk is corbelled out around its faceted inner side. The prison tower on the corresponding S side has a dungeon, but otherwise similar details to the other towers, including restored newel stairs and ruined fireplaces, except for a 2nd-floor fireplace with flat stone arch instead of a corbelled lintel.
Remains of buildings can be seen against each of the outer ward walls. Of the guard rooms to the W, flanking the gate passage, and kitchen and stables on the N, only footings have survived. Against the S wall is a long faceted range housing lesser hall and a small chamber in the W facet, great hall in the central facet, passage and chapel in the E facet. At the W end are stone steps leading down to a pointed cellar doorway with continuous chamfer. To its L is a pointed window, its tracery missing but originally 2-light. Further L is a similar former 2-light window to the great hall that retains fragments of bar tracery. In the E facet are the passage doorway, the dressings of which are mostly missing and with modern stone steps, and 2-light chapel window, also with fragments of bar tracery. The chapel has a similar former 3-light E window. Inside, this range has one transverse arch and the springers and haunches of 7 others, all inserted in the mid C14 to support the roof. The lesser hall has a fireplace in its W end wall; the small chamber between halls has a N fireplace; the great hall has a fireplace against the prison tower. Access to the prison tower is from the embrasure of one the S windows of the great hall. The cellar has a dividing wall below the chapel with doorway.
On the E side of the outer ward is a stone-lined well, approximately 91 feet deep. Behind the well was a drawbridge to a small gatehouse at the middle gate between inner and outer wards. The gatehouse is square in plan with narrow loop in the W wall. The middle gate has a doorway with shouldered lintel to each end of its passage, and draw-bar socket.
The other entrance to the inner ward, the E gate, has draw-bar sockets, and a passage giving access to mural stairs to the king's tower and chapel tower. The stockhouse and bakehouse towers are similar to the towers in the outer wards. The bakehouse tower has a domed oven behind the ground-floor fireplace, and restored newel stairs. The stockhouse tower has ruined newel stairs. The NE chapel tower has a restored conical slate roof. From the inner ward is a C19 restored doorway with red sandstone jamb to the ground floor. It also has a passage and doorway above the water gate on the outer (E) side. A mural stair leads to the 1st-floor chapel, where there is also a separate latrine. The rib-vaulted chapel is round with an apsidal sanctuary. The sanctuary has wall shafts and cusped arcading, incorporating sedilia on the S side, below 3 pointed windows with leaded glazing. On the S side is a squint from a small cell. On the N side of the chapel is a deep window seat, which also features a squint to the sanctuary. A restored mural stair leads to the upper chamber. The SW king's tower has a restored newel stair. At 1st-floor level is a small keeled tunnel-vaulted chamber.
Buildings are ranged against the walls of the inner ward, including the king's private apartments. Against the S wall are the 1st-floor king's chamber on the E and king's hall on the W (known as presence chamber and privy chamber respectively in a survey of 1627), with a passage to the bakehouse tower at the W end. This passage has a segmental-pointed arch. Two windows to its L have dressings mostly missing, and further L is a segmental-headed ground-floor doorway and another window. Entrance to the 1st-floor hall is by a doorway above the passage, which has a 2-light cusped square-headed window immediately to its L. Further L are 2 hall windows and a 3rd to the king's chamber, all square-headed with relieving arches, bar-tracery fragments and fragments of sunk spandrels. Next L is the wall over the passage to the E gate (later used as a buttery). From inside the passage the range has a ground-floor doorway with chamfered dressings and springers of a possible cambered arch, and at the L end a 1st-floor doorway with segmental head. The W wall of the hall has 2 1st-floor doorways with segmental heads. Inside, beneath the hall is a ground-floor fireplace to the W wall, and larger former corbelled 1st-floor fireplace in the S wall. One floor-length window reveal in the S wall has a short passage to a latrine. Hall and chamber have one complete and the springers of 3 other C14 stone transverse arches supporting the former roof. In the king's chamber the 1st-floor has floor-length S and E window reveals opening to mural passages to a latrine and the king's tower.
Against the E wall of the inner ward are the passage to the E gate, and what was known in 1627 as the 1st-floor great chamber. The passage on the R has a pointed segmental arch, to the L of which the ground floor has a segmental-headed window and a small window further L. The 1st-floor great chamber was entered by a doorway at the R end over the passage, which has a cambered head. The chamber has one large square-headed W window under a relieving arch. Inside, fireplaces were built into the W walls, with tripartite lintel in the ground floor. The springers and haunches survive of 2 former transverse arches added in the mid C14 to support the roof.
Reasons for Listing
Listed grade I as one of the oustanding Edwardian medieval castles of Wales.
Scheduled Ancient Monument CN004
The view from Vicarage Gardens Car Park
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
U.S. Marine Critical Skills Operators from United States Marine Corps Forces Special Operations Command conduct combat marksmanship training to prepare for Exercise Combined Resolve II at Grafenwoehr Training Area, Germany, May 15, 2014. The exercise is a U.S. Army Europe-directed multinational exercise at the Grafenwoehr and Hohenfels Training Areas, including more than 4,000 participants from 13 allied and partner countries including special operations forces from the U.S., Bulgaria and Croatia interoperability training during the exercise to promote security and stability among NATO and European partner nations. (U.S. Army photo by Visual Information Specialist Gertrud Zach/Released)
HOHENFELS, Germany--An M1A2 SEP (System Enhanced Program) Abrams tank with the 1st Brigade, 1st Cavalry Division moves into an overwatch position during Combined Resolve II.
Combined Resolve II is a U.S. Army Europe-directed multinational exercise at the Grafenwoehr and Hohenfels Training Areas, including more than 4,000 participants from 14 allied and partner countries. The exercise features a combined arms battalion of the 1st Brigade, 1st Cavalry Division, the U.S. Army's Regionally-Aligned rotational brigade combat team that supports the U.S. Army's Regionally-Aligned rotational brigade combat team that supports the U.S. European Command for training and contingency missions.
The Combined Forces Special Enforcement Unit’s (CFSEU) End Gang Life program can now give more BC students, parents, and teachers a live, first-hand account of the perils of gang life.
Justice Minister Suzanne Anton was in Abbotsford announcing a $10,000 commitment to the Combined Forces Special Enforcement Unit's (CFSEU) powerful End Gang Life.
CFSEU's Staff Sergeant Lindsey Houghton and ex-gang member Jordan Buna will travel BC with a hard-hitting presentation to students, teachers, and parents. End Gang Life compares the myths of gang life to the realities of living it. With Jordan Buna's powerful personal journey, students are empowered to make smart choices if faced with the pressure to join a gang.
Combine harvester during summer 2022. Images all taken in Midlothian, Scotland. Photographer Barrie Williams. Copyright of Scottish Government.
Kansas' Darrell Stuckey runs a drill at the NFL football scouting combine in Indianapolis, Tuesday, March 2, 2010. (AP Photo/Michael Conroy)
Combine Harvester
Machines of progress
Cambodia adopts postharvest technologies
Water harvesting in Latin America California deals with climate change Africa's "Marshall Plan"
IRRI Photo (Lanie Reyes)
www.scribd.com/doc/34626148/Rice-Today-Vol-9-No-34#page=1
IRRI Photo (William Sta Clara)
Part of the image collection of the International Rice Research Institute (IRRI).
The 1983 G.I. Joe Flacon Glider came with Grunt version 2, affectionately known as "Tan Grunt" as its pilot.
These are not the 1983 G.I. Joe gliders. Sharp eyed fans will notice the darker green used in the Joe glider.
These beautiful reproductions are from Screamin' Ehmann Customs. The first 100 to roll out were in individual boxes. I would have preferred those but they sold out in minuets. By the time I found out about these, even this second wave of 100 pieces sold out. The second wave was released for Christmas, combined in a single box. I'm assuming to keep shipping costs down. Regardless, I am extremely happy to have grabbed what I believe to be the last available set. This set was also sold out but it seems that one buyer did not come through with payment and this gem was put up on their Ebay page. I did not waste a second. Collectors are already flipping these for a few hundred a pop. Actual vintage MiB gliders go for over thirty five hundred dollars. MiB is the only way to ensure that your vintage Styrofoam glider is not damaged. I did not mind dropping four grand for my mint in box USS Flagg but the same price for a three piece foam glider hardly seems justifiable. Enter Screamin' Ehmann. I cannot express how grateful I am to have these and feel that, for the price, I got the better end of the deal.
First things first. The box is gorgeous. This is more than just icing on the cake. The rear of the box is pretty close, save the missing file card. In its place he have a certificate from Ehmann. Instructions/Blueprints are included as well.
The sheet plastic replicas are the exact size as the vintage gliders and pretty close to the same width. They assemble the same way. The decals are printed on so there is not risk of them pealing off in time. The gliders include 3D printed harness clips that are almost dead on accurate to the vintage clips. The only difference is that the pegs are tapered to accommodate 6" figures, and modern 4" figures. Fortunately I have the vintage harness clips. I used the real 1983 clips in these photos. Yes the vintage clips do fit! The set includes rubber bands similar to the vintage set, to help keep your figures on the glider.
The gliders are lovely quality and have a nice egg shell finish. The print job feels very high quality (my father was a printer for the King Features syndicate, if you read a comic strip in a newspaper in the US, during the late 70s to the mid 80s it was my dad's work - so I'm qualified to judge the printing.)
It's a lovely set. It doesn't fly but let's be frank, the vintage ones didn't either.
Screamin' Ehmann has an Ebay and Facebook page. His Facebook page URL is on the right side of the rear of the box.
A U.S. Army M1A2 Abrams tank of 2nd Battalion, 12th Cavalry Regiment, 1st Brigade Combat Team, 1st Cavalry Division, maneuvers towards the objective while conducting a company attack lane during exercise Combined Resolve III at the Joint Multinational Readiness Center in Hohenfels, Germany, Oct. 24, 2014. Combined Resolve III is a multinational exercise, which includes more than 4,000 participants from NATO and partner nations, and is designed to provide a complex training scenario that focuses on multinational unified land operations and reinforces the U.S. commitment to NATO and Europe. (U.S. Army photo by Pfc. Lloyd Villanueva)
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Cpl. Milan Milnowic and Cpt. Sasa Maksimowic, 4th Land Forces Brigade, Serbian Army hold their position, after coming under attack during a dismounted situational training exercise at the Hohenfels Training Area during exercise Combined Resolve III, Oct. 28, 2014. Details at www.army.mil/article/137657.
Combined Resolve III is a U.S. Army Europe-directed multinational exercise at the Grafenwoehr and Hohenfels Training Areas, including more than 4,000 participants from NATO and partner nations. For more, go to www.eur.army/jmtc/CombinedResolveIII.html. (U.S. Army photo by Sgt. Michael Broughey, 65th Public Affairs Operations Center)
Title: Combined Band Staff
Digital Publisher: Digital: Cushing Memorial Library and Archives, Texas A&M University, College Station, Texas
Physical Publisher: Physical: Graphic Services, Texas A&M University
Date Issued: 2011-08-17
Date Created: 1971
Dimensions: 4 x 5 inches
Format Medium: Photographic negative
Type: image
Identifier: Photograph Location: Graphic Services Photos, Box 25, File 25-904
Rights: It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information
Soldiers from the 16th Sustainment Brigade practice evacuating casualties under fire during exercise Combined Resolve III, Oct. 28, 2014. Combined Resolve III is a U.S. Army Europe-directed multinational exercise at the Grafenwoehr and Hohenfels Training Areas, including more than 4,000 participants from NATO and partner nations. Combined Resolve III is designed to provide a complex training scenario that focuses on multinational unified land operations and reinforces the U.S. commitment to NATO and Europe. The exercise features the U.S. Army’s Regionally Aligned Forces for Europe-the 1st Brigade Combat Team, 1st Cavalry Division-which supports the U.S. European Command during Operation Atlantic Resolve. For more photos, videos, and stories from Combined Resolve III, go to www.eur.army/jmtc/CombinedResolveIII.html. (U.S. Army photo by 1st Lt. Henry Chan, 16th Sustainment Brigade Public Affairs, 21st Theater Sustainment Command)
www.flickr.com/photos/42514297@N04/10273988494/sizes/o/
Click to view enlarged collage
May this collage continue to expand!
"Music transcends the barriers of nations, nationalities and religions. It is through music that the universal feeling of oneness can be acheived in the twinkling of an eye".
-Sri Chinmoy
'Defining the indefinable - In the moment, multi-dimensional, experimental, expression, improv, rhythm, line, texture, energy, thickness, fluidity, space, freedom...
Making music with a world view, deconstructing and reassembling with joyful abandon.'
-Premik Russell Tubbs www.premik.com
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Contact/Listen
New music coming soon!
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Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
www.indianexpress.com/news/chandrika-tandons-new-album-in...
Sound Samples: www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...
www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"
Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
Premik and Uli Geissendoerfer will soon be releasing their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
Performing in:
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA
Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014
Watch/Listen
YouTubes
Premik solo with the London Royal Philharmonic performing "Apla Kathar."
The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.
www.youtube.com/watch?v=XbhReDbyIOY
High praise from Craig Pruess:
"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer
www.heaven-on-earth-music.co.uk/
www.youtube.com/watch?v=4euUuBNUzco
Song of the Ocean by Kristin Hoffmann
All performers of the evening take the stage with the London Royal Philharmonic Orchestra
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World / Jazz / Experimental / Improv / East-West / Ambient / Pop
PREMIK RUSSELL TUBBS
Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
In 1978 Premik joined Carlos Santana on a six-week European tour as part of an opening act for the Santana Band called Devadip Oneness.
www.youtube.com/watch?v=beD58ordH08
"Gardenia" - DEVADIP European tour w/ Carlos Santana, Dec.'78 in Paris
www.youtube.com/watch?feature=player_embedded&v=juVuh...
!978 Devidip Orchestra Live In Sweden
Extended bio: www.premik.com/bio/
Bio Credits:at a glance:
www.flickr.com/photos/42514297@N04/8621166727/
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Using Flickr – if not signed in (may differ if signed in)
1. www.flickr.com/photos/42514297@N04/sets/72157632988389457...
-Slideshow – Album Set, A Life Of Music - to be cont'd. ...(with GRATITUDE!)
(Click above link and once in the SLIDESHOW click on (upper right) 'Options' to control speed & Show Info’ to see captions w' slideshow
2. To the right of any photo – click upon the oval icon with Premik’s photo to go to the full page of all photos posted (the ‘Photostream’) or the X in the upper right corner to return to the full page of the Set album you are in
3. Click the small rectangle icon to the right of the full album ‘set’ page to see the SLOW ‘ANIMATED’ slideshow of photos within the album
4. To see individual photos –just click on any photo you would like to see from the full page. Caption will appear to the right
5. Scroll down the caption until you see small thumbnail sized photos – click the 3 dots directly under these photos- Click on ‘Download / All sizes’ to see photo enlarged
This will allow you to enlarge the photo you are viewing (or click to see as a slideshow as in #1.)
Note: Much of the above works well with CELL PHONES when good WiFi connection is available
The ability to enlarge photos for detail with cell phones is surprising.
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734 W. Cambridge Ave.
Phoenix, AZ 85007
4 bedrooms
3 bathrooms
3,753 sq ft
13,242 sq ft lot
Located in Encanto Vista historic district
View more information on our website:
twinsandcorealty.com/2017/02/04/734-w-cambridge-ave/
View 3D tour here:
my.matterport.com/show/?m=qAo7Tf8Gip2
View photo album here:
www.facebook.com/TwinsAndCoRealty/photos/?tab=album&a...
This historic Peter Hauskens, AIA home combines enchanting mid-century modern architecture with classic finishes in a $240,000+ renovation. 150’ of Encanto golf course frontage delivers epic sunset, golf and park views. Take in views from a 25’ wall of glass in the family room. A fireplace, vaulted ceilings and clerestory windows are sure to impress in the living room. The interior courtyard is framed in windows. A high-design kitchen features Thomasville cabinetry, Silestone counters and stainless steel appliances. The master suite has a sitting area and walk-in closet. Retro-cool baths retain vintage charm, with modern updates. Summers are a dream with a salt water diving pool, which has arching waterfalls, LED light, sun shelf and 8-person inground spa. New roof, windows and flooring in 2016.
WANNA KNOW THIS HOME'S STORY...
Storytime with the Twins: 734 W. Cambridge Ave.
Once upon a time, cotton grew high in the fields at 7th Ave and Thomas. Cotton was one of the 5 Cs that the pre-war economy was based on in Phoenix: cotton, citrus, cattle, climate and copper. Cotton was used extensively during WWI to manufacture wartime necessities like tires, airplane wings and airships . The cotton industry crashed, primarily due to reduced demand, after the war. Many acres of these cotton fields were owned by a successful local grocer, J. W. Morris. Morris sold 101 acres to the city of Phoenix in 1934 for $400/acre . 104 additional acres were sold to the city by Dr. James Norton, of Norton Dairy, in 1934, for $350/acre. Norton also sold 6 acres of his Norton Dairy farm to the city for $350/acre. Phoenix Parks and Recreation, with the assistance of its president at the time, William Hartranft, created the vision of Encanto Park. Construction started in 1935 and was completed in 1938. The Enchanted Island amusement park opened in 1948 and is still a local attraction.
In 1943, J. W. Morris sold 20 acres of former cotton farmland along 7th Ave, and 25 acres along Thomas Rd, to developers, John H. Lester and L.M Hamman; the Encanto Vista subdivision was born. Encanto Vista means “enchanted view” in Spanish. There was a deed restriction on the land that specified that any homes built must be of a “$6,000 class or better”, and in time of war, that just wasn’t possible. While Lester and Hamman weren’t able to start construction on the homes just yet, the streets were graded in 1943. Fast forward to 1945, post-WWII, and the construction of the first 2 houses in Encanto Vista were underway (702 W. Encanto Blvd and 701 W. Lewis Ave). Due to its desirable location, unique “horseshoe” street layout and proximity to Encanto Golf Course and Park, Encanto Vista was a popular home destination for wealthy buyers. The homesites were marketed March of 1945 for between $1,175-1,275. Encanto Vista was built as a neighborhood of custom homes, many of which were built by prominent local architects and builders.
Peter Bert Hauskens, a.k.a P. B. Hauskens, was a successful local architect, a member of the American Institute of Architects. He advertised his services in the classified advertising section of the Arizona Republic in the 1940s. He is credited with designing the Florence City Hall building in 1948.
Mr. Hauskens and his wife, Alberta Hauskens, set their sights on building a family home for themselves and requested a building permit for a “concrete block residence and carport” on July 6th, 1948. They selected the homesite at 734 W. Cambridge Ave. The cost of construction was estimated at $10,000, according to the original building permit. The home was completed before the end of 1948.
The home has had a handful of owners since 1948, all adding their own touches, and pieces of history, to the home. The clain of title goes something like this…The Hauskens family only owned the home for about a year and then sold to Mr. And Mrs. John C. Pence on May 3rd, 1949. On February 29th, 1956 the Pence family sold to George S. and Dorothea Davison. George Davison quit-claim deeded the property to Dorothea on June 7th, 1957. On December 22nd, 1958, Dorothea sold the property to R. W. Chittester, husband of Frida E Chittester and G. Parks McNaull, husband of Agnes B. McNaull, as a co-partnership of Chittester- McNaull Co. Chittester was the president of Modern Glass Co. 3 years later, on May 23rd, 1961, Chittester-McNaull Co. sells the property to Vee Jayne Hofer, wife of Jacob H. Hoffer. On 1/21/1966, there was a deed release to Guild VeeJayne Van from Hoffer Vee Jayce, but I am not sure if they sold the property the same year because there is a permit record in the names of Dr. John Van Guilder and Jan Van Guilder from 1966. Jan Van Guilder was the director at Cambridge Day School. It has been said that the Van Guilders had many birds living at the home. In fact, neighbors have said that the central courtyard was once an massive aviary. The current owner tells a funny story that confirms the bird history. While renovating the home, he was replacing electrical outlets and came to one in the kitchen area, off the central courtyard. As he was unscrewing the outlet, some small debris fell onto the floor; it ended up being bird seed. A pizza delivery man who was delivering a pizza to the current owner immediately recognized the home from his childhood. He recalls going to the house after Cambridge Day School let out for the day. He reminisced about the black plaster pool with Asian characters/symbols at the bottom. The home was decorated with an Asian-inspired style, which extended to the gardens of the home, ala the Japanese Friendship Gardens. In 1995, after 29 years of ownership, the Van Guilder estate fixed up the house and it was put up for sale. On June 5th, 1995, the John Van Guilder estate sold to Bernard Steinfelt, the uncle of the current owner. Title was then transferred to the current owner, Ted Ciccone.
Encanto Vista was added the Phoenix historic register and the National Register of Historic Places in 2003. The district is bounded by Windsor Ave, Encanto Blvd, 7th Ave. and 8th Ave. 734 W. Cambridge Ave. currently receives historic tax incentives for its inclusion as a conforming property within the district.
This historic Peter Hauskens, AIA, home combines enchanting mid-century modern architecture with classic finishes in a $240,000+ renovation. 150’ of Encanto golf course frontage delivers epic sunset, golf & park views + access. This home sits on the 8th hole with picturesque views. An extended concrete walkway, sits aside a broad front lawn and leads to the oversized front door, which is set back 65’ from the front sidewalk. Upon entering the home, you arrive in the entry foyer, which features exposed, painted block walls, Dal-Tile porcelain floor tile with decorative mosaic insert and Jaima Brown designer wallpaper.
One of the distinguishing features of this home is the huge central courtyard, which is framed on all 4 sides by walls of floor-to-ceiling windows and French doors. It is a virtual extension of the living space and a perfect outdoor room for all seasons. It includes a brick, wood-burning fireplace, built-in planters and Dal-Tile 18”x18” Continental Slate porcelain tile.
The eat-in kitchen is all new in 2016. Delight in golf course and park views from your kitchen window, along with views to the interior courtyard, through the 15’ floor-to-ceiling wall of glass. The classic white shaker-style cabinetry by Thomasville has solid wood, dovetail construction, soft-close doors + drawers and glass front display doors. Non-porous, highly-stain resistance Silestone quartz countertops and the crackle-finish gray glass subway tile backsplash are the perfect complements to the timeless design. High-performance appliance package includes Kitchenaid Superba and Bosch stainless steel appliances. Gorgeous tongue and groove, beamed ceilings run throughout much of the home. The contemporary 18” x 18” continental slate porcelain floor tile flows throughout the space.
The expansive family room has a 25’ wall of glass with some of the best views you can find in a single-level home in Central Phoenix. A butler’s pantry connects the family room to the kitchen and features a bar with built-in wine refrigerator. The contemporary Armstrong premium 12mm laminate flooring comes with a 50-year warranty. The dining area is finished with a reproduction sputnik chandelier. Recessed lighting has been added, along with a modern ceiling fan.
The living room is a perfect combination of mid-century modern and usonian styles, with features rarely seen in homes of this era. Some might call the room style ‘rustic modern’, but whatever you call it, it is exquisite. Soaring, vaulted ceilings adjoin an expanse of clerestory windows, which let in gorgeous light throughout the day. The ceilings are adorned with natural tongue and groove wood. A 20’ wall of glass overlooks the interior courtyard. A substantial brick-lined, corner fireplace harkens a modern chalet. Dal-Tile 18”x18” Continental Slate porcelain tile is accented with a decorative mosaic border. A formal dining room shares the natural wood tones and usonian vibe.
The master suite is quite spacious with an attached sitting room that would be perfect for a yoga/meditation space, sewing room, home office, exercise room, craft room, etc. Something you don’t see often in a 1940s Phoenix home are soaring vaulted ceiling with clerestory windows in all of the bedrooms. The Traffic Master commercial-grade carpeting comes with a 10-year warranty. There is a large walk-in closet next to the master bathroom. The master bath maintains a clean, minimalist look with expanses of white tile and Hansgrohe faucets.
The 3 secondary bedrooms all have vaulted and beamed ceilings with clerestory windows, Traffic Master commercial grade carpeting with a 10-year warranty and spacious closets.
A separate office/den is multi-functional and would be perfect for an office or playroom. There are gallery-style halogen track lighting with 8 fixtures. The
Traffic Master commercial grade carpeting comes with a 10-year warranty. There is also a large walk-in closet, which could be used as a workshop space.
One of the hall baths features the original retro-cool powder blue bathtub, toilet and sink. It is updated with penny-round mosaic floor tile, white tiled shower surround with penny-round tile accents and new reproduction mid-century fixtures. The other guest bathroom features period-appropriate basket-weave floor tile, porcelain vessel sink, classic tiled shower and retro-inspired mirror and lighting.
This home has been updated with many new home systems. There are 2 Trane HVAC systems with Trane programmable digital thermostats. An efficient Whirlpool 50-gallon gas water heater is newer, as well. There is an ADT Security System with entry, motion and smoke detectors (existing lease to be taken over by buyer).
This is a one-of-a-kind lot with over 150 feet of golf course frontage. There is a gate for golf course access, which many nearby residents use as a walking path. Check out the sunset photos taken from this home. Some of the best on the horizon in central Phoenix. The front and rear yards have Rainbird zoned irrigation systems.
There is a new front yard landscape design plan and rendering by SUSTAINscape, if someone wanted to take the landscaping to the next level.
Talk about next level outdoor living…it doesn’t get much better than this entertainer’s paradise rear yard. The deep diving pool is a Shasta Built Master pool with a salt-water system, sun shelf and QuikClean in-floor cleaning system. The pool is finished in a 3M quartz finish and has an LED color-changing pool light and fiber optic surround lighting. The 5 arching fountains can be remote-controlled. The 8-person in-ground spa features 2 hydrotherapy jet settings and new Sta-Rite pool and spa heater (2015).
The patio is finished in ShastaDeck patio coating and has a custom Sunbrella cover with retractable privacy screens. The built-in barbeque has a workspace counter with a Turbo 3 burner gas barbeque, complete with dedicated plumbed gas line. The block fencing features a unique pattern of “cross” architectural breeze block and pop-out blocks. A generous 2 car carport offers a separate storage space and a brand new modern entry door.
Homes of this price point rarely offer this caliber of architectural details, distinctive finishes and stellar views. This home is truly designed for indoor/outdoor living; the outdoor spaces are a virtual extension of the livable space. The home's windows frame the exquisite views and the outdoor spaces were designed with privacy and entertaining in mind. With the home feeling very private and tranquil, it should be noted that the location is convenient to many destinations. Outdoor enthusiasts will love being close to Encanto Park. Within 1 mile, you will find great coffee shops (Vovomeena, D’Lish, Starbucks, Central Café, etc.), popular restaurants (Original Hamburger Works, Sacks sandwiches, Z Pizza, Wild Thaiger, Durants, Duck And Decanter, Zoes Kitchen, etc) and city parks (Encanto Park, Monterey Park, Margaret T Hance park and dog park, etc), It is a rare opportunity that a treasured residence such as this comes to market, especially at an affordable price.
1st Brigade Combat Team, 1st Cavalry Division Soldiers review the attack plan with Moldovan Soldiers before a situational training exercise at the Hohenfels Training Area, as part of exercise Combined Resolve III, Oct. 26, 2014. Combined Resolve III is a U.S Army Europe-directed multinational exercise at the Grafenwoehr and Hohenfels Training Areas, including more than 4,000 participants from NATO and partner nations. Combined Resolve III is designed to provide a complex training scenario that focuses on multinational unified land operations and reinforces the U.S commitment to NATO and Europe. The exercises features the U.S. Army’s Regionally Aligned Force for Europe-the 1st Brigade Combat Team, 1st Cavalry Division-which supports the U.S. European Command during Operation Atlantic Resolve. For more photos, videos, and stories from Combined Resolve III, go to www.eur.army.mil/jmtc/CombinedResolveIII.html. .(U.S. Army photo by SGT Michael Broughey )