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Thank you, in advance, to those of you who take a moment to leave a comment and/or fave my photo. I appreciate it tremendously.
Sanctuary Lamp c. 1855 - Gilt brass, manufactured by J. Hardman & Company.
Augustus Welby Northmore Pugin (British, 1812-1862)
Pugin’s promotion of a Gothic Revival Style coincided with a tremendous boom of the building of churches for England’s growing industrial centers. He rapidly became the leading architect for the Roman Catholic Church, executing designs for architecture as well as interior fittings, such as this sanctuary lamp.
Pugin’s writings on Gothic art had a great impact on artists and designers of the next generation, including William Morris.
Gilt brass is simply a brass that has a gold wash over it. This method was commonly used on drawer pulls, brass feet,and many other metal accents on furniture, mostly so that the brass would not have to be polished. The gold would always stay bright and shiny.
Gilt surfaces should not be polished. A solution of mild soap and water does all the cleaning required. Anything more harsh or abrasive will only remove the gilt finish.
The Huntington:
A private, nonprofit institution, The Huntington was founded in 1919 by Henry E. Huntington, an exceptional businessman who built a financial empire that included railroad companies, utilities, and real estate holdings in Southern California.
Huntington was also a man of vision – with a special interest in books, art, and gardens. During his lifetime, he amassed the core of one of the finest research libraries in the world, established a splendid art collection, and created an array of botanical gardens with plants from a geographic range spanning the globe. These three distinct facets of The Huntington are linked by a devotion to research, education, and beauty.
In 1919, Henry and Arabella Huntington signed the indenture that transferred their San Marino property and collections to a nonprofit educational trust, creating The Huntington Library, Art Collections, and Botanical Gardens, which hosts more than 500,000 visitors each year.
Please leave comments & feedback, and PLEASE dont leave the image awards without leaving REAL feedback.
So my friend Bailey is submitting some shots to Suicide Girls and came to me for some help. These arent the pictures that will be IN SG, just the ones to see if she's "good enough" (and she is).
AB800 through BD above center
ABR800 back left for rim
430ex back right for rim
Comment Box ..CLOSED..
but will be returning faves "Share + Look"
All best wish happy and take care 2022
Aber Lin
March/26/2022
😍😍😷😷💉💉💉😷😷😍😍
2 Comments on Instagram:
jyllianm: I couldn't find exactly the right stems for the homemade (or 'redneck') wineglasses like I did for the martini glasses, but I'm hoping the well meaning crafty-ness will fly.
summersworldfl: I love them!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
So 4 weeks after my surgery I was finally able to glam up and go out although taking it easy.
I went for a lovely meal at Cognac, my local French restaurant, with two dear friends Alice and Sarah (who had to be in drab because she didn't have the opportunity to glam up).
It was so lovely to get back out again and catch up with Sarah and Alice.
Well peoples, it's that time of year again. My Flickr Year.
Most Comment:
'Good Bye': www.flickr.com/photos/mimi_angel/8647469080/
This was... a 'taking a break photo'. I moved away from my doll-photo taking because everyone was getting into loads of crap and I was through with it. I enjoy a good stir up some times but this past year was the year of the drama-queens/kings.
Most Likes:
'Happy Easter!': www.flickr.com/photos/mimi_angel/8607338349/
Personally, I love this photo. That's all I have to say. :)
Most Views:
'Minus Bar': www.flickr.com/photos/mimi_angel/9680686549/
This was a huge shock to me. This photo had over 500 views within the first 24 hours. I have no clue what happened, because it wasn't 'explored'. So how I got all those views is still stunning to me to this day. The editing on it is very basic, and nothing special is done to it. Up to that point my average view for photos was about 50 views. Now, it's about 200-350. Which is amazing.
Personal Favorites:
'Like Fire, Hell Fire': www.flickr.com/photos/mimi_angel/8972143115/
I was so super stoked to get Esmeralda's dress in a box of barbie junk from a yard sale. I love Disney in general and I was given the chance to re-create the spirit of one of their characters. I also did a crap-load of editing on this photo to make it perfect.
'She's A Princess': www.flickr.com/photos/mimi_angel/9128232741/
My first, and only Disney Store Princess doll. I was so happy to get her on sale, because she, Bell and Elsa are my favorite Disney Princesses. The details on her are mind boggling, because it's all so perfect.
'Principle. Relaunched October 2013': www.flickr.com/photos/mimi_angel/9753592686/
I love my one Fianna doll, she has a classic natural-like beauty to her that I adore.
That was My Flickr Year! I hope this coming year will be better for everyone, because this is a pretty amazing little group we got going and it would be really sad to see it die out.
Happy New Year!
<3 Mimi
NOTE: The comments that follow will be added to all of the photos from this 12/26/2014 excursion to Liberty State Park, for everything you see is connected to the overall message in one way or another.
Having done a very early morning start at Liberty State Park on Christmas day of 2013, while thoroughly enjoying the awe inspiring experience along the waterfront walkway with one of the world’s greatest urban landscapes (and waterscape) in and around the New York Harbor, I decided to do the same again this year; however, given some prior obligations, it was the day after Christmas, instead. Like the previous year, nary a soul besides me was out before sunrise, and it was not until about an hour after the sun first appeared that a group of visitors emerged. So, I basically had the entire waterfront park to myself for a pretty good stretch of time.
If you have never been there, it really is a sight to behold when one can see the majesty of the Statue of Liberty, Ellis Island with its unique place in American history, and the recently completed Freedom Tower, standing above all as the new proud symbol of what every person aspires to possess . . . FREEDOM. It took my wife and me quite a few years after the infamous, heart wrenching event of the fallen Twin Towers, simply known as “9-11.” If you go to our FLICKR albums, you will see the mid to latter construction stage of the Freedom Tower in photos under New York Skylines or the Meadowlands landscapes and such.
Initially, we both felt that nothing could ever replace or exude the same powerful presence as the original Twin Towers, and felt disappointment in the design of the Freedom Tower as it began to evolve from ground up, but when it reached its latter stages and the way the natural light over the course of any given day would play a significant role in its image, an overwhelming sense of admiration for the concept began to grow, and when finally completed, it all seemed to be a perfect visual symbol to the new landscape of New York Harbor. As we used to feel driving to the City or passing by from the New Jersey side, a similar kind of pride is felt with this new, great landmark that has made such a significant impact on the psyche of our citizens.
Many of you have likely stopped reading this long narrative, but you can probably surmise that aforementioned pride in these comments. Having personally seen the falling of the Twin Towers from work three miles away on that horrific weekday morning with all the confused and maddening reports being broadcasted on the radio and television news, it becomes an experience that is, indelibly, forever etched in my mind . . . So, that day is always present whenever I look toward the southern anchor of the Manhattan skyline, and I absolutely love how the Freedom Tower has not replaced, but serves as a natural extension of the Twin Towers and honors those who have lost their lives, accordingly.
Looking farther north offers the Empire State Building and Chrysler Building, the two iconic skyscrapers that ruled the architectural world of construction beyond imagination in the early 1930’s. And the Goldman-Sachs Tower of Jersey City, on the New Jersey side of the Hudson River, can hold its own amongst the giants of the NY Harbor landmarks. The captivating style of this particular modern design somehow compliments the glorious Manhattan skyline—practically blending in as part of a grand visual sweep from one side of the harbor to the other. And furthermore, the famous Brooklyn Bridge can be seen in the distance between the southern end of Manhattan and the borough of Brooklyn, and to the far south, the Verrazano Bridge dominates the entry way to the great harbor that saw thousands upon thousands of aspiring immigrants who traveled the vast Atlantic Ocean, ultimately arriving in America, while taking their first step on our soil at Ellis Island, under the protective presence of Lady Liberty.
One historic reminder after another permeates the air, causing just about everyone to feel something truly special. Even if visitors know little of the history here, it is nearly impossible not to be awe struck.
In closing, the two extreme ends of the waterfront park, the northern point and the South Lawn, offer monuments that are so powerful and captivating. I am always taken by the Liberation Monument, which honors all of those who served our nation in the fight for freedom. If any of you ever have the chance to visit LSP, please do take some time to genuinely appreciate this statue from all angles, for it almost comes to life. The northern end of the park has the “New Jersey EMPTY SKY 9-11 Memorial,” which must be seen. A surge of emotions will flood through your body as you stand at the site and gaze across to the East where the Twins once stood.
Anyhow, I hope that this passage would serve as a motivating factor to visit Liberty State Park, if possible. Regardless of the degree of personal meaning this may have, it is still a landscape that is well worth the trip . . . Nothing like it in the world.
PLEASE, no multi invitations in your comments. DO NOT FEEL YOU HAVE TO COMMENT.Thanks. DO NOT SEND ME E-MAIL REQUESTING ME TO LOOK AT A PICTURE, I RETURN ALL COMMENTS IF YOU COMMENT.
Miscou Island Lighthouse
This lighthouse was built in 1856 at the southern entrance to Chaleur Bay by Quebec Trinity House, which then supervices navigation on the St. Lawrence River and Gulf. Considered a major coastal aid it merited the subsequent installation of a powerful dioptric light and a diaphone fog alarm. The octagonal tower of hand-sawn timbers, shingled on the outside, was originally 74 feet in height and was extended in 1903 to 80 feet. This lighthouse, substantially in its original state, is among the oldest in the Gulf of St. Lawrence region.
The lantern at Miscou Island houses a functioning third-order Fresnel lens, the only Fresnel lens still operating in an authentic lighthouse in New Brunswick. After an environmental cleanup in 2008, the province undertook a large scale project to make this a major tourist destination in the region. A paved parking area (large enough for tour buses), a deck around the lighthouse and washroom facilities in addition to a large grass area are completed.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Our family friend, John, has what he calls his funeral suit. I suppose we are now reaching the point where I need one too. In fact, I have lost several friends, former colleagues from The Mob, something that will accelerate as the years pass.
Last week, I noticed that a friend of mine on Flickr, Günter, had not commented on any shots for a few weeks. He used to leave funny one sentence comments that almost always brought a smile.
The latest shot on his photostream was of a fresh grave.
His.
Sadly, Günter passed away on New Year's Day, and his family posted this last shot to let the world know. Or his friends, anyway.
We had visited his and his wife in Bonn, and he had come to stay with us too, we share interests in railways, photography and beer.
It came quite a shock I can tell you.
Online, people come and go, mostly without fanfare or announcement. One day they are there, and then they're not. Did they just get fed up, or something more terminal?
Most of the time, we'll never know.
I am lucky in that I have met many online friends in real life, sometimes here in Kent, but also in the US too, so know they are more than screen names and photos, but real people with lives, who are pretty much as wonderful as their online presence would have you believe.
Life goes on, of course, but I will miss Günter, and sad for the fact we will not raise beers in a friendly toast to each other.
We woke at half six, I went to the bathroom and looked out the window. Still too early for birds, but there wasn't a breath of wind either, nor any cars to be seen moving. So it looked like someone had paused time.
Cleo is perpetual motion, however, and coming downstairs revealed her to be always on the move until her food is placed just where she wants it.
I went to Tesco by myself, with a list as long as a long thing, while Jools stayed behind and fed the hungry washing machine two loads of dirty laundry. Good news is that Tesco was fully stocked with fresh produce, including raspberries from Spain. We like them for breakfast at weekends, its a hard habit to break.
Back home to unload and make breakfast; fruit and yogurt followed by warmed croissants.
Jools said she had been sitting all week, so would not come with me to go churchcrawling, so I go on me tod, driving up the M20 to Maidstone, to revisit All Saints church, where I had not been for over 12 years. I had checked Google, and it said the church would be open from 10:00.
I timed it to arrive dead on ten. I parked the car opposite, and dodged traffic to get over the main road, I went to the first door only to find it locked. But a sign suggested there were two more possible ways in, so walked round, checked the north door, and that was locked too. That only left the west door, under the tower, to try. That was ajar, so my hopes lifted. Only to find the inner door locked.
Maybe I was too early?
A lady came in, I asked about the church. She said she was a bellringer, and disappeared up the steps to the ringing loft, where sounds of poorly rung bells could be heard.
I went round the church one more time, ending back at the west door, and again all way in were locked.
Sigh.
But there was a runners up prize; a church on the edge of town, in what used to be a village, at Bearsted. THe sat nav told me it was just a ten minute drive away.
So, I drove across town, through the crazy one-ways system, out the other side and along to Bearsted, where there were ancient timber framed houses, so old they had settled over the centuries into strange angles, none of which were right ones.
I found church lane, which wound its way through a modern housing estate, parked outside the churchyard, and I could see a nice "church open" sign before I got out.
Although it looked splendid from the outside, inside it had been reordered at least twice, so that any ancient features were well hidden indeed. Even the glass, usually a rescuing act for over restored churches, were either just average or poor here. But it was my first visit here, so another tick in the box.
I now had to get home, as Jools is joining the speaking circuit, as a lady has asked Jools to lead classes in beaded jewellery making.
I hightailed it back to the motorway, and once on, settled down to cruise back down to Dover and home, getting back at half twelve, with an hour to spare before Jools had to leave for the class.
So, it was just me an the cats for a few hours. There was football to entertain me, so I sat beside Scully on the sofa and watched the Championship game while she dozed beside me.
At three, it was time to concentrate on Norwich away at Millwall, one of six teams above us, and a win here would put us back in the play-offs. It was an exciting game, Millwall took the lead, only for City to level before half time, and then score two more early in the 2nd half. Millwall pulled one back in the last ten minutes, but we hung on to win 3-2.
Not perfect, but a win at the New Den where they had been unbeaten since September. And then, along came Nodge.
Dinner was a rushed one of pizza and iced squash, as we were going out to a gig.
Lawrence was the singer in an indie band in the 80s called Felt. He then formed Denim, an ironic pop band for the 90s, which also stiffed. He now fronts Mozart Estate, which does a fine line in ironic pop. Still.
We drive over th Ramsgate, to a small venue called The Music Hall. We were early, but got in, and went to the bar where we chatted to a couple about our age about music. In fact, most folks were about "our age".
First up was a young female singer/songwriter, who strummed her guitar along to her 6th form poetry.
The hall, which was barley bigger than our living room was about 50% full, but comfortable. We went to find somewhere to sit, thinking that the bar would be empty, only to find it rammed with more people than when we left it half an hour before.
We went to get some air, and finding nowhere to sit, went to the car.
Jools was shattered and fell asleep, and I really did not feel like being rammed into that room unable to see the band, and not able to lean against a wall to rest my back.
I said we'd go home.
So we did.
I don't regret it.
We got back at ten, Jools went to bed, while I had a glass of sloe port.
----------------------------------------------------
One of the widest churches in Kent, dating from the late fourteenth century when it was granted a College of Canons whose buildings still exist nearby. The tower, which stands to the south of the nave, originally had a tall spire, but this was struck by lightning in 1730 and not replaced. The breathtaking scale of the interior - an aisled nave of six bays, chancel and chapels, is somewhat compromised by the severe wooden roofs inserted by John Loughborough Pearson who restored the church in 1886. A good set of Victorian stained glass includes work by Clayton and Bell, Wailes (1861) and Capronnier (1872). The twenty stalls have excellent misericords, mostly showing coats of arms of those associated with the college. Archbishop William Courtenay (d. 1396) is possibly buried in the chancel, and a brass indent to him survives. Set into the fine sedilia is the tomb of John Wotton (d. 1417), the first master of the college. It incorporates a painting of Wotton being presented to Our Lady. Nearby are graffiti associated with the game of noughts and crosses! There are many other monuments including one to John Astley (d. 1639) by court sculptor Edward Marshall. It depicts two men and women in their shrouds. Astley was Master of the Revels to King James and King Charles. There is also a memorial to Sir Charles Booth (d. 1795) signed by Nollekens.
www.kentchurches.info/church.asp?p=Maidstone+1
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THE TOWN AND PARISH OF MAIDSTONE.
SOUTH-WESTWARD from Gillingham, the parish of Boxley only intervening, lies the parish and town of Maidstone, concerning the antient name which writers have greatly differed.
Nennius, in his catalogue of the cities of Britain, tells us, this place was called by the Britons, Caer Meguiad, or as others have it, Megwad, no doubt corruptly for Medwag. Camden, (fn. 1) Burton, (fn. 2) Gale, and some few other historians, have supposed it to have been the Roman station, called by Antonine in his Itinerary, Vagniacœ; a name taken from the river here, at that time called Vaga; for this purpose they read the distances of the second iter of Antonine A Vallo ad portum Ritupis, as follows: A Londinio, Noviomago, M. P. X. Vagniacis, M. P. XVIII. Durobrovi M. P. IX. If this place was the Vagniacæ of the Romans, and the above numbers are right, it is situated much about the above distance from Keston, and not quite so much from Crayford, both which have been conjectured to have been the antient Noviomagus; the distance of it from Durobrovis, or Rochester, will ansswer tolerably well. The word Vagniacœ, is supposed by a learned etymologist, (fn. 3) to have been corrupt written in the Itinerary for Maduicœ, which is the same as Med-wœge in the Saxon, and Madüogüiso, in the British tongue; hence in process of time it can to be called Madis and ad Madum, (fn. 4) the river being called Mada and Madus. The Saxons afterwards called led it Medwegston and Medweaggeston; i.e. Maduiacis oppidum, according to Baxter; in English, Medway's town, which name is written, by contraction, in Domesday, Meddestane, as it is at present Maidstone.
THE PARISH of Maidstone is most advantageously situated near the banks of the river Medway, which directs its course through it, being navigable by the contrivance of locks here and for many miles higher up, as far as Tunbridge town. Over the river here there is an unsightly ancient stone bridge of seven arches, supposed to have been first erected by some of the archbishops, lords of the manor. It was repaired in king James I.'s reign by an assessment on the town and parish, but it still remains both narrow and inconvenient. The town is built on the two opposite hills, rising immediately from the banks of the river, but the principal part is on the eastern one, beyond which the hill rises still further to Pinenden heath, part of which is within this parish, which there joins to those of Boxley and Detling. The soil is exceedingly fertile, being in general a loam, thinly spread over an entire bed of quarry stone, commonly called Kentish rag-stone, excepting towards the eastern parts of it, where it becomes a deep sand; in the south east part of it, about Sheppard's-street and Gould's, there is some coppice wood, beyond which are the hamlets of Broadway, Willington-street, and part of Maginford, within the bounds of this parish. The meadows, on the banks of the Medway, are much subject to be flooded by the sudden risings of it, after heavy rains, to the height of several feet perpendicular, but which as suddenly subside. Above the town the course of the river, though it narrows considerably above the lock, just above the bridge, is yet beautiful, and retains a depth of water of near from twelve to fourteen feet; about a mile above the town, near the hamlets of Upper and Lower Tovil, the stream, which rises at Langley, having supplied a chain of mills, flows into the Medway; the former hamlet is situated on an eminence, commanding a pleasing view; the Ana baptists have, in this romantic and rocky situation, made a burial place for their fraternity. At a small distance higher up the river, though on the opposite bank, is the hamlet of Fant, the principal house of which, called Fant house, is the property of Mr. Fowle, who resides in it; and near it a pleasant seat, close to the river, which belongs to Robert Salmon, esq. of Eyhorne-street. In all this vicinity the banks of the river continue highly ornamented with spread ing oaks, while the country round wears an appearance equal to that of a garden, in its highest state of cultivation. The soil, not only adjoining the town, but throughout the neighbourhood of it, is remarkably kind for hops, orchards of fruit, and plantations of filberds, consequently those, especially of the former round it, are very large, and the crops of them abundant, owing to the peculiar nourishment and warmth afforded to the roots of the plants, from the fibres of them penetrating the crevices of the rock. Great part of the wealth and prosperity of Maidstone has arisen from the hop trade, most of the inhabitants of every degree having some hop ground, and many estates have been raised by them from this commodity, which is supposed to have been planted here about the time of the Reformation; sooner than in any other part of this county.
THE TOWN of Maidstone is pleasantly situated, about the middle of the county, thirty-five miles from London, and somewhat more from Dover. It is happily screened by the surrounding hills, arising from the beautiful vale, through which the Medway runs beneath. It is justly noticed for the dryness of its soil and its excellent water, and consequently for its healthiness, its ascent keeping it continually clean and dry. The state of this town, in queen Elizabeth's reign, may be known by the return made to her in the 8th year of it, of the several places in this county where there were any boats, shipping, &c. by which it appears, that there were then here a mayor and aldermen, houses inhabited, 294; landing places, 4; ships and hoys, 5; one of 30 tons, one of 32, one of 40, and one of 50; and persons wholly occupied in the trade of merchandize, 22; since which this town has been continually increasing in size, inhabitants, and wealth, owing to the introduction of the hop-plant, as has been already noticed, the several charters which have been granted to it, and the navigation of the river Medway; insomuch that the houses are now computed to be in number fifteen hundred, and the population of it is said to have increased at this time to upwards of six thousand inhabitants, near one half of which are non-conformists to the established church, both Presbyterians and Anabaptists, each of whom have their respective meeting houses of worship in the town, which dissension in matters of religion unhappily extends to politics, and from the heat of parties, destroys much of that social intercourse and harmony which would otherwise unite the inhabitants of this flourishing town. The principal parts of it stand on the side of a hill, declining towards the west and south; it extends about a mile from north to south, and not quite three quarters from east to west. It was new paved, lighted, and otherwise improved in 1792, in consequence of an act passed the year before for that purpose; though the buildings in it are in general antient, yet there are several handsome modern ones, inhabited by genteel families; and the spacious breadth of the High-street carries with it a grand and at the same time a lightsome and cheerful appearance. The town consists of four principal streets, which intersect each other at the market cross, having several smaller ones leading out of them. The cross, on the top of this building, which is an octagon, though the name still remains, has been some time since taken down. It is now used for a fishmarket, and was formerly called the Corn cross, hav ing been made use of as a corn market till the upper court-house was built for that purpose about the year 1608, by an assessment on the town.
On account of its convenient situation for transacting the public business of the county, it has long been reputed the county or shire town. Near the upper end of the High-street, which is remarkably spacious, leading down to the bridge, besides the upper court hall above mentioned, is a more modern one, a handsome building of stone and brick, built not many years ago at the joint expence of the corporation and the justices of the western division of the county; the former making use of it to transact their public business in, as the latter do whenever the public business of the county requires the use of it. In it are likewise held the assizes for the county, the general quarter sessions for the western parts of Kent, the county meetings for the choice of candidates, to represent the county in parliament, and every other public business relating to it; which right of the justices and inhabitants of the county, to hold their meetings, &c. in it, was settled at the building of it, by an indenture made between them and the corporation. The street, leading towards Coxheath and the Weald of Kent, is called Stone-street, a name which sufficiently proves the antiquity of this town, and its consequence in the time of the Romans. There are three principal conduits, which are supplied with excellent water, conveyed in pipes from a place called Rocky-hill, in the West Borough, on the opposite side of the Medway, at the charge of the corporation. These are placed very conveniently for the service of the inhabitants, one at the upper end of the High-street, near the market cross; a second lower down, being a high octagon stone building with a clock and dial, having a turret at the top of it, and what is called a fish-bell, which is always rung when any fish is brought to market; the third is placed at the lower end of the town. At a small distance from the south side of this street, about the middle of it, on an eminence close to the Medway, stands the church, the antient archiepiscopal palace, and the remains of the college, each forming conspicuous objects to the neighbouring country westward.
Adjoining to the last mentioned court-hall is the prison belonging to the corporation, formerly called the Brambles. (fn. 5) This prison appears to have belonged antiently to the archbishops of Canterbury, and continued so till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged the prison house of this town with that king. (fn. 6) In king Charles I.'s reign it remained in the king's hands; for by his letters patent, in 1631, he granted the office of keeper of it, and the custody of all prisoners there, to John Collins for his life; who, by his will, in 1644, gave his patent of the king's gaol in Maidstone, with all the irons, implements, fees, and appurtenances to his son of the same name.
The public gaol of the western division of the county of Kent was formerly placed most inconveniently in the very middle of the town, to its great annoyance, where it remained till 1736, when on a petition of its inconvenient situation, near the market place, of its being much decayed, and that there was no gaol for debtors, an act was obtained for erecting another in the room of it, together with a bridewell, in another part of the town. This, after some intermission, was accomplished, and a capacious strong building of stone, with large outlets and conveniences for this purpose, has been erected near the out parts of the town, in East-lane, which has been lately still further strengthened and enlarged at a large expence, at the charge of the western division of the county.
THE MARKET, which was first granted to archbibishop Boniface, by king Henry III. in his 45th year, to be held weekly at his manor here, has been confirmed by the several charters to this town, and is now held weekly on a Thursday, for the sale of all kind of provisions, corn, and hops, toll free, with which the town and its neighbourhood for miles round is most plentifully supplied at a very reasonable rate. The mayor is clerk of the market, and when admitted into his office, is sworn duly to execute that part of it. King George II. by letters patent in 1751, granted to the corporation a market, to be held the second Tuesday in every month yearly, for the buying and selling of all manner of sheep and other cattle whatsoever, which continues to be so held at this time; and there is another market held likewise for the sale of hops yearly, at the time of Michaelmas.
THE FAIRS of this town are held four times yearly, viz. Feb. 13, May 12, June 20, and Oct. 27, for horses, bullocks, and other cattle, as well as for wares, haberdashery, and pedlary; but the last is by far the greatest of them, being resorted to by the country for many miles round. The principal part of these fairs is held on a piece of ground, on the bank of the Medway, called the meadow, though the High-street is covered with them likewise. The above piece of ground formerly belonged to the abbot and convent of Boxley, and on the dissolution of that house, coming to the crown, was granted by king Henry VIII. to Sir Thomas Wyatt, who in a great exchange of land, made by him with that king, in his 32d year, sold to him, among other estates in this parish, the piece of land called Caring, containing sixteen acres, and the profits of the fair yearly there, for standing upon it, in Maidstone. In the parliament of the 11th of king Henry VII. the custody of weights and measures, which were then renewed and appointed according to the standard in the exchequer, was com mitted to this town for the county of Kent, and they have continued to be preserved here to the present time.
There are two considerable manufactories of linen thread carried on in this town, a trade introduced here by the Walloons in the 11th year of queen Elizabeth's reign, at the time they fled from the persecution of the duke d'Alva, and took refuge in England. The Walloon families here in 1634, were about fifty, they are now quite worn out, though there are some names remaining, which seem to have derived their origin from them, though the persons that bear them are ignorant whence they had them. The only remembrance of these Walloons now left is the term which the common people give to the flax spun for the threadmen, which at this day they call Dutch work.
Besides which there has been within these few years a Distillery, erected and carried on here to a very large extent, by Mr. George Bishop, from which is produced the well-known Maidstone Geneva, being of such a magnitude, that no less than seven hundred hogs are kept from the surplus of the grains from it.
There is a department of the customs and an office of excise in this town.
Besides the free grammar school, of which a particular account will be given hereafter, there are two boarding-schools for the education of young ladies, all of them of good repute.
¶The navigation of the river Medway is of the greatest advantage to this town, as a considerable traffic is carried on by it from hence to Rochester, Chatham, and so on to London, and from the several large cornmills here abundance of meal and flour is shipped off for the use of those towns, the dock and navy there, as well as great quantities sent weekly to London. The fulling and paper mills in and near this town, of the latter of which, late Mr. Whatman's, at Boxley, is perhaps equal to any in the kingdom, send all their manufacture hither to be transported from hence by water to London. The vast quantities of timber brought hither from the Weald of Kent and its neighbourhood, by land carriage, as well as water, are conveyed from hence by the navigation of the Medway to the dock at Chatham, and other more distant parts. Besides which there are several large hoys, of fifty tons burthen and upwards, which sail weekly to and from London, for the convenience of this town and the adjacent country.
MAIDSTONE is within the diocese of Canterbury and deanry of Sutton, and is exempt from the jurisdiction of the archdeacon.
The church stands at the western part of the town, on the bank of the river Medway. It was at first dedicated to the Virgin Mary, but when archbishop Courtney had rebuilt the chancel, and refitted the rest of it, on his having obtained a licence in the 19th year of king Richard II. to make it collegiate, he dedicated it anew to All Saints.
The stalls for the master and fellows of the college are still remaining in the chancel, in which the arms of archbishop Courtney appear in several places, but no where in the body of the church, which makes it probable the latter was part of the old parish church of St. Mary, and not rebuilt by the archbishop. The church is a large handsome building, consisting of a nave, great chancel, and two side isles; the roof is lofty, and is covered throughout with lead. At the west end it has a handsome well built tower, on which there was a spire covered with lead, near eighty feet high, which was burnt down by lightning, on Nov. 2, 1730. In the tower were eight bells, a clock, and chimes; the bells, in 1784, were new cast into ten, by Chapman and Mears of London.
In the year 1700, the body of the church was neatly and regularly pewed; on each side is a commodious gallery, one of which was built at the expence of Sir Robert Marsham, bart. then one of the repretatives for this town, and afterwards created lord Romney.
There were antiently in this church numbers of inscriptions on brass plates, as well on the monuments as grave stones, which are now almost torn away. In the middle of the great chancel there is a tomb-stone, raised a little above the pavement, with the marks of the portraiture of a bishop, in his mitre and robes, and of an inscription round it, but the brass of the whole is torn away. This is supposed to be the cenotaph of archbishop Courtney, the founder of this church, for it was the custom in those times for persons of eminent rank and quality to have tombs erected to their memory in more places than one.
The archbishop was son of Hugh Courtney, earl of Devonshire, by Margaret, daughter of Humphry Bohun, earl of Essex and Hereford, accordingly the arms of Courtney and Bohun impaled, are in several parts of this chancel. The archbishop died at his palace in Maidstone, in 1396, and in the first part of his will directed his body to be buried in the cathedral church of Exeter, where he had formerly been a prebendary; afterwards, lying on his death bed, he changed his mind in this point, and holding his body unworthy of burial in his metropolitical, or any other cathedral or collegiate church, he wills to be buried in the church yard of his collegiate church at Maidstone, in the place designed for John Boteler, his esquire; but it appears by a leiger book of Christ church, Canterbury, that king Richard II. happening to be then at Canterbury, when the archbishop was to be buried, perhaps at the request of the monks, overruled the archbishops intention, and commanded his body to be there entombed, where he lies, under a fair monument of alabaster, with his portraiture on it, at the feet of the Black Prince. Thus Somner, Godwin, M. Parker, and Camden; but Weever thinks, notwithstanding the above, that he was buried under his tomb in this chancel of Maidstone.
The rectory of this church, with the chapels of Loose and Detling annexed, was appropriated by archbishop Courtney, by the bull of pope Boniface IX. (fn. 11) with the king's licence, in the 19th year of king Richard II. to his new founded college here, but the patronage of the advowson, it seems, he reserved to himself and his successors; in which state it remained till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged the advowson and patronage of the college and church with the king. (fn. 12)
Upon the dissolution of the college, in the 1st year of king Edward VI. the rectory and advowson became both vested in the crown, and the church was left, through the king's favour, to the inhabitants of this town and parish, as it had been before it was made collegiate, the grant of it, together with the church yard being confirmed to them by the charter granted by king James I. in his 2d year, for their parish church and church yard, for the purpose of divine service, burying the dead, &c. as the same was then used.
Whilst the college remained, the parish found no ill effects from the appropriation of the rectory, as the master and fellows caused divine service to be constantly performed in the church, and the cure of the parish to be properly served; but when the college was dissolved, and the great and small tithes appropriated to it were granted away by the crown, the parishioners suffered much from the scantiness of the provision remaining for a person properly qualified to undertake the cure of so large and populous a parish, a small stipend only with the oblations, obventions, &c. being all that was left for the officiating minister, under the title of perpetual curate. King Edward VI. in his 4th year, granted to Sir Thomas Wyatt, among other premises, this rectory of Maidstone, to (fn. 13) hold in capite by knight's service; but he engaging in a rebellion in the 1st year of queen Mary, forfeited it, with the rest of his estates, to the crown, whence the patronage of the curacy was granted by that queen, in her 6th year, to archbishop cardinal Pool, and she demised the rectory of this church for a term of years to Christopher Roper, esq. (fn. 14) the same being then of the value of 81l. (fn. 15)
Queen Elizabeth, in her 3d year, granted the reversion of this rectory in exchange, among other premises, to Matthew, archbishop of Canterbury, at which time it was valued as follows:
The rectory of Maidstone, with the tenths of the chapels of Loose and Detling, the tenths of Loddington and in Estrey were worth yearly 74l. out of which there was paid to the chief priest of Maidstone, 20l. to his two assistants each, 6l. 13s. 4d. to the curates of Loose and Detling each, 2l. 13s. 4d. in all, 38l. 14s. 4d. notwithstanding these deductions, it does not appear that there was after this more than one appointed to officiate here, to whom the archbishop paid a salary of 10l. per annum.
Archbishop Whitgift, in 1583, augmented the curate's salary 10l. per annum. (fn. 16) Archbishop Juxon, in obedience to the directions of king Charles II. in 1660, for augmenting the maintenance of vicars and curates, made an addition of 37l. 6s. 8d. per annum. (fn. 17) Archbishop Sancroft, among other acts of pious beneficence, granted by lease, in 1677, to Humphry Lynd, curate and preacher of Maidstone, for augmentation of his maintenance, all the small tithes of the borough of Week (fn. 18) and Stone within this parish, the commodities of the church-yard, and one moiety of all the small tithes within the town and borough of Maidstone;h notwithstanding which he has a maintenance by no means proportionable to the greatness of his cure and labour.
Upon a trial in the exchequer in 1707, concerning the curate's right to the vicarage tithes of Lodington, it was suggested, that this curacy was worth three hundred pounds per annum; to which it was replied, that the legal dues were not more than one hundred and sixty pounds per ann. (fn. 19) Lodington is situated between three and four miles from Maidstone, and separated by other parishes intervening; it is said, there was once a chapel in it, situated in a spot now called Glover's garden, where of late years some stones and foundations have been dug up. I believe the curates have not enjoyed these tithes for some time.
The rectory is still part of the revenues of the archbishop, who nominates the perpetual curate of this town and parish.
The curacy is not in charge in the king's books.
In the 37th year of queen Elizabeth, Levin Bufkin was farmer of the rectory, under the archbishop. In 1643, Sir Edward Henden, one of the barons of the exchequer, was lessee of it. In 1741, Thomas Bliss, esq. held the lease of it of the archbishop. It afterwards came into the possession of William Horsmonden Turner, by virtue of the limitation of whose will his interest in it is now vested in William Baldwin, esq. of Harrietsham.
THERE WAS ANOTHER CHURCH, or rather a FREE CHAPEL, dedicated to St. Faith, situated in the northernmost part of the town from that above mentioned, being most probably erected for the use of those inhabitants of this parish, who lived at too great a distance to frequent the other. It seems to have been surrendered up into the king's hands, in conformity to the act of the 1st year of king Edward VI. and, with the church-yard, to have been purchased of the crown afterwards by the inhabitants; but whether then used for religious worship does not appear. Some time afterwards it became part of the estate of the Maplesdens, of whom it was purchased in the reign of king James I. by Arthur Barham, esq. who possessed the manor of Chillington, at which time he acknowledged the right of the corporation to use the chapel of St. Faith for divine service, and the chapelyard for burials, if they thought fit; at present only the chancel is standing, which for many years was used for a place of public worship by the Walloons: upon the dispersing of this congregation, by archbishop Laud in 1634, this chapel was shut up for some small time, when it was again made use of by a congregation of Presbyterians, who continued to meet there till about 1735, when they built themselves a meeting house elsewhere. Part of it is now a dwelling house, and the rest of it was some years converted into an assembly room; it is now made use of as a boarding school for young ladies.
The scite and what remains of this fabric was lately the property of the heirs of Sir Tho. Taylor, bart. of the Park-house. It was afterwards purchased by Mr. Samuel Fullager, gent. the heir of whose son, Mr. Christopher Fullager, of this town, is proprietor of it.
THERE were TWO CHANTRIES founded in this church, one by Robert Vinter, in the reign of king Edward III. who gave two estates in this parish, called Goulds and Shepway, for the support of a priest performing certain divine offices in the church of Maidstone, whence it acquired the name of GOULD'S CHANTRY, a full account of which, and of the possessors of those estates, after its suppression to the present owner of them, the Rt. Hon. Charles lord Romney, has already been given in the description of them.
¶The other chantry was founded by Thomas Arundell, archbishop of Canterbury, in the year 1405, be ing the 7th of king Henry IV. who that year granted his licence to the archbishop, to found two chantries; one of which, of one chaplain, was in this collegiate church, at the altar of St. Thomas the Martyr, to celebrate daily service for his soul, &c. for which the archbishop granted, that he should have a yearly stipend of ten marcs out of Northfleet parsonage. The advowson or donation remained with the several archbishops of Canterbury till archbishop Cranmer, in the 29th year of king Henry VIII. conveyed his right in it to the king, in exchange for other premises. This chantry was dissolved by the act of the 1st year of king Edward VI. at the same time the college itself was suppressed.
Mi esposa e hija en la playa. vacaciones Chile
Meine Frau und Tochter am Strand in Chile
My wife and daughter at the beach in Chile.
please comment!
Good size Brown Bear crossing McNeil river falls. The pictures in the essay are in the first comment.
The sow brown bear, weighing in at roughly 700 pounds was standing in the foaming icy waters of the falls of an Alaskan coastal river transfixed upon unseen motions in the water below her. Suddenly, she rapidly danced about, dipped her head in the water and came out with a 12 pound chum salmon in her jaws. The sudden motion and the new flapping of the salmon drew the attention of an even larger boar brown bear. He lunged at the sow and she took off at a sprint. She ran across a series of boulders separating various channels of the river to a game trail that led to her desired cover to hide from the boar and eat her fish in peace. The only problem, I was seated in the middle of that trail; I stood up to announce my presence to the rapidly approaching bear. By the time I made it to my feet, she was a mere 3 feet away. Traditional myth has me in a very bad place; however, a most amazing thing happened. She skidded to a stop, looked up at me with soft brown eyes and a submissive expression that seemed to suggest, “sorry to bother you”. Then she looked at my feet and slowly eased around me close enough to hear her breath. Once by me she continued her retreat into the underbrush.
Brown Bear with chum salmon comming accross the falls.
While this may sound like the start of a thriller of some amazing Alaskan Bear tale or that I might be the luckiest guy around, it is McNeil River in Alaska. The State of Alaska has, for over 30 years, taken up to 10 tourists a day to the falls to observe the politics of the bears at the falls jockeying for position at the best fishing locations and has never had an injury caused by a bear, according to Larry Aumiller, one of our guides at McNeil River. He did tell of some who had heart trouble and had to be flown out. From the heart rate that I encountered while face to face with that sow, I found the heart trouble part of the story easy to believe. However, at the end of our 4 days, with similar encounters happening several times a day, I came to also believe the bear part of the story.
Boar with a fish!
Subadult siblings watching the politics of the big bears on the falls.
While many creeks and rivers in Alaska have salmon, not many have the combination of salmon and falls that concentrate the salmon such that the bears are better enabled to catch salmon that have not spawned yet. Salmon entering fresh water cease eating and undergo changes to enable them to spawn but also signaling their death as they commence living on their stores of energy in fat and muscle rendering them less nutritious. McNeil River and Mikfik Creek flow into McNeil Lagoon, a tidal estuary, which is separated by a spit of sand from Cook Inlet. Within a mile or so of the lagoon, both drainages have a small set of falls that impede the annual migration of salmon following their own cycles to come back to the stream of their birth to mate and die. The salmon are slowed by the falls, gathering in the pools directly beneath, and are vulnerable to being caught by the bears. The run of red salmon begins in June at Mikfik Creek. As a result, June visitors to McNeil River State Park are taken to the falls of Mikfik Creek to see its spectacle of bears. However, the stream, the falls and the salmon run are all smaller; therefore, Mikfik never gets the concentration of bears that occurs in July when the red salmon run wanes and the run of chum salmon begins on McNeil River. In July, visitors are treated to the largest concentration of bears in the world fishing for spawning chums. In August, after the chums stop returning, the bears begin fishing below the falls for the spawned out chums.
My own personal McNeil experience actually started some 10 years ago when my wife convinced me to move to Fairbanks, Alaska. Once here, we started on a quest to see Alaska, which has taken us from the northern most point at Point Barrow, to the southern temperate rain forests. One place that hit her radar early was McNeil River. Unfortunately, McNeil is not a place you make reservations and go. The popularity of the place and the need to keep the groups small has led to the institution of a lottery for selection of the 180 or so people that get to go each summer. Every year, a month or so after we sent in our application we would get a letter thanking us for the $50 application fee and advising us that we did not get to go. This year, when the time came to submit our application the duty of sending in our annual contribution to the State Game and Fish department fell to me. I went directly to the dates with the lowest chance of a permit and the highest numbers of bears. After all if you win the lottery, you want to win big – right? Well, I won big and we were granted the opportunity to go to McNeil in July.
In July we were off to Homer to connect with Beluga Air, one of the charter operators flying to McNeil. Our 3:00 pm departure from Homer greeted us with blue skies, warm temperatures and no wind. The one hour and fifteen minute flight to McNeil Lagoon was wonderful: we noted two humpbacks and a pod of dolphins in Cook Inlet and then were greeted with wonderful views of Augustine Volcano. As we approached the shoreline at a distance of 10 miles or so, I could see two drainages and the one to the right had falls; as I looked closer, the falls had spots in it. Bears! Lot’s of em. The approach to land at the lagoon took us right over the falls and we could see the gravel viewing pads as well as 20 or so bears all within close proximity of the viewing pad. My excitement level was now pretty high.
After landing, we had to lug our gear across the spit and up to the campground, I was now glad we were limited to 75# apiece. Once we had relocated our stuff, we were given a half hour orientation on the issues of the campground at McNeil. Most instruction, of course, centered on the bears and the fact that for 30 years the staff at McNeil have been habituating the bears to the presence of humans so they know what to expect and avoid confrontation. The rule that surprised me the most was: outside the alders that make up the campground is bear territory so give the bears the right of way; inside the alders is human territory so step forward toward the bears, shout, throw rocks, do whatever it takes to convince the bear he is in human territory. We pitched our tent, stored our food and toiletries in the cook shack and went for a walk on the spit. We saw 10 bears fishing in the lagoon (at low tide the lagoon empties and McNeil River and Mikfik creek flow thru the area), and another 5 bears clamming in the mud flats. I took lots of photos with the closest bear at a range of 200 yards or so. Little did I know that the next night I would waste no frames on bears so far away.
Our first close bear encounter happened early the next morning, a sow and 3 cubs came into camp and were startled by a fellow visitor, who was up early. Unfortunately she spooked all 4 bears into my tent site. I quickly awoke to the sound of thundering paws, lots of woofing and barking, and my tent rapidly shaking from two bears on each side of my tent brushing it as they ran past. Needless to say, my adrenaline levels were sufficiently high that further sleep was out of the question, so I took a walk on the spit and was greeted with a wondrous sunrise with Mt. Saint Augustine Volcano in the foreground. It was pretty enough, that I was almost ready to forgive the rude awakening.
Sow and 3 large cubs that woke me by shaking the tent as they ran past.
The sunrise they got me up to see.
Each day about 10 am, we launched from the campground: 8 novice tourists and our Fish and Game guide for the day. It was explained that bear activity generally picks up in the afternoon, and the bears are most active from 3 pm to 10 pm, and that the actual departure is dependent on the tides. We were fortunate the tide was out so we could walk across the lagoon in the morning and then the small open boat from the campground would come back at high tide to give us a ride back across the lagoon at our return.
Soon it was clear we were in the realm of bears. On our first day, we saw the sow and three cubs of my morning encounter just outside the alders that line the camp. Each day as we approached the base of Mikfik creek, we saw a new form of combat fishing: in a short turn of the creek 20 bears were fishing for the dwindling red salmon run that goes into Mikfik. In fact on the second day we noted approximately 30 bears while standing in the middle of the lagoon.
Bears Fishing on Mikfik Creek
On the opposite side of the lagoon the trail heads to the high ground between the two drainages. On the second day we watched as a sow with 3 spring cubs went up our trail. We cautiously worked our way up the trail looking for the bears and as we got to the top of the rise we found them. However, as we watched, a boar appeared close to the sow. Our guide noted that we were standing on her only good escape path and suggested that we move a few feet off of the trail. Soon I was reminded of the sound of thundering paws and woofing as the sow and three cubs ran past us. As the bears approached, I was snapping pictures furiously, but as the bears filled my viewscreen thoughts of self preservation prevailed and I looked up from my camera. “Keep shooting!”, the guide intoned “you are safe”. So I started shooting once again.
Sow with cubs running from Boar
The cubs
Another mile on the trail in tall wildflowers and soon the air was filled with of the sound of rushing water. We came to the edge of a small canyon and got our first views of the falls with 10 or so bears fishing, and several sleeping either on the gravel viewing pad or on the trail to the pad. Each day as we slowly moved toward the pad, the bears dispersed to let us through. Then our 10 hours of uninterrupted viewing began. We had bears to the right of us, bears to the left of us, bears everywhere. In fact at the height of our best day we had 33 bears within 50 feet of our location. At one point a bear seemed interested in our packs and had walked to the rear of the pad. While it seemed silly, our guide advised that we just move a camp chair between the bear and our pack. Obviously a 1000# bear should have no trouble swatting away a 3 pound chair, but the sudden introduction of the strange object caused the bear to immediately stop its approach and back away with only a grunt for its objection. All sorts of bear activity surrounded us: feeding, fighting for choice spots, mating, playing juveniles. For me, with an interest in bears, it overwhelmed my senses.
Big Boar comming accross the falls
Confrontation over a choice fishing hole
Yes Bears even do that at the falls
They do get close enough the noise of the shutter can be an issue!
Then almost as soon as it would begin, our 10 hours at the pad were done and it was time to retreat back to the camp and a wonderful dinner of freeze dried stroganoff, amazing how good something so bland can taste so good when you are cold and hungry. Each day gave me a new insight to bears. The bears don’t come with bad habits; we teach them bad habits. If we are neither a threat nor a source of food, we are like the seagulls; we are there but not worth worrying about and they will conduct their business without regard to our presence. This been proven by the experiences of the last 30 years that Fish and Game employees have been taking visitors to McNeil Falls.
My wife and I at the upper viewing pad.
This spectacle of nature, as wondrous as it was, is a spectacle that is presently under stress, some political and some environmental. The maximum numbers of bears found at the fall just 10 years ago numbered in the 60’s while today the numbers peak in the mid to low 30’s. Lower runs of salmon are the suspected cause and research continues. Also, in the spring of 2006 the Alaska Board of Game voted to open the areas directly south of McNeil to hunting in the 2007 season in the face of an overwhelming majority of testimony and further advised that they were to consider a proposal to allow hunting within the preserve in 2007. Fortunately, a very strong public campaign directed at the Governor’s office and the Board of Game caused a reversal of the decision in 2006, so there is not to be hunting in the areas surrounding McNeil, however, the Board of Game is comprised completely by those with hunting interests in mind so they bear continued monitoring. So there is an uncertain future for the bears of McNeil River. I hope that sanity and the salmon will return and the bears will regain their number and retain their indifference to our presence, so when my next successful lottery pick occurs I will once again be overwhelmed by bears.
On our last day of visiting the falls, we were accompanied by a gentleman from Talkeetna, Alaska and his 16 year old daughter. Watching the bears with the infectious enthusiasm of youth only served to heighten the wonder of my own experience. I hope the we will have the wisdom to help this spectacle survive to allow the 16 year old to share the wonder of the bears of McNeil with her children in the future in the same fashion that she has now done with her father.
I feel obliged to say that you shouldn't try this at home with your bears. McNeil is a place where human contact has been controlled for the last 30 years and these bears have not had negative or postive contact with humans and they have been habituated to our presence. Anyone whose first encounter with bears is McNeil will not learn the distance that one should keep from bears that might see us as a threat or food and meet with an unfortnate experience.
comments and critique very welcome on opinions of this the Tokina...11-16mm SD F2.8(IF)DX AT-X PRO Lens
PLEASE, no multi invitations in your comments. DO NOT FEEL YOU HAVE TO COMMENT.Thanks. DO NOT SEND ME E-MAIL REQUESTING ME TO LOOK AT A PICTURE, I RETURN ALL COMMENTS IF YOU COMMENT.
It was a great surprise for me to see this here, in this submarine a long time ago I came very close to being killed. It was in refit and I was doing work on the boat, slipped in the conning tower and got a serious injury, a large cut about a foot long. Oh well ancient history now and I am fine.
The Onondga is the only submarine open to the public in Canada. Discover the lifestyle of submarine crew members confined within a 90 meter ship for months.
The ONONDAGA is the Canadian submarine with the longest active career in the history of the Canadian Navy. It was in service for 33 years. It travelled more than 500,000 nautical miles be that more than 23 times around the world. About half the distance covered was underwater. It visited more than 53 ports in 12 different countries and was under the command of more than 25 commanders during its long career. A major part of this career was under the patronage of NATO (North Atlantic Treaty Organization).
twitter.com/Memoire2cite #recherche #archives #Banlieue #socialhousing #logement #Collectif #Copropriété #Habitation #Habitat #HLM #Quartier #Béton #immeuble #Cité #Moderne #Europe #World #Mémoire2Cité #Mémoire2Ville @ Les 30 Glorieuses . com l' #Urbanisme d'Antan, et ses belles cartes postales @ mais aussi les clichés d'Archilaid, comme les "prix citron" de la France moche.. ou encore la laideur architecturale en Françe et Ailleurs. Dans le triste sillage des cités de banlieue construites ds les années 50, 60, 70... @ l'apres guerre.. dans l'urbanisation massive des territoires via l'industrialisation du logement @ le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme @ De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments banlieue89 ANRU1 ANRU2 bientot ANRU3 @ le Renouvellement urbain, la rénovation urbaine, des "Ensembles Tout Béton" qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM L'urbanisation à marche forcée des années 60 est devenue synonyme de bétonnage et d'enlaidissement. Dans L'Express du 23 août 1971 @ "La loi du 7 juillet dernier relative à la liberté de la création, à l'architecture et au patrimoine a ainsi créé un label spécifique permettant de veiller sur cet héritage architectural récent, que le Comité du patrimoine mondial de l'Unesco vient lui aussi de mettre en lumière", ajoute la ministre de la Culture.
Pas un village, dans la plus reculée des provinces, qui ne soit atteint. C'est comme une lèpre qui, peu à peu, prolifère sur l'épiderme du paysage urbain français. Un des plus beaux du monde, disait-on. Agressive médiocrité des bâtiments publics, des écoles, des postes, des administrations, monotonie concentrationnaire des grands ensembles, prétention et passéisme débile des maisons individuelles : le bilan architectural des dix dernières années est, en France, catastrophique. Jamais on n'a autant construit. Jamais si mal, si pauvre, si triste. A de rares exceptions. Cela devient si flagrant à la lumière de l'été, que même l'O.r.t.f. s'en est ému. Après Vivre aujourd'hui, l'émission de Jacques Frémontier (dimanche, consacrée à "la rue"), La France défigurée, de Michel Péricart et Louis Bériot, a donné l'alerte : par milliers, des témoignages ont afflué. Les Français prennent conscience du mal et s'interrogent : "Comment, pourquoi, en est-on arrivé là ?" Spéculation Que "cet avachissement, cet avilissement de la qualité architecturale", comme le définit M. Michel Denieul, directeur de l'Architecture au ministère des Affaires culturelles, ne soit pas l'exclusivité de la France, personne ne le conteste. Le monde entier connaît un malaise architectural. Après avoir, des siècles durant, bâti pour le seigneur, le prince, le mécène, l'architecture ne sait pas encore bâtir pour la masse, le peuple, "l'innombrable", comme le dit l'architecte Emile Aillaud. En Grande-Bretagne, en Allemagne, en Italie, aux Etats-Unis, aussi, elle tâtonne. Ce n'est pas une consolation. Ni une raison suffisante pour admettre comme une fatalité la piètre architecture française. Ni pour excuser ceux qui l'ont laissée pousser comme les mauvaises graines, à tous les vents. Le premier des responsables, avant les architectes dépassés (voir page suivante l'opinion de Pierre Schneider) et les promoteurs avides, c'est l'Etat. Qui, par le jeu des servitudes, des permis de construire, etc., contrôle et, le plus souvent, paralyse la totalité de ce qui se bâtit en France. Qui est lui-même le premier client des architectes, le premier maître d'ouvrage des nouveaux édifices (hôpitaux, écoles, logements sociaux). Qui, à ce titre, aurait pu, et ne l'a pas fait, promouvoir une politique de l'habitation qui soit une politique d'embellissement. "Construire beaucoup, c'est une occasion d'embellir", dit Bertrand de Jouvenel.Au lieu de cela, que voit-on, en dépit de la réaction amorcée depuis quelques années par le ministère des Affaires culturelles ? La médiocrité primée, la création handicapée, la spéculation triomphante. Les grands ensembles sont une erreur, mais nous ne savons pas pourquoi. Colin Davidson, professeur à l'Ecole d'architecture de l'université de Montréal.Dans un vieux pays comme la France, pour lutter contre la laideur, il y a deux méthodes : une stratégie de choc qui favorise la qualité architecturale ; une stratégie défensive qui prévient la détérioration du patrimoine ancien. La première n'a jamais été définie. Comment s'étonner des résultats ? On ne s'est même jamais soucié d'en jeter les bases en pratiquant une politique d'urbanisme conséquente. "Une ville comme Paris, dit M. Denieul, se caractérise par une propension à accorder les permis de construire, quand ils sont demandés, au coup par coup. Et cela, faute de documents d'urbanisme suffisamment précis, souples et contraignants en même temps."Appréciation Contre ce système du n'importe quoi, n'importe où, n'importe comment, M. André Malraux avait voulu réagir. Il avait demandé à l'architecte urbaniste Gaston Leclaire d'étudier l'aménagement du quartier de la rotonde de La Villette, et spécialement des abords du bassin, appelé à devenir le pôle d'attraction d'un site urbain peu connu et insolite. L'étude a été menée à terme, mais ses conclusions sont restées lettre morte. De telles études, faites systématiquement, auraient pu freiner bien des désastres, non seulement à Paris, mais sur la Côte d'Azur, autre victime notoire d'une urbanisation désordonnée. Et servir de tremplin à une architecture raisonnée, sinon réussie, alors que celle dont nous souffrons n'est ni l'un ni l'autre. C'est aussi M. André Malraux qui, par la loi du 4 août 1962, dite des secteurs sauvegardés, tenta de consolider la stratégie défensive. De fait, à l'intérieur des quartiers préservés, au voisinage des monuments historiques on ne peut construire ni détruire n'importe quoi. Un immeuble tout en verre où se reflète la cathédrale d'Amiens ? Soit : le mélange des siècles n'est pas prohibé, au contraire, c'est la vie même des villes. A condition que les deux architectures soient, comme c'est le cas, bien intégrées l'une à l'autre. La R.a.t.p., en revanche, n'a pas reçu le droit de construire sur les quais de la Seine, déjà si meurtris, une tour de bureaux qui viendrait s'inscrire entre celles de Notre-Dame. Il y aurait donc sauvegarde sans le drame des dérogations laissées à l'appréciation des administrations. A cause d'une de ces dérogations, va s'élever, rue de l'Université, l'immeuble de bureaux réservé aux membres de l'Assemblée nationale. On le verra, de la place de la Concorde, se profiler derrière les deux étages de l'hôtel de Lassay, résidence du président de l'Assemblée. Dérogation aussi pour la barre massive des immeubles de Maine-Montparnasse et la tour de 200 m qui les couronnera : quand la maquette fut présentée devant la Commission des sites, un ministre et cinq préfets étaient présents pour l'appuyer de leur autorité politique. Il n'y eut pour ainsi dire pas de discussion. Quant à la tour de la Halle aux vins, autre pont aux ânes architectural, c'est l'enfant bâtard d'un grand projet : une flèche hélicoïdale, construite par l'architecte Edouard Albert, et couverte de mosaïque par Georges Braque. Hélas ! Albert et Braque sont morts, et les Parisiens n'ont sous les yeux que la tour sans génie d'Henri Coulomb. Bénédiction A Strasbourg, c'est le maire lui-même, M. Pierre Pflimlin, qui s'est obstiné à permettre la construction, à deux pas de la cathédrale, d'un complexe immobilier de 60 m de haut et de plus de 60 millions de Francs. La Commission départementale des sites, les Monuments historiques, la direction départementale de l'Equipement ont émis un avis défavorable. Les P.t.t. aussi, car cette tour fera écran aux liaisons hertziennes entre Strasbourg et Paris. Rien n'y a fait. M. Pflimlin a gagné. Les P.t.t. devront déplacer le relais de leurs ondes hertziennes, situé à Saverne, et la flèche rose de la cathédrale, point de ralliement de toute l'Alsace, se verra fâcheusement disputer le ciel. La Côte d'Azur regorge, hélas ! d'exemples tout aussi significatifs. Le dernier en date n'est pas le moins accablant. A Mandelieu-La Napoule, sur un terre-plein de 10 ha gagné sur la mer, vient d'être construit un "complexe" d'une quinzaine d'immeubles, hauts de sept étages, et d'une médiocrité affligeante, qui dépare un des plus beaux panoramas de la Côte, entre le massif de l'Esterel et les îles de Lérins. Avant de voir le jour, ce projet a reçu toutes les bénédictions officielles. Quinze organismes différents ont été consultés par le Conseil municipal, et, parmi eux, la Commission des sites. Pas un souffle de protestation ne s'est élevé. L'affaire est remontée à Paris. Finalement, le ministre de l'Equipement lui-même a signé le permis de construire et la concession d'endigage du port. Aujourd'hui, l'Association pour la défense des sites de Cannes et des environs distribue la photo du chantier à des milliers d'exemplaires. "Ce que nous voulons empêcher désormais." Et Mme Louise Moreau, élue maire de La Napoule aux dernières élections, est formelle : "Si, alors, j'avais été maire, je n'aurais jamais permis cela."
Répétition D'une part, l'Etat protège peu ou mal, d'autre part, loin de promouvoir la recherche et la qualité, il impose les normes d'une architecture concentrationnaire. Ainsi par le système des Cos (Coefficients d'occupation des sols), dans Paris et dans les grandes villes, où la pression de la rentabilité est énorme, on construit au maximum, même si c'est dépourvu de toute plausibilité, même si, du point de vue architectural. c'est une hérésie. "Il faudrait, dit M. Denieul, créer des zones de discontinuité : des Cos de 3 à un endroit, et, à d'autres, des Cos de 0 à 5, ce qui donnerait au faciès urbain un modelé, un relief. Au lieu de cela, le mot d'ordre est de 'bourrer' partout. Et le XVIe arrondissement de Paris, entre autres victimes, devient un immense chantier où se multiplient les surélévations intempestives." A quoi M. Jean Chapon, directeur du cabinet de M. Albin Chalandon, rétorque : "Il faut bâtir au maximum, sinon, où logera-t-on les milliers de gens qui affluent dans les villes ?" On touche, ici, au coeur du problème. Parce que les besoins étaient immenses et impérieux, on a construit beaucoup. Très vite. Sans se préoccuper du plaisir de vivre des futurs habitants. Comme si un environnement harmonieux était un luxe, cet environnement que les arbres et les champs fournissaient naturellement aux gens d'autrefois. Comme si l'on ne savait pas que la laideur monotone sécrète l'ennui, la morosité, le désespoir. Était-il impossible, au même prix, de construire bien ? Les réussites d'Emile Aillaud, par exemple, à Grigny-la-Grande-Borne, ou de Michel Andrault et de Pierre Parat à Sainte-Geneviève-des-Bois prouvent le contraire. Même avec les crédits limités des H.l.m., même en respectant les normes étouffantes de l'urbanisme réglementaire, on peut créer des habitations à l'échelle de l'homme, du paysage, des architectures favorables à la détente et au bien-être. Ce n'est pas une question de crédits, ni de servitudes ni de préfabrication. C'est une question d'audace, d'invention. Malheureusement, les inventeurs, en cette époque de conformisme, sont rares, et on les encourage peu. Sauf dans les cas où l'obstination d'un créateur a réussi à vaincre les résistances pour modeler un univers vraiment neuf, on s'est contenté d'additionner, de juxtaposer les machines à vivre, les cités dortoirs, de confondre industrialisation et répétition, fonctionnalisme et monotonie. Multiplication "Quand je me promène autour de Paris, disait, peu de temps avant sa mort, le grand architecte américain Richard Neutra, j'ai l'impression que ceux qui bâtissent n'ont jamais été à l'école maternelle. Ils ne savent pas où le soleil se lève, ni où il se couche. Ils ont oublié que l'homme a besoin de chlorophylle comme les arbres et d'espace comme les oiseaux. Ils ne savent faire que des prisons." Le ministère de l'Equipement, pour sa part, est fier d'avoir mis au point un catalogue de grands ensembles --boîtes géantes et tours de tous calibres -- qui permet aux maires et aux offices d'H.l.m. de choisir sur photos et sur plans des immeubles types, spécialement étudiés par des architectes (certains sont renommés) qui en garantissent la qualité de la fabrication et le prix. Au ministère de l'Education nationale qui, à lui seul, dépense 3 milliards par an pour construire 4 millions de m2 (un C.e.s. par jour), on prône la préfabrication (sauf dans les établissements de l'enseignement supérieur). Chaque année, parmi les propositions des trente-cinq entreprises agréées, qui se sont engagées à ne pas dépasser le prix plafond de 520 Francs le m2, on choisit trois ou quatre types nouveaux de C.e.s. On les expérimente en petite série l'année suivante. Puis, on se lance dans la fabrication industrielle. En soi, le système pourrait être bon. S'il n'aboutissait pas à la multiplication de bâtiments déprimants. Même à Cajarc (Lot), cher à M. Georges Pompidou, le C.e.s. offense la vue. L'Education nationale, à qui incombe, entre autres tâches, le soin de former l'oeil et le goût des enfants, ne s'en émeut pas. "Elle n'accepte, dit un haut fonctionnaire, aucun conseil, et se drape dans sa dignité de gros consommateur d'architecture." Subvention Le ministère de l'Agriculture n'agit pas avec plus de discernement. Il n'impose pas de modèles. Mais les prix plafonds des bâtiments agricoles ont été calculés si bas (en partant de la tôle ondulée et du parpaing non enduit) que l'agriculteur qui souhaiterait construire convenablement ne peut le faire, sans risquer de perdre le bénéfice de la subvention. Ainsi, la campagne française s'est couverte peu à peu de bergeries et d'étables qu'on dirait échappées de bidonvilles. Aucun site n'est épargné. Ni la Bretagne ni la Lozère. Si le classement de Colombey-les-Deux-Eglises n'était pas intervenu à temps, un hangar de tôle ondulée serait venu boucher la perspective historique qui s'étend devant la Boisserie... Une grande part de ces diverses calamités est due à l'incompétence des maîtres d'ouvrage - fonctionnaires et élus - desquels dépend la commande publique. "Le sens de l'architecture est aussi rare chez eux que le bon sens", disait quelqu'un qui les pratique. Et Raymonde Moulin, dans sa récente étude sur l'Etat et les architectes, l'a noté : "L'intérêt pour la qualité architecturale appartient sinon à l'ordre du rêve, du moins de ce qui peut être considéré comme un hasard heureux." Les promoteurs privés ne sont pas plus royalistes que le roi. Pas plus que l'Etat, ils ne se soucient d'apporter aux Français le plaisir que procure un heureux agencement de l'espace. Pour la plupart, ils se contentent d'appâter avec du clinquant - baies vitrées, travertin dans le hall, céramique dans la salle de bains - et offrent des immeubles de (faux) prestige, mal insonorisés, mal compris, étriqués, qui n'ont que de lointains rapports avec l'architecture, même s'ils portent des signatures connues.
Impulsion Peut-on enrayer l'épidémie de laideur ? Alertés par les avertissements de la Commission du VIe Plan, les Pouvoirs publics semblent vouloir secouer leur torpeur. Pas question de définir une politique. "On ne peut imposer une architecture officielle, comme en U.R.S.S., se défend M. Chapon. Nous sommes en pays de liberté." Mais on éprouve la nécessité d'agir. Premier essai de stratégie dynamique : le plan-construction, lancé, en mai, conjointement par MM. Chalandon, Jacques Duhamel et François-Xavier Ortoli. Son objectif avoué : rechercher un habitat qui réponde mieux au besoin de l'homme d'aujourd'hui. En fait, il s'agit de trouver des remèdes à l'échec des grands ensembles.
Au ministère des Affaires culturelles, dans la même foulée réformatrice on prépare deux projets de loi : l'un sur la profession d'architecte, l'autre sur les conditions de la commande publique. Toujours sous l'impulsion de M. Duhamel, la Fondation de France finance un concours d'architecture agricole qui sera lancé à l'automne en Franche-Comté, en Bourgogne et en Bretagne. Enfin, une étude a été menée pour voir de quelle façon on pourrait, dès l'école maternelle, sensibiliser les enfants aux problèmes de volumes et d'espaces. Il reste à convaincre l'Education nationale d'inscrire cet enseignement nouveau à ses programmes.A la direction de l'Architecture, malgré les faibles moyens financiers dont il dispose, M. Denieul souhaite influer plus directement sur la qualité de la construction, en développant les services de la création architecturale. Dans les trente prochaines années, la France va construire autant de logements qu'il en existe actuellement. Il est temps de se souvenir que le degré de civilisation d'un peuple se juge à la qualité des édifices qu'il laisse à la postérité. "La France n'est ni belle ni laide", Vasarely "La France n'est ni belle ni laide. C'est le point de vue où nous nous plaçons qui décide. Celui qui se promène à New York ne voit qu'une ville chaotique et sale. Mais si, le soir, on arrive de l'aéroport, on découvre les gratte-ciel illuminés qui émergent au-dessus du fog. C'est un spectacle inoubliable. La Courneuve ou Sarcelles, vues d'avion, présentent des aspects intéressants.""Remédier à la laideur est une tâche extrêmement complexe qui se place sur d'innombrables plans, sociologiques, psychologiques, esthétiques. Le gouvernement actuel est favorable à l'esthétique, mais peut-on imposer la beauté comme on a imposé la vaccination obligatoire ? Actuellement on construit partout des habitations du genre clapier. Ce phénomène est universel. Sarcelles et Saint-Denis ressemblent à Sydney ou à Tokyo." Le droit à la beauté, par Pierre Schneider Le mot "esthétique" a mauvaise presse. Mais l'esthétique, dans la bouche des architectes, c'est ce que font les autres... En réalité, jamais l'architecture n'a été plus préoccupée de beauté. Elle peut prendre les formes les plus diverses. Ici, elle est dans l'intense présence d'un édifice ; là, dans un agencement heureux de l'espace obtenu par des moyens insignifiants. Tantôt harmonieuse, tantôt agressive. L'élégance du chemin le plus court, mais aussi l'extravagance du chemin des écoliers : Ludwig Mies Van der Rohe ne nie pas Antonio Gaudi. L'essentiel est de ne pas se soumettre passivement aux idées reçues, d'exprimer son temps - fût-ce en s'efforçant de le réorienter. "Lorsqu'une oeuvre est à son maximum d'intensité, de proportions, de qualité d'exécution, de perfection, il se produit un phénomène d'espace indicible, les lieux se mettent à rayonner, physiquement. C'est du domaine de l'ineffable." Cette définition du beau est due au père du fonctionnalisme : Edouard Le Corbusier. L'absence de volonté créatrice se traduit par des formes inertes. Et l'inertie démoralise. Le jour n'est pas loin où le plus fanatique des technocrates sera contraint d'inclure le droit à la beauté dans ses frais généraux. A quelques exceptions près, l'histoire de l'architecture moderne - celle du dernier quart de siècle, surtout - ne s'est pas écrite en France. Pourquoi ? La raison la plus évidente est qu'elle n'a pas voulu ou su produire des architectes. La faute en incombe, en premier lieu, à l'Ecole des beaux-arts. La formation, ou plutôt la déformation qu'elle dispensait à ses élèves, était, depuis cent cinquante ans, résolument passéiste : on se référait à Versailles ou au Parthénon, oubliant que leur pouvoir de fascination venait de ce qu'ils avaient été, en leur temps, des bâtiments modernes. Le premier travail des élèves utilisant l'acier, le verre, fut présenté à l'Ecole en 1950.Vers 1956, un groupe d'élèves qui proposaient à Nicolas Untersteller, directeur de l'Ecole, d'organiser une exposition Mies Van der Rohe, s'entendirent répondre : "Je ne connais pas cette demoiselle." Un promoteur définit assez brutalement le produit de cet enseignement figé : "Les architectes ? Ils se croient des artistes. Ils ignorent la vie." Effectivement, l'Ecole n'a pas su assimiler la révolution industrielle. Vers 1840, un divorce s'opère entre architecte et ingénieur. Le premier n'a que mépris pour le second. Lorsque, au début du siècle, Fulgence Bienvenüe, ingénieur en chef du métropolitain, veut enseigner aux élèves de l'Ecole la technique du béton armé, ceux-ci le chahutent au cri de : "Tu nous prends pour des entrepreneurs ?" Bibliothèque nationale, Halles de Baltard, viaduc de Garabit - les chefs-d'oeuvre de la construction industrielle du XIXe siècle sont si peu considérés comme de l'architecture, que le premier d'entre eux à avoir été classé monument historique fut la tour Eiffel. Depuis quelques générations, les architectes apprenaient les techniques modernes, mais comme un mal nécessaire. "Un tuyau, ça se cache", dit l'un d'eux. Ils acceptaient de construire une usine ou une H.l.m. - il faut bien vivre - mais leur rêve restait de bâtir pour un prince. Aucune place n'était faite, dans l'enseignement, à l'économie, à la sociologie - en un mot à la donnée humaine qui est à la fois le grand problème de l'époque et sa chance de renouvellement : les nombres. Que pèsent ces rêveurs anachroniques en face de gens qui ont le sens des réalités - ceux-là mêmes qui les font travailler : les promoteurs ? Rien. Dans les pays anglo-saxons, l'architecte est respecté ; chez nous, c'est le pauvre type qui oublie un escalier. Un promoteur explique : "Comment je choisis un architecte ? C'est simple : je prends celui qui fait ce que je veux." Et ce qu'il veut, c'est ce qui se vend, c'est-à-dire le "standing". Il n'y a pas de grand architecte sans grand client, note l'architecte Michel Bezançon. Or, à l'encontre des Etats-Unis ou de l'Italie, en France, l'architecture ne se vend pas comme image de marque." M. Claude Alphandéry, P.d.g. de la Banque de la construction et des travaux publics, confirme : "Les gens d'affaires français ne considèrent pas encore l'architecture comme le bon signe extérieur de la réussite." Créer, dans ces conditions, tient du miracle. L'architecture abdique ou se condamne à périr de faim. Dans le secteur public, l'accueil à l'architecture vivante n'est pas meilleur que dans le privé. L'architecte, pour faire aboutir un projet, doit avoir l'obstination des personnages de Kafka. Un disciple connu de Le Corbusier se voit refuser une commande parce que, selon les mots du financier désolé, "il n'a personne dans sa manche". Savoir se débrouiller est plus important que savoir créer. "Le secteur public est démembré en parties qui doivent négocier entre elles", explique M. Alphandéry. D'excellentes réalisations, toutes dues à la volonté d'individus, soulignent d'autant plus cruellement la formidable indifférence des hommes politiques (qu'ils soient de droite ou de gauche) et des technocrates à "la dimension poétique". Les ministres se préoccupent de pouvoir proclamer à la fin de l'année qu'on a construit tant de logis, mais II ne vient à l'idée de personne de supposer que ces logis devraient, en toute justice, tomber sous le coup de la loi qui interdit de déposer des ordures sur la voie publique. Pourtant, il est des raisons d'espérer. La principale est l'apparition d'une génération d'architectes pour qui l'industrie n'est plus l'ennemi - pas plus que la panacée - mais un instrument. Un instrument qui, bien utilisé, peut libérer l'architecture de ses servitudes. Ici et là, surgissent des bâtiments, des ensembles dont la réussite démontre qu'aujourd'hui les contraintes techniques et budgétaires ne sont plus que l'alibi facile des médiocres. L'imagination est humainement nécessaire. Elle est techniquement possible. A nous de savoir l'exiger. www.lexpress.fr/culture/1971-architecture-et-urbanisme-la... Métamorphoses des villes : d'hier à aujourd'hui L'oeuvre de Le Corbusier classée au patrimoine mondial de l'Unesco Marseille, d'hier à aujourd'hui Lille d'hier à aujourd'hui... www.lexpress.fr/culture/en-images-l-oeuvre-de-le-corbusie... Dix-sept réalisations de l'architecte franco-suisse, dont dix situées en France, sont désormais inscrites au patrimoine mondial de l'organisation. Une proposition adoptée par consensus et sans changement par le comité en charge du classement. La troisième aura été la bonne. Après deux tentatives infructueuses, l'oeuvre architecturale de Le Corbusier a été inscrite au Patrimoine mondial, a annoncé dimanche l'Unesco. La décision a été prise lors de la 40e session du Comité du patrimoine mondial de l'Unesco à Istanbul. Cette réunion a été suspendue samedi en raison de la tentative de putsch militaire, avant de reprendre dimanche matin. Le classement porte sur dix-sept réalisations de l'architecte franco-suisse dans sept pays. Dix d'entre elles sont situées en France. Parmi elles figure la Maison de la Culture de Firminy A ces réalisations s'ajoutent les Maisons La Roche et Jeanneret à Paris, la Villa Savoye et loge du jardinier à Poissy, l'Immeuble locatif à la Porte Molitor à Boulogne-Billancourt, la Manufacture à Saint-Dié-des-Vosges, le couvent Sainte-Marie-de-la-Tourette à Eveux. Le Corbusier : hommage au virtuose de la modernité www.cotemaison.fr/chaine-d/deco-design/le-corbusier-un-ar... frontières françaises, d'autres créations de Le Corbusier ont également été classées. L'immeuble Clarté à Genève, la petite villa au bord du lac Léman à Corseaux (Suisse), la maison Guiette à Anvers (Belgique), les maisons de la Weissenhof-Siedlung à Stuttgart (Allemagne), la Maison du Docteur Curutchet à La Plata (Argentine), le musée national des beaux-Arts de l'Occident à Taito-Ku à Tokyo (Japon) et le complexe du capitole à Chandighar (Inde)."Cette bonne nouvelle survient après plus de dix ans de travail, de concertation et deux échecs", s'est félicité dans un communiqué Benoît Cornu, premier adjoint à Ronchamp (Haute-Saône), qui préside depuis 2016 l'Association des Sites Le Corbusier créée en 2010. Le Corbusier: hommage au virtuose de la modernité Interrogé par Le Monde, le même interlocuteur considère que Icomos, le Conseil international des monuments et des sites, avait par le passé jugé la série proposé "trop pléthorique et éclectique, et surtout, déploré l'absence du site de Chandigarh en Inde, qui révélait la dimension urbanistique de l'oeuvre". En intégrant ce site qui comprend un quartier, sa maison de la culture, son stade, sa piscine et son église -le plus grand conçu par l'architecte- les promoteurs du dossier de candidature ont tiré parti des expériences passées. La ministre de la Culture et de la Communication, Audrey Azoulay, s'est réjouie de la décision de l'Unesco, en relevant qu'elle soulignait "l'importance de la préservation et de la valorisation du patrimoine récent, de moins de cent ans". l'architecture moderne au rang d'art majeur. L'occasion de revisiter son oeuvre architecturale avec notamment la Cité radieuse à Marseille, sans oublier son parcours de peintre et de designer. L'Express Styles est aussi parti à la rencontre d'artistes comme India Mahdavi ou Ora-ïto qui s'en sont inspirés... Découverte ! L'architecte de tous les possibles est aussi celui de tous les paradoxes. Mort en eaux troubles - on a retrouvé son corps noyé sur la plage de Roquebrune-Cap-Martin le 27 août 1965 -, Le Corbusier est, aussi, l'homme solaire qui a accouché de la Cité radieuse et un "visionnaire persuadé de pouvoir apporter la joie de vivre", affirme Sylvie Andreu, directrice de collection du livre Cher Corbu... (1). Cinq décennies après sa disparition, son aura continue de briller et son héritage est intact, de la villa Savoye, à Poissy (Yvelines), à l'unité d'habitation de Firminy (Loire), en passant par la chapelle de Ronchamp en Franche- Comté ou la ville nouvelle de Chandigarh en Inde. Et pourtant, l'homme n'a pas que des admirateurs... La Cité radieuse à Marseille.La Cité radieuse à Marseille.SDP La ville nouvelle de Chandigarh, en Inde, construite en 1947.La ville nouvelle de Chandigarh, en Inde, construite en 1947.Narinder Nanu/AFP
Critiquant ses excès et sa mégalomanie, ses détracteurs lui reprochent également, encore aujourd'hui, son approche fonctionnaliste trop radicale et d'être à l'origine de l'urbanisme des banlieues. Autant dire que le mystère autour de Charles-Edouard Jeanneret- Gris, dit Le Corbusier - né en Suisse en 1887 -, reste entier. Qui était vraiment cet autodidacte insatiable et obstiné dont l'oeuvre attend toujours son classement à l'Unesco, au titre de sa "contribution exceptionnelle au mouvement moderne"? Un virtuose de l'architecture bien qu'il n'ait pas le diplôme (il a quitté l'école à 13 ans) ? Un grand designer ? Un peintre compulsif ("Le dessin est fait avant que je ne l'aie pensé") ? Un sculpteur majeur ?
De toute évidence, un artiste surdoué et protéiforme "qui a profon dément marqué le XXe siècle et bouleversé notre façon d'habiter, explique Sylvie Andreu. Il sera guidé toute sa vie par l'esprit nouveau de son époque et n'au ra de cesse de combattre les conservatismes". A partir du 29 avril 2015, l'exposition du Centre Pompidou propose une relecture de ses créations - plus de 300 dessins, tableaux, sculptures, photos, meubles, dont certaines pièces réalisées dès 1923 avec Pierre Jeanneret... - qui seront présentées via le prisme de la mesure du corps humain. La villa Savoye (1928-1931), à PoissyLa villa Savoye (1928-1931), à PoissyArcaid/Corbis
Empreinte du modulor dans le béton, visible a Rezé (Loire-Atlantique)Empreinte du modulor dans le béton, visible a Rezé (Loire-Atlantique)SDP "L'homme a toujours été au centre de ses préoccupations, explique Jacques Sbriglio, architecte urbaniste et commissaire de l'exposition organisée à Marseille, en 2013, Le Corbusier et la question du brutalisme. Il a inventé un langage et fait basculer l'architecture dans le XXe siècle. Chacune de ses réalisations inter - rogeait le rapport de l'homme aux usages quotidiens. Quand il dessinait les plans d'une ville, il indiquait l'échelle, mais aussi le temps de déplacement d'un point à un autre." Et Olivier Cinqualbre, commissaire de l'exposition du Centre Pompidou, d'ajouter : "La cellule d'habitation pensée par Le Corbusier est petite mais pratique, à taille humaine. Pour épouser les mouvements du corps, le mobilier devient réglable (dès 1929), modulable ou encastrable." La chapelle Notre-Dame-du-Haut (1950-1955), à RonchampLa chapelle Notre-Dame-du-Haut (1950-1955), à RonchampCalle Montes/Photononstop
Avant-gardiste, ce bâtisseur souhaite libérer l'individu des contraintes, du mal-logement, de l'inconfort. Car, ne l'oublions pas, au lendemain de la guerre, chaque mètre carré compte! Pour modifier la perception des volumes, il use en plus de couleurs franches. Là aussi, il connaît sa palette... Depuis qu'il s'est installé à Paris en 1917, il peint tous les jours et manie le nuancier avec finesse. Voilà qui explique sans doute qu'il ait autant d'influence auprès des créateurs tous azimuts : designers et stylistes de mode! La preuve, ci-contre, en cinq témoignages... . Le Corbusier. Mesures de l'homme, du 29 avril au 3 août 2015, Centre Pompidou, Paris (IVe), www.centre pompidou.fr
Chandigarh, 50 ans après Le Corbusier, du 11 novembre 2015 au 14 mars 2016 à la Cité de l'architecture et du patrimoine, Paris (XVIe). www.citechaillot.fr
"Cher Corbu" Recueil de témoignages de 12 architectes contemporains sur le grand homme, dans lequel chacun lui écrit une lettre."Cher Corbu" Recueil de témoignages de 12 architectes contemporains sur le grand homme, dans lequel chacun lui écrit une lettre.SDP
(1) Cher Corbu..., un ouvrage collectif qui recueille le témoignage de 12 architectes contemporains sur le grand homme : de Paul Chemetov à Odile Decq en passant par Elisabeth de Portzamparc ou Claude Parent, qui lui ont chacun écrit une lettre. Bernard Chauveau éd., 48 p., 22,50 ?
Ils se sont inspirés du Corbusier...India Mahdavi, amoureuse d'innovation
India Mahdavi, architecte d'intérieur et designer. Vient de terminer le restaurant I Love Paris pour Guy Martin.India Mahdavi, architecte d'intérieur et designer. Vient de terminer le restaurant I Love Paris pour Guy Martin.SDP
L'Express Styles : Que représente pour vous le Corbusier ?
India Mahdavi : C'est un révolutionnaire et un provocateur, qui a fait renaître l'architecture moderne en mettant l'homme au centre de la vie et de la ville. Il a eu l'intelligence de s'interroger sur les modes de vie des gens bien avant tout le monde. Son rapport aux proportions m'a imprégnée. Sur mes chantiers, j'utilise aussi le Modulor. Ses références sont devenues les miennes. Il a cassé les normes bourgeoises de l'habitat. L'Express Styles : En quoi a-t-il inspiré vos créations ? India Mahdavi : J'aime beaucoup sa façon d'appliquer la couleur en aplats pour redessiner les volumes, rythmer les espaces, marquer les perspectives. C'était un formidable coloriste. L'ouvrage Le Corbusier. Polychromies architecturalesest d'ailleurs une de mes bibles. Il référence toutes les nuances et permet, grâce à une réglette, de les associer harmonieusement. C'est un outil dont je me sers sur tous mes chantiers.
L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? India Mahdavi : Le tabouret à poignées, en chêne, qu'il a conçu pour son cabanon, d'après une caisse à whiskys. On peut évidemment s'asseoir dessus, mais on peut surtout l'empiler pour séparer une pièce, le transformer en chevet ou en table basse. Il n'y a pas de meuble qui résume mieux son oeuvre. Le Corbusier : hommage au virtuose de la modernitéSDP Ora-ïto et sa fascination pour la minutie
Ora-ïto, architecte designer. Propriétaire du toit terrasse de la Cité radieuse à Marseille.Ora-ïto, architecte designer. Propriétaire du toit terrasse de la Cité radieuse à Marseille.SDP L'Express Styles : Que représente pour vous Le Corbusier ? Ora-ïto : Il est l'inventeur de la modernité. Pour chacune de ses réalisations, il a établi un vrai scénario de vie. La Cité radieuse en est le plus bel exemple. Tout y est pensé au millimètre près et à bonne hauteur grâce au Modulor-une grille de mesures qu'il a inventée et représentée par la silhouette d'un homme debout, le bras levé. C'était aussi un obsessionnel. D'ailleurs, quand il érige cette unité d'habitation, on le surnomme le "Fada". Mais il reste un grand monsieur qui m'a beaucoup influencé.
L'Express Styles : En quoi a-t-il inspiré vos créations ?
Ora-ïto : Je ne suis pas habité par Corbu, mais imprégné de ses concepts. Sa rigueur, sa façon d'organiser les espaces en lien avec les modes de vie et sa simplicité restent des valeurs essentielles. C'est le Steve Job de l'architecture !
L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? Ora-ïto : La villa Savoye à Poissy. Art déco, cette première maison de week-end est spectaculaire : une "boîte en l'air" montée sur pilotis, qui a tout pour elle. Elle est lumineuse, élégante et intemporelle.
Le Corbusier : hommage au virtuose de la modernitéSDP
Pierre Charpin, sensibilité des couleurs Pierre Charpin, designer. Prépare une exposition pour la galerie Kréo à Londres.Pierre Charpin, designer. Prépare une exposition pour la galerie Kréo à Londres.SDPL'Express Styles : Que représente pour vous Le Corbusier ?Pierre Charpin : Ce n'est pas un maître à penser, mais un grand architecte et aussi un étonnant plasticien doué d'une sensibilité aux formes hors pair. La chapelle de Ronchamp - tout en courbes et en harmonie avec le paysage - en est un des plus beaux exemples, le contraire d'un bâtiment standardisé. L'Express Styles : En quoi a-t-il inspiré vos créations ? Pierre Charpin : Je ne sais pas s'il m'a influencé, mais son travail sur les couleurs m'a beaucoup intéressé. Il utilise une gamme de coloris plus subtile et sophistiquée que celle des primaires. Comme lui, je n'aime pas les fausses couleurs et les demi-teintes, ni les objets trop lisses. J'apprécie sa façon d'appréhender le béton, notamment à la Cité radieuse. Il en a fait une surface vivante et pas si brutale que ça ! Pour y avoir séjourné, je suis frappé par la sophistication et la simplicité de ce grand vaisseau. Corbu fait partie, avec Sottsass, des gens qui comptent pour moi. C'est à la fois un théoricien et un être très sensible. L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? Pierre Charpin : Son cabanon de Roquebrune-Cap-Martin, de 3,66 mètres sur 3,66, est un modèle d'intelligence : il a optimisé chaque centimètre carré. Cette réalisation démontre à quel point il était libre. Eux aussi l'apprécient... Jérome Dreyfuss, créateur de sacs"Mes grands-parents étant les voisins de Jean Prouvé, à Nancy ; j'ai été sensible, très jeune, à l'architecture et à Corbu, qui a toujours eu une longueur d'avance. A chaque problème il trouvait une solution. Il avait cette capacité d'inventer des concepts et des principes de construction. Il était à la fois rationnel et créatif. Quand j'ai aménagé mon cabanon à Fontainebleau, j'ai optimisé chaque mètre carré. Chaque objet a sa fonction et sa raison d'être." www.jerome-dreyfuss.com Frédérique Dessemond, créatrice de la marque de bijoux Ginette NY "Je vis aujourd'hui à New York mais j'ai grandi - juqu'à 28 ans - à la Cité radieuse, dont je garde un souvenir ému. On vivait en autarcie, entre copains, c'était mieux que le Club Med ! Les appartements étaient très lumineux, remarquablement bien étudiés. J'ai conçu ma future boutique [66, rue des Saints-Pères, Paris VIe] à partir du Modulor. Et mes bijoux sont simples, faciles à vivre et sans ostentation, comme l'étaient ses réalisations." www.ginette-ny.com - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Official Trailer - the Pruitt-Igoe Myth: an Urban History
www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …
Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …
DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015 www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin)
www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/
www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM... l'UNION SOCIALE POUR L HABITAT fete ses 90 ans "TOUT savoir tout voir, tout connaitre, sur le LOGEMENT SOCIAL des HLM aux HBM avec le Musée HLM" en ligne sur le WEB içi musee-hlm.fr/ www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … içi www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi. www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije
31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …
archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...que dire de RICARDO BOFFIL Les meilleures balades que j’ai fait autour de Paris je les ai faites dans l’application Plans. Je ne minore pas le rôle de Google Maps, révolution cartographique sans précédent et sans égale, qui aura réalisé nos fantasmes d’Aleph borgesien — l’idée d’un point d’où le monde serait visible en totalité — parachevé Mercator et permis d’explorer des parties du globe inconnues de Cook, Bougainville et Amundsen. Je n’oublie pas non plus cet exercice de cartographie au collège, qui nous avait démontré que nous étions à 3 cartes IGN de la capitale, et que le tissu urbain était de plus en plus serré à mesure que nous avancions vers le nord. Mais Plan possédait une fonctionnalité inédite, le Flyover, technologie à l’origine destinée aux pilotes de chasse, et qui fournissait des rendus 3D spectaculaire des bâtiments survolés — ainsi que des arbres et des déclivités du sol On quittait enfin les champs asphyxiants de la photographie aérienne pour des vues à l’oblique des villes visitées : après un siècle d’écrasement — la photographie aérienne est étroitement contemporaine du bombardement aérien — les villes reprenaient enfin de la vigueur et remontaient vers le ciel. J’avais d’ailleurs effectué moi-même une manœuvre de redressement similaire le jour où j’étais parti, à pied depuis Paris, visiter à Nanterre une exposition sur la photographie aérienne. J’étais à la quête des premières vues de Paris qu’avait prises Nadar depuis un ballon captif. À défaut de ces images, définitivement manquantes, j’avais parcouru, après la Grande Arche, les derniers kilomètres de la Voie Royale, cette prodigieuse perspective historique partie du Louvre — rare exemple de frise chronologique implémentée dans une structure urbanistique.J’avais en réalité un peu dévié de la ligne droite pour aller voir les tours Nuages d’Emile Aillaud, le Facteur Cheval du modernisme, dont je connaissais déjà les autres chefs d’œuvres d'architecture naïve, les nouilles chinoises de Grigny et le spaghetti de Pantin.C’était précisément l’usage que j’avais fait de l’application Plans : j’étais parti à la recherche de tous les groupements de tour qu’elle m’avait permis d’identifier, sur mon iPad. Je les faisais tourner avec deux doigts, comme un éclaireur qui marcherait autour d’un donjon, avant de les immortaliser, sous leur plus bel angle, par une capture d’écran.Un éclaireur autour d’un donjon : c’était exactement cela, qui m’avait fasciné. Les guerres territoriales entre Les Tarterêts de Corbeil et les Pyramides d’Evry avaient marqué mon enfance. La notion de cité, telle qu’elle avait été définie, à partir des années 80, dans le second âge des grands ensembles, l’âge du déclin, avait conservé un cachet médiéval. Ici, vivaient guetteurs et trafiquants, condottieres à la tête d’une écurie de go-fast et entretenant des chenils remplis de mâtins rares et dangereux. Ici, l’État central ne remplissait plus ses tâches régaliennes, ici la modernité laïque était entrée en crise. Mais ce que j’avais découvert, en collectionnant ces captures d’écran, c’était à quel point l’urbanisme de la banlieue parisienne était, strictement, d’obédience médiévale. On était passé, d’un seul mouvement et sans même s’en rendre compte de Château-Gaillard à la Cité 4000, du Donjon de Vincennes aux tours de Sarcelles, du château de Gisors aux choux fleurs de Créteil.J’ai même retrouvé la colonne détruite du désert de Retz dans le babylonien château d’eau de Noisiel.Des hauteurs de Rosny à celle de Chanteloup, du plateau de Clichy à la dalle d’Argenteuil, on avait bizarrement livré des pastiches inconscients de la grande architecture militaire médiévales : les environs de Paris s’étaient retrouvés à nouveau fortifiés, la vieille tour de Montlhéry n’était plus solitaire, et même les immeubles de briques rouges qui avaient succédé à l’enceinte de Thiers évoquaient des murailles.Et ce que j’avais initialement pris pour des anomalies, des accidents malheureux du post-modernisme, les grand ensembles voûtés et cannelés de Ricardo Boffil, étaient peut-être ce qui exprimait le mieux tout cela — ou du moins qui clôturaient avec le génie le plus clair cet âge des grands ensembles.Car c’était cela, ces Carcassonnes, ces Acropoles, ces Atlandides qui surnageaient avec le plus de conviction au milieu des captures d’écrans de ruines médiévales qui s’accumulaient sur mon bureau.Si décriées, dès leur construction, pour leur kitch intolérable ces mégastructures me sont soudain apparues comme absolument nécessaires.Si les Villes Nouvelles n’ont jamais existé, et persisteront dans la mémoire des hommes, elles le doivent à ces rêveries bizarres et grandioses, à ces hybridations impossibles entre les cités idéales de Ledoux et les utopies corbuséennes.L’Aqueduc de Saint-Quentin-en-Yvelines, les Espaces d’Abraxas à Marne-la-Vallée, les Colonnes de Saint-Christophe à Cergy-Pontoise sont les plus belles ruines du Grand Paris. www.franceculture.fr/emissions/la-conclusion/ricardo-bofill immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs. Architecture d’Aujourd’hui n° 46, 1953 p. 58-55 C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP)
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I went to my first Notts Invasion (trans event). I've been meaning to go for years and finally got myself there.
Saturday morning we had an amazing hotel breakfast, it was gorgeous! And we also had tea in the hotel again - pie once again. Yummy!
Saturday night we met up with Sarah again which was wonderful - she's such a lovely woman and I'm so glad I have finally met her!
We went to the Lord Roberts then on to GOAt then to the Hockney Arts Club. What a lovely evening, and a lovely weekend it was!
Breakfast - what a great start to the day!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
For the first time, I went for a weekend visit to Gemma's and we had a great time! We packed loads into a couple of days.
Saturday morning we were up early to go to Dovedale in the Peak District. What a stunningly beautiful place it is! So picturesque! I loved every minute.
Because it's a well known area of outstanding natural beauty, it gets busy early so we made sure we arrived as soon as the car park opened. That meant it was reasonably quiet walking outwards, but coming back there were so many people!
I showed the pictures to my Sister wjhen I got home and she loved them so much, she took her family there camping the very next weekend!