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The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
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Some Background:
The Space Defense Robot-04-Mk. XIV Destroid Nimrod was an anti-air/heavy artillery mecha, and intended as a replacement for the SDR-04-Mk. XII Phalanx, a Destroid specifically designed for space operations to defend the SDF-1 Macross, along with its sister unit, the cannon-armed ADR-04-Mk. X Destroid Defender.
The Phalanx had been developed in a hurry under the pressure of the raging war against the Zentraedi and suffered, as a consequence, from several disadvantages. For instance, its combat operation capability decreased substantially once the missile ordnance (a total of forty-four 430mm caliber missiles, half of them ready to fire and the rest held in reserve in internal magazines) had been exhausted. To counter this, a few models were modified in the field, e.g. with additional light Gatling guns mounted within the head unit, as well as other variations, but most Phalanx’ remained basically bipedal heavy missile launchers. A sub-variant with improved sensors and missile guidance systems, as well as the ability to deploy the new reflex missiles, the Phalanx Mk. XIII, was also built, but only in small numbers, and it could not overcome the flaws of the original design.
The Nimrod was the attempt to mend these shortcomings after initial combat experience with the type. The so-called SDR-04-Mk. XIV utilized the proven MBR-04 ambulatory system and shared a common hip and leg structure with a wide range of other Destroids. Like the Phalanx, the Nimrod’s newly designed upper body was a simple core structure that neglected any silliness for a weapon composition consisting of missiles, radar, and propulsion system, all mounted on the main rotating body which could be detached from the lower torso for maintenance of in case of emergency.
The Nimrod filled the same tactical niche as the Phalanx but was a more sophisticated design with improved capabilities and a – though limited – secondary close-range combat capability. The radar and sensor suites for target acquisition as well as missile guidance were improved, so that the Nimrod became even suited for air space surveillance and as a guidance/coordination unit for other Destroids. Due to this additional workload, the Nimrod’s crew was expanded by a WSO to two in a tandem cockpit.
The armament remained tailored to medium and long range, but there were some improvements. On the Nimrod, the Phalanx’ bulbous drum-shaped missile magazines gave way to more streamlined 540 mm caliber reflex missile containers, which were carried in staggered clusters of four twin-pods on each shoulder, holding a total of 48 missiles with sixteen of them ready to fire and the rest in reserve. This modification reduced weight and frontal area, and in a case of emergency the missile containers could be jettisoned.
In order to improve the Nimrod’s tactical value after its missiles had been deployed, it was furthermore provided with a secondary close-range combat capability in the form of a pair of particle beam guns. These were integrated into the arms, protected by the missile containers, and these reliable weapons could be effectively used against both air as well as ground targets. Thermal smoke dischargers completed the Nimrod’s defensive measures.
Like the Phalanx and other Destroids, the Nimrod was capable of limited space operations due to its vernier thrusters all over the hull. This allowed for units that were stationed on the deck of the SDF-1 to propel themselves back to the battle fortress if they were knocked off.
The Nimrod was, like the Phalanx, first deployed on the SDF-1 and was used to augment the ship's own weapon system to protect the vessel from Zentraedi attacks, even though the type came relatively late and was only used in the final phase of the war and only in limited numbers. After the conflict, production was throttled down (only a total of fifty SDR-04-Mk. XIVs were eventually built), and the surviving Nimrods from the SDF-1 were stationed at airbases in New Macross City and in nearby cities, such as Monument City.
Specifications:
Designation: SDR-04-Mk XIV
Mecha Class: Destroid
Crew: 2 (Pilot, WSO)
Weight: 21.8 tons (dry)
45.5 tons (loaded)
Height: 12.36 m (hull only, incl. radome)
13,50 m (with raised arms)
Breadth: 9,32 m
Depth: 5.0m
Max. walking speed: 72 kph loaded
Armament:
2x weapon clusters in shoulder locations, each with:
- Eight launch tubes for 540mm caliber mid-/long-range missiles (typically with anti-air capacity, artillery
rockets as alternative), with eight missiles ready and another sixteen as reserve (for a total of 48)
- One Mauler PBG-06 liquid-cooled electrically-charged twin particle beam gun
- Three thermal smoke dischargers
The kit and its assembly:
This is a fictional Macross Destroid, with a highly modified Imai Phalanx kit at its core. It depicts a potential successor for the missile-only-armed Phalanx, but it has been totally made up. Inspiration came when I recently procured a bunch of Kotobukiya’s MSG sets for mecha conversions – one of these sets included the quadruple missile launchers that now make up the Nimrod’s new “arms”. I was torn between using a Defender or a Phalanx as conversion basis, but due to the weapon pods’ bulkiness I went for the more massive Phalanx.
Beyond the MSG parts and the replacement of the Phalanx “missile drums”, there was initially no real plan for the conversion – things evolved gradually, depending on the donor parts at hand. However, several fundamental changes were made. The most important improvement measure that works for all Destroid kits with the “04” chassis is the integration of a completely now hip joint arrangement. OOB, the model's posture is pretty stiff, with the legs and feet facing straight forward. The model is just supposed to stand upright, and with the model’s OOB joint options it is really hard to create a vivid poise. Furthermore, the bolts that hold the legs are prone to break off, even more so because the Imai kit is from the 1st generation of mecha kits, without vinyl caps and just relying on a very tight joint fit for hold.
My proven solution: the implantation of a new hip “bone” made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts. Inside of the pelvis, the W-shaped wire was attached with the help of sprue material and styrene profiles, a thorough fixation is necessary because a lot of load has to be held in place in a very small space.
In order to attach the legs to the wire, there’s a convenient trick: the receptor holes in the thighs were simply filled with small vinyl rings, standard material from other mecha kits (e.g. from Arii’s 1:100 VF-1 Battroids or the Gunze Sangyo/Aoshima Dorvack PAs), the rings’ outer AND inner diameter fit perfectly into the new arrangement. With this trick, a much more dynamic and "natural" leg position could be achieved, also thanks to the large feet and their joints of the “04” Destroid chassis. This tuning measure improves the model considerably. The legs were otherwise taken OOB, just some small styrene bits were added to the lower legs’ front sides (improving another small detail flaw of the model), and some openings on the lower legs’ rear side were filled with putty and styrene sheet. Furthermore, the open insides of the “heels” were filled with putty, too.
In order to integrate the new missile bins, suitable adapters for the shoulder had to be found. Being somewhat lazy and trying to use as many parts from the Phalanx kit as possible, I decided to integrate a styrene tube all through the upper body, so that I got better attachment points. This tube was extended so far that I could re-use the Phalanx’ blast exhausts from the original missile bins as shoulder joint covers. This looks very natural and these re-dedicated parts fit well over the implanted central styrene tube channel as well as into the channel that runs along the MSG missile containers’ inner side. In order to attach the new arms/containers, a smaller diameter styrene tube was glued into these channels, so that the new pods could be moved vertically.
As a weapon improvement over the Phalanx, a pair of particle beam guns was added to the new missile containers – they come originally from a Dorvack PA-36K “Berlon” kit, but they were tailored considerably in order to fit into their new position. They also help to hide the new shoulder joint, which was covered from above with parts from the Phalanx kit (the boxed that are normally attached to the upper legs) and the space between them with paper tissue, drenched with white glue. The result is a good visual transition.
The central hull was changed in order to move the look away from the Phalanx base. The rear side uses OOB parts, but these were modified and attached to the hull in a different way, so that the back is not as deep as on the Phalanx. The front received a vertical pair of searchlights (formerly return rollers from a 1:35 tank…), set into the breast plate. The cockpit bulge between the shoulders as well as the head unit are completely new. The cockpit cover is a leftover hull piece from a Kotobukiya helicopter drone, and it was moved forward, so that a crew of two is more plausible. The head unit on the elongated spine behind and above it consists primarily of a donor from a wrecked VT-61 “Tulcas” mecha (Dorvack), plus a small dish antenna for a tracking radar on the right (left over from a Dorvack PA-36K “Berlon” kit) and a round radome for target acquisition – scratched from main wheels of a Matchbox PB2Y and set upon a mount made from styrene profiles. Looks strange, esp. with that flat, square head unit underneath, but I wanted a unique and different look that sets the Nimrod apart from other canonical Destroid designs. And this certainly worked.
A final word concerning the Phalanx kit itself: like all other Destroids models, this is basically a simple affair and the model goes together well – but expect some PSR on every seam, and there are some improvements possible that IMHO raise the model’s quality. The lack of vinyl caps makes later movement a tricky affair, though, and it is interesting to see that while the “04” chassis Destroids (Phalanx, Tomahawk and Defender) share the same lower body, all three kits are different! As a positive trait concerning the finish, the Phalanx is also the only kit of this trio that comes with decals for the typical white trim on the lower legs of these Destroids.
Painting and markings:
Once more I wanted to stay true to the original look of a typical Macross Destroid from the “04” series. These tend to carry a uniform livery in murky/dull tones of green, brown and ochre: unpretentious "mud movers". Anything else is rare (I am aware of dark blue Phalanx’ on board of the SDF-1), and complex camouflage patterns are AFAIK not seen (probably a tribute to the TV series’ cel production). In consequence, I gave the Nimrod an overall livery in a rather unidentifiable brownish tone, namely RAL 7008 (Khakigrau), a tone that was carried by German WWII Afrikakorps tanks and very similar to the tone IDF vehicles like the Merkava typically carry nowadays. Since I only had this tone in a rattle can available, the model and its components were painted accordingly, with an additional hushed spray over the upper surfaces with a slightly lighter tone as a shading measure. After this basic painting, the parts received a washing with thinned black ink.
Decals mostly come from the OOB sheet, plus some extra stencils, including the "nose art" painted on the left leg (from a P-38); many Destroids and also Armored Valkyries seem to bear such markings. Gives the mecha a personal touch, though.
Finally, before everything was assembled, the kit received a dry-brushing treatment with light grey and an overall coat with matt acrylic varnish. As a final step, mineral pigments were dusted over the model, esp. around the feet and the lower areas of the mecha.
A rather straightforward conversion project that gradually evolved – but with a postive outcome, after some twists and turns. The fictional Destroid Nimrod turned out more believable than expected, thanks to the good donor parts that went into it, and the simple livery also adds to the design’s “realism” within the Macross universe. Even though the thing still looks odd – but not worse than the other canonical Destroids from the original TV series!
For the wisdom of this world is foolishness with God.
Corinthians 3:19
Some stones are best left unturned.
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For Thematorium.
Turbo windmill, or Jet Wind Mill [JWM] / JWM is nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.
By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula, which makes it possible to harvest the high winds too.
Windsurfing, forerunner on turbo windmill, same formula, stabilitiy: Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively safe ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.
The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.
In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.
High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers' speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with for instance 300 m/s in the direction flat on the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, than we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind's direction, then the actual wind speed that hits the blades, comes almost from the front. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat on the wind. The same counts for windsurf sails, although the sails are hold almost flat on the wind, the actual wind flow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.
I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.
Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.
The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.
And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.
I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.
Just go on the Internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once told me in person that no matter what kind of sailing boat, or windsurfer, it could never over top the 100km/hr barrier, because of cavitation around the swords. I came to him, at one of those appointments, to inform him about the new rigging, so that spailboats are almost flying above the water and to inform him about the reason -to overcome cavitation around the water cutting profile of the sword wheels- for using circle shaped spinning swords. So, I walked through his door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holland's main newspapers, the Saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was apparently wrong, because he worked at the aircraft and space department. Pyramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the university they boycotted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jesus Christ. No rank and bare footed, and closer to God as him.
It is therefore that these two new inventions fall under: the environmental revolution.
We, the hard working people, can easily see that windsurfers go faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.
If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.
In the past seven years I really tried endlessly to talk with professors around the world. They are just not at home. On the phone it goes like this. Who are you? What did you study, and I say, civil engineering. Oh, that has nothing to do with planes and/or mills, we are not interested.
Off course, I do not talk like them, every error in the conversation means the final cut of the conversation and once such a door is closed, it never opens again.
So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.
I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?
Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.
Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.
Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.
We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.
The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, America, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.
Car wreckage and a £50,000 pint come to Manchester
People in Manchester were be exposed to two very different consequences of drink driving by Greater Manchester Police this week. The wreckage of a car whose owner was killed in drink driving crash went on display at the University of Manchester, alongside a pint worth £50,000 – the personal financial cost of a conviction.
The £50,000 pint, displayed behind velvet ropes and housed in a protective glass case, represents the personal financial cost of drink-driving, calculated for the first time by the Institute of Advanced Motorists. The calculation reflects the fines, legal costs, rise in insurance premiums and possible job losses faced by those who are convicted.
The wreckage, known as the Think! Car, was owned by a 21-year-old man who lost control of his car on his way home and hit a tree, sadly killing him.
The activity was part of the University ‘Wellbeing Week’ and involved police conducting on the spot breathalyser tests and handing out free ‘scratchcards’, as well as activity highlighting the dangers posed to cyclists and bikers straying into the blind spots of HGVs and buses.
Inspector Matt Bailey-Smith from Greater Manchester Police said: "Drink driving ruins lives. It can cost motorists their family, job and worse still their life or that of somebody else.
"Many people do not think of the consequences of driving under the influence of alcohol until it is too late and police are committed to tackling this issue so that we can make the roads of Greater Manchester a safer place to be.
"If you are planning on driving then the safest choice you can make is to avoid alcohol all together, and if you see somebody else attempting to drink and drive then make sure you stop them. It could be the difference between life and death."
Road Safety Minister Stephen Hammond said:
“It might only look like a humble pint of beer, but it could end up costing much more than a few quid – in fact it comes with an eye-watering hidden cost if it pushes you over the limit.
“Most people know not to drink and drive but a small number still do, which is why we are highlighting the consequences of a drink drive conviction through our THINK! campaign.
“Anyone thinking of drinking and driving should be without any doubt – if you are caught driving over the limit you will face a heavy court fine and lose your licence – you could even go to prison.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Tuesday 22 November 2016, saw local Greater Manchester Police officers join HMP Manchester Community Team in a visit to St. Edward’s RC Priamry School in Lees, Oldham as part of the ‘Actions Have Consequences’ campaign.
‘Actions Have Consequences’ workshops inform pupils on how their actions can affect them and their local community and the negative outcomes that could occur if they were to stray off the beaten track.
Subjects include nuisance 999 calls, bullying, anti-social behaviour, stranger danger, internet safety as well as others. Although the workshops carry a serious message, they are structured to be fun, informative and engaging.
The HMP Community Team gave the young people an idea of the harsh reality of prison life and the dangers of knife and gang-related crime.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
"I am concerned with matters of consequence, I am accurate."
"And what do you do with these stars?"
"What do I do with them?"
"Yes."
"Nothing. I own them."
"You own the stars?"
"Yes."
"But I have already seen a king who--"
"Kings do not own, they reign over. It is a very different matter."
"And what good does it do you to own the stars?"
"It does me the good of making me rich."
"And what good does it do you to be rich?"
"It makes it possible for me to buy more stars, if any are discovered."
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Fokker D.XX fighter was designed in 1935 by Dutch aircraft manufacturer Fokker as a conservative export alternative to the D.XXI monoplane. The latter had been developed in response to requirements laid out by the Royal Netherlands East Indies Army Air Force (Militaire Luchtvaart van het Koninklijk Nederlands-Indisch Leger, ML-KNIL), but Fokker saw a good deal of market potential for the aircraft in Europe, too, but was afraid that many smaller European air forces still preferred conservative biplane designs.
As a consequence, the D.XX was developed in parallel to the D.XXI and both aircraft shared many components, primarily the fuselage and the tail section. Like its D.XXI stablemate the D.XX biplane was designed as an inexpensive, rugged, and compact fighter aircraft that would possess respectable performance for its era.
Following standard Fokker design practice of the period, the D.XX featured a welded steel tube fuselage that was largely covered by fabric, including the flight control surfaces, but elements forward of the trailing edges of the wings were covered by detachable aluminum panels instead. The wings were of a wooden construction, being composed of two box spars attached to ribs made of plywood, and covered by fabric, too. The aircraft was outfitted with a fixed, spatted undercarriage with cantilever legs, and braking was provided by independently-operated pedals using compressed air.
The cockpit of the D.XXI was fully enclosed by a plexiglas hood featuring large sliding sections. The canopy was entirely jettisonable in an emergency situation to enable pilots to bail out. Pilots were protected against turnover injuries by means of a pylon built into the structure of the aircraft set behind the seat. Fuel was housed in a 77-gallon tank located aft of the engine, and an auxiliary fuel tank could also be installed behind the pilot seat.
Main armament consisted of two pairs of 7.92mm M36 FN-Browning machine guns, two being housed within the forward fuselage above the engine, requiring the latter to be synchronized in order to shoot through the propeller blades, and another pair was carried in fairings under the lower wings, outside of the propeller arc.
Initially, the Fokker D.XX was powered by the 830 h.p. Bristol Mercury VII or VIII engines, but for export customers a number of alternative engines were considered, too. These included such power plants as the 650 h.p. Rolls-Royce Kestrel V and the 750 h.p. Pratt and Whitney Twin Wasp Junior. There were even plans to mount the 1,050 h.p. Rolls-Royce Merlin and the 1,090 h.p. Daimler-Benz DB 600H, both coupled with a radiator installation under the fuselage.
However, interest in the Fokker D.XX was low, since the monoplane promised much superior performance and future development potential. Compared with the Fokker D.XXI, the D.XX lacked top speed and acceleration, but it had, thanks to its much bigger wing area, a better rate of climb and was the superior dogfight aircraft.
Anyway, with the D.XXI as direct in-house competitor and very similar aircraft like the Gloster Gladiator on the market, Fokker's last biplane aircraft was not a success. A major contract with Sweden for an initial batch of 30 aircraft and rights for further license production did not materialize. Other prospects, e. g. Lithuania, Latvia, Greece, Egypt and Yugoslavia, settled upon aircraft of British production, and in the end only Norway and Denmark bought the biplane fighter.
Total production, including two prototypes and three pre-production aircraft, only reached a mere 46 machines, and none of them survived the first months of the 2nd World War.
General characteristics:
Crew: one
Length: 8.2 m (26 ft 11 in)
Wingspan: 10.6 m (34 ft 8 ½ in)
Height: 2.92 m (9 ft 7 in)
Wing area: 28m² (300 sq ft)
Empty weight: 1,594 kg (3,514 lb)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant:
1 × Bristol Mercury VIII 9-cyl. air-cooled radial piston engine, 620 kW (830 hp)
Performance:
Maximum speed: 253 mph (220 knots, 407 km/h) at 14,500 ft (4,400 m)
Cruise speed: 338 km/h (210 mph; 186 kn)
Stall speed: 85 km/h (53 mph; 46 knots)
Range: 930 km (578 mi; 502 nmi)
Endurance: 2 hours
Service ceiling: 11,350 m (37,240 ft)
Rate of climb: 11.7 m/s (2,300 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Power/mass: 0.309 kW/kg (0.188 hp/lb)
Armament:
4× 8 mm (0.315 in) machine guns with 500 RPG in the fuselage and 300 RPG under the lower wings
The kit and its assembly:
I had found the spare wings from a Gloster Gladiator in my donor bank, and wondered what I could do with them - and eventually stunbled upon a PM Model Fokker D.XXI. Why not retrograde this early monoplane fighter into a biplane, with relatively modern features?
Said and done, and the respective conversion/kitbashing was a rather straightforward affair, even though not without some challenges.
The biggest issue became the lower wings: the Gladiator wings are much thinner and have less depth than the original Fokker wings, so that much of the wing roots on the fuselage had to be sanded away. This resulted in gaping openings, which had to be filled, including a resculpted trailing edge intersection. Not a complicated feat, but messy.
Another issue arose through the fact that the D.XXI's fuselage is wider than the Gloster Gladiator's - resulting in a wider span of the lower wings than the upper! In order to correct this, the lower wings' tips were clipped and I used the occasion to re-sculpt all wing tips, trying to get away from the Gladiator's characteristic round shape.
Once the lower wings were mated with the fuselage, the upper wings were added with the help of the outer support struts only. Once dry, the additional struts between the upper wing and the fuselage were added - the latter were scratched with styrene strips. Thin styrene was also used to add some diagonal bracing struts, once more in an attempt to change the wings' look away from its Gladiator origins.
The spatted wheels were taken from the PM Model kit, but shortened by 2mm - OOB they are IMHO much too long, and the result would be a very stalky stance. The tail wheel was also taken OOB, but moved aft and shortened, too.
Inside, a different seat was used; a box was placed behind it, filling the gap, and a dashboard was added under the windshield. The canopy (very thick material!) was cut into three pieces, for a potential open presentation.
Engine and cowling were taken OOB, but the propeller was replaced with a better-looking scrap box find, which also received a longer axis for better balance and free spinning.
The rigging was done with material derived from heated, black IP sprues, which I like because it bonds well with the kit's plastic and can be attached with standard glue. Additionally, the wire's strength can the individually tailored.
Painting and markings:
I used this occasion to apply the somewhat obscure camouflage of the Royal Danish Air Force from the late Thirties. While the scheme itself is rather simple, the colors remain obscure. In profiles and painting instructions you can find a wide range of recommendations - ranging from sand or a greenish yellow and olive drab to dark green and dark earth! The undersides were supposed to be "bluish grey".
I eventually settled upon a relatively simple choice, with Humbrol 83 (Ochre) and Revell 46 (NATO Olive Drab, RAL 7013 a.k.a. Gelboliv), which looks almost like a dark brown together with the greenish sand tone. IMHO they make a good combo for the Danish scheme. For the undersides, I went for Humbrol 128 (FS 36320). Interior surfaces were painted in a dark slate grey tone, the propeller received an aluminum front and flat black back surfaces.
The kit received a light black ink wash and a post-shading treatment with various shades of the basic tones, including ModelMaster RAL 7028 (German WWII Dunkelgelb) as well as Humbrol 155, 163 and 247. Finally, the fabric structure on the wings was slightly emphasized with dry-brushed light grey, and exhaust soot under the fuselage was added with grinded graphite.
The markings come from various sources: roundels from a D.XXI sheet from PrintScale, the flags on the fin belong to a Danish F-100 (XtraDecal) and the tactical code was puzzled together. The nose art, the charging knight on the cowling, which I added because I found the overall aircraft to look pretty bleak, comes from a ModelCollect tank model sheet.
Finally, the whole kit was sealed with matt acrylic varnish (Italeri).
Not a spectacular whif, and this one does not really stand out between similar builds (e.g. the Macchi Brezza or the Gloster Glaive) I did before, but I find it interesting how good and plausible the retrograded Fokker D.XXI looks. The new/old wings blend in nicely, and the Danish scheme looks good on this biplane, too, even though I wonder why these colors were chosen? It looks rather like a desert paint scheme than something for Northern Europe, with lots of water and mostly green, flat landscape?
Collaboration with Ben and James (B 7 and sweet n sour)
check the blog we have more!
www.threadless.com/profile/711980/B_7/blog/572880/Horrend...
"Life in many poor countries is still extremely insecure as a consequence of food shortages, and the situation could become worse: hunger still reaps enormous numbers of victims among those who, like Lazarus, are not permitted to take their place at the rich man's table, contrary to the hopes expressed by Paul VI. Feed the hungry (cf. Mt 25: 35, 37, 42) is an ethical imperative for the universal Church, as she responds to the teachings of her Founder, the Lord Jesus, concerning solidarity and the sharing of goods.
Moreover, the elimination of world hunger has also, in the global era, become a requirement for safeguarding the peace and stability of the planet. Hunger is not so much dependent on lack of material things as on shortage of social resources, the most important of which are institutional. What is missing, in other words, is a network of economic institutions capable of guaranteeing regular access to sufficient food and water for nutritional needs, and also capable of addressing the primary needs and necessities ensuing from genuine food crises, whether due to natural causes or political irresponsibility, nationally and internationally. The problem of food insecurity needs to be addressed within a long-term perspective, eliminating the structural causes that give rise to it and promoting the agricultural development of poorer countries."
- Pope Benedict XVI, Caritas in Veritate, §27.
Inspired by Matthew 25:32-46, the Church teaches that there are seven corporal acts of mercy, one of which is to feed the hungry. This medieval stained glass detail is from a 15th-century series in All Saint's church, North Street in York.
I saw this sign for a mobile phone billing plan and had to laugh. (full discloure - I added the number 4). It's one of those adverts that make you wonder who is proofing the ad before it goes live!
Sister Karen Higham-Deakin - Salford Royal NHS Trust.
Thousands of young people will be brought face-to-face with the horrific aftermath of a road traffic collision as part of a brand new road safety initiative, ‘Safe Drive Stay Alive’.
The project is the first of its kind in Greater Manchester and uses real people, including emergency service staff and family members of those lost in collisions, to tell their own personal stories of tragedy and loss.
Students from across Greater Manchester will attend one of 14 performances taking place at Middleton Arena where they’ll be greeted with a party atmosphere before being hit with the harrowing and hard-hitting consequences of driving dangerously.
Greater Manchester Police, Greater Manchester Fire & Rescue Service, North West Ambulance Service, Salford Royal NHS Foundation Trust’s Major Trauma Coordinator’s, the prison service and Drivesafe have joined forces to launch the project and hope it will help reduce the number of young lives being lost on the roads of Greater Manchester.
In the last 10 years (2003-2013), there were 232 young driver related deaths in Greater Manchester. This figure includes young people and people killed by a young driver.
The average cost of young driver collisions in 2011-2013 was more than £72 million per year, which accounts for a quarter of Greater Manchester’s casualty costs.
Young people are more at risk of being involved in a collision, despite a smaller proportion of them holding a driving licence.
Inspector Matt Bailey-Smith from Greater Manchester Police’s Serious Collision Investigation Unit said: “Road safety isn’t a subject to be taken lightly and Safe Drive Stay Alive uses an emotive and hard-hitting approach to make young people sit up and think about the consequences of their decisions.
“It’s easy to switch off when looking at a poster or watching an advert but the impact of a parent stood in front of you talking about the loss of their son or daughter takes it to another level and will make even the most hardened of young people think twice about their actions”.
Dean, Dee and Hannah Wilson lost their 21-year-old son and brother when he crashed into a tree in 2010 and will be sharing their personal stories at Safe Drive Stay Alive. They said: "Although emotionally very difficult, as a family we feel a certain sense of pride in being
invited to be part of Safe Drive Stay Alive. Through our volunteering, our very simple hope is to prevent other families from suffering such a profound loss. In doing this we feel some good will come from the loss of our Matt."
Sister Karen Higham-Deakin, Salford Royal NHS Foundation Trust’s Senior Major Trauma Coordinator said: “Working in the Emergency Department I’ve seen countless numbers of lives destroyed every year through dangerous or careless driving. It’s important to remember that collisions don’t just affect the victim who loses their life or sustains life changing injuries.
“As an experienced health professional helping to care for the victims of road accidents, I am still often deeply affected by the cases that I see so I can only imagine how completely devastating this is for the family and friends of the young person who has been involved in the incident.”
Chair of Greater Manchester Fire and Rescue Authority, Councillor David Acton, said: "Learning to drive opens up a sense of freedom and opportunity for young people. It also comes with a huge responsibility of keeping themselves, their passengers and other road users safe from becoming casualties.
“The vast majority of young drivers take this responsibility very seriously, and become safe and considerate drivers. However, through lack of experience or peer pressure, too many are still involved in collisions involving fatalities and life changing injuries. Our emergency response crews are all too often dealing with devastating scenes where young people lose their lives.
“Safe Drive Stay Alive will play a vital role in demonstrating to thousands of young people across the county the consequences of risk taking whilst on the roads.
“We are delighted that our colleges have committed to attending, and applaud the bravery of all of our speakers, particularly those family members who will be talking to students about the true impact of losing someone they love in a road traffic collision."
Karen Delaney from Drivesafe said: “Young drivers and passengers in Greater Manchester are at a disproportionately high risk of being killed or seriously injured as a result of road traffic collisions. The Safe Drive Stay Alive project, funded through the Greater Manchester Casualty Reduction Partnership aims at reducing these risks through a powerful mature performance through thought provoking real scenario’s about consequences and posing preventative measures. Decision making skills are an essential part of being a safe road user”.
Steve Hynes, Greater Manchester Head of Service, North West Ambulance Service NHS Trust, welcomed the initiative saying, “Young drivers are much more likely to be involved in a crash on our roads often due to inexperience and lack of knowledge of the risks. Paramedics see first-hand the horrific devastation accidents like this cause and the ongoing effects it has on the people involved and their families, for some, Christmases and birthdays are never the same again.
“This initiative is an excellent way of educating people about the dangers, providing them with a taste of the harsh reality of speeding, together with accurate and suitable information in order to make an informed choice about how they decide to drive”.
Singer-songwriter Mike Dignam has leant his support to the project and his song, Beautiful Tragedy will be played during the performance as well as being offered as a free download to students. He said: "I feel very privileged and humbled to have been asked to be involved in such an important and significant campaign aimed at young people effected by, or involved with, road traffic accidents. It's a fantastic initiative and something that resonates with me, as growing up both my parents were in the road safety police so I know how impactful these accidents can be."
Follow @SafeDriveGM on twitter and Instagram and use the hashtag #SafeDriveGM to join in the conversation.
Visit www.SafeDriveGM.co.uk for more
Mingle Media TV and our Red Carpet Report team with host, Stephanie Piche were at the 5th Annual TorC Film Fiesta.
This year’s TorC Film Fiesta was held from October 22-24, 2021 in Truth or Consequences New Mexico and screened winning feature and short films from the Santa Fe Film Festival and some local films in addition to “Walking with Herb’ a truly New Mexican film from the author of the book to the filmmaker.
The festival also had Anthony Michael Hall, who is a star in the new “Halloween Kills” movie along with a rich history of film and TV work. Three of the films that AMH made with John Hughes, “Weird Science,” “16 Candles,” and “The Breakfast Club” were screened on the opening night of the festival with AMH available for photos, signed merch and a Q&A held after the final film was shown to a grateful audience of fans.
Screenings of films "Walking with Herb," "The Kennedy incident," "Earl biss Doc," Steven Maes "Caffeine & gasoline," Jerry Angelo "Artik," Hafid abdelmoula "Broken GAite," Ruben Pla "The Horror Crowd," Jordyn Aquino "Can't have it both ways," Jordan Livingston "DeLorean: Living the dream," Jeanette Dilone "Rizo," & Two 'Best Of' Shorts screenings
In addition to the screenings, the El Cortex Theatre, was enjoying a grand re-opening after being shuttered for years and the town was thrilled to see the progress of the updates being done for this event.
Follow the TorC Fiesta Partners on Social
www.facebook.com/ElCortezTheater
www.facebook.com/SierraCinemaNM
Filmmakers were also honored with a filmmaker brunch, a panel by esteemed entertainment lawyer, Harris Tulchan, at Ingo’s Cafe, after parties at the Point Blanc Winery and Glam Camp which also had a fire dancer perform in addition to everyone letting loose and singing Karaoke songs throughout the night.
There was a filmmakers brunch at the Center Gallery and a filmmakers lounge with specialty cocktails during the festival.
In addition to honoring filmmakers, it was a joy to hear that they were excited to see their films on the big screen.
For video interviews and other Red Carpet Report coverage, please visit www.rcrnewsmedia.com and follow us on Twitter and Facebook at:
www.youtube.com/MingleMediaTVNetwork
That’s what it’s about, making stories come alive and enjoying them in the dark with strangers…
Godfried Schalcken oder/aka Godefridus Schalcken, Made bei Breda 1643 - Den Haag 1760
Die ärztliche Konsultation / The Doctor's Examination, Detail ( ca. 1690)
Mauritshuis, Den Haag / The Hague
This panel belongs with A Useless Moral Lesson by Godfried Schalcken. It shows the consequences of rashly losing your virginity. A young woman is sobbing, while the quack - a ‘piskijker’ or piss looker - examines her urine. In it, he sees a baby swimming, which is supposed to prove that she is pregnant. The man on the left is angry, but the boy on the right is laughing at the painful situation. He is making an obscene gesture, while looking at the viewer.
Source: Mauritshuis
Unexpected consequences… This news years resolution is one that made perfect sense, cancel cable. After review all the up and downs I was convinced things would be better for me without it. I was wrong… One thing I failed to take into account was that the cable box severed as a excellent clock in the living room. An end to cable, no more cable box, no clock.
After much debate, I passed up the opportunity to buy a wall clock I liked. It was on sale for $60, over $150 off. I settled with a new alarm clock for the bedroom and moved the old to the living room. The new alarm clock did everything, but nothing very good. The blue light that lit the whole room at night was bad but when it set itself two hours fast I had enough.
After return the alarm clock, I found the wall clock was now on sale for $19. I knew this was too good to pass up. After the store clerk found the “3 digit number,” (took over 15 minutes) the clock rang up for $11.98. That’s a total discount of $228.02.
What do you think of my new ChrisMadden Damon Wall Clock?
QuoteoftheDay 'One who is worried about the consequences cannot love.' - His Holiness Younus AlGohar
Acne scars formed during the healing process are commonly called post-acne by cosmetologists. Scars have a different shape and color – swellings and pits from pink and dark red to bluish shades. This problem is rather psychological, since it does not bear any medical consequences. Dissatisfaction with one’s appearance makes you wonder. Let’s discuss how to remove acne scars from your face?
There are several reasons for skin imperfections:
• Self-squeezing eels at home.
• The skin is further injured and takes longer to heal;
• failure to comply with hygiene standards for the care of skin;
• inflammatory processes at the site of acne formation provoke the appearance of scars;
• boils.
Such serious inflammation in most cases leaves visible traces on the skin.
How Acne Scars Are Formed?
The nature of scar formation is the same regardless of their location. A pimple is a pustule with a white or black head. After maturation, it bursts, the liquid filling it comes out and an open wound is formed. This wound requires disinfection with products intended for problem skin. Otherwise, it gets new bacteria that lead to scarring.
An important role in the healing of acne is played by the human immune system. A weakened immune system contributes to a long process of scarring and the emergence of new inflammatory foci.
Improper skin care and a weak immune system in 90% of cases are the cause of scarring after acne treatment.
Types of Scarring on The Face
There are several classifications of types of scars, but they all distinguish 3 main types:
Atrophic. Scarring in this case occurs due to a lack of collagen in the cells. Externally, it looks like small pits on the skin. Over the years, the atrophic scar becomes rougher due to reduced collagen production by the body.
Hypertrophic. A hypertrophic scar is formed when a large amount of connective tissue is released during the healing process of an eel. Externally, this scar is a small, dense growth of pinkish or red hue. Over time, hypertrophic scars may decrease in size.
Keloid type. A distinctive feature of this type of scar is the occupied area – it can be much larger than the original size of the eel. The process of scar formation is the same as that of the hypertrophic type. A distinctive feature is the high density of education and pale pink color.
Acne Scars: How to Remove Acne Scars from Your Face Using Medical Methods?
Modern medicine and cosmetology can offer people who are wondering how to get rid of facial scars from acne. several effective ways. Each of which has its own advantages and disadvantages.
• Remove with a laser;
• Using the procedure of median chemical peeling;
• Using deep phenolic peeling;
• Dermabrasions;
• Mesotherapies;
• Ozone therapy.
Each of the above methods needs to be described in detail.
Laser Scar Removal
To date, cosmetology can offer 2 ways to remove scars on the face from acne, using a laser:
• Traditional laser resurfacing.
• Fractional resurfacing.
Traditional sanding involves evaporation of water particles from the skin cells, after which the upper layer of the epidermis can be easily removed. In addition, the laser helps to increase the production of collagen – an important element for skin health.
During fractional grinding, skin cells are burned out in separate areas (fractions), which are subsequently filled with collagen.
• the ability to get rid of acne scars on the face and in the decollete area;
• the entire procedure takes 20-30 minutes;
• it is performed under local anesthesia;
• pinpoint effect on the affected areas of the skin, healthy cells are not damaged;
• short rehabilitation period.
Laser resurfacing is not possible during pregnancy, with sunburn and inflammation of the skin (dermatitis).
Middle Chemical Peeling
The procedure of median chemical peeling involves the destruction of the upper and middle layers of the epidermis. To get rid of acne scars, several peeling procedures are required at intervals of a month. For the procedure, a mixture of two acids is used – trichloroacetic and glycolic.
Peeling Is Performed In 3 Stages:
• Cleansing the skin from dead cells and dirt.
• Applying and removing the solution.
• Hydration and nutrition of the face.
After the procedure, regular use of moisturizers and sunscreens is necessary. Avoid prolonged exposure to the fresh air in frosty and windy weather. Contraindication to peeling is an allergic reaction to its components.
Deep Phenolic Peeling
The procedure of phenolic peeling can be called a last resort to remove acne scars on the face. It is carried out only after 40 years, as it has a deep effect on the skin.
In addition to scars, this way you can get rid of wrinkles, age spots and other age-related changes.
Phenolic peeling should only be trusted by a qualified doctor. Often the procedure is performed in stationary conditions.
The process of getting rid of the scar is quite painful. The doctor applies a solution of phenol to the previously cleansed skin, leaves it for 30-60 minutes, then removes it. Phenol stimulates the production of proteins necessary for skin renewal.
Recovery takes place without complications. The face requires careful care-daily nutrition and hydration.
Dermabrasion
Dermabrasion is a process of mechanical peeling of the skin. A special device with rotating brushes removes the upper layer of the epithelium. The operation is quite painful, so anesthesia is required. After the procedure, the skin looks erased, and edema may appear. Within a few days, a crust is formed, which falls off after a week.
Dermabrasion can remove small scars, and make large ones less noticeable. This procedure is not able to remove all the acne scars. If the base of the scar is wider, the operation may worsen the situation.
The recovery process takes several weeks, during which you will need to apply sunscreen.
Mesotherapy
Mesotherapy is a procedure for saturating the skin with vitamins and medicines. It is performed using subcutaneous injections. The procedure helps not only to remove scars after acne, but also to prevent the occurrence of new inflammatory processes.
Ozone Therapy
Ozone therapy is a procedure based on the healing properties of ozone. Therapy involves the introduction of ozone under the skin with special needles, which has a favorable effect on blood circulation and regeneration.
The skin is tightened and smoothed under its action. The scar becomes the color of healthy skin and, if it does not disappear completely, it becomes inconspicuous.
To get the best result, you need to undergo a course of ozone therapy of 5-15 sessions.
Contraindications this type of struggle with scars does not have. The advantages are many – painlessness, lack of recovery period and complications, even allowed for pregnant and lactating women.
How to Remove Acne Scars from Your Face at Home?
If you are not a proponent of salon cosmetic procedures, you can always remove acne scars at home. There are several effective remedies for acne scars:
Cut lemon or juice from it, the damaged area of the epidermis is treated, after 10 minutes it is washed off with warm water.
Fresh cucumber juice or cucumber extract is applied to the face for 15 minutes, then washed off with water. Also, this remedy for acne scars successfully eliminates dark circles under the eyes.
Dilute a tablespoon of cosmetic clay with boiled water at room temperature to a porridge-like state, apply to the affected area or the entire face, hold until the clay dries and rinse with warm water. After the procedure, apply a nourishing cream.
After 2-3 months of regular use, the scars will become less noticeable.
Make masks 3-4 times a week and after some time you will get rid of skin imperfections forever.
Wiping and Washing the Face
Wiping with essential oils is also a reliable remedy for acne scars. Apply oils that have antiseptic properties-lavender, rosemary, avocado fruit.
Effective washing with vinegar solution. Apple cider vinegar is diluted with warm water in a ratio of 1:3.
Apply scrubs to fight scars should be carefully, so as not to aggravate the inflammatory processes.
The most effective scrub is considered to be made from crushed oat flakes and kefir. It is applied to the affected areas and left for 15 minutes, then washed off. This tool not only eliminates the existing traces of acne, but also prevents the possibility of new ones.
Home Peeling with Bodyaga
Peeling from the body with hydrogen peroxide is very effective for removing small scars.
Lightly massaging the peeling is applied to the face, avoiding the area around the eyes. Leave the peeling until completely dry, then thoroughly wash your face with warm water.
People with a sensitive skin type may experience a slight burning and tingling sensation during the procedure.
In addition to all of the above, the use of ointments for acne scars is effective at home. The most effective among them are contractubex, Mepiform and Bio-Oil.
It is known that squeezing out pimples leads to the formation of scars and scars on the face. The larger the scars and wounds from acne, the longer it will take to restore the skin to a smooth and silky state.
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Huguenot, Staten Island, New York City, New York
Prominently situated on the corner of Amboy Road and Huguenot Avenue, the Reformed Church of Huguenot Park is a distinguished and unusual building constructed in 1923-24 and designed in a style reminiscent of medieval vernacular buildings in England and France. Dedicated as the National Monument of the Huguenot-Walloon-New Netherland 300th Anniversary of Religious Freedom, the church celebrates the tercentenary of Huguenot settlement in New Netherlands, particularly Staten Island.
The Reformed Church of Huguenot Park, clad in serpentine stone native to Staten Island with concrete trim and mortar, was designed by prominent New York architect Ernest Flagg and is his only church design in New York City. An important part of Flagg' s oeuvre of stone buildings on Staten Island, the church illustrates Flagg's architectural sensibility, a consequence of his tenure as a student at the prestigious Ecole des Beaux-Arts in Paris whose curriculum sought to mediate the polarities of art and science.
Aesthetically, the design recalls the Norman architecture of England and the Romanesque vernacular buildings of Normandy and Brittany in France, while incorporating a number of ingenious scientific innovations by Flagg to make construction more economical.
A one-story extension with a peaked roof, designed by architect James Whitford., Jr. in a style sympathetic to the original building, was added to the west side of the church in 1954-55. At the northeast corner of the site is a small one-story wood-frame building, designed in a classically-inspired style, which was built in 1903-05 as a library and moved to its present site soon after its construction. This structure was the smallest branch in the New York Public Library system from 1929 to 1985.
Huguenot Settlement and the French Church on Staten Island
Huguenot settlement on Staten Island began in the 1660s and in the following years many Huguenots settled in New York and New Jersey, fleeing religious persecution in France. The Huguenots were Reformed or Calvinist Protestants living in France or Belgium who were persecuted for their beliefs by the Catholic majority.
Huguenots from southern Belgium where French was spoken were known as Walloons. Although the term applied to French-speaking Belgian Catholics as well, the distinction between these groups was seldom made in the New World.
Huguenot persecution in France dated back to the French National Synod of 1559 and the founding of a reformed church based on Calvinist doctrine and Presbyterian government. This legally legitimized the Protestant church in France, but provoked a backlash of intolerance among the Catholic majority. Many of these French Protestants had already left for England, Holland, Russia, and other European countries by the time Louis XIV signed the revocation of the Edict of Nantes in 1685 due to pressure from Catholics.
His signature officially banished the religious hierarchy of the Huguenots from France, but forbade the laity to follow them out of the country. Sensing coming strife, Huguenots began emigrating to New Amsterdam (now Manhattan) arid New Netherlands (now part of New York State and New Jersey) early in the seventeenth century. By mid-century, the Huguenots had established a community at New Paltz in what is now Ulster County, New York, and in the 1660s joined with the Dutch in founding New Utrecht on Long Island, now remembered as a neighborhood name in Brooklyn.
Among the earliest Huguenot settlements in New Netherlands was that on Staten Island. In August of 1661, nineteen settlers led by Pierre Billiou (a Walloon who was later the sheriff and magistrate of Staten Island), settled near the present Arrochar, where they founded a garrison for protection against local Indians. The area proved well suited for agriculture, and the settlement (now remembered as Oude Dorp or Old Town) flourished. By 1664 the settlers arranged for a preacher from the Dutch Reformed Church in New Amsterdam, the Reverend Samuel Drisius, to visit Staten Island every two months and preach in French. The deeply religious nature of the Huguenots was demonstrated when a second small group of settlers, arriving in August of 1664 from Rochelle and St. Martin, France, agreed to stay on Staten Island provided "a good French preacher was furnished."
By 1686 an independent French congregation was established on Staten Island, continuing for nearly fifty years. By the late 1690s the only resident clergyman on the island was the French preacher Reverend David de Bonrepos who had come from the town of New Rochelle (now part of Westchester County). He began services in 1693 with a congregation whose members came from France, England, and Holland. In 1698 the congregation received a deed of land at Green Ridge on which Staten Island's first church, known as the French Church, was built (now demolished).
This church, which for many years was the only one on the island, lost some of its members when the English and Dutch established separate churches. Due- to changing
immigration patterns the French Church was ultimately absorbed into the Church of St. Michael in 1734 (except for a few elderly members who spoke only French), a church established by many of the English members of the French Church. Many of the Dutch members of the congregation left to join the Dutch Reformed Church on the north shore. This effectively marked the end of a separate French congregation on Staten Island.
History of the Site of the Reformed Church of Huguenot Park
The site on which the Reformed Church of Huguenot Park now stands was originally farmland belonging to Benjamin T. Prall, a direct descendant of Pierre Billiou, the leader of the first group of Huguenot settlers on Staten Island. The area, originally known as Bloomingview, was named Huguenot Heights as early as 1872, due in part to the many farms in the area owned by descendants of Huguenot settlers. It is now known as Huguenot Park.
The first church to occupy the site, the Reformed Protestant Dutch Church of Westfield, also known as the Reformed Protestant Dutch Church of the Huguenots, Westfield, was organized in a school house at Bloomingview in September of 1849. The cornerstone of the church was laid on land deeded by Prall in January of 1851. The first pastor, the Reverend A.M. Latourette, was a descendant of Staten Island Huguenots. He named the building "The Church of the Huguenots," and it was known by this name in its early years.
This wood-framed building, nicknamed "The Brown Church," was located to the west of the site of the present building; a separate wood-frame rectory was also on the site. The church was destroyed by fire in April of 1918.
"The Brown Church" was replaced in 1923-24 by the Reformed Church of Huguenot Park. Two families of Huguenot descent, the Bayard and de Forest (Shepherd) families, were both patrons of Ernest Flagg and church donors, and may have been responsible for securing Flagg as the architect.
The new building was dedicated on May 18, 1924, as the National Monument of the Huguenot-Walloon-New Netherland 300th Anniversary of Religious Freedom, celebrating the tercentenary of Huguenot settlement in New Netherlands. The elaborate dedication ceremony was attended by over 2,000 people, including the ambassadors of France and Belgium, as well as representatives of churches and Huguenot societies.
The Honorable A.D.C. deGraeff, minister to the United States from Holland, brought personal greetings from Queen Wilhelmina, and personal greetings were extended in a letter from President Warren G. Harding.
The building itself functions as a memorial. The interior (not included in this designation) contains memorial piers, dubbed "The Pillars of the Pioneers," inscribed with the names and histories of Huguenot settlers, and the stained glass windows ("The Windows of Family Memories") also serve as memorials. Many of these memorials were donated by descendants of Huguenot ancestors. Other memorials inside the church included "The Alcove of Huguenot Settlement" and "The Tablet Memorials to the Early Settlers."
The enthusiasm generated-by the construction of the church continued
throughout the 1920s, culminating in a project to erect a National Huguenot Memorial Hall in 1929. This project proposed the erection of four interconnected buildings to the west of the church (not built), all designed by Ernest Flagg. A building immediately to the west of the church (on the site of the present assembly room) was to be five bays wide with dormer windows and ridge dormers at the crest of the peaked roof. To the west of that building a two-bay section was proposed connecting to the Huguenot Memorial Hall.
Unlike the rest of the complex, the one-story hall was designed in a classically-inspired style, with arched bays, a projecting gabled entrance pavilion, and a parapet designed to mask the roof line. The hall was connected at the west to another wing designed in a style sympathetic to those to the east of the hall. Apparently the project was abandoned in the mid-1930s, probably as a result of hard financial times brought about by the Depression. In 1935 the church's congregation assumed ownership of the building from the Dutch Reformed Church.
A one-story extension, faced in concrete and stucco, was added to the northwest side of the church in 1954-55. Its scale and overall form are in character with the design of the church. This extension, designed by James Whitford, Jr., was intended to house an assembly room and a kitchen. It now accommodates a preschool and various community groups.
Early in the twentieth century a wood-framed building of classically-inspired design was added to the site at 906 Huguenot Avenue, at the northeast corner of the lot. This thirteen-by-thirteen foot building was constructed as a community library in c. 1903-05 near the Huguenot train station (now a stop of the Staten Island Rapid Transit system) . Soon after its construction the building was moved to its present site.
This library, allowed to operate rent-free by the church, was run by volunteers until 1926, when a librarian was hired. The New York Public Library operated it as a branch library (the smallest library in the system) beginning in 1929.
It continued in operation until 1985, when the library outgrew the space. Library staff members continued to use the building for associated purposes until 1990, when it was vacated.
The building is not integral to the history of the congregation and its church building.
Ernest Flagg and the Design of the Reformed Church of Huguenot Park
Ernest Flagg (1857-1947) was born into an artistic family in Brooklyn, New York. His father, Jared Bradley Flagg, had been a prominent portrait painter before becoming the rector of Grace Protestant Episcopal Church in Brooklyn Heights, and he returned to painting after leaving the ministry in 1863. Ernest' s younger half-brother Montague Flagg (1883-1924) was an architect as well as a painter.
Ernest Flagg left school at age fifteen to become an office boy for a Wall Street firm. After several attempts at starting independent businesses, he joined with architect Philip G. Hubert (1830-1911) in the financing and design of two cooperative apartment buildings in New York, one at 121 Madison Avenue and "The Knickerbocker" at 245 Fifth Avenue (demolished). The success of this venture prompted Flagg's cousin Cornelius Vanderbilt II to sponsor the young man' s study at the Ecole des Beaux-Arts
in Paris. There Flagg worked in the atelier of Paul Blondel (1841-1897) where he was drawn into the debate of "the French school": how to reconcile in architecture the polarities of art and science, an argument which had been raging throughout the nineteenth Century. Blondel followed the teachings of an earlier generation, now called Romantic Rationalists, who had as their goal the creation of a reasoned approach to architecture as decorated structure.
By the 1860s these architects were identified with the Neo-Grec movement led by such architects as Henri Tabrouste (1801-1875). Labrouste's design for the Bibliotheque Saint-Genevieve in Paris (1838-50) stands as a major monument to the aesthetic, illustrating a synthesis of rationalist principles common to both Greek and medieval architecture, in which structural and aesthetic concerns were interdependent.
In his studies at the Ecole Flagg absorbed these ideas in combination with the method of the parti, which means the program or general conception of a building that would most logically meet all of its requirements.
The theory behind the parti was that the solution to the design of a building would be most clearly expressed in a plan based on logic, where the design of the exterior would grow naturally out of the program and be closely linked to it. "The French school," Flagg wrote, "desires of her pupils that they know everything, then forget all and be themselves." By following this logical process of developing designs, Flagg noted, American architects would soon develop "the parti of America.
Flagg applied this search for the reconciliation of art and science in his commissions upon his return to the United States in 1891. His designs demonstrated a remarkable versatility, including institutional buildings such as St. Luke's Hospital (1892-97); elegant town houses such as the one he designed for Oliver G. Jennings (1898); firehouses such as that for Engine Company No. 33 on Great Jones Street (1898); commercial structures such as the forty-seven-story Singer Tower (1906-08, demolished), and two buildings for the publishing firm of Charles Scribner's Sons: the Scribner Building at 153-157 Fifth Avenue (1893-94), and the Charles Scribner's Sons Building at 597 Fifth Avenue (1912-13). Except for St. Luke's Hospital, all of these extant examples of Flagg's work are designated New York City Landmarks.
Flagg was also deeply committed to improving conditions for the urban poor, and was a major innovator in model tenement housing in New York City. His light-court tenement plan, published in Scribner's Magazine in 1894, served as a model for such notable projects as the City and Suburban Homes Company's First Avenue Estate (1898-1915, James E. Ware, James E. Ware & Son[s], and Philip H. Ohm, a designated New York City Landmark) on the Upper East Side of Manhattan. Flagg's interests also extended to middle-class apartment buildings.
One of his later projects, Flagg Court (1932-37) at 7200 Ridge Boulevard in the Bay Ridge section of Brooklyn, is a grouping of nine-story apartment buildings with small garden courts and a central courtyard containing a swimming pool. "In effect, Flagg developed the garden apartment into a middle-class counterpart of a grand hotel.
An important part of Flagg's later career were the stone buildings he designed on Staten Island, constructed in the early decades of the twentieth
century. The Reformed Church of Huguenot Park is a distinguished building within this group and is the architect's only church in New York City.
Flagg began his experiments with these stone buildings on his own estate on Todt Hill, which is located on part of the central ridge of serpentine rock that bisects the northern half of Staten Island. His residence, "Stone Court" (1897-99, a designated New York City Landmark), is a substantial structure of whitewashed fieldstone and shingles crowned by a gambrel roof, alluding to the local colonial building tradition. In his search for a local architectural aesthetic, Flagg named this tradition "French Huguenot": "In effect, Flagg saw himself as a modern Huguenot, building with new construction techniques and thereby creating the illusion of an evolving architectural tradition native to Staten Island."
Numerous permutations of the colonial tradition introduced by Flagg in his residence include massive chimneys rising above the eaves on the front and rear elevations and a circular balustraded observation deck straddling the roof ridge.
The building demonstrates Flagg's personal aesthetic based on his Beaux-Arts training as well as an interest in building technology that is found in such details as the distinctive curved ventilator caps topping the chimneys, intended to improve the efficiency of the heating system.
As Flagg constructed new outbuildings and additions to his estate, he slowly de-emphasized Stone Court's colonial character, finally removing the whitewash from the exterior of the residence to reveal its rubblestone construction. Stone construction lay at the heart of his development plan, the "Flagg Ridge Estate of Ernest Flagg at Dongan Hills, Staten Island" outlined in his book Small Houses: Their Economic Design and Construction (1922).
Stone, described by Flagg as the "king of building materials," would be the primary building material for what Flagg envisioned as an area populated by many stone houses evoking the ancient Anglo-French or Norman villages of England and France.
Flagg' s architectural sensibility is particularly well-illustrated in the designs of the stone cottages on his Staten Island estate. Aesthetically, the design, detail, and scale of such cottages as Bowcot (1916-18) and Wallcot (1918-21), both designated New York City landmarks, look back to the Norman architecture of England as well as the Romanesque architecture of Normandy and Brittany in France.
Flagg's cottages employ local materials (a light green serpentine or soap stone taken from the quarry on Flagg's estate) and are sited in response to the topography. Science was used by Flagg in the service of the fundamental principles of art to provide the most economical means of building possible. Economy was achieved in these houses by a three-foot nine-inch modular unit of construction developed by Flagg and inspired by his analysis of Greek architecture.
By utilizing underused spaces such as attics, which were made habitable by the introduction of Flagg's ridge-line dormers, light and controlled ventilation were provided. His ingenious method of partition-wall construction (plaster applied to a jute or burlap screen) made studs and lath unnecessary and provided thinner space-saving walls. Lower labor costs also provided economy.
Flagg's method of concrete wall construction — dubbed "mosaic rubble" — eliminated the need for skilled masons. A reusable structural system formed a trough into which stones could be placed (flat sides flush with the outer face of the wall) to form a mosaic pattern which resembled conventional rubblestone construction. Concrete was poured around the stones to form a backing.
The integration of art and science as practiced at the Ecole des Beaux-Arts was advanced in Flagg's design for the Reformed Church of Huguenot Park which illustrates many of the same innovations found in Flagg's stone houses. Flagg's plans for the church reveal that he used the same three-foot nine-inch modular system and concrete and mosaic rubble wall construction found in the stone houses.
The stone was quarried at an iron mine on Flagg's estate; the rich hues of the stone are the result of its high iron content. The church, with its northern spire, large square tower, and picturesque massing of pared-down abstracted forms, represents Flagg's personal brand of medievalism.
Description
The one-and-one-half story Reformed Church of Huguenot Park is located on the northwest corner of Amboy Road and Huguenot Avenue on a lot extending approximately 284 feet along the road and 130 feet along the avenue. The church is approximately fifty feet wide parallel to Amboy Road and seventy-five feet parallel to Huguenot Avenue, with a one-story wing adjacent to the western transept that measures approximately fifteen by twenty feet.
A one-story extension to the western wing measures approximately forty-five feet by twenty feet, with the long axis parallel to Amboy Road. The church and the extension are located in the center of a roughly trapezoidal site planted with grass, shrubbery, and trees.
The church is designed in a style reminiscent of the Norman style vernacular buildings of England and the Romanesque style stone vernacular buildings of Normandy and Brittany in France.
Faced in mosaic serpentine stone and concrete sprinkled with a gravel aggregate, the church has a long nave articulated by a high pitched roof and flanked by one-story side aisles at the east and west, gabled entrance pavilions on each side at the south end of the building, and a large square tower with a pyramidal roof at the north end flanked by short transepts.
There is a polygonal spire at the northwest coiner. The western transept connects to a two-story wing. The side aisles of the church each contain five window openings; four paired wood-sash stained-glass casement windows and one one-over-one wood sash slit window with etched glass at the north end. Square clerestory windows are flanked by thick concrete buttresses that support the nave.
The roof of the nave is punctuated by unglazed circular oculi, covered by square tripartite skylights with wire mesh glass. The gabled entrance pavilions at the south and transepts at the north are trimmed with concrete quoins. The southern pavilions have medievally-inspired paired wood doors with prominent iron hinges, topped with five-pane segmentally-arched transoms.
South of the entrance on the east side is a cornerstone inscribed "1924." The transepts at the north have single window openings containing stained-glass casement windows. The gable of the eastern transept is crowned with a brick chimney topped with a pointed-arched ventilator cap; the transept meets a segmentally-arched section of wood framing and concrete where it abuts the square tower that rises above the ridge of the nave roof-. The western transept rises slightly higher than that on the east. On the east and west facades of the tower are loggias, each with three arched concrete openings with keystones.
Behind each loggia are three openings containing four-pane windows topped with weatherboard. The stone facades of the tower are trimmed with concrete quoins and are crowned with a simple cornice. The tower is topped by a pyramidal roof and has a brick chimney at the northeast corner. The roof of the entire building is covered with black asphalt shingles; it was originally covered in standing seam metal strips.
A tapered spire, rising from the northwest corner of the building on a projecting stone base visible on the building's north elevation, has an octagonal shingled section at the top of the stone base crowned by a cornice and individual wood members that support the top section of the spire.
The top section appears to be of two parts, one fitting directly onto the other. The shingled base of the top section supports an attenuated shingled spire capped by a simple metal finial.
The south facade, parallel to Amboy Road, is a projecting gable end with buttresses at each end supporting gable shoulders at the first story. The gable has metal coping and rises to a peak supporting a metal cross.
The center of the facade contains a large circular window and a slit directly below the cross. Each end of the facade is enhanced with concrete quoins.
The north elevation, not visible from either road, has a gabled window breaking the line of the roof at the east end. The window opening contains paired three-pane wood sash casement windows. The square tower is marked by a projecting bay with quoins at each end and a loggia similar to those on the east and west facades. A narrow projecting bay at the west end of the elevation marks the base of the spire.
A small wing, attached to the western transept, is an original part of the building and is characterized by two gabled windows breaking the eaves of the pitched roof on the facade facing Amboy Road. This portion of the church is linked to a one-story extension with a peaked roof constructed in 1954-55.
Built in character with the design of the church, the appropriately-scaled extension is faced in stucco with molded concrete quoins at each end. The five-bay elevation parallel to Amboy Road has a projecting gabled entrance in the second bay from the east containing paired wood doors flanked by tripartite steel-sash casement windows with transoms. The remaining four bays have window openings containing tripartite multipane steel sash windows. The openings have brick sills and are flanked by concrete quoins. The gabled west elevation of the extension, topped at the peak with a concrete cross, has narrow tripartite casement windows with transoms at each end.
The rear elevation, facing north, has a wood door at the western end and three multipane steel sash windows to the east. A projecting section at the east end is topped with a brick chimney.
At the northeast corner of the property is a small one-story wood-frame building, designed in a classically-inspired style and moved to the site early in the twentieth century, that was formerly occupied as a branch of the New York Public library system. Faced in clapboard (painted white), the east facade (facing Huguenot Avenue) has four columns topped with Impost blocks that support a triangular pediment. The south facade has two single-pane wood sash windows; the west (rear) elevation has one window and a small extension. The north facade has two one-over-one wood sash windows. The building is capped by a peaked roof with asphalt shingles.
Subsequent Changes
The Reformed Church of Huguenot Park survives largely intact. The church's exterior was repointed in 1940 with Portland cement and re-roofed with asphalt shingles; it is probable that the original ridge dormers of the transept arms were removed at this time. The rigid cement mortar mixture used in this renovation trapped water in the stone and caused it to deteriorate rapidly.
This problem was remedied in the mid-1980s in an extensive restoration campaign. The building was re-roofed and approximately twenty percent of the stone was replaced (primarily on the south facade parallel to Amboy Road) with native Staten Island serpentine stone. The building was repointed with a softer mortar mixture duplicating the original formula.
The concrete ornamental details, such as the quoins and water table, have been painted beige. All of the wood sash windows were covered with single panes of plexiglass or one-over-one aluminum sash storm windows.
- From the 1990 NYCLPC Landmark Designation Report
The consequences of my last LBA crisis, a Voigtlander Color-Dynarex 85/2.8 in Rollei QBM mount, adapted to my 5D Mark II ...
As seen by my K10D with a Macro-Takumar 50/4 stopped down to f/8, developed by Silkypix.
It is amazing how disobedience to God’s word and will for our lives can have lasting and devastating consequences. A very familiar example to us is Abraham disobedience by taking Hagar as his wife to have a child (Ishmael) rather than wait for God to give him a son (Isaac) through his wife Sarah as He promised. 3,500 years later Ishmael’s descendants (Arabs) and Isaac’s descendants (Jews) are still fighting and killing each other. And I don’t believe they will ever stop doing so.
At the auto show Lamborghini had by far attracted a larger crowd than any other car brand even though its spot was stationed few meters away from Ferrari, Rolls Royce, Bentley, Austin Martin, Jaguar and Harley Davidson motorcycles. I observed that it was being photographed more than any other car, and being familiar with Lamborghini’s origin as a car manufacturer I remembered Proverbs 15:1, “A gentle answer turns away wrath, but a harsh word stirs up anger.” Now I will share with you Lamborghini’s origin:
“Founded [in 1963] by Ferruccio Lamborghini, Lamborghini started out as a tractor-building company in the Italian village of Sant'Agata Bolognese, between Bologna and Modena. However, Ferruccio Lamborghini's priorities changed when he went to meet Enzo Ferrari [founder of Ferrari] at the Ferrari factory in Maranello, Italy, to complain about the quality of the clutch in his Ferrari 250. Ferruccio received a dismissive answer from Ferrari, who said to Lamborghini that "the problem is not with the car, but rather, the driver," and suggested he look after his tractors. A resentful Lamborghini returned to his factory, and after dismounting the transmission from the defective Ferrari, discovered that it was built with the very same transmission used in his own tractors. Encouraged by the discovery, Ferruccio Lamborghini called upon the talents of Giotto Bizzarrini, Gian Paolo Dallara, Franco Scaglione and Bob Wallace, who worked on what Ferruccio envisioned as his grand tourer to rival Ferrari. The result would eventual become the GTV prototype. The following year, Lamborghini would debut the 350GT.” ( en.wikipedia.org/wiki/Lamborghini )
Mr. Ferrari was obviously not familiar with Proverbs 15:1, if he was and had obeyed its advice he would have saved himself, his children, and company lots of headaches and loses.
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Disobedience/sin can mean few things:
(1) Disobedience is breaking God’s laws as recorded in the Bible. Those can be anything from moral laws, spiritual laws, and even proverbs (for example being lazy).
(2) Disobedience is not doing God’s will in regard to something He had made known to you. Whether His will for your marriage, serving Him, career, etc. This doesn’t have to be something moral or something major in our lives like the previous examples: it could be something as simple as not to eat the fruit of a certain tree like He had asked Adam and Eve. (I doubt Adam and Eve knew the disobedient to that command will have such severe and lasting consequences to the degree where God’s Son had to die to pay for it.) Therefore, disobedience could be refusing to act on God’s will, or refusing to wait for God’s will. It can even be acting before knowing God’s will by refusing to know it.
(3) Disobedience is not necessary an action: it could be as simple as wrong motives, doing something not in faith, or entertaining sinful thoughts. In other words, if you are a young man preaching the good news only to girls you find physically attractive then you are not living according to God’s will for your life. Or if you entertain ungodly thoughts, such as lust, hatred, revenge, immortal words, and so on then you are living in sin.
(4) Disobedience can mean obeying God but not in His timing or according to the way He commanded. You can disobey God in obeying Him. The Bible is full of such examples. I read once a story about a woman who God has called to be a missionary in her 20s. She however found a man whom she loved and so she got married and settled down. In her 40s she decided to “obey” God by becoming a missionary even though now she had a family to look after. When she went on the mission trip for a couple of months she felt like something was missing. After she came back home she went to see a pastor and told him her story and how she feels that something was missing. He answered her, “That boat had sailed a long time ago.” The truth is that she chose to disobey Him, and the best she can do is ask for forgiveness and seek to know His will for her life now.
Three years after I started working at a warehouse God showed me His will for what I should study and gave me His approval. So I applied to University of Toronto for the coming (next) school year and a year later I enrolled in it. Then I found out that they only accept high school degrees that are four years old or less. If I had waited another year to act on God’s will then I would’ve had to repeat all my courses of last year in high school for U of T to accept me!
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I personally have a rule I have heard from Dr. Charles Stanley and I live by it and it says, “If in doubt then wait.” In other words, I’d rather wait than run the risk of disobeying God. Of course, this is not always true in my life otherwise I would be perfect. The truth is that disobedience/sin is just as common in my life as anybody else’s.
In my life I found that every time I didn’t want to know God’s will in a certain matter in my life was because I didn’t want to obey Him. Interestingly, whether I wanted to know what His will or not I actually knew it, and I simply pretended that I didn’t know it yet (as if I was seeking to know it!). I probably pretended I didn’t know it because I knew it and I didn’t like it. I had no excuse for disobedience because He always made His will clear.
However, as I grew in my Christian walk I found that seeking to know God’s will in a certain matter in my life actually encouraged me to obey Him. Because every time I seek to know His will in a certain matter I find that He has good things for me. For example, God has given some very specific promises in regard to getting marriage and those are wonderful promises, so why should I disobey Him in this regard and do my own thing when He has promised me His best?
Knowing His will for your life can encourages you to obey Him only if you believe Him. In other words, if you don’t belief He keeps His promises—that He is faithful and trustworthy--then you won’t obey Him. If you doubt you heard “correctly” from Him, then you won’t obey Him. If you doubt His good intensions for your life, then you won’t obey Him. If you doubt He has full control over all lives and circumstances, then you won’t obey Him. If you believe you can disobey Him and get away with it without paying the consequences or having to give and account to Him one day then you won’t obey Him. If you don’t love Him, don’t care about what pleases Him or not, don’t desire to glorify Him, don’t want to see Him work in your life, and don’t appreciate what His Son Jesus Christ has done for you by dying on the Cross to save you, then you will definitely not obey Him.
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“23 But if you fail to do this, you will be sinning against the LORD; and you may be sure that your sin will find you out.” (Numbers 32)
“7 If you do what is right, will you not be accepted? But if you do not do what is right, sin is crouching at your door; it desires to have you, but you must master it." (Genesis 4)
“1 We must pay more careful attention, therefore, to what we have heard, so that we do not drift away. 2 For if the message spoken by angels was binding, and every violation and disobedience received its just punishment, 3 how shall we escape if we ignore such a great salvation? This salvation, which was first announced by the Lord, was confirmed to us by those who heard him.” (Hebrews 2)
“5 We demolish arguments and every pretension that sets itself up against the knowledge of God, and we take captive every thought to make it obedient to Christ. 6 And we will be ready to punish every act of disobedience, once your obedience is complete.” (2 Corinthians 10)
Punishment for Disobedience
“14 But if you will not listen to me and carry out all these commands, 15 and if you reject my decrees and abhor my laws and fail to carry out all my commands and so violate my covenant, 16 then I will do this to you: I will bring upon you sudden terror, wasting diseases and fever that will destroy your sight and drain away your life. You will plant seed in vain, because your enemies will eat it. 17 I will set my face against you so that you will be defeated by your enemies; those who hate you will rule over you, and you will flee even when no one is pursuing you.” (Leviticus 26)
Reward for Obedience
“3 If you follow my decrees and are careful to obey my commands, 4 I will send you rain in its season, and the ground will yield its crops and the trees of the field their fruit. 5 Your threshing will continue until grape harvest and the grape harvest will continue until planting, and you will eat all the food you want and live in safety in your land.” (Leviticus 26)
Curses for Disobedience
“15 However, if you do not obey the LORD your God and do not carefully follow all his commands and decrees I am giving you today, all these curses will come upon you and overtake you:
16 You will be cursed in the city and cursed in the country.
17 Your basket and your kneading trough will be cursed.
18 The fruit of your womb will be cursed, and the crops of your land, and the calves of your herds and the lambs of your flocks.
19 You will be cursed when you come in and cursed when you go out.” (Deuteronomy 28)
“22 Do not merely listen to the word, and so deceive yourselves. Do what it says.” (James 1)
“6 Anyone who receives instruction in the word must share all good things with his instructor.
7 Do not be deceived: God cannot be mocked. A man reaps what he sows. 8 The one who sows to please his sinful nature, from that nature will reap destruction; the one who sows to please the Spirit, from the Spirit will reap eternal life.” (Galatians 6)
(Toronto, ON; winter 2009.)
Car wreckage and a £50,000 pint come to Manchester
People in Manchester were be exposed to two very different consequences of drink driving by Greater Manchester Police this week. The wreckage of a car whose owner was killed in drink driving crash went on display at the University of Manchester, alongside a pint worth £50,000 – the personal financial cost of a conviction.
The £50,000 pint, displayed behind velvet ropes and housed in a protective glass case, represents the personal financial cost of drink-driving, calculated for the first time by the Institute of Advanced Motorists. The calculation reflects the fines, legal costs, rise in insurance premiums and possible job losses faced by those who are convicted.
The wreckage, known as the Think! Car, was owned by a 21-year-old man who lost control of his car on his way home and hit a tree, sadly killing him.
The activity was part of the University ‘Wellbeing Week’ and involved police conducting on the spot breathalyser tests and handing out free ‘scratchcards’, as well as activity highlighting the dangers posed to cyclists and bikers straying into the blind spots of HGVs and buses.
Inspector Matt Bailey-Smith from Greater Manchester Police said: "Drink driving ruins lives. It can cost motorists their family, job and worse still their life or that of somebody else.
"Many people do not think of the consequences of driving under the influence of alcohol until it is too late and police are committed to tackling this issue so that we can make the roads of Greater Manchester a safer place to be.
"If you are planning on driving then the safest choice you can make is to avoid alcohol all together, and if you see somebody else attempting to drink and drive then make sure you stop them. It could be the difference between life and death."
Road Safety Minister Stephen Hammond said:
“It might only look like a humble pint of beer, but it could end up costing much more than a few quid – in fact it comes with an eye-watering hidden cost if it pushes you over the limit.
“Most people know not to drink and drive but a small number still do, which is why we are highlighting the consequences of a drink drive conviction through our THINK! campaign.
“Anyone thinking of drinking and driving should be without any doubt – if you are caught driving over the limit you will face a heavy court fine and lose your licence – you could even go to prison.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Huguenot, Staten Island, New York City, New York
Prominently situated on the corner of Amboy Road and Huguenot Avenue, the Reformed Church of Huguenot Park is a distinguished and unusual building constructed in 1923-24 and designed in a style reminiscent of medieval vernacular buildings in England and France. Dedicated as the National Monument of the Huguenot-Walloon-New Netherland 300th Anniversary of Religious Freedom, the church celebrates the tercentenary of Huguenot settlement in New Netherlands, particularly Staten Island.
The Reformed Church of Huguenot Park, clad in serpentine stone native to Staten Island with concrete trim and mortar, was designed by prominent New York architect Ernest Flagg and is his only church design in New York City. An important part of Flagg' s oeuvre of stone buildings on Staten Island, the church illustrates Flagg's architectural sensibility, a consequence of his tenure as a student at the prestigious Ecole des Beaux-Arts in Paris whose curriculum sought to mediate the polarities of art and science.
Aesthetically, the design recalls the Norman architecture of England and the Romanesque vernacular buildings of Normandy and Brittany in France, while incorporating a number of ingenious scientific innovations by Flagg to make construction more economical.
A one-story extension with a peaked roof, designed by architect James Whitford., Jr. in a style sympathetic to the original building, was added to the west side of the church in 1954-55. At the northeast corner of the site is a small one-story wood-frame building, designed in a classically-inspired style, which was built in 1903-05 as a library and moved to its present site soon after its construction. This structure was the smallest branch in the New York Public Library system from 1929 to 1985.
Huguenot Settlement and the French Church on Staten Island
Huguenot settlement on Staten Island began in the 1660s and in the following years many Huguenots settled in New York and New Jersey, fleeing religious persecution in France. The Huguenots were Reformed or Calvinist Protestants living in France or Belgium who were persecuted for their beliefs by the Catholic majority.
Huguenots from southern Belgium where French was spoken were known as Walloons. Although the term applied to French-speaking Belgian Catholics as well, the distinction between these groups was seldom made in the New World.
Huguenot persecution in France dated back to the French National Synod of 1559 and the founding of a reformed church based on Calvinist doctrine and Presbyterian government. This legally legitimized the Protestant church in France, but provoked a backlash of intolerance among the Catholic majority. Many of these French Protestants had already left for England, Holland, Russia, and other European countries by the time Louis XIV signed the revocation of the Edict of Nantes in 1685 due to pressure from Catholics.
His signature officially banished the religious hierarchy of the Huguenots from France, but forbade the laity to follow them out of the country. Sensing coming strife, Huguenots began emigrating to New Amsterdam (now Manhattan) arid New Netherlands (now part of New York State and New Jersey) early in the seventeenth century. By mid-century, the Huguenots had established a community at New Paltz in what is now Ulster County, New York, and in the 1660s joined with the Dutch in founding New Utrecht on Long Island, now remembered as a neighborhood name in Brooklyn.
Among the earliest Huguenot settlements in New Netherlands was that on Staten Island. In August of 1661, nineteen settlers led by Pierre Billiou (a Walloon who was later the sheriff and magistrate of Staten Island), settled near the present Arrochar, where they founded a garrison for protection against local Indians. The area proved well suited for agriculture, and the settlement (now remembered as Oude Dorp or Old Town) flourished. By 1664 the settlers arranged for a preacher from the Dutch Reformed Church in New Amsterdam, the Reverend Samuel Drisius, to visit Staten Island every two months and preach in French. The deeply religious nature of the Huguenots was demonstrated when a second small group of settlers, arriving in August of 1664 from Rochelle and St. Martin, France, agreed to stay on Staten Island provided "a good French preacher was furnished."
By 1686 an independent French congregation was established on Staten Island, continuing for nearly fifty years. By the late 1690s the only resident clergyman on the island was the French preacher Reverend David de Bonrepos who had come from the town of New Rochelle (now part of Westchester County). He began services in 1693 with a congregation whose members came from France, England, and Holland. In 1698 the congregation received a deed of land at Green Ridge on which Staten Island's first church, known as the French Church, was built (now demolished).
This church, which for many years was the only one on the island, lost some of its members when the English and Dutch established separate churches. Due- to changing
immigration patterns the French Church was ultimately absorbed into the Church of St. Michael in 1734 (except for a few elderly members who spoke only French), a church established by many of the English members of the French Church. Many of the Dutch members of the congregation left to join the Dutch Reformed Church on the north shore. This effectively marked the end of a separate French congregation on Staten Island.
History of the Site of the Reformed Church of Huguenot Park
The site on which the Reformed Church of Huguenot Park now stands was originally farmland belonging to Benjamin T. Prall, a direct descendant of Pierre Billiou, the leader of the first group of Huguenot settlers on Staten Island. The area, originally known as Bloomingview, was named Huguenot Heights as early as 1872, due in part to the many farms in the area owned by descendants of Huguenot settlers. It is now known as Huguenot Park.
The first church to occupy the site, the Reformed Protestant Dutch Church of Westfield, also known as the Reformed Protestant Dutch Church of the Huguenots, Westfield, was organized in a school house at Bloomingview in September of 1849. The cornerstone of the church was laid on land deeded by Prall in January of 1851. The first pastor, the Reverend A.M. Latourette, was a descendant of Staten Island Huguenots. He named the building "The Church of the Huguenots," and it was known by this name in its early years.
This wood-framed building, nicknamed "The Brown Church," was located to the west of the site of the present building; a separate wood-frame rectory was also on the site. The church was destroyed by fire in April of 1918.
"The Brown Church" was replaced in 1923-24 by the Reformed Church of Huguenot Park. Two families of Huguenot descent, the Bayard and de Forest (Shepherd) families, were both patrons of Ernest Flagg and church donors, and may have been responsible for securing Flagg as the architect.
The new building was dedicated on May 18, 1924, as the National Monument of the Huguenot-Walloon-New Netherland 300th Anniversary of Religious Freedom, celebrating the tercentenary of Huguenot settlement in New Netherlands. The elaborate dedication ceremony was attended by over 2,000 people, including the ambassadors of France and Belgium, as well as representatives of churches and Huguenot societies.
The Honorable A.D.C. deGraeff, minister to the United States from Holland, brought personal greetings from Queen Wilhelmina, and personal greetings were extended in a letter from President Warren G. Harding.
The building itself functions as a memorial. The interior (not included in this designation) contains memorial piers, dubbed "The Pillars of the Pioneers," inscribed with the names and histories of Huguenot settlers, and the stained glass windows ("The Windows of Family Memories") also serve as memorials. Many of these memorials were donated by descendants of Huguenot ancestors. Other memorials inside the church included "The Alcove of Huguenot Settlement" and "The Tablet Memorials to the Early Settlers."
The enthusiasm generated-by the construction of the church continued
throughout the 1920s, culminating in a project to erect a National Huguenot Memorial Hall in 1929. This project proposed the erection of four interconnected buildings to the west of the church (not built), all designed by Ernest Flagg. A building immediately to the west of the church (on the site of the present assembly room) was to be five bays wide with dormer windows and ridge dormers at the crest of the peaked roof. To the west of that building a two-bay section was proposed connecting to the Huguenot Memorial Hall.
Unlike the rest of the complex, the one-story hall was designed in a classically-inspired style, with arched bays, a projecting gabled entrance pavilion, and a parapet designed to mask the roof line. The hall was connected at the west to another wing designed in a style sympathetic to those to the east of the hall. Apparently the project was abandoned in the mid-1930s, probably as a result of hard financial times brought about by the Depression. In 1935 the church's congregation assumed ownership of the building from the Dutch Reformed Church.
A one-story extension, faced in concrete and stucco, was added to the northwest side of the church in 1954-55. Its scale and overall form are in character with the design of the church. This extension, designed by James Whitford, Jr., was intended to house an assembly room and a kitchen. It now accommodates a preschool and various community groups.
Early in the twentieth century a wood-framed building of classically-inspired design was added to the site at 906 Huguenot Avenue, at the northeast corner of the lot. This thirteen-by-thirteen foot building was constructed as a community library in c. 1903-05 near the Huguenot train station (now a stop of the Staten Island Rapid Transit system) . Soon after its construction the building was moved to its present site.
This library, allowed to operate rent-free by the church, was run by volunteers until 1926, when a librarian was hired. The New York Public Library operated it as a branch library (the smallest library in the system) beginning in 1929.
It continued in operation until 1985, when the library outgrew the space. Library staff members continued to use the building for associated purposes until 1990, when it was vacated.
The building is not integral to the history of the congregation and its church building.
Ernest Flagg and the Design of the Reformed Church of Huguenot Park
Ernest Flagg (1857-1947) was born into an artistic family in Brooklyn, New York. His father, Jared Bradley Flagg, had been a prominent portrait painter before becoming the rector of Grace Protestant Episcopal Church in Brooklyn Heights, and he returned to painting after leaving the ministry in 1863. Ernest' s younger half-brother Montague Flagg (1883-1924) was an architect as well as a painter.
Ernest Flagg left school at age fifteen to become an office boy for a Wall Street firm. After several attempts at starting independent businesses, he joined with architect Philip G. Hubert (1830-1911) in the financing and design of two cooperative apartment buildings in New York, one at 121 Madison Avenue and "The Knickerbocker" at 245 Fifth Avenue (demolished). The success of this venture prompted Flagg's cousin Cornelius Vanderbilt II to sponsor the young man' s study at the Ecole des Beaux-Arts
in Paris. There Flagg worked in the atelier of Paul Blondel (1841-1897) where he was drawn into the debate of "the French school": how to reconcile in architecture the polarities of art and science, an argument which had been raging throughout the nineteenth Century. Blondel followed the teachings of an earlier generation, now called Romantic Rationalists, who had as their goal the creation of a reasoned approach to architecture as decorated structure.
By the 1860s these architects were identified with the Neo-Grec movement led by such architects as Henri Tabrouste (1801-1875). Labrouste's design for the Bibliotheque Saint-Genevieve in Paris (1838-50) stands as a major monument to the aesthetic, illustrating a synthesis of rationalist principles common to both Greek and medieval architecture, in which structural and aesthetic concerns were interdependent.
In his studies at the Ecole Flagg absorbed these ideas in combination with the method of the parti, which means the program or general conception of a building that would most logically meet all of its requirements.
The theory behind the parti was that the solution to the design of a building would be most clearly expressed in a plan based on logic, where the design of the exterior would grow naturally out of the program and be closely linked to it. "The French school," Flagg wrote, "desires of her pupils that they know everything, then forget all and be themselves." By following this logical process of developing designs, Flagg noted, American architects would soon develop "the parti of America.
Flagg applied this search for the reconciliation of art and science in his commissions upon his return to the United States in 1891. His designs demonstrated a remarkable versatility, including institutional buildings such as St. Luke's Hospital (1892-97); elegant town houses such as the one he designed for Oliver G. Jennings (1898); firehouses such as that for Engine Company No. 33 on Great Jones Street (1898); commercial structures such as the forty-seven-story Singer Tower (1906-08, demolished), and two buildings for the publishing firm of Charles Scribner's Sons: the Scribner Building at 153-157 Fifth Avenue (1893-94), and the Charles Scribner's Sons Building at 597 Fifth Avenue (1912-13). Except for St. Luke's Hospital, all of these extant examples of Flagg's work are designated New York City Landmarks.
Flagg was also deeply committed to improving conditions for the urban poor, and was a major innovator in model tenement housing in New York City. His light-court tenement plan, published in Scribner's Magazine in 1894, served as a model for such notable projects as the City and Suburban Homes Company's First Avenue Estate (1898-1915, James E. Ware, James E. Ware & Son[s], and Philip H. Ohm, a designated New York City Landmark) on the Upper East Side of Manhattan. Flagg's interests also extended to middle-class apartment buildings.
One of his later projects, Flagg Court (1932-37) at 7200 Ridge Boulevard in the Bay Ridge section of Brooklyn, is a grouping of nine-story apartment buildings with small garden courts and a central courtyard containing a swimming pool. "In effect, Flagg developed the garden apartment into a middle-class counterpart of a grand hotel.
An important part of Flagg's later career were the stone buildings he designed on Staten Island, constructed in the early decades of the twentieth
century. The Reformed Church of Huguenot Park is a distinguished building within this group and is the architect's only church in New York City.
Flagg began his experiments with these stone buildings on his own estate on Todt Hill, which is located on part of the central ridge of serpentine rock that bisects the northern half of Staten Island. His residence, "Stone Court" (1897-99, a designated New York City Landmark), is a substantial structure of whitewashed fieldstone and shingles crowned by a gambrel roof, alluding to the local colonial building tradition. In his search for a local architectural aesthetic, Flagg named this tradition "French Huguenot": "In effect, Flagg saw himself as a modern Huguenot, building with new construction techniques and thereby creating the illusion of an evolving architectural tradition native to Staten Island."
Numerous permutations of the colonial tradition introduced by Flagg in his residence include massive chimneys rising above the eaves on the front and rear elevations and a circular balustraded observation deck straddling the roof ridge.
The building demonstrates Flagg's personal aesthetic based on his Beaux-Arts training as well as an interest in building technology that is found in such details as the distinctive curved ventilator caps topping the chimneys, intended to improve the efficiency of the heating system.
As Flagg constructed new outbuildings and additions to his estate, he slowly de-emphasized Stone Court's colonial character, finally removing the whitewash from the exterior of the residence to reveal its rubblestone construction. Stone construction lay at the heart of his development plan, the "Flagg Ridge Estate of Ernest Flagg at Dongan Hills, Staten Island" outlined in his book Small Houses: Their Economic Design and Construction (1922).
Stone, described by Flagg as the "king of building materials," would be the primary building material for what Flagg envisioned as an area populated by many stone houses evoking the ancient Anglo-French or Norman villages of England and France.
Flagg' s architectural sensibility is particularly well-illustrated in the designs of the stone cottages on his Staten Island estate. Aesthetically, the design, detail, and scale of such cottages as Bowcot (1916-18) and Wallcot (1918-21), both designated New York City landmarks, look back to the Norman architecture of England as well as the Romanesque architecture of Normandy and Brittany in France.
Flagg's cottages employ local materials (a light green serpentine or soap stone taken from the quarry on Flagg's estate) and are sited in response to the topography. Science was used by Flagg in the service of the fundamental principles of art to provide the most economical means of building possible. Economy was achieved in these houses by a three-foot nine-inch modular unit of construction developed by Flagg and inspired by his analysis of Greek architecture.
By utilizing underused spaces such as attics, which were made habitable by the introduction of Flagg's ridge-line dormers, light and controlled ventilation were provided. His ingenious method of partition-wall construction (plaster applied to a jute or burlap screen) made studs and lath unnecessary and provided thinner space-saving walls. Lower labor costs also provided economy.
Flagg's method of concrete wall construction — dubbed "mosaic rubble" — eliminated the need for skilled masons. A reusable structural system formed a trough into which stones could be placed (flat sides flush with the outer face of the wall) to form a mosaic pattern which resembled conventional rubblestone construction. Concrete was poured around the stones to form a backing.
The integration of art and science as practiced at the Ecole des Beaux-Arts was advanced in Flagg's design for the Reformed Church of Huguenot Park which illustrates many of the same innovations found in Flagg's stone houses. Flagg's plans for the church reveal that he used the same three-foot nine-inch modular system and concrete and mosaic rubble wall construction found in the stone houses.
The stone was quarried at an iron mine on Flagg's estate; the rich hues of the stone are the result of its high iron content. The church, with its northern spire, large square tower, and picturesque massing of pared-down abstracted forms, represents Flagg's personal brand of medievalism.
Description
The one-and-one-half story Reformed Church of Huguenot Park is located on the northwest corner of Amboy Road and Huguenot Avenue on a lot extending approximately 284 feet along the road and 130 feet along the avenue. The church is approximately fifty feet wide parallel to Amboy Road and seventy-five feet parallel to Huguenot Avenue, with a one-story wing adjacent to the western transept that measures approximately fifteen by twenty feet.
A one-story extension to the western wing measures approximately forty-five feet by twenty feet, with the long axis parallel to Amboy Road. The church and the extension are located in the center of a roughly trapezoidal site planted with grass, shrubbery, and trees.
The church is designed in a style reminiscent of the Norman style vernacular buildings of England and the Romanesque style stone vernacular buildings of Normandy and Brittany in France.
Faced in mosaic serpentine stone and concrete sprinkled with a gravel aggregate, the church has a long nave articulated by a high pitched roof and flanked by one-story side aisles at the east and west, gabled entrance pavilions on each side at the south end of the building, and a large square tower with a pyramidal roof at the north end flanked by short transepts.
There is a polygonal spire at the northwest coiner. The western transept connects to a two-story wing. The side aisles of the church each contain five window openings; four paired wood-sash stained-glass casement windows and one one-over-one wood sash slit window with etched glass at the north end. Square clerestory windows are flanked by thick concrete buttresses that support the nave.
The roof of the nave is punctuated by unglazed circular oculi, covered by square tripartite skylights with wire mesh glass. The gabled entrance pavilions at the south and transepts at the north are trimmed with concrete quoins. The southern pavilions have medievally-inspired paired wood doors with prominent iron hinges, topped with five-pane segmentally-arched transoms.
South of the entrance on the east side is a cornerstone inscribed "1924." The transepts at the north have single window openings containing stained-glass casement windows. The gable of the eastern transept is crowned with a brick chimney topped with a pointed-arched ventilator cap; the transept meets a segmentally-arched section of wood framing and concrete where it abuts the square tower that rises above the ridge of the nave roof-. The western transept rises slightly higher than that on the east. On the east and west facades of the tower are loggias, each with three arched concrete openings with keystones.
Behind each loggia are three openings containing four-pane windows topped with weatherboard. The stone facades of the tower are trimmed with concrete quoins and are crowned with a simple cornice. The tower is topped by a pyramidal roof and has a brick chimney at the northeast corner. The roof of the entire building is covered with black asphalt shingles; it was originally covered in standing seam metal strips.
A tapered spire, rising from the northwest corner of the building on a projecting stone base visible on the building's north elevation, has an octagonal shingled section at the top of the stone base crowned by a cornice and individual wood members that support the top section of the spire.
The top section appears to be of two parts, one fitting directly onto the other. The shingled base of the top section supports an attenuated shingled spire capped by a simple metal finial.
The south facade, parallel to Amboy Road, is a projecting gable end with buttresses at each end supporting gable shoulders at the first story. The gable has metal coping and rises to a peak supporting a metal cross.
The center of the facade contains a large circular window and a slit directly below the cross. Each end of the facade is enhanced with concrete quoins.
The north elevation, not visible from either road, has a gabled window breaking the line of the roof at the east end. The window opening contains paired three-pane wood sash casement windows. The square tower is marked by a projecting bay with quoins at each end and a loggia similar to those on the east and west facades. A narrow projecting bay at the west end of the elevation marks the base of the spire.
A small wing, attached to the western transept, is an original part of the building and is characterized by two gabled windows breaking the eaves of the pitched roof on the facade facing Amboy Road. This portion of the church is linked to a one-story extension with a peaked roof constructed in 1954-55.
Built in character with the design of the church, the appropriately-scaled extension is faced in stucco with molded concrete quoins at each end. The five-bay elevation parallel to Amboy Road has a projecting gabled entrance in the second bay from the east containing paired wood doors flanked by tripartite steel-sash casement windows with transoms. The remaining four bays have window openings containing tripartite multipane steel sash windows. The openings have brick sills and are flanked by concrete quoins. The gabled west elevation of the extension, topped at the peak with a concrete cross, has narrow tripartite casement windows with transoms at each end.
The rear elevation, facing north, has a wood door at the western end and three multipane steel sash windows to the east. A projecting section at the east end is topped with a brick chimney.
At the northeast corner of the property is a small one-story wood-frame building, designed in a classically-inspired style and moved to the site early in the twentieth century, that was formerly occupied as a branch of the New York Public library system. Faced in clapboard (painted white), the east facade (facing Huguenot Avenue) has four columns topped with Impost blocks that support a triangular pediment. The south facade has two single-pane wood sash windows; the west (rear) elevation has one window and a small extension. The north facade has two one-over-one wood sash windows. The building is capped by a peaked roof with asphalt shingles.
Subsequent Changes
The Reformed Church of Huguenot Park survives largely intact. The church's exterior was repointed in 1940 with Portland cement and re-roofed with asphalt shingles; it is probable that the original ridge dormers of the transept arms were removed at this time. The rigid cement mortar mixture used in this renovation trapped water in the stone and caused it to deteriorate rapidly.
This problem was remedied in the mid-1980s in an extensive restoration campaign. The building was re-roofed and approximately twenty percent of the stone was replaced (primarily on the south facade parallel to Amboy Road) with native Staten Island serpentine stone. The building was repointed with a softer mortar mixture duplicating the original formula.
The concrete ornamental details, such as the quoins and water table, have been painted beige. All of the wood sash windows were covered with single panes of plexiglass or one-over-one aluminum sash storm windows.
- From the 1990 NYCLPC Landmark Designation Report
Police, ambulance and the fire service have launched their annual clampdown on drink driving ahead of the festive season.
As the Christmas party period looms, emergency services are reminding motorists of the devastating consequences of driving under the influence of drugs and alcohol.
Greater Manchester Police will be running a month-long operation throughout December which will see officers breathalysing drivers around the clock, including the morning after.
Motorists caught over the limit will be processed like any other criminal and face at least a year’s driving ban, criminal record and up to £5,000 fine.
More than 300 people were arrested during last year’s Christmas operation and figures for the first half of this year show there have been 70 collisions involving alcohol.
Inspector Matt Bailey-Smith from GMP’s Serious Collision Investigation Unit and coordinator of this year’s anti-drink drive campaign said: “When we talk about drink drivers, we’re not talking about people that are drunk to the point of being unable to stand or speak.
“Obviously this does happen, but it’s really important that people understand that you don’t have to be drunk to be a drink driver. Just a couple of drinks presents a risk and can affect your ability to drive.
“If you’re going out the simplest thing to do is to leave your car at home or, if you must drive, have none for the road and take the guess work out of it.”
Steve Hynes, Head of Service for North West Ambulance Service NHS Trust, said: “During the winter period, we see a considerable rise in the number of 999 calls received about road traffic collisions. Even one alcoholic drink can severely impact on a driver’s reaction time and ability to control their vehicle.
“Combined with the adverse weather we have seen in recent years, drinking and driving over the festive period can lead to serious, life-threatening cases and, in some circumstances, death.
“We see first-hand the devastation drink driving can cause. If you’re planning on having a drink, make alternative arrangements to get home safely. Don’t be tempted to drive even a short distance: you can quickly lose control of your vehicle. Stay safe and think before you drink.”
Director of Prevention and Protection, Assistant County Fire Officer Peter O’Reilly, said: “We know people enjoy celebrating during the festive period, but drinking and driving is something that can result in devastating consequences.
“Our firefighters attend more and more serious road traffic collisions and cut people out of vehicles every day.
“You can’t calculate your alcohol limit, so don’t try. Please don’t drink and drive.”
Deputy Police and Crime Commissioner Jim Battle said: “This isn’t about spoiling your festive fun, it’s about making our roads safer. Drinking and driving is a dangerous, sometimes fatal combination, and we each have to behave responsibly to make sure we can all enjoy Christmas and New Year.
“We should all listen and take note of what the police and ambulance service tell us. Even just having one drink can affect how you drive so the message is clear and simple - please don’t drink and drive.”
Karen Delaney, Drivesafe, ‘Our priority is to ensure people are safe as possible when travelling over the festive season. One of the most important things for drivers to be aware of is that drinking at night and driving the next day, could still be enough to put you over the limit – many drivers convicted for drink driving are caught the morning after. If you are planning on having a drink simply plan ahead, arrange alternative means of transport both that night and the following day’.
Police will be using social media throughout the festive period to give users an insight into their Christmas operation. Follow @gmpolice and @gmptraffic and use the hashtag #nonefortheroad
Law-abiding citizens can help keep drink drivers off our roads by reporting to police directly on 101 or anonymously through Crimestoppers on 0800 555 111.
In an emergency where a drink driver poses a direct threat to life, please dial 999.
Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called the "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Manor Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe.
Karl Foerster war ein berühmter Staudenzüchter und Gartenphilosoph (1874 bis 1970). Sein Werk lebt weiter in den von ihm gezüchteten Stauden, von denen viele auch noch heute erhältlich sind, und in zahlreichen Gärte, die nach den von ihm entwickelten Prinzipien gestaltet wurden.Der Karl-Foerster-Garten im Tierpark Berlin wurde ab 1962 von der Gartenarchitektin Editha Bendig in enger Zusammenarbeit mit dem in Potsdam lebenden Karl Foerster entwickelt.
Karl Foerster was a famous perennial breeder and garden philosopher (1874 to 1970). His work lives on in the perennials he bred, many of which are still available today, and in numerous gardens designed according to the principles he developed.The Karl Foerster Garden in the Tierpark Berlin was developed from 1962 by the garden architect Editha Bendig in close collaboration with Karl Foerster, who lived in Potsdam.
Lüneburg (officially the Hanseatic Town of Lüneburg, German: Hansestadt Lüneburg, pronounced [ˈhan.zə.ʃtat ˈlyː.nə.bʊɐk], Low German Lümborg, Latin Luneburgum or Lunaburgum, Old High German Luneburc, Old Saxon Hliuni, Polabian Glain), also called Lunenburg in English, is a town in the German state of Lower Saxony. It is located about 50 km southeast of another Hanseatic city, Hamburg. It is part of the Hamburg Metropolitan Region. The capital of the district of Lüneburg, its population is around 72,000 people. Lüneburg's urban area, which includes the surrounding communities like Adendorf, Bardowick, Bleckede, Amelinghausen and Reppenstedt, has a population of around 103,000. Lüneburg has been allowed to use the title "Hansestadt" (Hanseatic Town) in its name since 2007, in recognition of its membership in the former Hanseatic League. Lüneburg is also a university town.
GEOGRAPHY
LOCATION
Lüneburg lies on the river Ilmenau, about 30 kilometres from its confluence with the Elbe. The river flows through the town and is featured in its song; it was formerly traversed by cogs taking salt from the town to the other, larger, ports of the Hanseatic League nearby.
To the south of the town stretches the 7,400-square-kilometre Lüneburg Heath which emerged as a result of widespread tree-felling, forest fires and grazing. The tradition that the heath arose from centuries of logging undertaken to meet the constant need of the Lüneburg salt works for wood is not historically confirmed. More likely, the heath was originally formed by clearances during the Bronze Age. The old town (Altstadt) of Lüneburg lies above a salt dome which is the town's original source of prosperity. However, the constant mining of the salt deposits over which the town stands has also resulted in the sometimes gradual, sometimes dramatically pronounced, sinking of various areas of the town. On the western edge of the town is the Kalkberg, a small hill and former gypsum quarry.
TOWN LAYOUT
HISTORICAL QUARTERS
The motto Mons, Pons, Fons ("Hill, bridge, spring") characterised the development of the town from the 8th century as it coalesced from initially three, and later four, areas of settlement. These areas were the refuge castle on the — at that time considerably higher — Kalkberg, together with its adjoining settlement (the Marktviertel or "Market Quarter"), the village of Modestorpe between the bridge over the river Ilmenau and the large square, Am Sande (the Sandviertel or "Sand Quarter"), and the saline with its walled settlement for the work force (the Sülzviertel or "Salt Quarter"). Not until the 13th century was the river port settlement (the Wasserviertel or "Waterside Quarter") built between the market place and the Ilmenau. The resulting shape of the town thus formed did not change until its expansion in the late 19th century and it is still clearly visible today. Lüneburg's six historic town gates were the Altenbrücker Tor, the Bardowicker Tor, the Rote Tor, the Sülztor, the Lüner Tor and the Neue Tor.
NEIGHBOURHOODS
Luneburg has the following Stadtteile: Altstadt, Bockelsberg, Ebensberg, Goseburg-Zeltberg, Häcklingen, Kaltenmoor (the largest Statdteil, with around 8,000 inhabitants), Kreideberg, Lüne, Moorfeld, Mittelfeld, Neu Hagen, Ochtmissen, Oedeme, Rettmer, Rotes Feld, Schützenplatz, Weststadt and Wilschenbruch.
Jüttkenmoor, Klosterkamp, Bülows Kamp, In den Kämpen, Krähornsberg, Schäferfeld, Volgershall and Zeltberg are the names of individual blocks within a single Stadtteil.
SUBSIDENCE
The houses in the historic quarter between the Lüneburg Saltworks (today the German Salt Museum) and the Kalkberg were built above a salt dome that was excavated by the saltworks and which extended to just below the surface of the ground. As a result of the increasing quantities of salt mined with improved technical equipment after 1830, the ground began to sink by several metres. This resulted in the so-called Senkungsgebiet or "subsidence area". The houses there and the local church (St. Lambert's) lost their stability and had to be demolished. Because of this subsidence, and because salt mining was increasingly unprofitable, the saltworks were finally closed in 1980. Today, only small amounts of brine are extracted for the health spa in the Lüneburg Thermal Salt Baths (the Salztherme Lüneburg or SaLü). One side of the saltworks now houses a supermarket, while the other is the German Salt Museum.
The subsidence has been monitored at about 240 stations since 1946 every two years. The land has not quite stopped subsiding yet, but it is stable enough that new construction has taken place on it, and several historic buildings which had previously been damaged or demolished have been restored. The subsidence can still be clearly seen even today. Those who walk from Am Sande to the end of the Grapengießerstraße can clearly sense the degree of subsidence for themselves: the hollow in front of them was formerly at the same level as the Grapengießerstraße. This depression extends as far as the Lambertiplatz square.
In the Frommestraße, another sign of earth movements caused by salt mining may be seen: the Tor zur Unterwelt ("Door to the Underworld"), where two cast iron doors have been pushed on top of one another.
Near St. Michael's Church (Michaeliskirche) other consequences of the subsidence can be seen in its sloping columns and the west wing of the nave. Current subsidence movements can be seen in the road known as Ochtmisser Kirchsteig.
HISTORY
PREHISTORY
The first signs of human presence in the area of Lüneburg date back to the time of Neanderthal Man: 56 axes, estimated at 150,000 years old, were uncovered during the construction in the 1990s of the autobahn between Ochtmissen and Bardowick. The site of the discovery at Ochtmissen was probably a Neanderthal hunting location where huntsmen skinned and cut up the animals they had caught.
The area was almost certainly not continuously inhabited at that time, however, due to the various glaciations that lasted for millennia. The first indication of a permanent, settled farming culture in the area was found not far from the site of the Neanderthal discovery in the river Ilmenau between Lüne and Bardowick. This was an axe that is described as a Schuhleistenkeil or "shoe last wedge" due to its shape. It dates to the 6th century BC and is now in the collection of the Lüneburg Museum.
Since the Bronze Age, the Lüneburg hill known as the Zeltberg has concealed a whole range of prehistoric and early historic graves, which were laid out by people living in the area of the present-day town of Lüneburg. One of the oldest finds from this site is a so-called Unetice flanged axe (Aunjetitzer Randleistenbeil) which dates to 1900 BC.
The land within the town itself has also yielded a number of ice age urns that were already being reported in the 18th century. These discoveries are, however, like those from the Lüneburger Kalkberg — they went into the private collections of several 18th century scholars and, with a few exceptions, were lost when the scholars died.
Also worth mentioning in this regard are the Lombard Urnfield graves on the Lüneburg Zeltberg and Oedeme from the first few centuries AD. In the Middle Ages, there several discoveries were made on the site of the town, for example on the site of the old village of Modestorpe not far from St. John's Church (Johanniskirche), at the Lambertiplatz near the saltworks and in the old Waterside Quarter.
The ancient town may be that identified as Leufana or Leuphana (Greek: Λευφάνα), a town listed in Ptolemy (2.10) in the north of Germany on the west of the Elbe.
FROM VILLAG ETO COMMERCIAL TOWN
Lüneburg was first mentioned in medieval records in a deed signed on 13 August, 956 AD, in which Otto I, Holy Roman Emperor granted "the tax from Lüneburg to the monastery built there in honour of Saint Michael" (German den Zoll zu Lüneburg an das zu Ehren des heiligen Michaels errichtete Kloster, Latin: teloneum ad Luniburc ad monasterium sancti Michahelis sub honore constructum). An older reference to the place in the Frankish imperial annals dated 795 states:...ad fluvium Albim pervenit ad locum, qui dicitur Hliuni i.e. on the river Elbe, at the location, which is called "Hliuni") and refers to one of the three core settlements of Lüneburg; probably the castle on the Kalkburg which was the seat of the Billunger nobles from 951. The Elbe-Germanic name Hliuni corresponds to the Lombard word for "refuge site".
From archaeological finds, it is clear that the area around Lüneburg had already been settled (in the museum of the Principality of Lüneburg, for example, there is a whole range of artefacts that were found here) and the saltworks had already started production.
According to tradition, the salt was first discovered by a hunter who observed a wild boar bathing in a pool of water, shot and killed it, and hung the coat up to dry. When it was dry, he discovered white crystals in the bristles — salt. Later he returned to the site of the kill and located the salt pool, the first production of salt on the site took place. In the town hall is a bone preserved in a glass case; legend has it that this is the preserved leg-bone of the boar. It was here that the Lüneburg Saltworks was subsequently established for many centuries.
In spite of its lucrative saltworks, Lüneburg was originally subordinated to the town of Bardowick only a few miles to the north. Bardowick was older and was an important trading post for the Slavs. Bardowick's prosperity – it had seven churches – was based purely on the fact that no other trading centres were tolerated. Only when Bardowick refused to pay allegiance to Henry the Lion was it destroyed by him in 1189, whereupon Lüneburg was given town privileges (Stadtrechte) and developed into the central trading post in the region in place of Bardowick.
The Polabian name for Lüneburg is Glain (written as Chlein or Glein in older German sources), probably derived from glaino (Slavonic: glina) which means "clay". In the Latin texts Lüneburg surfaces not only as the Latinised Lunaburgum, but also as Selenopolis.
HANSEATIC PERIOD
As a consequence of the monopoly that Lüneburg had for many years as a supplier of salt within the North German region, a monopoly not challenged until much later by French imports, it very quickly became a member of the Hanseatic League. The League was formed in 1158 in Lübeck, initially as a union of individual merchants, but in 1356 it met as a federation of trading towns at the first general meeting of the Hansetag. Lüneburg's salt was needed in order to pickle the herring caught in the Baltic Sea and the waters around Norway so that it could be preserved for food inland during periods of fasting when fish (not meat) was permitted.
The Scania Market at Scania in Sweden was a major fish market for herring and became one of the most important trade events in Northern Europe in the Middle Ages. Lüneburg's salt was in great demand and the town quickly became one of the wealthiest and most important towns in the Hanseatic League, together with Bergen and Visby (the fish suppliers) and Lübeck (the central trading post between the Baltic and the interior). In the Middle Ages salt was initially conveyed overland up the Old Salt Road to Lübeck. With the opening of the Stecknitz Canal in 1398 salt could be transported by cog from the Lübeck salt warehouses, the Salzspeicher.
Around the year 1235, the Duchy of Brunswick-Lüneburg emerged, ruled by a family whose aristocratic lines repeatedly divided and re-united. The smaller states that kept re-appearing as a result, and which ranked as principalities, were usually named after the location of the ducal seat. Thus between 1267 and 1269 a Principality of Lüneburg was created for the first time, with Lüneburg as the seat of the royal Residenz. In 1371, in the wake of the Lüneburg War of Succession, rebel citizens threw the princes out of the town and destroyed their royal castle on the Kalkberg along with the nearby monastery. The state peace treaty in 1392 granted their demand to become a free imperial town, a status they were able to defend until 1637. The money now stayed in the town, enabling fine houses and churches to be built.
In 1392 Lüneburg was accorded the staple right. This forced merchants who travelled through the area with their carts to stop in Lüneburg, unload their wares, and offer them for sale for a certain period. So that merchants could not go around Lüneburg, an impassable defensive barrier was built west of the town in 1397; a similar barrier was built east of the town in 1479.
The Lüneburg Prelates' War caused a crisis from 1446 to 1462. This was not a war in the proper sense, but rather a bitter dispute between the town council and those members of the clergy who were also part-owners of the town's saltworks. It was not resolved until the intervention of the Danish King Christian I, the Bishop of Schwerin and the Lübeck Bishop, Arnold Westphal.
In 1454 the citizens demanded even more influence over public life.
Since 2007, Lüneburg has once again held the title of a Hanseatic town.
MODERN PERIOD TO THE END OF SECOND WORLD WAR
With the demise of the Hanseatic League – and the absence of herrings around 1560 around Falsterbo in Scania – the biggest customers of Lüneburg's salt broke away and the town rapidly became impoverished. Hardly any new houses were built in central Lüneburg after this time, which is why the historical appearance of the town centre has remained almost unchanged until the present day.
The town became part of the Electorate of Hanover in 1708, the Kingdom of Westphalia in 1807, the First French Empire in 1810, the Kingdom of Hanover in 1814, and the Prussian Province of Hanover in 1866.
In the centuries after the collapse of the League, it was as if Lüneburg had fallen into a Sleeping Beauty slumber. Heinrich Heine, whose parents lived in Lüneburg from 1822 to 1826, called it his "residence of boredom" (Residenz der Langeweile). Near the end of the 19th century Lüneburg evolved into a garrison town, and it remained so until the 1990s.
In the Lüneburg Special Children's Ward, part of the Lüneburg State Mental Hospital, it is suspected that over 300 children were killed during the Second World War as part of the official Nazi child euthanasia programme.
In 1945 Lüneburg surfaced once again in the history books when, south of the town on the hill known as the Timeloberg (near the village of Wendisch Evern) the German Instrument of Surrender was signed that brought the Second World War in Europe to an end. The location is presently inaccessible to the general public as it lies within a military out-of-bounds area. Only a small monument on a nearby track alludes to the event. On 23 May 1945 Reichsführer SS Heinrich Himmler took his own life in Lüneburg whilst in British Army custody by biting into a potassium cyanide capsule embedded in his teeth before he could be properly interrogated. He was subsequently buried in an unmarked location in a nearby forest.
POST-WAR PERIOD
Even before the Nuremberg Trials took place, the first war crimes trial, the so-called Belsen Trial (Bergen-Belsen-Prozess), began in Lüneburg on 17 September 1945 conducted against 45 former SS men, women and kapos (prisoner functionaries) from the Bergen-Belsen and Auschwitz concentration camps.
After World War II, Lüneburg became part of the new state of Lower Saxony. But the dilapidated state of its buildings led to various plans to try to improve living conditions. One proposition that was seriously discussed was to tear down the entire Altstadt and replace it with modern buildings. The ensuing public protest resulted in Lüneburg becoming the focal point for a new concept: cultural heritage conservation. Since the early 1970s the town has been systematically restored. A leading figure in this initiative since the late 1960s has been Curt Pomp: against much opposition from politicians and councillors he founded and championed the Lüneburg Altstadt Working Group (Arbeitskreis Lüneburger Altstadt) for the preservation of historic buildings. His engagement was rewarded with the German Prize for Cultural Heritage Conservation and the German Order of Merit. Today Lüneburg is a tourist attraction as a result of the restoration and important sectors of the town's economy also depend on tourism.
Between Lüneburg and Soltau to the southwest, a large military training area, the Soltau-Lüneburg Training Area (SLTA), was established by the British and Canadian military, which was used from 1963 to 1994. It was governed by the Soltau-Lüneburg Agreement between the Federal Republic of Germany, the United Kingdom and Canada. The area was located on the Lüneburg Heath and was heavily used particularly by tanks and other armoured vehicles.
The salt mine was closed in 1980, ending the thousand-year tradition of salt mining, although small amounts are still mined for ceremonial purposes. Small bags of salt may be purchased in the town hall, and bags are given as a gift from the town to all couples married in the town. After the closing of the salt mines, the town gained new relevance from its university, which was founded in 1989.
As part of the restructuring of Defence in 1990 two of the three Bundeswehr barracks in the town were closed and the remaining one reduced in size. The Bundesgrenzschutz barracks was also closed. Lüneburg University moved to the site of the old Scharnhorst barracks. The university grew out of the new economics and cultural studies departments set up in the 1980s and their amalgamation with the College of Education (Pädagogischen Hochschule or PH) that took place in 1989. Since its move to the former barracks site the university has enrolled increasing numbers of students. The expansion of the university is an important contribution to the restructuring of the town into a service centre.
Today an industrial estate, the Lünepark, has been built on the terrain of the old Bundesgrenzschutz barracks with its new industrial premises for entrepreneurs. The promotion of trade and industry has resulted in many firms from the ICT area locating themselves there. In May 2006 the nearby Johannes Westphal Bridge was opened to traffic. This links the newly created Lünepark with the suburb of Goseburg on the far side of the Ilmenau. Since 5 October 2007 Lüneburg has been able to call itself a Hanseatic Town; together with Stade it is one of only two towns in Lower Saxony to bear the title.
AMALGAMATED VILLAGES/COMMUNITIES
1943: Hagen and Lüne
1974: Häcklingen, Ochtmissen, Oedeme and Rettmer as well as the Ortsteile of Alt-Hagen, Ebensberg and Pflegerdorf/Gut Wienebüttel.
DEMOGRAPHICS
Lüneburg already had about 14,000 inhabitants in the Late Middle Ages and beginning of the Modern Period and was one of the largest 'cities' of its time, but its population shrank with the economic downturn to just 9,400 in 1757; then rose again to 10,400 in 1813. With the onset of industrialisation in the 19th century, population growth accelerated. If 13,000 were living in the town in 1855, by 1939 there were as many as 35,000. Shortly after the Second World War, refugees and displaced persons from Germany's eastern territories brought an increase in population within just a few months of around 18,000 people so that the total number in December 1945 was 53,000. In 2003 the 70,000 level was exceeded for the first time.
The town of Lüneburg, its eponymous district and the neighbouring district of Harburg belong to the few regions in Germany that have experienced such a massive growth. The reasons for this include the growth of areas around the Hamburg Metropolitan Region and the consequent shift of people to those areas. The Lower Saxon State Office for Statistics has forecast that the town of Lüneburg will have a population of 89,484 by the year 2021. More realistic estimates, however, put the future size Lüneburg at between 75,000 and 79,000 in that time frame.
On 31 December 2008, according to the Statistics Office, the official census for Lüneburg recorded 72,492 people (those who had their main residence in the town and after adjustments with other states offices) – the highest number in its history. Currently Lüneburg is the eleventh largest centre of population in Lower Saxony. In addition Lüneburg has particularly close relations with its adjacent municipalities which are also growing and with which it is forming an agglomeration. The town, together with the nearby villages of Adendorf, Bardowick, Deutsch Evern, Reppenstedt, Vögelsen and Wendisch Evern, has a total population of about 103,000 and, on that basis, would qualify as a city (in Germany cities or Großstädte are defined as settlements with a population of over 100,000). The town council has the plan to extend the population by adding these villages to the town area.
The following overview shows the population figures based on the situation at the time. Up to 1813 they were mostly estimates; thereafter based on censuses (*) or official projections by the State Office of Statistics. From 1871 the figures were based on those 'present in the town', from 1925 on those 'living in the town' and since 1987 on the 'population who have their main residence in the town'. Before 1871 the numbers were based on inconsistent survey methods.
ECONOMY
At one time Lüneburg had over 80 breweries. The Lüneburger Kronen Brewery of 1485 in Heiligengeiststraße brewed beers such as Lüneburger Kronen-Pilsener and Moravia Pilsener that were very well known in North Germany. These beers are brewed today by the Holsten Brewery in Hamburg, although the original yeast stock (Hefestämme) was destroyed when the Kronen Brewery was taken over. Only the original Lüneburger Pilsener is still produced as before, although it is now made by the Holsten Brewery and only sold on tap. Today there are just two small inn breweries left in Lüneburg. In the Nolte Inn Brewery (Gasthausbrauerei Nolte) some distance from the centre on the Dahlenburger Landstraße and in the Brau- und Tafelhaus Mälzer in Heiligengeiststraße the tradition of Lüneburger breweries lives on.
Recently Lüneburg has increasingly developed into a venue for tourists. Nevertheless, medium-sized and small businesses still play a major role in Lüneburg's economy. The University of Lüneburg has also generated changes which, together with its student population, have stimulated the economy of the region.
ARTS AND CULTURE
THEATRE
The Lüneburg Theatre (Theater Lüneburg) is one of the smallest, three-stage theatres in Germany. Not only are plays of all styles put on, but also operas, operettas, musicals and ballets. Although the financial means of the Lüneburg Theatre are comparatively limited, it is no 'provincial stage' and can hold its ground successfully against the many theatres in nearby Hamburg. In addition Lüneburg has a large number of amateur theatres, that also produce regular performances. Such a variety in amateur drama is otherwise only found in large cities like Hamburg or Hanover. Examples include (arranged in order of year founded):
Niederdeutsche Bühne Sülfmeister
Kleines Keller Theater e. V.
Amateurtheater Rampenlicht e. V.
Theater Spotlight
theater im e.novum'
In addition there are amateur theatres in the surrounding communities such as the Puschentheater in Melbeck, the Plattsnack Widsbold in Marxen am Berge and the Kleine Salzhäuser Theater (KleiST) in Salzhausen.
MUSEUMS
The historic town is itself a kind of open-air museum (a "Rothenburg of the North"), but there are numerous museums and old churches (St. Michael's, St. John's, St. Nicholas'). The most important museums are the German Salt Museum in the premises of the old Lüneburg Saltworks, in which the significance of salt in the Middle Ages and the extraction of salt is portrayed, and the Museum of the Principality of Lüneburg, in which the town's history and the history of the surrounding area is captured. Also worthy of mention are the East Prussian State Museum, the nearby North German Brewery Museum with a gallery of valuable drinking vessels (over 1200 years), the 1485 Kronen Brewery of Lüneburg and the Lüneburg Nature Museum on the edge of the subsidence zone.
TOWN ARCHITECTURE
Lüneburg is one of the few towns in North Germany whose historic centre was not destroyed during the Second World War. Nevertheless, the general neglect of its buildings until the 1960s and the damage in the area of subsidence has led to gaps in the historic architecture of the town. In addition the demolition of ramshackle buildings in the 1950s and 1960s and the construction of shops with a contemporary design broke up the historic appearance of many rows of houses. Since the beginning of the 1970s, however, Lüneburg has been carefully restored. The restoration process revealed hitherto hidden ceiling frescos, medieval pottery workshops and many historic soakaways (Sickergruben) from which a considerably better picture of life in the Middle Ages resulted.
In the Lüneburg Stadtteil of Kaltenmoor is St. Stephen's (St. Stephanus), the oldest ecumenical building in the town, with Protestant and Catholic churches under one roof. Other buildings worthy of mention are the three remaining town churches: St. John (St. Johannis am Sande, completed 1370), St. Michael (Michaeliskirche), where Johann Sebastian Bach was a choirboy from 1700 to 1702, and the relatively 'modern' St. Nicholas (Nikolaikirche), which was built in 1407. The Church of St. Lambertus (Lambertikirche) was demolished in 1850 due to its dilapidated state; it stood in the subsidence area.
In addition there are the Glockenhaus ("Bell House", an old armoury) on the Glockenhof, the Rathsapotheke (town chemist's), dating to 1598, in Große Bäckerstraße and the historic town hall or Rathaus with its famous town council meeting room, the Gerichtslaube. The Luna Fountain (Lunabrunnen) in front of the town hall is graced by a bronze statue of the moon goddess with bow and arrow; the original dating to 1532 was stolen in 1970 and melted down; the present statue is a replica dating to 1972. In the area of the old port can still be seen the Baroque façade of the "Old Store" (Altes Kaufhaus), most of the rest of which was burned down and had to be replaced by one that was more suitable for a fire station. The port is also home to the "Old Crane" (Alter Kran), a wooden, medieval riverside crane that is still in working order today and which has two large wheels inside that enable the crane cable to be raised and lowered. The fire station moved in autumn 2007 to a new building on the edge of the town centre; the Altes Kaufhaus has since (2009) been converted into a hotel.
On the southern edge of the town centre is the Lüneburg Water Tower which now acts as an observation tower.
In front of the gates of the old town is Lüne Abbey, a former Benedictine nunnery. It was built in 1172 and has been restored.
About 2 kilometres west of Lüneburg, in the villages of Reppenstedt and Vögelsen, is a well-preserved section of the historic Lüneburg Landwehr, a boundary embankment and ditch, that can be walked.
EDUCATION
The town has one university, the Leuphana Universität Lüneburg (previously known only as the Universität Lüneburg). There are 14 high schools in the town: 5 Gymnasien, 4 Realschulen, and 5 Hauptschulen; there is currently 1 Gesamtschule, the "IGS Lüneburg" founded in 2009. There are 6 vocational schools, 3 special schools, 3 private schools, and 12 elementary schools.
Leuphana Universität Lüneburg has more than 7,000 students.
WIKIPEDIA
Some protesters came to the staging area for DC pride, stood on the corner and started sermonizing. This was the result - five mintues later - a large crowd gathered and wanted to be photographed with them in the background!
It has been 1,067 days since Russia invaded Ukraine – the war continues – normality does not settle in – yet life goes on amidst the war, its consequences, and its losses.
This is a picture from my stay at Riverbend Hot Springs in Truth or Consequences, New Mexico.
You can read more about my visit to the resort at the link.
This is a picture from my stay at Riverbend Hot Springs in Truth or Consequences, New Mexico.
You can read more about my visit to the resort at the link.
This is a picture from my stay at Riverbend Hot Springs in Truth or Consequences, New Mexico.
You can read more about my visit to the resort at the link.
Truth or Consequences ( T OR C ) Police Department
Ford Crown Victoria Police Interceptor
T or C Is the County seat of Sierra County . New Mexico
Car wreckage and a £50,000 pint come to Manchester
People in Manchester were be exposed to two very different consequences of drink driving by Greater Manchester Police this week. The wreckage of a car whose owner was killed in drink driving crash went on display at the University of Manchester, alongside a pint worth £50,000 – the personal financial cost of a conviction.
The £50,000 pint, displayed behind velvet ropes and housed in a protective glass case, represents the personal financial cost of drink-driving, calculated for the first time by the Institute of Advanced Motorists. The calculation reflects the fines, legal costs, rise in insurance premiums and possible job losses faced by those who are convicted.
The wreckage, known as the Think! Car, was owned by a 21-year-old man who lost control of his car on his way home and hit a tree, sadly killing him.
The activity was part of the University ‘Wellbeing Week’ and involved police conducting on the spot breathalyser tests and handing out free ‘scratchcards’, as well as activity highlighting the dangers posed to cyclists and bikers straying into the blind spots of HGVs and buses.
Inspector Matt Bailey-Smith from Greater Manchester Police said: "Drink driving ruins lives. It can cost motorists their family, job and worse still their life or that of somebody else.
"Many people do not think of the consequences of driving under the influence of alcohol until it is too late and police are committed to tackling this issue so that we can make the roads of Greater Manchester a safer place to be.
"If you are planning on driving then the safest choice you can make is to avoid alcohol all together, and if you see somebody else attempting to drink and drive then make sure you stop them. It could be the difference between life and death."
Road Safety Minister Stephen Hammond said:
“It might only look like a humble pint of beer, but it could end up costing much more than a few quid – in fact it comes with an eye-watering hidden cost if it pushes you over the limit.
“Most people know not to drink and drive but a small number still do, which is why we are highlighting the consequences of a drink drive conviction through our THINK! campaign.
“Anyone thinking of drinking and driving should be without any doubt – if you are caught driving over the limit you will face a heavy court fine and lose your licence – you could even go to prison.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Opening the extraordinary session, European Parliament President Martin Schulz noted that this was the first time that a plenary session had been convened at such short notice, but also that the UK citizens’ decision to leave the EU was equally unprecedented. He warmly welcomed Lord Hill and thanked him for his work in the EU Commission and deciding to step down, having campaigned for Britain to remain in the EU. His statement was followed by standing ovations from both MEPs and Commissioners.
Read our storify compilation on the topic here:
www.europarl.europa.eu/news/en/news-room/20160627STO33965
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