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Basílica da Sagrada Família
Texto, em português, da Wikipédia, a enciclopédia livre:
Templo Expiatório da Sagrada Família
Templo Expiatório da Sagrada Família, e também conhecido simplesmente como Sagrada Família, é um grande templo católico da cidade catalã de Barcelona (Espanha), desenhado pelo arquiteto catalão Antoni Gaudí, e considerado por muitos críticos como a sua obra-prima e expoente da arquitetura modernista catalã. Financiado unicamente por contribuições privadas , o projeto foi iniciado em 1882 e assumido por Gaudí em 1883, quando tinha 31 anos de idade, dedicando-lhe os seus últimos 40 anos de vida, os últimos quinze de forma exclusiva. A construção foi suspensa em 1936 devido à Guerra Civil Espanhola e não se estima a conclusão para antes de 2026, centenário da morte de Gaudí.
A construção começou em estilo neogótico, mas o projeto foi reformulado completamente por Gaudí ao assumi-lo. O templo foi projetado para ter três grandes fachadas: a Fachada da Natividade, quase terminada com Gaudí ainda em vida, a Fachada da Paixão, iniciada em 1952, e a Fachada da Glória, ainda por completar. Segundo o seu proceder habitual, a partir de esboços gerais do edifício Gaudí improvisou a construção à medida que esta avançava. O templo, quando estiver terminado, disporá de 18 torres : quatro em cada uma das três entradas-portais, a jeito de cúpulas; irá ter um sistema de seis torres, com a torre do zimbório central dedicada a Jesus Cristo, de 170 metros de altura, outras quatro ao redor desta, dedicadas aos evangelistas, e um segundo zimbório dedicado à Virgem. O interior estará formado por inovadoras colunas arborescentes inclinadas e abóbadas baseadas em hiperboloides e paraboloides buscando a forma ótima da catenária. Estima-se que poderá levar no seu coro 1500 cantores, 700 crianças e cinco órgãos. Em 1926, ano em que faleceu Gaudí, apenas estava construída uma torre. Do projeto do edifício só ficaram planos e um modelo em gesso que resultou muito danificado durante a Guerra Civil Espanhola. Desde então prosseguiram as obras: atualmente (2015) estão terminados os portais da Natividade e da Paixão, e foi iniciado o da Glória, estando em construção as abóbadas interiores.
A obra que realizou Gaudí - a fachada da Natividade e a cripta - foi incluída pela UNESCO em 2005 no Sítio do Patrimônio Mundial com o título «Obras de Antoni Gaudí».
História
O propósito de construir um templo expiatório dedicado à Sagrada Família em uns novos terrenos do Eixample barcelonês foi do livreiro Josep Maria Bocabella, para o que fundou a Associação de Devotos de São José. Para isso foi adquirido um quarteirão inteiro do Eixample num lugar conhecido como El Poblet, perto do Camp de l'Arpa, em Sant Martí de Provençals, entre as ruas Provença, Maiorca, Marina e Sardenya.
O projeto foi entregue em primeiro lugar a Francisco de Paula del Villar y Lozano, que propôs um conjunto neogótico, recusando a sugestão de Bocabella de fazer uma réplica do Santuário da Santa Casa de Loreto . O projeto de Villar consistia numa igreja de três naves, com os elementos típicos do gótico, como os vitrais alveolados, os contrafortes exteriores e um alto campanário em forma de agulha. A primeira pedra foi colocada a 19 de Março de 1882, dia de São José, com a presença do então bispo de Barcelona José María Urquinaona. Gaudí assistiu à cerimônia, já que tinha trabalhado como ajudante de Villar em vários projetos. As obras não se iniciaram até 25 de Agosto de 1883, sendo adjudicadas ao empreiteiro Macari Planella i Roura.
Em 1883, Villar renunciou por desavenças com Joan Martorell, arquiteto assessor de Bocabella. O projeto foi oferecido ao próprio Martorell, mas, ao recusar, este foi oferecido a um jovem Gaudí de 31 anos; Gaudí fora ajudante de Martorell em várias construções, fato que motivara a recomendação de Gaudí, que ainda não executara grandes obras. Ao encarregar-se Gaudí do projeto, modificou-o por inteiro - salvo a parte já construída da cripta -, imprimindo-lhe o seu estilo peculiar. Durante os remanescentes 43 anos da sua vida trabalhou intensamente na obra, os últimos 15 anos de forma exclusiva. Esta dedicação tão intensa tem a sua explicação, para além da magnitude da obra, pela circunstância de Gaudí definir muitos aspetos à medida que a construção avançava, em lugar de os ter concretizado previamente nos seus planos e instruções. Por isso a sua presença pessoal na obra era de grande importância.
Durante a vida de Gaudí somente foi feita a fachada da Natividade , com escultura de Carles Mani, Llorenç Matamala e Joan Matamala, contando com os desenhos de Ricard Opisso; Gaudí apenas chegou a ver coroada a torre de São Barnabé antes do seu falecimento. À morte de Gaudí encarregou-se das obras o seu ajudante Domènec Sugrañes, durante os anos 1926-1936, acabando as três torres que ficavam na fachada da Natividade.
Durante a Guerra Civil Espanhola ficou destruída na sua maior parte a oficina na qual Gaudí trabalhara, e onde se encontravam os seus croquis, maquetes e modelos . Por esta causa e pela particular maneira de trabalhar Gaudí, não ficaram planos nem diretrizes a respeito de como devia terminar-se o templo. Portanto, quando em 1944 prosseguiu a construção da Sagrada Família, teve de definir-se em primeiro lugar como devia proceder-se, para edificar o templo da forma mais fiel aos princípios de Gaudí.
À frente desta gigantesca tarefa estiveram os arquitetos Francesc Quintana, Isidre Puig i Boada e Lluís Bonet i Garí, enquanto da obra escultórica se encarregou Jaume Busquets. Posteriormente, quando se construiu a fachada da Paixão, o conjunto principal das figuras escultóricas foi encarregado a Josep Maria Subirachs . As obras deste último originaram certa polêmica, devido a ter criado esculturas totalmente contemporâneas afastadas do estilo realista que Gaudí incluiu na fachada da Natividade. O escultor japonês Etsuro Sotoo colaborou em algumas esculturas da fachada da Natividade . Desde 1987 que as obras estão sob a direção do arquiteto Jordi Bonet i Armengol.
Projeto de praça estrelada para a Sagrada Família (1916).
Um dos pontos que suscitou maior controvérsia em relação ao templo é a sua situação no tecido urbanístico de Barcelona: quando começaram as obras encontrava-se num descampado, mas rapidamente ficou integrado no rápido desenvolvimento da cidade em princípios do século XX. Em 1905 Gaudí realizou um projeto para englobar a Sagrada Família dentro do Plano Jaussely, o novo projeto de alargamento barcelonês: concebeu situar o templo dentro de uma zona ajardinada em forma de estrela octogonal, que teria proporcionado uma excelente visão do templo a partir de todas as zonas circundantes. Finalmente, devido ao custo dos terrenos, reduziu o projeto a uma estrela de quatro pontas, que permitia uma ampla visão de todos os vértices. Contudo, o plano de Gaudí não se levou a cabo: em 1975 o Município de Barcelona realizou um estudo urbanístico que previa reabilitar uma zona em forma de cruz em torno da Sagrada Família, com quatro praças ajardinadas em cada extremo do templo ; mesmo assim, atualmente existem apenas duas destas praças, e a criação das novos espaços implicaria demolir vários edifícios, pelo qual ainda se estuda a solução ideal para enquadrar a Sagrada Família numa envolvente apropriada.
O Templo da Sagrada Família teve vários eventos destacados: em 1920 celebrou-se o Ano Jubilar de São José com procissões, peregrinações e missas, e cantou-se o Aleluia de O Messias de Händel por mil cantores de orfeões vindos de toda a Catalunha, dirigidos por Lluís Millet. Em 1953, por ocasião do 35º Congresso Eucarístico Internacional celebrado em Barcelona, foi inaugurada a iluminação artística da fachada da Natividade. Em 1981 abriu-se a praça Gaudí frente à Sagrada Família, com um projeto de jardins de Nicolau Maria Rubió i Tudurí, onde se destaca o tanque, em cujas águas fica refletido o templo. Ao ano seguinte, por ocasião do centenário da colocação da primeira pedra, o templo recebeu a visita do Papa João Paulo II. Igualmente, a 18 de Março de 2007 foi comemorado o 125.º aniversário da colocação da primeira pedra do templo com uma festa, concertos e bailando uma sardana em redor de todo o templo. O templo é palco habitual de numerosos atos culturais e encontros religiosos.
Veja o texto completo no site pt.wikipedia.org/wiki/Templo_Expiat%C3%B3rio_da_Sagrada_F...
A text, in english, from barcelona.de/en/barcelona-sagrada-familia.html
The basilica Sagrada Familia
Antoni Gaudí's life work is an UNESCO world heritage
The Sagrada Familia is one of the most famous landmarks in Barcelona. Since 1882 it was built at the church in the district Eixample built. From 1883 the Catalan architect Antoni Gaudí took over the leadership of the works until his death in 1926. The building is significantly influenced by him. The church is such a huge size, so they often referred it as "cathedral", but without having a bishop's seat. Pope Benedict XVI. inaugurates the Sagrada Familia on November 7, 2010. The church building is raised to a basilica.
Much time should allow for the visit of the details of the facades, where many embassies and biblical stories are hidden.
With the completion in 2026 expected, the construction is financed solely from donations and ticket money. Currently, 8 out of 12 about 100 meters tall bell towers are completed. The higher towers of the facade of the glory will be built and the central dome with a height of over 170 meters. Currently, part of the cloister is the building of the apse dome.
The start of construction of the Sagrada Familia.
Mid-19th Century the booksellers José María Boca Bella , Chairman of the Holy Brotherhood, planned a church in Barcelona to build and to devote the Holy Family ( "Sagrada Familia"). The land he choose was a parcel within the "Poblet (village). He preferred a fundamental step closer to the city centre out. Because of the already high land prices this was not possible.
The planning of the church began with the architect of the Diocese Francisco del Villar. He designed a church in Gothic style and began in 1882 with the construction of the crypt. Because of fundamental disagreements with Boca Bella he had to resign from his job. A few months later in 1883, the young architect Antoni Gaudí took over his work.
Gaudí took place in the Sagrada Familia his life's work. He worked until his death on 10th June 1926.
Under Gaudí the church won because of their extensive dimension and its lush design with such importance that they soon called it "the Cathedral". Also Gaudí even called it, although they do not house a bishop. He was convinced that one day the city would be known as "his" church.
Gaudí shaped espacially the Sagrada Familia . Many new parts are built according to plans, which are hardly ever received and often depend on assumptions as the great architect had originally planned. Of course everyone is sure of one thing: the Church Sagrada family in case of completion in respect to all previously built churches of Christendom will surpass all in greatness.
As a church, the Sagrada Familia should not only be seen in the artistic point of view. It must be the consideration of building facades with its towers and even religion.
Tips for visiting the Sagrada Familia.
The Sagrada Familia is the most visited monument in Spain. At peak times therefore sometimes one can queue in front of the house and cash in on the elevators of the towers which go up, on the other. The largest are the queues in the late morning. So if you dont want to stay in the queue, use the time to the cathedral from a distance, the two places right and left of the Sagrada Familia from them.
On the rear lifts, in the towers of the facade of the birth of Christ which goes up, the queue is much shorter. Do not return to down the lifts, use the stairs. Only then do you see the absolutely stunning spiral staircase.
St Ethelbert, Hessett, Suffolk
Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a Mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a Synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church.
As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology - a problem that, to some extent, the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways; celebrating Communion at a table in the nave, for example, and blocking off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further: a pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
This may seem like a digression, but I hope it will become apparent why I've raised it. For similar questions have been asked throughout the history of Christianity.
So, let us hasten at once to Hessett. Here we are, roughly halfway between Bury and Stowmarket - like nearby Woolpit, this must once have been a more important place than it is today, and perhaps St Ethelbert gives us evidence of that.
The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding me rather of neighbouring Rougham, although this is a small church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with Woolpit, the porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. If both are locked, then there is a keyholder, because the people of this parish really want you to see inside this church. And it is as well that they do, for, if you didn't know already, this is one of the most fascinating interiors in the county.
In a way, it is rather good to enter it from the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel appears rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs, although I don't know enough about furniture to be sure if this is the case (or about wigs, for that matter). The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors.
The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of what existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Reseach in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. THere is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have included a devotion to St Christopher right up until the Reformation.
Secondy came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic - many are simply artistic representations of stories, and others are simplifications of theological ideas - the seven deadly sins and the seven cardinal virtues, for example. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provide a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara is a mythical saint, relegated to non-league status in recent years by the Catholic Church, who nevertheless was very popular in early medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend; her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the left appears to be winged, while the figure on the right is barefoot, and may be carrying a beam or scales. The Archangel St Michael is often shown weighing souls in doom paintings, but I do not think this is part of a doom (again, it would be exceptional for this to appear over a south door) and I do not think it is St Michael.
I think that the figure on the left is probably Gabriel, and this is part of a later Annunciation painting overlapping an earlier image, the barefoot man. So who is he? Another suggestion is that it is St John the Baptist, as he is often shown barefoot. But what if the beam of the 'weighing scales' is actually part of a yoke? The supporting beam appears to continue over the figure's right shoulder, but the left side of his body is lost to us.
Could it be that it is not a Saint at all, but some representation of an agricultural worker? Perhaps it is part of a larger image (and we should not forget that the surviving paintings are a small part of what must have been there before). Perhaps it is even part of a hagiography - think of the wheel of the bullock cart in the St Edmund sequence at Thornham Parva, interpreted for many years as St Catherine's wheel. However, I wonder if it might even be a lost image of that most circumscribed of East Anglian saints, Walstan. He is carrying a scythe on the wall a few miles off at Cavenham - could this be him here? Whatever, it is likely to be part of a hagiographical sequence which was later replaced by a Life of Christ sequence, which usually ran from west to east along the south wall. This would also explain the location of what might be part of an Annunciation scene.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestory of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust.
Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century Calvinistic prurience on the part of some reformer here. This would suggest that this cathecetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetic tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants; the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. It rises from the medieval perception that Christ was a working man, a carpenter, and it symbolises the dignity of labour and of craftsmanship.
I think it is extremely unlikely that it shows symbols of things which shouldn't be done on a Sunday, although Anne Marshall's Painted Churches site contains an interesting argument to the contrary.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
The glass alone is worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of three ranges: the life and Passion of Christ in the north aisle (although some glass has been reset across the church), images and hagiographies of Saints in the south aisle, and a heavily restored but nonetheless fascinating sequence of the life of Christ in the west window. This bears close attention, for the fragments set into the restored work include several fascinating details, including the punctured feet of Christ ascending to heaven in a cloud of glory, and a Harrowing of Hell including the crushing of a fallen angel.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. A rather more sober school of thought argues that it is a fuller's club, used for dying clothes, and the symbol of St James the Less. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not convincing. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less, and it really is a fuller's club. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
If the windows and wallpaintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is a great story about the iconoclast William Dowsing turning up here and demanding the chest be opened; on account of the missing key, it couldn't be. Unfortunately, this story isn't true: Dowsing never visited Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here.
Or, more precisely they aren't - both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are lifesize photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it; we are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Postscript: I wrote the above in 2000, adapting it in 2003 and 2006. I have left the structure of the narrative as it was when I made those early visits. I have corrected some confusion in the description of the glass, a consequence of my general inability to tell my left from my right. I have also taken the opportunity to go through the text and make myself sound slightly less pompous.
One of the delights of Hessett is that there really are genuine mysteries about some of the wall paintings and glass. Digital enhancement has added to these mysteries rather than solving them. In addition, one thing I have learned as I get older, and perhaps a little bit wiser, is that there really are more things in heaven and earth than are dreamed of in our early 21st century philosophy. If this has led to an unravelling of the certainties previously offered, then I can only plead that this is another excuse to go back soon.
Es considerando el segundo carnaval más popular y conocido internacionalmente, después de los que se celebran en Río de Janeiro (Brasil). De hecho la ciudad de Santa Cruz de Tenerife está hermanada con la ciudad de Río de Janeiro por esta razón.
Reference: Photo 24/(135)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 25 Jul 1915
See also:
- View this at the British Library's site
Esse foi criado pela Luciane, que saiu do flickr, e pela Gabs.
1: Procurando Dory - Cadê o esquecido de sua caixinha?
2: Procurando Nemo - Mostra pra gente aquele esmalte que foi difícil de encontrar, mas a busca valeu a pena! *_*
3: Toy Story - Aquele amigão pra todas as horas.
4: Pocahontas - "Can you paint with all the colors of the wind?" (Você pode pintar com todas as cores do vento?) Claro, usa um holo!! ^^
5: A Pequena Sereia - Inspirando-nos em Ariel, que tal usar algo que remeta à praia ou ao fundo do mar, ou ainda um que você considere exótico (tal qual os objetos dos humanos que ela colecionava)? Lembrando que ainda há a opção de se inspirar nas personagens ou no filme em geral.
6: A Bela e A Fera - Bela amava ler! Que tal escolher o esmalte da semana inspirado em algum livro, seja pela história, pela capa, pelos autores, personagens, etc? Lembrando que também vale se inspirar no próprio filme.
7: Cinderella - Que tal um azul bem bonito, pra combinar com o vestido?
8: Fronzen - O desafio acabou, quero todas pintando azunhas e cantando juntas: let it gooo! let it goooo! ahuahuah
A proposta é uma mani livre, para dar adeus ao desafio.
As with most South American countries, Ecuador is known for its good weather and friendly citizens. Although many have not considered Ecuador real estate in the past, it is now thought of as an excellent country to buy property in. The laws allow foreigners to own property, there is excellent medical care if you need it and you are surrounded by great weather and friendly people.
Read more here...
www.internationalrealestatelistings.com/blog/consider-ecu...
Adesso considera un po' questi qua davanti. Hanno preoccupazioni, contano i chilometri, pensano a dove devono dormire stanotte, quanti soldi per la benzina, il tempo, come ci arriveranno... e in tutti i casi ci arriveranno lo stesso, capisci. Però hanno bisogno di preoccuparsi e d'ingannare il tempo con necessità fasulle o d'altro genere, le loro anime puramente ansiose e piagnucolose non saranno in pace finché non riusciranno ad agganciarsi a qualche preoccupazione affermata e provata e una volta che l'avranno trovata assumeranno un'espressione facciale che le si adatti e l'accompagni, il che, come vedi, è solo infelicità, e per tutto il tempo questa aleggia intorno a loro ed essi lo sanno e anche questo li preoccupa senza fine.
J.K citazione
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
Qualche considerazione:
1- ho tirato giù il povero cestista che da mesi volteggiava per aria
2- sono alla ricerca di qualcosa che non trovo, forse perchè la cerco fuori di me e non dentro di me, questo si vede molto bene nelle foto che non faccio e non nelle poche che faccio
3- mi sa che è meglio se riparto da zero con la fotografia, per ora ho un rapporto molto conflittuale con la macchina nuova (infatti questa è fatta con la compatta da cantiere), ma sono certo che non dipenda da lei, ma dalle mie illusioni
So I've not uploaded in a while and i havent done my 365 lately.
Things have been rough for me and took a break on my photos...
Things still arent better yet, i think i've decided to not do my 365 right now i may continue it later but right now i just need to not be "forced" to post a picture so i'll post when i have something for you guys.
Yesterday was a rough one for me, my boyfriend and I broke up. I know it may not seem that long but it really was in my heart, to lose something that you've become so attached too...
I've also been tagged by HearTiaRoar.
So here is 10 things about me:
1. I love gummy bears and whipcream.
2. I'm a Chuck E Cheese virgin.
3. I don't trust anyone fully. I have bad trust issues.
4. I'm still a little kid at heart.
5. I'm scared of haircuts.
6. I think way to much about the simplest things.
7. I named my camera Tony and love it very much.
8. I'm taller than you probably think.
9. I wish i could go back to when i was 5.
10. I love watching baseball games. I grew up watching it my whole life.
Please consider leaving a comment if you fave, it is lovely to hear from you! xx
A quiet weekend at home, the last one for a while. I'm out and about for the next 4 weekends!
I haven't worn this dress in a little while, so Idecided to give it a run out, along with stilettos rather than wedges for a chiange. This is the first time I've been able to wear this dress without a corset underneath, so I am quite pleased about that.
I consider this to be one of the grandest waterfalls in the park, it was also the toughest for me to safely get a good angle. Needless to say I got wet and muddy for this photo.
Here is a video of some daring kids using this waterfall as a waterslide:
“Southwest” includes Kim Kardashian (34) as children’s names categorically. But the compass has still more to offer: Now the pregnant It Girl “Easton” did as the name of her son from this week.
That your next child “Southwest” might mean, reality TV star...
failerz.com/kim-kardashian-considers-her-son-to-call-easton/
Please consider leaving a comment if you fave, it is lovely to hear from you! xx
Photos from the main event - we had a wallking float with banners promoting the Leeds First Friday event and the various venues where it takes place.
It was incredible, completely overwhelming walking through the streets lined with thousands of people, all cheering and waving and taking pictures. It was one of the best experiences of my life, and one I will never ever forget. Pride is exactly right - I felt very proud to be a part of this wonderful community!
Kinda glad I wore trainers for the walk, because some of the girls really struggled with high heels! But I think next year I might go with wedges, I think they would be ok. And much more girly! ;-)
Le Musée National de l'Automobile de Turin - MAUTO, dédié à l'origine à Carlo Biscaretti di Ruffia l'est maintenant à Gianni Agnelli Le Musée est implanté à Turin, la capitale italienne de l'automobile et considéré comme l'un des plus importants et plus anciens musées automobiles dans le monde.
I consider that our present sufferings are not worth comparing with the glory that will be revealed in us. For the creation waits in eager expectation for the children of God to be revealed. For the creation was subjected to frustration, not by its own choice, but by the will of the one who subjected it, in hope that the creation itself will be liberated from its bondage to decay and brought into the freedom and glory of the children of God.
[Romans 8:18-21 NIV]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Yep, I consider it pretty much a magic moment when I can get this many kids all looking at the camera at once!
I don't often shoot families in studio, preferring to use locations when possible, but this year I've had a record number of last minute request just before Christmas. This was a group of cousins for an enlargement for Grandma. As to be expected with plenty of kids, there were some active ones, including those that would do exactly the opposite of whatever asked.
My strategy was that I staged out of the office area, keeping moms and kids in there until called in. I brought in a few at a time and placed them before bringing in another set. It definitely helped calm the chaos. This was the best out of 20 shots in terms of everyone looking at the right direction and smiling.
Love to hear any suggestions to improve posing, lighting, etc.
MAFRA (Portugal): Considerado o maior e mais sumptuoso monumento português, a basílica tem uma espantosa colecção de estatuária italiana.
portugal-imagens.blogspot.com/
La Basílica de San Martín de Mondoñedo está considerada como la catedral más antigua de España, ya que en el siglo IX fue sede de dos obispados del Reino de Galicia, uno trasladado desde Dumio, en el distrito de Braga (Portugal), y otro trasladado desde Bretoña, en la provincia de Lugo. El edificio actual es románico de finales del siglo XI y los recios contrafuertes son obra del siglo XVIII.
Tiene elementos arquitectónicos de los siglos X, XI y XII. Es de planta basilical con tres naves y sus tres ábsides semicirculares, donde pueden apreciarse las bandas y los arquillos ciegos de factura lombarda. El central está dividido por tres fajas verticales con ventanas en cada tramo adornadas con un ajedrezado. Dispone de un crucero y cimborrio cuyo tambor tiene la originalidad de ser rectangular con las esquinas redondeadas. Las naves están separadas por tres pares de pilares, con columnas adosadas a los que están más próximos al crucero. Las naves laterales reciben la luz de los vanos abocinados; la nave central se cubre con techumbre de madera y tejado a dos aguas.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Mart%C3%ADn_de...
Un estudiante universitario salió un día a dar un paseo con uno de sus profesores, a quien los alumnos consideraban un amigo debido a su bondad para quienes seguían sus instrucciones.
Mientras caminaban, vieron en el camino un par de botas viejas y supusieron que pertenecían a un anciano que trabajaba en el campo de al lado y que estaba a punto de terminar sus labores diarias.
El alumno dijo al profesor:
- Gastémosle una broma; escondamos las botas y ocultémonos detrás de esos arbustos para ver su cara cuando no los encuentre.
- Mi querido amigo -le dijo el profesor-, nunca tenemos que divertirnos a expensas de los pobres. Tú eres rico y puedes darle una alegría a este hombre.
Coloca una moneda en cada zapato y luego nos ocultaremos para ver cómo reacciona cuando las encuentre.
Eso hizo y ambos se ocultaron entre los arbustos cercanos.
El hombre pobre, terminó sus tareas, y cruzó el terreno en busca de sus botas y su abrigo.
Se puso su abrigo y luego deslizó el pie en la bota, pero al sentir algo adentro, se agachó para ver qué era y encontró la moneda. Pasmado, se preguntó qué podía haber pasado. Miró la moneda, le dio vuelta y la volvió a mirar. A continuación, miró a su alrededor, hacia todos lados, pero no se veía a nadie.
La guardó en el bolsillo y se puso la otra bota; su sorpresa fue doble al encontrar la otra moneda.
Sus sentimientos lo sobrecogieron; cayó de rodillas y levantó la vista al cielo pronunciando un ferviente agradecimiento en voz alta, hablando de su esposa enferma y sin ayuda y de sus hijos que no tenían pan y que debido a una mano desconocida, tendrían para cenar.
El estudiante quedó profundamente afectado y se le llenaron los ojos de lágrimas.
- Ahora- dijo el profesor- ¿no estás más complacido que si le hubieras gastado una broma?
El joven respondió:
- Usted me ha enseñado una lección que jamás olvidaré. Ahora entiendo algo que antes no entendía: es mejor dar que recibir.
Another day, another E-Type, and this example is one of what many consider the better cars, being the stylish and flamboyant Series I fitted with the powerful and reliable 4.2L Straight Six engine!
One of the most revolutionary cars in all of motoring history, a car that has often been declared as the Space Shuttle in the Middle Ages! Beauty, style and performance all harnessed in one simple bodyshell. It can't be anything other than the Jaguar E-Type!
When it was launched in 1961, Britain was still very much an antiquated Victorian country, and transport was not much better. Steam Trains still had another 7 years to go and the most you could get out of the Motor Industry were flaky BMC products such as the humble Austin Cambridge and the Morris Minor. Unbeknownst to this very slow moving world of modesty, the entire picture was about to be turned on its head. In music, the Beatles rocked their way into everlasting legacy, the De Havilland Comet brought nations closer together, and Jaguar launched the E-Type, a car that set the motoring world ablaze!
Designed by Malcolm Sayer and powered by a 3.8L Straight Six engine, the Jaguar E-Type could now whisk people to 150mph, and with there being no speed limits back then, that was not too much of a stretch to imagine. You just had to look at it to see nothing but speed, everything about it was designed to go as fast as possible!
In spirit, the E-Type can trace its roots back to the race ready D-Type, also designed by Malcolm Sayer and notable for raking home victory after victory at Le Mans, being credited with being one of the most advanced sports cars of all time. A limited edition road going version, the XKSS, made the idea of a D-Type on the public highway possible, and parts developed in this often forgotten little gem helped to culminate in the final and superb E-Type.
On March 16th 1961, the E-Type was released upon the unsuspecting public at the Geneva Motor Show to an absolute roar of applause and acclaim. It made the front page of pretty much every newspaper in Europe, and orders absolutely rolled in by the thousand! The thing that made the E-Type so desirable was the fact that it was fun on a budget, a high performance 150mph capable machine for an affordable price of just £2,000, the equivalent of about £40,000 today. Now you may think that's a lot of money, but when you consider that a car of comparable beauty and performance was double that price, you'd know it was something truly special.
However, this proved to be a problem for the comparatively small company, who simply couldn't turn out the cars fast enough to supply the demand. Millions and Millions of Pounds worth of orders were being placed, with some owners even going so far as to place deposits at 10 to 15 Jaguar dealers hoping that one of them could give them a car! The biggest problem was trying to supply differing markets, especially if you were British because in order to appease the desperate American buyers, cars would be built in LHD for 6 month periods at a time, which meant if you were someone wishing to buy a car here in the UK, you'd be stuck for the best part of a year!
But it was obvious why, these cars were unrealistically fast! Tap the pedal and you'd be at 60mph in 7.1 seconds, press it further and you'd be over 100, and if you pressed it further, the bonnet would rise and with blood gushing from your eyes and every fibre of your body telling you to stop, you'd be hitting 150mph! That doesn't sound like much today considering the Aston Martins and Ferrari's we're so used to, but in 1961 this was absolutely unheard of.
Not that your E-Type would ever make 150mph because Jaguar had been a tad naughty. As it turns out the initial test cars that had been leant to the Press had been tuned to reach that golden 150, but the rest of the flock would barely go that fast. This was further compounded by a troublesome gearbox, hopeless brakes, cramped interior and uncomfortable seats. Jaguar's con had only been done to bless their car with the initial fame that would sell the production models, but in 1965 Jaguar chose to redress the issue by fitting the car with a much larger and much better 4.2L Straight Six engine.
But once the novelty had worn off the E-Type was starting to become maligned. Much like owning a topping Rolls Royce, seeing one being driven in the street opened the wounds of jealousy that continued to divide the social classes, and if you were very lucky you'd only get away with a disapproving look or a nasty name, if you weren't expect a brick, a can of paint or a rock to be hurtled in your direction! At the same time because so many cars had been built, the Second Hand market became saturated which meant that people could pick up early ones for a song, which removed the exclusivity that these vehicles had once commanded. Again, much like a Rolls Royce these owners only saw them as ways to get women to take off their clothes for you, and thus didn't exactly give them the love that such cars required.
However, this was before we got to the biggest problem of them all, America.
Actually I take it back, America can't be blamed for everything, in fact the stringent safety legislation and rules on car manufacturing can be credited to the increased safety of modern motor vehicles, the people to be blamed though are in fact the car manufacturers themselves for not being able to incorporate the compulsory safety features whilst still keeping the car stylish.
But still, throughout the 1960's the death of James Dean had resulted in a gradual increase in safety legislation on US Highways, and in order to have a market there, cars had to conform. The height of the headlights, the bumpers, the smoke emissions, the recess of the switches, all of these things were scrutinised and had to be taken into account by car builders. The E-Type became a shameful victim as its looks were compromised with changes to the lights, and body profile. To be honest the Series II was not that bad a car, still retaining much of its charm, especially when you compare it to 1971's Series III which was formulated by British Leyland. With the cabin looking like it had sunk, the lights being stretched and contorted, and sporting a massive 5.3L V12 engine. By this point many of the cars former buyers saw the E-Type as damaged beyond repair and thus sales began to tumble. British Leyland however had been planning to replace the car since the late 1960's, and after much deliberation its replacement, the Jaguar XJS, was launched in 1975, bringing an end to the increasingly hard to sell E-Type. Although very well performing, in terms of looks, the XJS was considered by many classic Jag fans to be absolute heresy, but would go on to have a much longer life that the E-Type, being built until 1996.
However, even before the last E-Type left the production line the originals were already being hailed as classical heroes. In total well over 70,000 of these cars had been sold, and a large number of them remain on the roads. During the late 70's and 80's the car continued to be a major pin-up, often ending up rather oddly, and to my mind a bit shamefully, in erotic films and porn movies (I sure hope they washed thoroughly afterwards). But when you look at the E-Type you can understand why, it is a seriously sexy looking car!
So iconic and so stylish were these cars that over the years many different replica models have also been made. Throughout the 1990's the company Eagle GB built the Eagle E-Type, brand new cars built to exactly the same specifications as the original Series I versions, whilst in 2011 the Eagle Speedster was produced, revising the bodyshape but attempting to maintain the charm of the original, and in 2014 several remaining chassis from the original production run that had been kept in storage are intended to be built into fully functioning cars.
The E-Type may have died a long time ago, but its reputation isn't letting up! :D
I consider this one of the most difficult of the Herschel 400 objects for small to medium-sized telescopes. Yes, it is a dim and small galaxy, but I believe that its real difficulty rests with it being so thin. In the above drawing I was not able, at first, to see NGC 4845 at the power (84x) used to make the drawing. It was only after I had developed a feeling of what I was looking for, by using a much higher power (232x), and then returning to the lower power was I able to see its tiny sliver-like glow. I found it far harder to see/observe than its 11.2 magnitude implies. I am surprised it made the Herschel 400 list!! On the upside is that if you can locate this galaxy in your telescope, you will likely not have too much difficulty with the other 399 objects on the Herschel list.
What NGC 4845 looks like with my 155mm refractor from my suburban backyard is very misleading. If you have the time, look up how this galaxy appears in the Hubble Space Telescope – it will shock you. This galaxy contains numerous dust lanes and an active core fueled by a 300,000 solar mass black hole. A magnificent Island Universe indeed!!
To see additional astronomy drawings visit: www.orrastrodrawing.com
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Friday night pictures from an epic, incredible weekend in Leeds. As well as the usual Leeds First Friday event, we were also staying for Leeds Pride on the Sunday - my very first Pride. I met so many wonderful people and had an amazing time, one I will never ever forget.
It was a busy and very sociable night in the Cosmo on Firday! Lots of friends old and new!
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Gemma and I spent a lovely Sunday out and about round town.
At The Deep submarium, Hull
I consider this H17 to be the last train which truly brought railfans trackside at Howland for reasons beyond documentation of the expiring signalling structures of the North Toronto Subdivision. CP 8757 would lead a 731 westbound in perfect light later that day, but the trackside presence was already jump started in the morning by the usual H17 recrew spilling over to daylight.
CP 6259 and CP 3087 were rumored to be on this train returning from assignment to Spence Yard up north. The addition of these to the pool of potential leaders on top of CP 6255 made the odds pretty favourable, and an effort to capture them was certainly warranted regardless of which one eventually got confirmed. In my opinion, the best of the bunch led, but learning that CP 9726 was initially paired with 6255 after we lowered our lenses and watched the power roll by made for a subtle look of relief for what we got given that a GE was among the candidates for leader.
Se considera que es uno de los primeros monasterios cistercienses edificados en la península ibérica. El patronazgo inicial correspondió a los herederos de Ponce Giraldo de Cabrera, Príncipe de Zamora, y tuvo su auge económico hasta el siglo XIII. A este periodo dorado le sobrevino una serie de siglos desde el XVI al XVIII caracterizados por la racionalización y ahorro de los recursos obtenidos durante la Edad Media. La comunidad de monjes inicial que vivía en el conjunto se supone fue de doscientos, cifra que se vio enormemente rebajada en los siglos posteriores a poco más de una veintena. Es posible que tuvieran una cantidad similar de criados diversos entre mozos de cuerda, pastores, vaqueros, hortelanos, cocineros, etc.
La primera noticia documentada a lo largo del siglo XI se debe a un pergamino de 1042 que en grafía visigótica establece que las propiedades de un conjunto de villas cercanas, por orden regia de Fernando I de León se donan a un propietario de nombre arabizado denominado Keia Hazbe, con usufructo vitalicio, y que tras su muerte se cederán al monasterio de Santiago de Moreruela. En 1143 se documenta que el rey Alfonso VII de León cede a su leal seguidor Ponce Giraldo de Cabrera el monasterio, que unos años más tarde cambia de advocación a Santa María. Es de suponer que el cambio de advocación supuso la reforma y el establecimiento de la Orden del Císter.
Durante el siglo XIX y a raíz de las sucesivas desamortizaciones monacales por parte del Estado español, el monasterio viene a la ruina física y económica. En Diciembre de 1835 abandonan definitivamente el monasterio los pocos monjes que quedaban. El monasterio se vendió como cantera. Los campesinos de la zona se llevaban carros cargados de material pétreo para hacer sus casas. Así, el hastial occidental de iglesia en las décadas siguientes se derrumba y con sus piedras se edifica igualmente la iglesia del vecino municipio de la Granja de Moreruela.
Actualmente solo se conservan algunas ruinas gracias a la intervención con expropiaciones del Ministerio de Cultura en 1981.
La cremazione è considerata dagli induisti il passaggio fondamentale per permettere all'anima di raggiungere il più rapidamente possibile una nuova dimensione, evento non realizzabile finchè il vecchio corpo esiste come tale. La cremazione dovrebbe avvenire, se possibile, lo stesso giorno del decesso.
I riti funebri variano a seconda di molti fattori, ma le linee dettate dai Purana indicano che il cadavere debba venir lavato e vestito con abiti tradizionali nuovi. Venga poi adagiato prima sul suolo, e lì commemorato da parenti e amici, e in seguito posto su una sorta di barella in legno, adornata di fiori coi quali si ricoprirà lo stesso defunto, dopo che questo sia stato denudato e coperto da un telo che varia di colore a seconda del sesso e dello stato civile e l'età, coi pollici e gli alluci legati insieme.
I parenti maschi del defunto portano dunque la barella sulle spalle fino al luogo della cremazione, se possibile passando per luoghi che furono significativi durante la vita appena spenta. Il luogo della cremazione, chiamato Shmashana, è tradizionalmente posto sulle rive di un fiume o del mare, dove la pira viene preparata. Su questa viene posto il cadavere volto verso Sud; tutti gli eventuali gioielli vengono rimossi e si pone dello sterco di vacca sul petto del defunto.
Presiedono il rito generalmente il figlio maschio primogenito se il defunto è il padre, il maschio ultimogenito se la defunta è la madre, accompagnati dalle preghiere del sacerdote; le donne raramente sono ammesse alla cerimonia.
Il figlio dovrà dunque fare tre volte il giro della pira in senso antiorario, aspergendola con acqua o/e ghee - burro chiarificato - contenuti in un recipiente di terracotta che poi romperà schiantandolo al suolo, per poi accendere lui stesso i legni in corrispondenza della testa del defunto e poi abbandonerà la cerimonia. Si recitano preghiere per incoraggiare le varie parti del corpo a riunirsi con gli elementi: la voce con il cielo, gli occhi con il sole, il respiro col vento e così via.
Quando le fiamme avranno consumato il corpo - è necessaria qualche ora - i partecipanti al funerale tornano a casa, lavano se stessi, si vestono di bianco in segno di lutto e puliscono la casa da cima a fondo, perchè considerata, come la famiglia intera, resa impura, contaminata dalla morte: non si recano nè al tempio nè a casa d'altri fino al completamento dei riti.
A Pashupatinath i "ghat" per la cremazione posti di fronte al tempio sono riservati ai componenti della famiglia reale, ai politici e alle persone importanti.
Altri sei ghat per la cremazione sono destinati alla gente comune e le cremazioni sono molto frequenti.
In questo luogo sacro la vita e la morte convivono con una naturalezza che ha dell'assurdo: bambini che giocano, animali, vecchi, pellegrini, turisti, un mondo intero che vive e ingloba la morte.
Sono rimasta al tempio per due ore ed ho visto sei cerimonie funebri...pensavo che non sarei riuscita a guardare una cremazione, ma trovandomi davanti alle pire accese mi è sembrato tutto molto naturale.
Tornata a casa e rivedendo le fotografie che avevo fatto sono rimasta sconvolta...senza la vita che c'era nel tempio la morte è tornata ad essere la morte.
La pira della fotografia si trovava davanti al tempio ed era destinata alla moglie di un attore famoso, le pire per le persone comuni, oltre a non essere davanti al tempio non sono così adornate.
. . . OTHER COUNTRIES - OTHER CUSTOMS AND TRADITIONS
. . . andere Länder - andere Sitten! That's life . . .
. . . who are we to blame this?
Indians blame us for eating cows!
____________________________
Dog meat refers to the flesh and other edible parts derived from dogs. Historically, human consumption of dog meat has been recorded in many parts of the world, including East and Southeast Asia, West Africa, Europe, Oceania and the Americas.
In the 21st century, dog meat is consumed in many parts of China, Korea and Vietnam, parts of Switzerland, as well as parts of Europe, Americas, the African continent, such as Cameroon, Ghana and Liberia.
Today, a number of cultures view the consumption of dog meat to be a part of their traditional and day-to-day cuisine, while others - such as Western culture - consider consumption of dog to be a taboo, although they have been consumed in times of war and/or other hardships. It was estimated in 2014 that worldwide, 25 million dogs are eaten each year by humans.
DOG BREEDS USED FOR MEAT
NUREONGI
The Nureongi (Korean: 누렁이) is a yellowish landrace from Korea. Similar to other native Korean dog breeds, such as the Jindo, nureongi are medium-sized spitz-type dogs, but are larger with greater musculature and a distinctive coat pattern. They are quite uniform in appearance, yellow hair and melanistic masks. Nureongi are most often used as a livestock dog, raised for its meat, and not commonly kept as pets.
HAWAIIAN POI
The Hawaiian Poi Dog or ʻīlio (ʻīlio mākuʻe for brown-furred Poi dogs) is an extinct breed of pariah dog from Hawaiʻi which was used by Native Hawaiians as a spiritual protector of children and as a source of food.
XOLOITZCUINTLE (MEXICAN HAIRLESS)
The Xoloitzcuintle, or Xolo for short, is a hairless breed of dog, found in toy, miniature and standard sizes.The Xolo also comes in a coated variety and all three sizes can be born to a single litter. It is also known as Mexican hairless dog in English speaking countries, is one of several breeds of hairless dog and has been used as a historical source of food for the Aztec Empire.
BY REGION
AFRICA
CAMEROON
Among the Vame people, domestic dogs are only eaten for specific rituals.
DEMOCRATIC REPUBLIC OF CONGO
Despite tests showing 156 dogs were infected with Ebola, the consumption of dog meat is no longer taboo.
GHANA
The Tallensi, the Akyim's, the Kokis, and the Yaakuma, one of many cultures of Ghana, consider dog meat a delicacy. While the Mamprusi generally avoid dog meat, it is eaten in a "courtship stew" provided by a king to his royal lineage. Two Tribes in Ghana, Frafra and Dagaaba are particularly known to be "tribal playmates" and consumption of dog meat is the common bond between the two tribes. Every year around September, games are organised between these two tribes and the Dog Head is the trophy at stake for the winning tribe
MOROCCO
Islamic law bans the eating of dog meat as does the government of Morocco, however the consumption of dog meat still occurs particularly in poorer regions, often being passed off as other meats as was the case in 2013 and 2009 cases
NIGERIA
Dogs are eaten by various groups in some states of Nigeria, including Akwa Ibom, Cross River, Plateau, Ondo, Kalaba, Taraba and Gombe of Nigeria. They are believed to have medicinal powers.
In late 2014, the fear of contracting the Ebola virus disease from bushmeat led at least one major Nigerian newspaper to imply that eating dog meat was a healthy alternative. That paper documented a thriving trade in dog meat and slow sales of even well smoked bushmeat.
AMERICA
CANADA
It is legal to sell and serve dog meat, providing that it must be killed and gutted in front of federal inspectors. If a dog is killed out of the view of federal inspectors, the killing might involve cruelty, which would be a violation of the Criminal Code, and those convicted may be sentenced to up to 5 years in prison.
ANCIENT MEXICO
In the time of the Aztec Empire in what is now central Mexico, Mexican Hairless Dogs were bred, among other purposes, for their meat. Hernán Cortés reported when he arrived in Tenochtitlan in 1519, "small gelded dogs which they breed for eating" were among the goods sold in the city markets. These dogs, Xoloitzcuintles, were often depicted in pre-Columbian Mexican pottery. The breed was almost extinct in the 1940s, but the British Military Attaché in Mexico City, Norman Wright, developed a thriving breed from some of the dogs he found in remote villages.
UNITED STATES OF AMERICA
The term "dog" has been used as a synonym for sausage since 1884 and accusations that sausage makers used dog meat date to at least 1845. The belief that sausages contained dog meat was occasionally justified.
In the late 19th century, a cure for tuberculosis (then colloquially termed "consumption") using an exclusive diet of dog meat was tried. Reports of families eating dog meat out of choice, rather than necessity, were rare and newsworthy. Stories of families in Ohio and Newark, New Jersey who did so made it into editions of The New York Times in 1876 and 1885.
In the early 20th century, dog meat was consumed during times of meat shortage.
NATIVE AMERICANS
The traditional culture surrounding the consumption of dog meat varied from tribe to tribe among the original inhabitants of North America, with some tribes relishing it as a delicacy, and others (such as the Comanche) treating it as a forbidden food.
Native peoples of the Great Plains, such as the Sioux and Cheyenne, consumed it, but there was a concurrent religious taboo against the meat of wild canines.
During their 1803–1806 expedition, Meriwether Lewis and the other members of the Corps of Discovery consumed dog meat, either from their own animals or supplied by Native American tribes, including the Paiutes and Wah-clel-lah Indians, a branch of the Watlatas, the Clatsop, the Teton Sioux (Lakota), the Nez Perce Indians, and the Hidatsas. Lewis and the members of the expedition ate dog meat, except William Clark, who reportedly could not bring himself to eat dogs.
The Kickapoo people include puppy meat in many of their traditional festivals. This practice has been well documented in the Works Progress Administration "Indian Pioneer History Project for Oklahoma".
AUSTRALIA
It is legal to eat dogs in most States and Territories, except for South Australia. However, it is illegal to sell dog meat in any Australian State or Territory.
ARTIC AND ANTARCTIC
British explorer Ernest Shackleton and his Imperial Trans-Antarctic Expedition became trapped, and ultimately killed their sled dogs for food. Norwegian explorer Roald Amundsen was known to have eaten sled dogs during his expedition to the South Pole. By eating some of the sled dogs, he required less human or dog food, thus lightening his load. When comparing sled dogs to ponies as draught animals he also notes:
"...there is the obvious advantage that dog can be fed on dog. One can reduce one's pack little by little, slaughtering the feebler ones and feeding the chosen with them. In this way they get fresh meat. Our dogs lived on dog's flesh and pemmican the whole way, and this enabled them to do splendid work. And if we ourselves wanted a piece of fresh meat we could cut off a delicate little fillet; it tasted to us as good as the best beef. The dogs do not object at all; as long as they get their share they do not mind what part of their comrade's carcass it comes from. All that was left after one of these canine meals was the teeth of the victim – and if it had been a really hard day, these also disappeared."
Douglas Mawson and Xavier Mertz were part of the Far Eastern Party, a three-man sledging team with Lieutenant B.E.S. Ninnis, to survey King George V Land, Antarctica. On 14 December 1912 Ninnis fell through a snow-covered crevasse along with most of the party's rations, and was never seen again. Mawson and Mertz turned back immediately. They had one and a half weeks' food for themselves and nothing at all for the dogs. Their meagre provisions forced them to eat their remaining sled dogs on their 507 km return journey. Their meat was tough, stringy and without a vestige of fat. Each animal yielded very little, and the major part was fed to the surviving dogs, which ate the meat, skin and bones until nothing remained. The men also ate the dog's brains and livers. Unfortunately eating the liver of sled dogs produces the condition hypervitaminosis A because canines have a much higher tolerance for vitamin A than humans do. Mertz suffered a quick deterioration. He developed stomach pains and became incapacitated and incoherent. On 7 January 1913, Mertz died. Mawson continued alone, eventually making it back to camp alive.
ASIA/PACIFIC
CHINA
Selling dog meat for consumption is legal in Mainland China and approximately 10 million dogs each year are slaughtered for consumption. The eating of dog meat in China dates back thousands of years. Dog meat (Chinese: 狗肉; pinyin: gǒu ròu) has been a source of food in some areas from around 500 BC and possibly even earlier. It has been suggested that wolves in southern China may have been domesticated as a source of meat. Mencius, the philosopher, talked about dog meat as being an edible, dietary meat. It is thought to have medicinal properties, and is especially popular in winter months in northern China, as it is believed to raise body temperature after consumption and promote warmth. Historical records have moreover shown how in times of food scarcities (as in war-time situations), dogs could also be eaten as an emergency food source.
Dog meat is sometimes called "fragrant meat" (香肉 xiāng ròu) or "mutton of the earth" (地羊 dì yáng) in Mandarin Chinese and "3–6 fragrant meat" (Chinese: 三六香肉; Cantonese Yale: sàam luhk hèung yuhk) in Cantonese (3 plus 6 is 9 and the words "nine" and "dog" have close pronunciation. In Mandarin, "nine" and "dog" are pronounced differently).
In modern times, the extent of dog consumption in China varies by region, most prevalent in Guangdong, Yunnan and Guangxi, as well as the northern provinces of Heilongjiang, Jilin and Liaoning. It is still common to find dog meat served in restaurants in Southern China, where dogs are specially raised on farms. However, there are instances of finding stolen pet meat on menus. Chinese netizens and the Chinese police intercepted trucks transporting caged dogs to be slaughtered in localities such as Chongqing and Kunming. In 2014, 11 people in the Hunan province were sentenced to prison for allegedly poisoning over 1,000 dogs and selling the poisonous meat to Yulin, Guangxi has held an annual festival of eating dog meat. This purportedly celebrates the summer solstice, however, in 2014, the municipal government published a statement that the festival is not a cultural tradition, rather, a commercial event held by restaurants and the public. Various dog meat dishes (and more recently, cats) are eaten, washed down by lychees wine. The festival in 2011 spanned 10 days, during which 15,000 dogs were consumed. Estimates of the number of dogs eaten during the festival range between 10 and 15 thousand. Festival organisers say that only dogs bred specifically for consumption are used, however, there are claims that some of the dogs purchased for slaughter and consumption are strays or stolen pets, as evidenced by their wearing collars. Some of the dogs eaten at the festival are burnt or boiled alive and there are reports that the dogs are sometimes clubbed or beaten to death in the belief that the increased adrenalin circulating in the dog's body adds to the flavour of the meat. At the 2015 festival, there were long queues outside large (300-seat) eateries which sold the dog meat for around £4 (€5.60) per kilogram. Prior to the 2014 festival, eight dogs (and their two cages) sold for 1,150 yuan ($185) and six puppies for 1,200 yuan. Prior to the 2015 festival, a protester bought 100 dogs for 7,000 yuan ($1,100; £710). The animal rights NGO Best Volunteer Centre claims the city has more than 100 slaughterhouses, processing between 30 and 100 dogs a day. However, the Yulin Centre for Animal Disease Control and Prevention claims the city has only eight dog slaughterhouses selling approximately 200 dogs, although this increases to about 2,000 dogs during the Yulin festival. There are several campaigns to stop the festival; more than 3,000,000 people have signed petitions against it on Weibo (China’s version of Twitter) and a petition to stop the festival (addressed to the Chinese Minister of Agriculture, Chen Wu) reads "Do the humane thing by saying no to this festival and save the lives of countless dogs that will fall victim to this event - an event that will butcher, skin alive, beat to death etc. thousands of innocent dogs." Prior to the 2014 festival, doctors and nurses staff were ordered not to eat dog meat there, and local restaurants serving dog meat were ordered to cover the word "dog" on their signs and notices.
The movement against the consumption of cat and dog meat was given added impetus by the formation of the Chinese Companion Animal Protection Network (CCAPN). Expanded to more than 40 member societies, CCAPN in 2006 began organizing protests against eating dogs and cat, starting in Guangzhou and following up in more than ten other cities with a positive response from the public. Before the 2008 Beijing Olympics, officials ordered dog meat to be taken off the menu at its 112 official Olympic restaurants to avoid offending visitors from various nations who might have been concerned by the offering of dog meat.
In 2010, draft legislation was proposed to prohibit the consumption of dog meat. The legislation, however, was not expected to be enforced, making the consumption of dog meat illegal if it passed. In 2010, the first draft proposal of the legislation was introduced, with the rationale to protect animals from maltreatment. The legislation includes a measure to jail people for up to 15 days for eating dog meat. However, certain cultural food festivals continue to promote the meat. For example, in 2014, 10,000 dogs were killed for the Yulin dog eating festival.
As of the early 21st century, dog meat consumption is declining or disappearing. In 2014, dog meat sales decreased by a third compared to 2013. It was reported that in 2015, one of the most popular restaurants in Guangzhou serving dog meat was closed after the local government tightened regulations; the restaurant had served dog meat dishes since 1963. Other restaurants that served dog and cat meat dishes in the Yuancun and Panyu districts also stopped serving these in 2015.
HONG KONG
In Hong Kong, the Dogs and Cats Ordinance was introduced by the British Hong Kong Government on 6 January 1950. It prohibits the slaughter of any dog or cat for use as food, whether for mankind or otherwise, on pain of fine and imprisonment. In February 1998, a Hong Konger was sentenced to one month imprisonment and a fine of two thousand HK dollars for hunting street dogs for food. Four local men were sentenced to 30 days imprisonment in December 2006 for having slaughtered two dogs.
TAIWAN
In 2001, the Taiwanese government imposed a ban on the sale of dog meat, due to both pressure from domestic animal welfare groups and a desire to improve international perceptions, although there were some protests. In 2007, another law was passed, significantly increasing the fines to sellers of dog meat. However, animal rights campaigners have accused the Taiwanese government of not prosecuting those who continue to slaughter and serve dog meat at restaurants. Although the slaughter and consumption of dog meat is illegal in Taiwan, there are reports that suggest the practice continues as of 2011. In Taiwan, dog meat is called "fragrant meat" (Chinese: 香肉; pinyin: xiāngròu). In 2007, legislators passed a law to fine sellers of dog meat NT$250,000 (US$7,730). Dog meat is believed to have health benefits, including improving circulation and raising body temperature.
INDIA
In India, dog meat is eaten by certain communities in the Northeast Indian border states of Mizoram, Nagaland, and Manipur where it is considered to be a delicacy. These states border Burma and may have been influenced by Chinese culture and traditions.
INDONESIA
Indonesia is predominantly Muslim, a faith which considers dog meat, along with pork to be "haraam" (ritually unclean) and therefore do not eat it. However, dog meat is eaten by several of Indonesia's non-Muslim minorities.
The consumption of dog meat is associated with the Minahasa culture of northern Sulawesi, Maluku culture, and the Bataks of northern Sumatra, where dog meat is considered a festive dish usually reserved for occasions such as weddings and Christmas.
Popular Indonesian dog-meat dishes are rica-rica, also called rintek wuuk or "RW", rica-rica waung, guk-guk, and "B1". On Java, there are several dishes made from dog meat, such as sengsu (tongseng asu), sate jamu, and kambing balap.
Dog consumption in Indonesia gained attention in United States where dog is a taboo food, during 2012 Presidential election when incumbent Barack Obama was pointed by his opponent to have eaten dog meat served by his Indonesian stepfather Lolo Soetoro during his stay in the country
JAPAN
The consumption of dog meat is not a feature of modern Japanese culture because Japanese people believe that certain dogs have special powers in their religion of Shintoism and Buddhism. Dog meat was consumed in Japan until 675 AD, when Emperor Temmu decreed a prohibition on its consumption during the 4th–9th months of the year. Normally a dog accompanied the emperor for battle, so it was believed that eating a dog gave emperors bad luck.[citation needed] In Japanese shrines certain animals are worshipped, such as dogs as it is believed they will give people a good luck charm. Animals are described as good luck in scrolls and Kakemono during the Kofun period, Asuka period and Nara period. According to Meisan Shojiki Ōrai (名産諸色往来) published in 1760, the meat of wild dog was sold along with boar, deer, fox, wolf, bear, raccoon dog, otter, weasel and cat in some regions of Edo. Ōta Nampo recorded witnessing puppies being eaten in Satsuma Province in a dish called Enokoro Meshi (えのころ飯).
KOREA
Gaegogi (개고기) literally means "dog meat" in Korean. The term itself, however, is often mistaken as the term for Korean soup made from dog meat, which is actually called bosintang (보신탕; 補身湯, Body nourishing soup) (sometimes spelled "bo-shintang").
The consumption of dog meat in Korean culture can be traced through history. Dog bones[further explanation needed] were excavated in a neolithic settlement in Changnyeong, South Gyeongsang Province. A wall painting in the Goguryeo Tombs complex in South Hwangghae Province, a World Heritage site which dates from the 4th century AD, depicts a slaughtered dog in a storehouse. The Balhae people also enjoyed dog meat, and the modern-day tradition of canine cuisine seems to have come from that era.
Although their Mohe ancestors did not respect dogs, the Jurchen people began to respect dogs around the time of the Ming dynasty and passed this tradition on to the Manchu. It was prohibited in Jurchen culture to use dog skin, and forbidden for Jurchens to harm, kill, and eat dogs, as the Jurchens believed the "utmost evil" was the usage of dog skin by Koreans.
SOUTH KOREA
Dog meat is often consumed during the summer months and is either roasted or prepared in soups or stews. The most popular of these soups is bosintang and gaejang-guk, a spicy stew meant to balance the body's heat during the summer months. This is thought to ensure good health by balancing one's "Qi", the believed vital energy of the body. A 19th-century version of gaejang-guk explains the preparation of the dish by boiling dog meat with vegetables such as green onions and chili pepper powder. Variations of the dish contain chicken and bamboo shoots.
Over 100,000 tons[94] of dog meat, or 2.5 million dogs, are consumed annually in South Korea. Although a fair number of South Koreans (approximately 42% to 60%) have eaten dog meat at least once in their lifetime, only a small percentage of the population is believed to eat it on a regular basis.
The Ministry of Food and Drug Safety recognizes any edible product other than drugs as food. South Korean Food Sanitary Law (식품위생법) does not include dog meat as a legal food ingredient. In the capital city of Seoul, the sale of dog meat was outlawed by regulation on February 21, 1984 by classifying dog meat as 'repugnant food' (혐오식품), but the regulation was not rigorously enforced except during the 1988 Seoul Olympics. In 2001, the Mayor of Seoul announced there would be no extra enforcement efforts to control the sale of dog meat during the 2002 FIFA World Cup, which was partially hosted in Seoul. In March 2008, the Seoul Metropolitan Government announced its plan to put forward a policy suggestion to the central government to legally classify slaughter dogs as livestock, reigniting debate on the issue.
The primary dog breed raised for meat, the Nureongi (누렁이), or Hwangu (황구); is a non-specific, mixed breed.
There is a large and vocal group of Koreans (consisting of a number of animal welfare groups) who are against the practice of eating dogs. Popular television shows like 'I Love Pet' have documented, in 2011 for instance, the continued illegal sale of dog meat and slaughtering of dogs in suburban areas. The program also televised illegal dog farms and slaughterhouses, showing the unsanitary and horrific conditions of caged dogs, several of which were visibly sick with severe eye infections and malnutrition. However, despite this growing awareness, there remain some in Korea that do not eat or enjoy the meat, but do feel that it is the right of others to do so, along with a smaller but still vocal group of pro-dog cuisine people who want to popularize the consumption of dog in Korea and the rest of the world. A group of pro-dog meat individuals attempted to promote and publicize the consumption of dog meat worldwide during the run-up to the 2002 FIFA World Cup, co-hosted by Japan and South Korea, which prompted retaliation from animal rights campaigners and prominent figures such as Brigitte Bardot to denounce the practice. Opponents of dog meat consumption in South Korea are critical of the eating of dog meat, as some dogs are beaten, burnt or hanged to make their meat more tender.
The restaurants that sell dog meat, often exclusively, do so at the risk of losing their restaurant licenses. A case of a dog meat wholesaler, charged with selling dog meat, arose in 1997 where an appeals court acquitted the dog meat wholesaler, ruling that dogs were socially accepted as food. According to the National Assembly of South Korea, more than 20,000 restaurants, including the 6,484 registered restaurants, served soups made from dog meat in Korea in 1998. In 1999 the BBC reported that 8,500 tons of dog meat were consumed annually, with another 93,600 tons used to produce a medicinal tonic called gaesoju (개소주).
NORTH KOREA
Daily NK reported that the North Korean government included dog meat in its new list of one hundred fixed prices, setting a fixed price of 500 won per kilogram in early 2010.
NEW ZEALAND
Dog meat is rarely eaten in New Zealand but has been said to be becoming more popular as it is not illegal as long as the dog is humanely killed.
A Tongan man living in New Zealand caused public outrage when he was caught cooking his pet dog in his backyard; this event led to calls for change in the law.
PHILIPPINES
The “Malays”, a sea-faring population that is now scattered throughout South-East Asia, introduced the practice of domesticating dogs for meat consumption to the indigenous population of the Philippines.
In the capital city of Manila, Metro Manila Commission Ordinance 82-05 specifically prohibits the killing and selling of dogs for food. Generally however, the Philippine Animal Welfare Act 1998 prohibits the killing of any animal other than cattle, pigs, goats, sheep, poultry, rabbits, carabaos, horses, deer and crocodiles, with exemptions for religious, cultural, research, public safety and/or animal health reasons. Nevertheless, the consumption of dog meat is not uncommon in the Philippines, reflected in the occasional coverage in Philippine newspapers,.
The Province of Benguet specifically allows cultural use of dog meat by indigenous people and acknowledges this might lead to limited commercial use.
Asocena is a dish primarily consisting of dog meat originating from the Philippines.
In the early 1980s, there was an international outcry about dog meat consumption in the Philippines after newspapers published photos of Margaret Thatcher, then British Prime Minister, with a dog carcass hanging beside her on a market stall. The British Government discussed withdrawing foreign aid and other countries, such as Australia, considered similar action. To avoid such action, the Filipino government banned the sale of dog meat, despite dog meat being the third most consumed meat, behind pork and goat. The ban eventually became totally disregarded, although it was reinstated by President Ramos in 1998 in the Animal Welfare Act (Republic Act 8485).
POLYNESIA
Dogs were historically eaten in Tahiti and other islands of Polynesia, including Hawaii at the time of first European contact. James Cook, when first visiting Tahiti in 1769, recorded in his journal, "few were there of us but what allow'd that a South Sea Dog was next to an English Lamb, one thing in their favour is that they live entirely upon Vegetables". Calwin Schwabe reported in 1979 that dog was widely eaten in Hawaii and considered to be of higher quality than pork or chicken. When Hawaiians first encountered early British and American explorers, they were at a loss to explain the visitors' attitudes about dog meat. The Hawaiians raised both dogs and pigs as pets and for food. They could not understand why their British and American visitors only found the pig suitable for consumption. This practice seems to have died out, along with the native Hawaiian breed of dog, the unique Hawaiian Poi Dog, which was primarily used for this purpose. The consumption of domestic dog meat is still commonplace in the Kingdom of Tonga, and has also been noted in expatriate Tongan communities in New Zealand, Australia, and the United States.
THAILAND
Unlike other countries where dog meat consumption has been shown to have historical precedents, Thailand does not have a mainstream culture of dog eating. However, in recent years, the consumption of dog meat in certain areas of the country, especially in certain northeastern provinces like Sakon Nakhon and Nakhon Phanom, notably Sakon Nakhon province's Tha Rae sub-district, which has been identified as the main center for the country's illegal, albeit lucrative, dog meat trade, has attracted widespread attention from the Thai population and local news media. This has led large groups of Thai citizens to become increasingly vocal against the consumption of dog meat and the selling of dogs that are transported through Laos to neighbouring Mekong countries, including Vietnam and China. According to news reports, a considerable number of these dogs continue to be stolen from people's homes by illegal carriers. This was also the case following the 2011 Thailand Floods. Dubbed as the country's 'Trade of Shame', Thai netizens, in particular, have now formed several informal animal welfare and rescue groups in an attempt to stop this illegal trade, with the collective attitude being that 'Dogs are not food'. Established not-for-profit animal charity organizations like the Soi Dog Foundation have also been active in raising awareness and working in conjunction with local Thai authorities to rehabilitate and relocate dogs rescued from trucks attempting to transport live dogs across the border to nearby countries. Significantly, this issue has strengthened the nation's animal rights movement, which continues to call on the Thai government to adopt a stricter and more comprehensive animal rights law to prevent the maltreatment of pets and cruelty against all animals.
TIMOR LESTE
Dog meat is a delicacy popular in East Timor.
UZBEKISTAN
Although not commonly eaten, dog meat is sometimes used in Uzbekistan in the belief that it has medicinal properties.
VIETNAM
Dog meat is consumed more commonly in the northern part of Vietnam than in the south, and can be found in special restaurants which specifically serve dog meat. Dog meat is believed to bring good fortune in Vietnamese culture. It is seen as being comparable in consumption to chicken or pork. In urban areas, there are sections that house a lot of dog meat restaurants. For example, on Nhat Tan Street, Tây Hồ District, Hanoi, many restaurants serve dog meat. Groups of customers, usually male, seated on mats, will spend their evenings sharing plates of dog meat and drinking alcohol. The consumption of dog meat can be part of a ritual usually occurring toward the end of the lunar month for reasons of astrology and luck. Restaurants which mainly exist to serve dog meat may only open for the last half of the lunar month. Dog meat is also believed to raise the libido in men. The Associated Press reported in October 2009 that a soaring economy has led to the booming of dog restaurants in Hanoi, and that this has led to a proliferation of dognappers. Reportedly, a 20 kilograms dog can sell for more than $100 — roughly the monthly salary of an average Vietnamese worker. The Vietnamese Catholic Church is a major consumer of dog meat during the Christmas holiday. There is a large smuggling trade from Thailand to export dogs to Vietnam for human consumption.
In 2009, dog meat was found to be a main carrier of the Vibrio cholerae bacterium, which caused the summer epidemic of cholera in northern Vietnam.
Prior to 2014, more than 5 million dogs were killed for meat every year in Vietnam according to the Asia Canine Protection Alliance. However, there are indications that the desire to eat dog meat in Vietnam is waning. Part of the decline is thought to be due to an increased number of Vietnamese people keeping dogs as pets, as their incomes have risen in the past few decades. “[People] used to raise dogs to guard the house, and when they needed the meat, they ate it. Now they keep dog as pets, imported from China, Japan, and other countries. One pet dog might cost hundreds of millions of dong [100 million dong is $4,677].”
EUROPE
BRITAIN & IRELAND
Eating dog meat is considered entirely taboo, as is common with most European societies, and has been taboo for many centuries outside of times of scarcity such as sieges or famines. However, early Brittonic and Irish texts which date from the early Christian period suggest that dog meat was sometimes consumed but possibly in ritual contexts such as Druidic ritual trance. Sacrificial dog bones are often recovered from archaeological sites however they were typically treated differently, as were horses, from other food animals. One of Ireland's mythological heroes Cuchulainn, had two geasa, or vows, one of which was to avoid the meat of dogs. The breaking of his geasa led to his death in the Irish mythology.
BELGIUM
A few meat shops sold dog meat during the German occupation of Belgium in World War I, when food was extremely scarce. According to The New York Times, in the 19th century the Council of the Veterinary School of Belgium occasionally recommended dog meat for human consumption after being properly inspected.
FRANCE
Although consumption of dog meat is uncommon in France, and is now considered taboo, dog meat has been consumed in the past by the Gauls. The earliest evidence of dog consumption in France was found at Gaulish archaeological sites, where butchered dog bones were discovered. French news sources from the late 19th century carried stories reporting lines of people buying dog meat, which was described as being "beautiful and light." During the Siege of Paris (1870–1871), there were lines at butcher's shops of people waiting to purchase dog meat. Dog meat was also reported as being sold by some butchers in Paris, 1910.
GERMANY
Dog meat has been eaten in every major German crisis since, at least, the time of Frederick the Great, and is commonly referred to as "blockade mutton". In the early 20th century, high meat prices led to widespread consumption of horse and dog meat in Germany.
The consumption of dog meat continued in the 1920s. In 1937, a meat inspection law targeted against trichinella was introduced for pigs, dogs, boars, foxes, badgers, and other carnivores. Dog meat has been prohibited in Germany since 1986.
SAXONY
In the latter part of World War I, dog meat was being eaten in Saxony by the poorer classes because of famine conditions.
THE NETHERLANDS
During severe meat shortages coinciding with the German occupation from 1940 to 1945, sausages found to have been made of dog meat were confiscated by authorities in the Netherlands.
POLAND
While dog meat is not eaten, some rural areas of Poland especially Lesser Poland, dog fat can be made into lard, which by tradition is believed to have medicinal properties - being good for the lungs, for instance. Since the 16th century, fat from various animals, including dogs, was used as part of folk medicine, and since the 18th century, dog fat has had a reputation as being beneficial for the lungs. It is worth noting that the consumption of such meat is considered taboo in Polish culture, also making lard out of dogs' fat is illegal. In 2009, a scandal erupted when a farm near Częstochowa was discovered rearing dogs to be rendered down into lard. According to Grazyna Zawada, from Gazeta Wyborcza, there were farms in Czestochowa, Klobuck, and in the Radom area, and in the decade from 2000 to 2010 six people producing dog lard were found guilty of breaching animal welfare laws (found guilty of killing dogs and animal cruelty) and sentenced to jail. As of 2014 there have been new cases prosecuted.
SWITZERLAND
Dogs, as well as cats, are eaten regularly by farmers in rural areas for personal consumption. While commercial slaughter and sale of dog meat is illegal, cultural attitudes toward slaughtering of animals for meat is traditionally liberal in Switzerland. The favorite type of meat comes from a dog related to the Rottweiler and consumed as 'mostbrockli' a form of marinated meat. Animals are slaughtered by butchers and either shot or bludgeoned.
In his 1979 book Unmentionable Cuisine, Calvin Schwabe described a Swiss dog meat recipe gedörrtes Hundefleisch served as paper-thin slices, as well as smoked dog ham, Hundeschinken, which is prepared by salting and drying raw dog meat.
It is illegal in Switzerland to commercially produce food made from dog meat, or to produce such food for commercial purposes.
WIKIPEDIA
Telephones – Prospect
Federal Committee Consider Improvements
The Commonwealth Parliamentary Standing Committee on Public Works opened an enquiry at the Adelaide GPO on Monday into the question of – automatic telephone exchanges and equipment at Brighton, Glenelg and Prospect.
The survey had resulted in the recommendation - that the automatic exchange was most necessary at Prospect, where its establishment would save considerable expense in connecting subscribers on the north side of the city with the central exchange. For some time service had been refused in the Prospect area, where at present there were approximately 130 applicants who would be served by the new exchange. An additional exchange there would relieve the congestion now existing on the central manual switchboard. If the cut-over was made it was expected that 697 subscribers would be transferred from central to Prospect. [Ref: Daily Herald (Adelaide SA) 21-3-1922]
Local Government meeting Prospect Monday August 6
The Deputy Postmaster-General advised that arrangements have been made to open a telephone exchange at Ballville Street, Prospect, at about the end of November. [Ref: The Register (Adelaide SA) 11-8-1923]
Prospect Exchange - Opening This Afternoon
More than 200 telephone services in the Prospect and North Adelaide district will be connected this afternoon to a temporary manual exchange in Ballville Street, near the Enfield tramway track.
Mr J W Kitto (Deputy Postmaster-General) said this morning that that would mean that 100 services from that locality now connected with Central would be transferred to Ballville Street. "That will enable 100 waiting subscribers in the city area to be connected at an early date," said Mr Kitto.
Mr Kitto explained that the department is erecting in Ballville Street a new building, in which a modern automatic exchange to serve the Prospect and North Adelaide district would be installed. As, however, it would be two years before the equipment needed could be secured and installed, to meet the case in the meantime so far as possible it was decided to put into operation a manual exchange, which would be housed in buildings eventually to be used as a linesmen's store and a motor garage. [Ref: News (Adelaide SA) 1-11-1923]
Prospect Automatic Telephone Exchange
The Deputy Postmaster-General (Mr E P Ramsay), advises that arrangements have been completed to bring the new automatic telephone exchange at Prospect
into operation as from midnight on Saturday. Mr Ramsay states that any subscriber connected to the present Prospect exchange, who wishes to use his telephone after midnight on Saturday, must use the automatic telephone which has already been installed.
On Sunday morning a staff of telephonists will begin the task of ringing each Prospect subscriber, with the object of ascertaining that the service is in order, and giving assistance to those who are not clear about the method of making calls under the new system. All subscribers, when calling a Prospect subscriber after midnight on Saturday, are requested to use the automatic numbers as shewn in the April issue of the directory. Failure to comply with this request will result in delay. [Ref: The Advertiser (Adelaide SA) 30-9-1927]
Consider this a "concept" image. Donald Trump's militarization of Washington, DC's police force to "reduce crime" (when the crime in the city has dropped precipitously over the last few years) is a canard. It's a deflection, like many of his Executive Orders and off-the-cuff statements, away from the content of the Epstein files.
Given the direction this country has gone under President Trump, this image represents a possible scenario should we continue to slip into authoritarianism.
Concept: Jeff Gates, Execution: AI-assisted with Photoshop
Lilliputians and Giants
For years, I heard so much about the endangered piping plovers on the Jersey Shore. Earlier this week, I had the opportunity to get out an shoot these lil' critters. It was quite incredible to see not just the diminutive size of the adults, but just how small the chicks could actually be.
The world they live in is incredibly tiny as if they were lilliputians. While I don't consider myself a giant in anyway, I had the opportunity to spend the afternoon shooting with some of the giants in Jersey wildlife photography, which helped immensely in taking this photo. On some many levels, it was a unique experience peering into the lil' world of piping plovers with the giants.
+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
In October 1933, Hermann Göring sent out a letter requesting aircraft companies consider the design of a "high speed courier aircraft" - a thinly veiled request for a new fighter. In May 1934, this was made official and the Technisches Amt sent out a request for a single-seat interceptor for the Rüstungsflugzeug IV role, this time under the guise of a "sports aircraft". The specification was first sent to the most experienced fighter designers, Heinkel, Arado, and Focke-Wulf.
Heinkel's design was created primarily by twin brothers Walter and Siegfried Günter, whose designs would dominate most of Heinkel's work. They started work on Projekt 1015 in late 1933 under the guise of the original courier aircraft, based around the BMW XV radial engine. Work was already under way when the official request went out on 2 May, and on 5 May the design was renamed the He 112.
The primary source of inspiration for the He 112 was their earlier He 70 Blitz ("Lightning") design. The Blitz was a single-engine, four-passenger aircraft originally designed for use by Lufthansa, and it in turn was inspired by the famous Lockheed Model 9 Orion mail plane. Like many civilian designs of the time, the aircraft was pressed into military service and was used as a two-seat bomber (although mostly for reconnaissance) and served in this role in Spain. The Blitz introduced a number of new construction techniques to the Heinkel company; it was their first low-wing monoplane, their first with retractable landing gear, their first all-metal monocoque design, and its elliptical, reverse-gull wing would be seen on a number of later projects. The Blitz could almost meet the new fighter requirements itself, so it is not surprising that the Günters would choose to work with the existing design as much as possible.
The original He 112 was basically a scaled down version of Heinkel’s aerodynamically highly refined He 70 and shared its all metal construction, inverted gull wings, and retractable landing gear. Like the He 70, the He 112 was constructed entirely of metal, using a two-spar wing and a monocoque fuselage with flush-head rivets. The landing gear retracted outward from the low point of the wing's gull-bend, which resulted in a fairly wide span track, giving the aircraft excellent ground handling. Its only features from an older era were its open cockpit and fuselage spine behind the headrest, which were kept in order to provide excellent vision and make the biplane-trained pilots feel more comfortable.
The He 112 V1 started in the head-to-head contest when it arrived at Travemünde on 8 February 1936. The other three competitors had all arrived by the beginning of March. Right away, the Focke-Wulf Fw 159 and Arado Ar 80 proved to be lacking in performance, and plagued with problems, and were eliminated from serious consideration. At this point, the He 112 was the favorite over the "unknown" Bf 109, but opinions changed when the Bf 109 V2 arrived on 21 March. All the competitor aircraft had initially been equipped with the Rolls-Royce Kestrel engine, but the Bf 109 V2 had a Jumo 210. From that point on, it started to outperform the He 112 in almost every way, and even the arrival of the Jumo-engined He 112 V2 on 15 April did little to address this imbalance.
Eventually, the Bf 109 was chosen as the Luftwaffe’s new standard fighter, and Heinkel was left with an excellent but unwanted fighter. However, the He 112 was subsequently marketed to foreign customers, including Yugoslavia, The Netherlands, Finland, Romania and Hungary, and saw a mild export and license production success during WWII’s opening stages.
In the autumn 1937, a Japanese military delegation visited the Heinkel Flugzeugwerke's Marienehe plant. Impressed by the high performances and clean lines of the He 112 V9, an order for thirty similar He-112B-0s was placed, with options for a further 100 aircraft. The delegation returned to Japan, not only with the signed contract documents but with a demonstration aircraft, presumably the He 112 V5 (D-IIZO).
However, the Japanese Navy, at that time looking for a replacement for its A5M fighter was not impressed by the He 112 V5’s handling characteristics, and since it was unlikely that the He 112 could be modified for carrier operations, this option was not further pursued and eventually Mitsubishi's famous A6M fighter became Japan's standard fighter for naval operations.
Things changed quickly, though. The Japanese expansion to the Asian mainland in the Second Sino-Japanese War required a huge number of land-based aircraft, preferably with a long and the current types appreared obsolete. In order to bridge this gap until indigenous designs had entered full scale production, Japan once more turned to Germany and requested assistance in the form of aircraft deliveries or even license production.
Having been aware of the superior He 112 V9 and the resulting He 112 B-0 as production standard, a Japanese delegation visited Germany in summer 1940 and tested the more modern aircraft. The maneuverability of the Heinkel fighter was again found to be inferor to the Japanese A5M2, but the Imperial Japanese Navy purchased 12 Heinkel He 112B-0 fighters, which it designated both as the Heinkel A7He1 and as the "Navy Type He Air Defense Fighter", and secured rights for license production for the airframe as well as for German aircraft engines, namely the Daimler Benz 601Aa, which later became the Kawasaki Ha40.
The Japanese flew the A7He1 only briefly during the Second Sino-Japanese War, but phased it out of service before the attack on Pearl Harbor in December 1941 in favor of the Mitsubishi A6M Zero. Allied Forces assigned the reporting name "Jerry" to the aircraft.
The A7He1 was disappointing, though, and as a result of the field tests the Kaigun Koku Gijyutsusho's (Testing Unit) issued a final report which concluded that the A7He1 was not the right choice as the main IJN fighter type, and cancellation of the options on additional aircraft was recommended. However, with the purchase of various production rights and tools it was decided to develop the aerodynamically highly sophisticated and sturdy A7He1 further, outfitted with a considerably more powerful Ha40 engine and other refinements and adaptations.
The resulting aircraft was the A7He2, but its development, as well as the integration of domestic parts and setting up serial production (also of the Ha40 engine), took until early 1943. The first Sentai (Air Group/Wing) fully equipped with the A7He2 were allocated to the Kwantung Army in Manchuoko, and additional deliveries were later made to units supporting Japan’s Fifteenth Army in Burma.
However, the machines were sent off of the production lines into a difficult theatre, where jungles and adverse weather conditions, coupled with a lack of spares, quickly undermined the efficiency of both men and aircraft. Because the A7He2 was totally new and the maintenance crews only used to more robust air-cooled radial engines, the type inevitably suffered from teething problems and the A7He2 tallied a disastrous series of failures and ongoing problems.
As a consequence, the pilots did not trust the new aircraft and morale was low. Beyond constant technical issues, the A7He2 was also unpopular due to its very different flight characteristics. Japanese pilots and aerial combat tactics had traditionally relied on agility, and the A7He2, with its focus on speed and superior rate of climb, was a totally different concept.
In fact, the A7He2 was not accepted as a classic fighter at all, and since the more "traditional" A6M had become available in ever growing numbers and updated variants, the A7He2 was soon relegated to ground attacks and CAS missions, in which its heavy gun armament, flight stability, endurance and the ability to take a lot of punishment (esp. hits from small caliber weapons) came in handy.
Occasionally, the A7He2 was deployed in interceptor missions against Allied bombers flying at high altitude, too, but direct dogfight confrontations with fighters were avoided and, if available, any other type was preferred by the IJN pilots.
In order to improve the situation, the A7He2 was modified in the field In the course of its limited career. Most notable changes were the addition of imported dust filters for the touchy engines, and some machines had their original pair of 7.7 mm (0.303 in) Type 97 aircraft machine guns with 500 rounds per gun on top of the engine replaced by two heavier 13mm Type 2 machine guns, for which a modified cowling with characteristic bulges had to be mounted. The machines retained their original designation, though.
Total A7He2 production reached roundabout 300 aircraft and ceased in 1944, when IJN officials recognized that the A7He2 was a dead end and the resources devoted to its production would be better spent in more capable aircraft. Anyway, due to material shortages, the "Jerry" remained in service, even though most machines were gradually replaced by A6M in frontline units until early 1945.
General characteristics:
Crew: 1
Length: 9.22 m (30 ft 11 7/8 in)
Wingspan: 9.09 m (29 ft 9¾ in)
Height: 3.82 m (12 ft 6¾ in)
Wing area: 17 m² (183 ft²)
Empty weight: 1,617 kg (3,565 lb)
Max. takeoff weight: 2,248 kg (4,957 lb)
Performance:
Maximum speed: 580 km/h (360 mph; 313 kn) at 5,000 m (16,000 ft)
Range: 1.150 km (715 mi)
Service ceiling: 9,500 m (31,200 ft)
Rate of climb: 17.0 m/s (3,345 ft/min)
Wing loading: 132 kg/m² (27.1 lb/ft²)
Powerplant:
1× Kawasaki Ha40 inverted liquid-cooled V-12 piston engine, 864 kW (1,159 hp)
Armament:
2× 20 mm Type 99-1 cannon with 100 RPG in the outer wings
2× 7.7 mm (0.303 in) Type 97 aircraft machine guns with 500 RPG
or 13mm Type 2 heavy machine with 250 RPG guns on top of the engine
2× 120 kg (265 lb) bombs or 2× 200l drop tanks under the inner wings
The kit and its assembly:
Another converted Heller He 112 B-0/B-1 in disguise, and this time I spun the type's potential career in/with Japan further. In real life the story ended with the delivery of a dozen He 112 B-0s, which were relegated to training duties and not much liked at all.
However, I had a spare He 112 in the stash and also a surplus Ki-61 fuselage at hand, and wouldn't a combination of the sleek He 112 airframe with a better engine (even of German origin!) be a plausible evolution? Well, said and done...
The He 112 remained close to the original, I just swapped the front end and the propeller (taken completely from a Fine Molds Ki-61 II, which is actually the Hasegawa Ki-61 I with extra parts) and replaced the large OOB stabilizers with more delicate parts from a Hobby Boss A6M5 - IMHO an overall improvement concerning the aircraft's proportions.
Small additions are the protruding gun barrels (hollow steel needles) and the pair of small bombs under the inner wings, inside of the landing gear.
The radiator bath was also enlarged, reflecting the engine’s higher output level, but it basically remained in the original position.
Painting and markings:
A slightly more tricky part - choosing a unit and a scheme were not easy, and I eventually ended up with a mash of styles for a machine of the IJN’s Tainan Air Group based on Formosa.
In 1943, most Japanese aircraft wore toned-down camouflage, the days of an overall light grey livery with flashy unit markings were over. However, I wanted to incorporate some old-school elements and eventually ended up with a basically all-grey aircraft (all-over Tamiya XF-12), onto which green makeshift camouflage (thinned acrylic Revell 363) had been added later in the field, applied around the original hinomaru and tactical markings.
Another unique design element, somewhat lent from the A6M, is a black engine cowling that elegantly merges with an anti glare panel in front of the windscreen. It gives the aircraft almost a racy look, and it underlines the He 112’s elegant lines, too, even with the bigger engine grafted onto it.
Being an aircraft of Japanese manufacture, the cockpit was painted in greenish yellow (“Bamboo”) and the landing gear wells, as well as the flaps’ interior, became Aodake Iro, a home-made mix of acrylic Revell 99 (Aluminum) and a teal clear window painting color. The effect is pretty good.
The markings were improvised and gathered from several sources. The hinomaru originally belong to an Airfix Ki-46, the blue stripes were manually cut from generic blue decal sheet (TL Modellbau); the tacticla code on the fin is of uncertain origin - very old, decals which ,unfortunately, partly desintegrated in the course of the build and had to be repainted manually.
The grey coat received a black ink wash and some panel shading; once the decals and the green camouflage had been applied, the surface was wet-sanded carefully, revealing again some of the grey basic paint and the risen surface details of the Heller kit.
Finally, some soot and exhaust stains were created with grinded graphite, and the kit finally sealed with matt acrylic varnish; the lower part of the black cowling received a sheen finish, though.
The third and last iteration of the Heller He 112 kit, at least for the moment. The engine change is not highly visible, and the paint scheme makes you think that it's rather an A6M with an inline engine than anything else? The wing shape also suggests a beefed-up A5M, it's really weird how a paint scheme can play tricks with your expectations and perception. The whole thing looks very elegant, though, and for a moment I was even tempted to leave the green camouflage away, because in its all-grey livery and with the black engine, the A7He2 looked almost like a race aircraft - and also very German!
I consider it essential that the photographer should do his own printing and enlarging. The final effect of the finished print depends so much on these operations.
- Bill Brandt
These days I no longer develop and print but instead I use Lightroom and Silver Efex Pro as my digital darkroom. I quite like it and see myself using it more and more. Although my friend, Josh White over at www.flickr.com/photos/jtinseoul/with/5602321623/, has been dabbling lately with the Ricoh GR21 and GR1V and I must say I'm quite smitten by those rich tones.
Anyway, let me walk you through this image. I noticed her as I approached the street corner to cross, I was on my way to get a haircut, and she just had the most wonderful eyes. I was immediately struck by her decisive walk and her stoic stance. I was standing literrally about 1.5 meters from her as I shot from the side, Daido style, as I've said before and this was my chosen frame which I believe capture her essence.
Happy Thanksgiving everyone !!!
Support the homeless via Camillus House.
Your comments and faves are very appreciated.
Press "L" for a lightbox view, its a must for this image.
A Imprensa Portuguesa em Goa - Índia
Resumo
O artigo analisa a história da imprensa portuguesa em Goa, na Índia, no contexto da
expansão da língua portuguesa. Identificado o início da imprensa periódica em Goa em 22 de dezembro de 1821, com a publicação do primeiro jornal oficial, a Gazeta de Goa,
o autor realiza a divisão da história da cultura literária de Goa Lusófona em quatro
períodos, relacionando ainda as publicações em língua portuguesa - jornais e periódicos
- que foram publicadas naquele País no período.
Imprensa Portuguesa em Goa, lusofonia, comunidades lusófonas.
Eduardo Judas Barros
Diretor do Núcleo de Estudos Afro-Asiáticos da Universidade Estadual de Londrina (UEL),
Introdução
O mundo lusófono hoje não é uma utopia mas sim uma realidade onde estão
integradas as comunidades que tem um elo forte de ligação baseado na língua
portuguesa e numa cultura proveniente da mesma fala.
Com efeito a lusofonia tem uma dupla dinâmica cultural: projeta cada uma das
culturas nacionais e comunitárias no espaço alargado da lusofonia e fortalece a cultura
portuguesa no mundo através das múltiplas pertenças dos países e comunidades
lusofónas nas áreas geoculturais em que se situam.
A fundação e a expansão de Portugal foram a precondição da existência das
comunidades lusófonas.
Neste contexto as viagens dos descobrimentos portugueses permitiram contatos
e relacionamentos duradouros com o Extremo Oriente de que ainda hoje se encontram
frutuosos vestígios.
A política de miscegenação, de casamentos e cruzamentos com os povos
encontrados foi uma constante da presença portuguesa que hoje constitui o Mundo da
Lusofonia que em estrito senso não é aplicável às presenças portuguesas na região da
Ásia-Pacífico, parecendo difícil, com exceção de Timor, a sua articulação com os
objetivos da Comunidade dos Países da Língua Portuguesa (CPLP).
Mas convêm alargar o entendimento da lusofonia e considerar que o legado
histórico-cultural de Portugal na região com marcas bem visíveis de Goa a Nagasaqui,
de Malaca a Macau, de Ceilão à Tailândia, partilham e incluem-se nessa comunidade de
entendimentos que tem sobrevivido às vicissitudes do tempo e encontra a sua forma de
linguagem em modos tão expressivos como a música, a literatura, a culinária, a
arquitetura e, sobretudo, formas de ser e estar em português, conseqüências do processo
de aculturação que marcou a colonização portuguesa.
Por toda a Ásia, o português tornou-se até ao século XVIII, a língua franca do
comércio à distância. Não apenas as povoações locais, mas, mais tarde, holandeses e
ingleses igualmente, tinham de aprender os rudimentos de português para serem
compreendidos dos intérpretes.
É neste contexto da expansão da língua portuguesa que se deve analisar a
história da imprensa portuguesa em Goa, na Índia.
Situada no sul, no litoral do Concão, na costa Ocidental da Índia, Goa, o atual
Estado indiano, foi a principal colônia portuguesa desde 1510 até 1961, ano em que foi
integrada na União Indiana.
Descoberto o caminho marítimo das Índias Orientais em 1498, por Vasco da
Gama, toda a base da expansão comercial portuguesa, que motivara os descobrimentos
mudou. Na primeira metade do século XV as expedições à África Ocidental buscavam,
primordialmente, adquirir o ouro da costa da Mina e da Guiné. As caravelas deixavam
as metrópoles carregadas de utensílios de latão e cobre, pano de linho e bugigangas,
mais tarde na Costa Oriental da África, rosários e miçangas, negociando esses artigos
contra ouro e escravos.
Uma vez descoberto o caminho marítimo para a Índia, o objetivo comercial
mudou e passou a ser o comércio das especiarias, pimenta, cravo, canela, noz moscada e não o ouro.
O acesso direto à Índia permitiu aos portugueses eliminar radicalmente os
intermediários árabes que haviam controlado o mercado de exportação europeu, até
aquela data, com base no Cairo e Alexandria. As especiarias eram compradas com ouro
de Guiné e com a prata alemã recebida em pagamento das mercadorias vendidas na
Europa. Veneza, o anterior empório do comércio das especiarias, na Europa, sofreu uma
severa crise e aliou-se aos traficantes árabes do Mar Vermelho numa tentativa de
desalojar, pela força, os portugueses das posições vantajosas que haviam conquistado na
Índia. Mas, em 1509, sob o comando de D. Francisco Almeida, que foi o primeiro vicerei
português na Índia, o controle português de navegação no Oriente Médio estava
assegurado. Os portugueses tinham conseguido monopolizar o comércio na Índia e em
grande parte do Oriente.
Em 1510, Afonso de Albuquerque conseguiu conquistar Goa e dominar toda a costa indiana.
E foi aqui em Goa, capital desde o início do império Português no Oriente que se
desenvolveu o processo de colonização portuguesa na Índia.
A língua portuguesa durante o período colonial foi a língua oficial do Estado,
tendo sido o veículo de instrução nas escolas primárias e secundárias até o Liceu, pois,
até a sua integração na Índia a colônia não tinha ensino superior universitário.
O domínio e a expansão da língua portuguesa em Goa criou uma base cultural
portuguesa, formada pelos portugueses bem como pelos Goeses que tinham assimilado
bem a língua portuguesa.
É neste sentido que se deve entender a presença da imprensa portuguesa em Goa.
Imprensa Portuguesa em Goa
O início da imprensa periódica em Goa, se deu em 22 de dezembro de 1821,
com a publicação do primeiro jornal oficial, a Gazeta de Goa.
Este jornal, órgão oficial do governo, era semanal e continha as deliberações do
governo, o cadastro mensal da receita e despesas do tesouro público, do senado da
câmara, da Santa Casa de Misericórdia, inserindo também algumas informações sobre a
metrópole e do estrangeiro.
A Gazeta de Goa teve como seu primeiro redator o físico-mor Dr. Antônio José
de Lima Leitão e em seguida foi editada pelo oficial-maior da secretaria, Luís Prates de
Almeida Albuquerque, a quem sucedeu José Aniceto da Silva.
O jornal perdeu o seu valor primitivo de publicação após a morte do seu redator
Luís Prates, convertendo-se em veículo de discussões e animosidades, como observa
Antônio Maria da Cunha, na sua obra A evolução do jornalismo. Em 1826, a Junta que
sucedeu ao Vice-rei D. Manuel de Câmara, lavrou em 29 de agosto de 1826 uma
portaria mandando cessar a publicação da Gazeta de Goa afirmando que “sempre o
governo passou sem imprensa e sem Gazeta até a infeliz época da Revolução, e nestes
tempos desastrosos só produziu males, e que achando-se atualmente os tipos
imprestáveis, não havia inconveniente em se suspender a Gazeta”.
Em conseqüência das lutas públicas no Estado, o governo que estava no poder,
criou em 13 de junho de 1835, um novo jornal periódico Chronica Constitucional de
Goa, que foi, portanto, o segundo jornal, igualmente oficial e semanal como o primeiro
e redigido pelo mesmo José Aniceto da Silva, que na sua parte não-oficial se consagrava
à política em combate violento com os jornais portugueses de Bombaim como o
Investigador Português, de José Valério Capela.
A Chrónica suspendeu a sua publicação em 30 de novembro de 1837. Sucedeu a
este jornal, o periódico oficial, Boletim do Governo do Estado da Índia, que teve
iniciada a sua publicação em 7 de dezembro de 1837. Conforme o decreto de 7 de
dezembro de 1936 que nas províncias ultramarinas fosse publicado em Boletim, tendo
por seu Editor Chefe o Secretário Antônio Mariano de Azevedo, auxiliado pelo cônego
Caetano João Peres e por Cláudio Lagrange Monteiro Barbuda. O Boletim foi publicado
semanalmente, à exceção dos primeiros cinco meses de 1843, em que se publicaram
dois números por semana, como se veio fazendo depois desde o começo de 1856 até
agosto de 1879. Tanto a Chronica Constitucional como a Gazeta de Goa segundo
observa Antônio Maria da Cunha no seu livreto A Evolução do Jornal tinham o cunho
de jornais oficiais. O primeiro jornal político da Índia Portuguesa foi o Echo da
Lusitânia, também impresso nos prelos do Governo por uma única razão de que não
havia outra tipografia no país. Tendo por editor o desembargador Manoel Felicíssimo
Lousada de Araújo, o jornal teve a periodicidade semanal com início em 7 de Janeiro de
1836 e terminado em 5 de março de 1837.
Na mesma Tipografia do Governo, foram ainda publicados O Vigilante, do
Major do Exército de Moçambique, João de Souza Machado, que se publicou de 13 de
julho de 1838 a 22 de outubro do mesmo ano; O Observador, de José Aniceto da Silva,
publicado de 15 de fevereiro de 1839 a 31 de outubro de 1840, tendo sido quinzenal nos
seus primeiros 24 exemplares e depois mensal; o Correio de Nova-Goa, semanal, de
Bento Zeferino Gonçalves de Macedo, de 4 de janeiro de 1844 a 8 de março de mesmo
ano; A Voz dos Povos da Índia, semanal também, da redação coletiva de José Aniceto
da Silva e outros que durou de 3 de julho de 1845 a 3 de março de 1846; o Defensor da
Ordem e da Verdade, da redação de José Antônio de Oliveira e outros, com a duração
de 24 de agosto de 1852 a 31 de agosto de 1853 e o Defensor do Real Padroado, com
os mesmos redatores do anterior que iniciaram a sua publicação, em 1º de setembro de
1853 e terminando em março de 1854.
Saiu à luz também nessa mesma época, outro órgão oficial que foi publicado de
22 de maio de 1844 até o fim do ano de 1845, com o nome de Apenso aos Boletins do
Governo e que tomou o nome depois de Jornal da Santa Igreja Lusitana publicado sob
a orientação do Arcebispo D. José Maria da Silva Torres, defensor vigoroso do
Padroado do Oriente contra a Propaganda, tendo sido publicado de janeiro de 1846 até
março de 1849.
Essa é a fase do primeiro período da Imprensa Periódica de Goa Colonial que saiu do prelo oficial do governo.
A Segunda Fase do Desenvolvimento
A segunda fase da imprensa portuguesa em Goa se inicia com a introdução da
primeira gráfica particular por Bernardo Francisco da Costa, em 1859, e é considerado o
mais fecundo período da imprensa e do progresso literário de Goa.
E foi ele que fundou o primeiro jornal com tipografia própria, O Ultramar. O
primeiro número de O Ultramar foi publicado na cidade de Margão, no Conselho de
Salcete em 6 de Abril de 1859, tendo o próprio Bernardo Francisco Costa como seu
Editor principal e seu irmão Antônio Anastácio Bruto da Costa como redator
responsável. Tendo Bernardo Francisco Costa sido eleito deputado às Cortes em Lisboa,
ficou desde 15 de agosto de 1867 como editor o seu irmão Antônio Anastácio Bruto da
Costa e continuou até a sua morte, 24 de abril de 1911. Conforme atesta Antônio Maria
da Cunha foi “o único jornalista da Índia Portuguesa cujo cinqüentenário se celebrou.
Após a sua morte o jornal foi dirigido pelo seu filho, o advogado Condorcê Bruto da
Costa, assumido o mesmo desde 1º de maio de 1911.
Inicialmente semanal, passou a ser bi-semanal desde 2 de novembro de 1905. Ao
Ultramar seguiu-se outro importante jornal A Índia Portuguesa, tendo como editor
Manuel Lourenço de Miranda. Foi publicado na Tipografia estabelecida em Margão e
depois transferida para Orlim no mesmo Conselho de Salcete, onde continuou a ser
publicado desde 29 de dezembro de 1864. Após a morte de Manoel de Miranda Franco,
passou em 13 demMaio de 1866 a ser editado por Dr. José Inácio de Loyola, que esteve
já trabalhando no jornal e permaneceu como editor até 17 de maio de 1902, seguindose-
lhe o seu irmão Avertano de Loiola que o editou de 4 de julho de 1892 até 21 de
Agosto de 1911, em que, por últimos acontecimentos políticos suspendeu a sua
publicação empreendendo a do outro jornal semanal, O Popular, em Varcá no mesmo
conselho de Salcete, que se publicou de 4 de outubro de 1911 a 20 de maio de 1912.
Renasce a Índia Portuguesa em 10 de agosto de 1912 sob a direção do Dr.
Miguel Loyola Furtado que a dirige até a sua morte em 14 de setembro de 1918, ficando
suspensa mais uma vez a sua publicação.
Porém, a Índia Portuguesa volta a ser publicada mais uma vez, mas desta vez
em São Tomé, uma aldeia do mesmo conselho de Salcete, sob a direção de Vicente de
Bragança Cunha e é publicada até 26 de novembro de 1921, interrompendo mais uma vez a sua publicação.
Com esses jornais encerra-se o segundo período da imprensa portuguesa em
Goa.
A Terceira Fase da Imprensa
O terceiro período da imprensa portuguesa em Goa pode ser marcado com a publicação do jornal diário O Heraldo.
As bases para o lançamento do jornal diário em Goa já se iniciam em 1899 e, em
22 de janeiro de 1900, é publicado o seu primeiro número, tendo como diretor e
proprietário Messias Gomes. Em 1901, com a partida de Messias Gomes a Lisboa,
assume a direção do jornal o jornalista Antônio Maria da Cunha, até 8 de maio de 1908,
que em seguida finda o seu próprio jornal Heraldo.
O jornal O Heraldo amplia as suas dimensões e, no mesmo dia, A Era Nova,
semanário da capital, torna-se diário mas termina a sua publicação em 1905.
Ainda em 1905 se inicia em Margão outro periódico, Echo da Índia, cujo
primeiro número sai, portanto, em 9 de setembro de 1905. Passa a ser semanal até que é
interrompida a sua publicação em 1907.
Mas no mesmo ano de 1905 publicou-se na capital do Estado de Goa, o Diário de Goa, que termina em 1906.
Também desde 14 de setembro de 1911 até 31 de novembro de 1912 é publicado
como diário o Correio da Índia, que passa depois a ser semanal.
Em 1 de dezembro de 1919 é publicado o Diário da Noite, de formato pequeno,
pelos irmãos Luís Menezes e Antônio Meneses. Temos ainda o diário publicado em
Margão no Conselho de Salcete, A Vida, fundado pelo médico Sales da Veiga Coutinho,
que continuou a ser publicado até depois da integração de Goa na Índia em 1964, tendo
como editor o seu filho, Pe. Lúcio da Veiga Coutinho, tendo sido transformado mais
tarde em diário de língua Concani, pelo nome de Divtti, do qual tive a oportunidade de
ser o seu primeiro editor.
Os quatro diários em língua Portuguesa – O Heraldo, Heraldo, Diário da Noite e
A vida –, continuaram a ser publicados em Goa até depois de 1964, ano em que Goa
começou a fazer parte da União Indiana. Hoje não existe nenhum jornal nem periódico
em língua portuguesa em Goa.
O Jornal diário O Heraldo se transformou em diário em inglês com o nome de
Herald.
Embora a colonização portuguesa se deva à exploração comercial, como se
qualificou todo o processo de colonização européia na Índia, esse processo se diferiu
tanto do processo de colonização francesa bem como inglesa, na própria Índia.
Esta diferenciação se baseia especificamente na política colonial portuguesa em
Goa, começada por Afonso de Albuquerque imediatamente após a sua tomada.
Esta política se firmava em construir uma comunidade luso-tropical cristã, sendo
que a colonização portuguesa e a cristianização se tornaram inseparáveis, o que não
aconteceu nem com a francesa nem com a inglesa nas outras regiões da Índia.
Por isso mesmo, como nota K. M. Pannikar (1956: 55). “de todos os povos que
colonizaram a Índia, os portugueses deixaram um rastro indelével da sua passagem
colonial”. Isso enquanto criaram em Goa uma comunidade cristã, adaptando-se o
conceito de luso-tropicalismo, qual foi proposto por Gilberto Freyre, às considerações
de situação histórico-social de Goa.
O processo colonial português chegou a criar uma comunidade cristã que se
ocidentalizou nos seus modos, hábitos de vida e valores culturais. Esse processo se
desenvolveu precisamente numa situação de transmissão cultural direto, considerada a
própria missiologia da época, segundo a qual cristianizar era ao mesmo tempo ocidentalizar.
Conforme o escritor goês Mariano Saldanha (1948;8), em Goa, a cultura
portuguesa teve rápida assimilação, tornando-se imediatamente reprodutiva, dado que o
secular sistema educativo dos hindus havia preparado o terreno intelectual propício.
Dentro de meio século, ou menos ainda, da dominação portuguesa, estava esta pequena
capital do império luso-oriental por tal forma lusitanizada no seu elemento intelectual
cristão, que se achava em condições de auxiliar o próprio governo português, tanto na
administração como na propagação do cristianismo no Oriente, fornecendo burocratas e
missionários nativos habilitados nos seus seminários e colégios”.
Conclusão
É neste contexto de colonização Portuguesa na Índia que a língua portuguesa,
remotamente aparentada com a língua local de Goa, o Concani, e com outras línguas de
procedência sanscrítica, espalha-se em todos os territórios de Goa, Damão e Diu que
constituem a Índia Portuguesa. Mais particularmente em Goa, devido às escolas
governamentais que se multiplicam e sobe a tal altura a assimilação do novo idioma por
parte duma elite sempre crescente de Goeses que não tarda a desabrochar em
apreciáveis produções de pensamento e de arte.
Com efeito, a história da cultura literária de Goa Lusófona poderá ser dividida
em quatro períodos. O primeiro abrange o tempo que vai desde a criação de escolas
paroquiais em 1545 até o início da imprensa periódica com a publicação de Gazeta de
Goa, em 22 de Dezembro de 1821. A segunda fase seria o tempo que vai até a criação
do Instituto Vasco da Gama em 1871, hoje chamado Instituto Menezes de Bragança,
nome de um dos lideres nacionalistas de Goa. O terceiro período poder-se-ia situar
desde 1871 até 19 de dezembro de 1961, data em que Goa foi integrada na União
Indiana. O período inicial da produção literária em língua portuguesa em Goa, tem
início em 1545, quando o Vice-Rei D. João de Castro, manda abrir escolas com o
objetivo de doutrinar nelas os meninos nos rudimentos da fé cristã e de ensiná-los, ao
mesmo tempo, a ler, escrever e cantar em português. Foram estas escolas os primeiros
estabelecimentos públicos da Instituição Primária em Goa em língua portuguesa.
É neste contexto que a imprensa portuguesa em Goa Colonial marca o
desenvolvimento da língua portuguesa em Goa e terá de ser estudada mais
profundamente para analisar a formação das elites intelectuais goesas, considerando que
todos os quatro diários se sustentaram e sobreviveram até pouco tempo depois da
integração de Goa na Índia, quando começa a desmoronar-se o mundo lusófono de Goa
na Índia
Numa análise das publicações em língua portuguesa encontramos uns cento e
oitenta e nove jornais e periódicos que foram publicados em Goa, a saber:
Jornais publicados em Goa
Número Títulos
1 Gazeta de Goa - semanal, 22/12/1821 a agosto de 1826
2 Chronica Constitucional de Goa - semanal, 13/06/1835 a 30/11/1837
3 Echo de Lusotânia - semanal, 07/01/1836 a 05/03/1837
4 Boletim do Governo do Estado da Índia - 07/12/1837
5 O Vigilante - semanal, 13/07/1838 a 22/10/1838
6 A Biblioteca de Goa - janeiro de 1839 (único número publicado)
7 O Observador - quinzenal, 15/02/1839 a 31/10/1840
8 O Encyclopedico - julho de 1841 a junho de 1842
9 O Compilador - mensal, 07/10/1843 a 31/12/1847
10 O Correio de Nova Goa - semanal, 04/01/1844 a 24/09/1844
11 Appenso ao Boletim do Governo - semanal, 22/05/1844 a dezembro de 1844
12 A Voz dos Povos da Índia - semanal, 03/07/1845 a 03/03/1846
13 Jornal da Santa Igreja Lusitana do Oriente - semanal, janeiro de 1846 a março de 1849
14 Gabinete Literário das fontainhas - mensal, 15/01/1846 a dezembro de 1848
15 O Mosaico - mensal, janeiro de 1848 a junho de 1848
16 O Defensor da Ordem e da Verdade - quinzenal, 24/08/1852 a 31/08/1853
17 O Defensor do Real Padroado - mensal, setembro de 1953 a março de 1854
18 Revista Ilustrativa - mensal, 06/11/1854 a 16/07/1855
19 O Ultramar - bissemanal, 06/04/1859 a novembro de 1941
20 A Índia Portuguesa - semanal, 04/01/1861 a 26/11/1921
21 A Phoenix de Goa - semanal, 06/04/1861 a 30/12/1862
22 A Harmonia - semanal, 12/04/1862 a 27/10/1864
23 A Aurora de Goa - semanal, 06/01/1863 a 01/071865
24 A Sentinella da Liberdade - semanal, 07/10/1864 a 31/12/1869
25 Jornal de Notícias - semanal, 01/10/1868 a 30/04/1869
26 A Imprensa - semanal, 18/10/1870 a abril de 1876
27 A Gazeta de Goa - semanal, 16/07/1872 a 30/12/1873
28 O Mensageiro - semanal, 16/08/1872 a 12/11/1873
29 O Paiz - semanal, 04/02/1873 a 27/10/1874
30 O Progresso - semanal, 07/04/1873 a 21/06/1873
31 Opinião Pública - semanal, 02/07/1873 a 22/12/1875
32 O Oriente - semanal, 07/03/1874 a 27/11/1874
33 Gazeta de Bardêz - semanal, 17/10/1874 a 22/01/1884
34 Nova Goa - semanal, 04/05/1876 a 12/03/1878
35 A Cruz - semanal, 15/07/1876 a 26/07/1882
36 A Patria - semanal, 10/01/1877 a 14/12/1894
37 A Civilização – semanal – 6.2.1877 a 28.11.1878
38 O Imparcial – 1.7.1878 a Agosto de 1899
39 A União – semanal – 5.9.1878 a 18.10.1880
40 A Semana – semanal – 4.3.1880 a 10.9.1880
41 A Verdade – semanal – 16.7.1882 a 31.12.1885
42 O Echo Popular – semanal – 7.1.1883 a 7.8.1884
43 O Correio da Índia – semanal – 7.8.1883 a 28.12.1892
44 O Correio de Goa – semanal – 7.8.1883 a 14.4.1888
45 O Crente – semanal – 9.8.1883 a 1928
46 Periódico do Povo – semanal – 25.10.1883 a 11.12.1886
47 O Progresso de Goa – semanal – 1883
48 The Times of Goa – semanal – 21.9.1885 a 1889
49 A Discussão – semanal – 12.08.1886 a 1889
50 A Convicção – semanal – 15.1.1887 a 1895
51 Farpas – semanal – Setembro 1887 a
52 O Repórter da Índia – semanal – 3.10.1888 a 22.3.1889
53 Archivo Portuguez Oriental – 1857 – 1866
54 O Patriota – 1858-1874
55 O Recreio – 1859-860 – 1865-1866
56 Tirocínio Literário – 1862-1863
57 Jornal de pharmacia e sciencias médicas da Índia Portugueza – 1862-1863
58 Revista médico-militar da Índia portuguesa – 1862-1864
59 Recreio das damas – 1863
60 O Periódico militar do ultramar portuguez – 1863
61 Ilustração goana – 1864-1866
62 Archivo de pharmacia e sciencias accessorias da Índia portugueza – 1864-1871
63 Harpa do Mandovy – 1865
64 O Chronista de Tissuary – 1866-1869
65 Goa sociavel – 1866
66 O Ramalhetinho – 1866-1870
67 O Oriente Catholico – 1867-1870
68 Instituto Vasco da Gama – 1872-1875
69 Jornal de pharmacia, chimica e historia natural medida – 1872-1873
70 Album litterario – 1875-1880
71 Dexâssudhârânetxo – (em port. E marata)- 1876-1880
72 Estreia Litteraria – 1877
73 Goamitra – 1882-1883
74 Jornal das Novas Conquistas – 1882-1886
75 O Arya-Bondir – 1885-1886
76 O Goa Pancha – 1885-1889 e 1890-1892
77 Cavaco Instructivo – 1887
78 Sudarxana – 1888
79 A Democracia – semanal – 11.10.1888 a 3.10.1889
80 Ortigas – semanal – 1.1.1889 (Único exemplar)
81 O Niaya Chacxu – 1889-1890
82 Mandovy – semanal – 7.1890 a 27.10.1890
83 Gomantac – 1890-1892
84 O Vinte e um de Setembro – semanal – 28.10.1890 a 29.12.1892
85 A Voz do Povo – semanal – 7.11.1890 a 1907
86 Correspondência de Goa – semanal – 1891
87 Gazeta de Perném – 1893-1894
88 Gazeta da Índia – semanal – 1.2.1893 a 18.8.1894
89 O Investigador – quinzenal – 29.1.1894 a 21.7.1894
90 O Indispensável – 1.4.1894 a 12.1895 – 28.12.1909 a 7.1915. Ed. Ingl. 1.1913 a 1.1914
91 Divan Litterario – 1894
92 Archivo Medico da Índia – 8.1894 a 4.1896
93 Notícias – 1.9.1894 a 1937
94 O Brado Indiano – semanal – 15.12.1894 a 12.1895
95 O Liberal – mansal – 1.1895 a 10.1895
96 O Paiz – quinzenal – 1.1.1895 a 10.1895
97 A Evolução – semanal – 2.1.1895 a 13.11.1895
98 Bibliotheca de Notícias – mensal – 3.8.1895 a 11.1895
99 A Era Nova – semanal – 3.11.1897 a 30.4.1903
100 O Portuguez – semanal – 16.12.1897 a 16.11.1901
101 O Atheta – semanal – 1899 a 22.12.1906
102 O Heraldo – diário – 22.1.1900 até hoje
103 O Bardezano – semanal – 4.2.1904 a 22.12.1906
104 O Índio – semanal – 9.2.1904 a 6.4.1908
105 O Nacionalista – semanal – 11.10.1904 a 12.12.1910
106 O Oriente – semanal – 9.3.1905 a 22.12.1905
107 Echo da Índia –9.9.1905 a 28.6.1907
108 A Reforma – semanal – 16.10.1905 a 1.1.1906
109 Diário de Goa – 16.10.1905 a 22.2.1906
110 O Imparcial – semanal – 5.3.1906 a 18.8.1906
111 O Pygmeu – diário – 4.2.1908 a 31.12.1909
112 Heraldo- diário – 21.5.1908 até hoje
113 O Ariano – semanal – 16.7.1908 a 27.12.1911
114 O Futuro – semanal – 11.4.1909 a 12.1.1917
115 O Commercio – diário – 1.10.1909 a 30.12.1912
116 O Debate – semanal – 3.4.1911 a 16.2.1921
117 O Popular – semanal - 4.10.1911 a 20.5.1912
118 O Povo – bisemanal – 26.7.1912 a 12.2.1913
119 Students’ Progress – 12.9.1912 a 8.1914
120 Jornal da Índia – semanal –14.3.1913 a 26.8.1913
121 Boletim do Commercio – semanal – 29.3.1913 a 29.3.1915.
122 A Pátria – semanal – 6.8.1913 a 29.10.1914.
123 Rebate – semanal – 1.10.1913 a 12.6.1914.
124 Vida Nova - semanal, 17/11/1913 a 22/09/1917
125 Jornal do Povo - semanal, 14/07/1914 a 10/10/1918
126 A Lanterna - semanal, 01/10/1914 a 02/12/1916
127 A Terra - bissemanal, 01/01/1916 a 1932
128 O Liberal - semanal, 05/10/1916 a 12/03/1919
129 O Progresso - semanal, 10/03/1917 a 15/11/1919
130 Opinião - semanal, 12/11/1917 a 29/03/1919
131 O Português - semanal, 08/06/1919 a 26/09/1919
132 Nacional - semanal, 03/11/1919 a 09/03/1920
133 Diário da Noite - diário, 01/12/1919 até hoje
134 A Tribuna - semanal, 02/01/1920 a 1925
135 Provincia - semanal, 07/06/1920 a 27/03/1922
136 O Bharat - 1920 a 1949
137 Boletim Geral de Medicina e Farmácia - 03/1921
138 Gazeta da Relação de Nova-Goa - semanal, 1921-1932
139 A Época - 1924-1930
140 Boletim do Instituto Vasco da Gama - 1926
141 Sandalcalo
142 Lubadhe - semanal
143 Arquivos da Escolas Médico-cirurgica de Nova-Goa - 06/1927 até hoje
144 Pracasha - 1928-1937
145 Correio de Bardez - semanal, 1928-1948
146 Filha, Mãe e Esposa - 1928-1938
147 Esplendores da Religião - 1928-1930
148 Vem. Padre José Vaz - mensal, Ed. Port. 05/1928; Ed. conc. 07/10/1929; Ed. ing. 01/1931.
149 Ariavidnyana - semanal, 1929
150 Estado da Índia
151 Pradipa - 1929-1930
152 Amchó Gão - semanal, 1929-1933
153 Niz Bhavarti - semanal, 01/1930
154 Voluntário - semanal, 1930
155 Porjecho Adar - 1930 até hoje
156 Diário da Tarde - 1931-1933
157 A Voz de S. Francisco Xavier - semanal, 1931-1942
158 Índia - mensal (ing.), 10/1931
159 Correio de Bicholim - semanal, 1931-1932
160 Vaisha - 1931
161 Patita pavana - trimensal, 1931
162 O Tempo - semanal, 1931-1951
163 Índia - Suplemneto (ing.), 08/1932
164 Mascote - semanal, 1933-1936
165 A Luta - 1933-1937
166 Bharat-Mitra - mensal, 1933 até hoje
167 Jornal da Índia - 1933-1945
168 O Médico - mensal, 01/1934 até hoje
169 O Independente - semanal, 25/12/1933 a 09/09/1946
170 Vauraddeanchó Ixtt (Amigo do Operário) - 12/1933 até hoje
171 Jornal das Comunidades - semanal, 1934-1937
172 Boletim da Comissão de Arqueologia - 10/1935
173 O Clínico - mensal, 11/12/1938 até hoje
174 A Vida - diário, 15/09/1938 até 1963
175 O Esculápio - 11/1940 a 05/1941
176 Boletim Eclesiástico da Arquidiocese de Goa - mensal, 07/1942 até hoje
177 Ala - anual, Revista do Liceu Nacional de Albuquerque, 1944
178 Oratório Salesiano de D. Bosco – 03/1946 até hoje
179 A Voz da Índia – 1946-1950
180 Avante - 10/1946
181 Aitarachem Vachop - quinzenal, 1947 até hoje
182 India - mensal, 01/1950 a 1964
183 Notícias do Estado da Índia - 08/1950 a 1961
184 Luz da Infância - mensal, 13/10/1951 a 1959
185 Portuguese India - quinzenal, 01/1952
186 Diário de Goa – 01/02/1953 a 1961
187 Revista Farmacêutica - trimestral, 01/1954 a 1959
188 Vanguarda - 10/1954 a 1961
189 Heraldo - ed. ingl., semanal, 31/04/1956 a 1962
190 O Heraldo - ed. conc. 02/02/1956 até hoje
Bibliografia
ALEIXO, Manoel da Costa - Dicionário de Literatura Goesa, 3 vol., Fundação Oriente,
Macau, 1998.
CABRAL E SÁ, Mario - Konkan - nama, A Jorney Across Time, Konkan Railway
Corporation Ltda., Mumbai, 1998.
CABRAL E SÁ, Mário e PASRICHA Amit - Goa, Pearl of the East, Lustre Press Roli
Books, New Delhi, 1996.
CUNHA, Antonio Maria da - A evolução do jornalismo na Índia Portuguesa, Imprensa
nacional, Nova Goa, 1923.
D’AYALLA, Federico Diniz - Goa: antiga e moderna, Livraria Coelho, Nova Goa, 1927.
DE SOUZA, Teotonio - Goa to me, Concept Publishing Company, New Delhi, 1994.
DE SOUZA, Teotonio (Editor) - Goa Through the ages, vol. II, Concept Publishing
Co., New Delhi, 1989.
DIAS, Pe. Filinto Cristo - Esboço da história da literatura indo-portuguesa, Bastorá - Goa, 1963.
FURTADO, Álvaro de Loyola - Os primórdios da imprensa e do jornalismo em Goa e
no resto da Índia, Separata do Boletim do Instituto Menezes Bragança, Tipografia
Rangel, Bastorá – Goa, 1983.
ISSAR, T.P. - Goa Dourada - The Indo-Portuguese Bouquet, T.P. Issar, Bangalore, 1997.
MENEZES BRAGANÇA, Luis - A Educação e o Ensino na Índia Portuguesa, A Índia
Portuguesa, Nova Goa, 1923.
MENON, K.N. - Portuguese Pockets in India, Caxton Press, New Delhi, 1953.
PANNIKAR, K.M. - A survey of Indian History, Asia Publishing Honoe, Bombay, 1954.
RANGEL, Jaime - A imprensa em Goa, Tipografia Rangel, Bastará - Goa, 1956.
SEABRA, Manuel de e DEVI Vivala - Literatura Indo-Portuguesa, Junta de
Investigação do Ultramar, Lisboa, 1971.
SHIRODKAR, P.P. (org) - Goa Cultural Trends (Seminar Papers), directorate of
Archives, Archeology and Museum, panaji - Goa - 1988.
SILVA REGO, Antonio de - O Padroado Portugues do Oriente, Esboço Histórico,
Agencia Geral das colônias, Lisboa, 1940.
WHITEWAY, R.S. - Rise of Portuguese Power in India 1947-1950, Archibald
Constable & Co., London, 1899.
In: revcom2.portcom.intercom.org.br/index.php/anuariolusofono...
Considéré comme le troisième plus haut sommet de l'île après le Piton des Neiges et le Gros Morne, il atteint 2 898 mètres d'altitude, ce qui fait de lui le point culminant de la commune de Trois-Bassins.
Photo non libre de droits - Pour tout achat merci de me contacter en privé
Manuel Francisco dos Santos (October 28, 1933 – January 20, 1983), known by the nickname "Garrincha" ("little bird"), was a Brazilian football right winger and forward who helped the Brazil national team win the World Cups of 1958 and 1962, and played the majority of his professional career for Brazilian club Botafogo. FIFA considers him the best Brazilian player ever after Pelé,[4] and in 1999, many eminent football historians in Brazil have also referred to him being at least the equal of Pelé. Widely regarded as the best dribbler in football history, he was also an excellent crosser and free-kick taker.
The word garrincha itself means wren. Garrincha was also known as Mané (short for Manuel) by his friends, a name which in Brazil also means "fool" or "half wit".[6] It was possibly used in that sense at some point – or even as a double entendre due to Garrincha's child-like personality. The combined "Mané Garrincha" is common among fans in Brazil. Due to his immense popularity in Brazil, he was also called Alegria do Povo (Joy of the People) and Anjo de Pernas Tortas (Angel with Bent Legs)
Keith Jarrett (born May 8, 1945 in Allentown, Pennsylvania) is an American pianist, composer and jazz icon.
His career started with Art Blakey, Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in both classical music and jazz, as a group leader and a solo performer. His improvisation technique combines not only jazz, but also other forms of music, especially classical, gospel, blues and ethnic folk music. One of Jarrett's trademarks is his frequent, highly audible vocalization (grunting, groaning, and tuneless singing), similar to that of Glenn Gould, Thelonious Monk, Erroll Garner, and Oscar Peterson. Jarrett is also physically active while playing, writhing, gyrating, and almost dancing on the piano bench. Jarrett is notoriously intolerant of audience noise, including coughing and other involuntary sounds, especially during solo improvised performances. He feels that extraneous noise affects his musical inspiration. As a result, cough drops are routinely supplied to Jarrett's audiences in cold weather, and he has even been known to stop playing and lead the crowd in a "group cough."
Nastassja Kinski (born Nastassja Aglaia Nakszynski, January 24, 1961) is a German actress, who appeared in more than 60 international movies. Her starring roles include her Golden Globe Award-winning portrayal of 'Tess Durbeyfield' in Roman Polanski's film Tess, her roles in two erotic films (Stay As You Are and Cat People), and her parts in Wim Wenders' films The Wrong Move, Paris, Texas, and Faraway, So Close!. During the late 1970s and throughout the 1980s, Kinski was widely regarded as an international sex symbol.
Woody Allen (born Allan Stewart Konigsberg; December 1, 1935) is an American film director, writer, actor, comedian, and playwright.
Allen's distinctive films, which run the gamut from dramas to screwball sex comedies, have made him one of the most respected living American directors. He is also distinguished by his rapid rate of production and his very large body of work. Allen writes and directs his movies and has also acted in the majority of them. For inspiration, Allen draws heavily on literature, sexuality, philosophy, psychology, Jewish identity, European cinema, and New York City, where he was born and has lived his entire life.
Allen is also a jazz clarinetist. What began as a teenage avocation has led to regular public performances at various small venues in his Manhattan hometown, with occasional appearances at various jazz festivals.
Major Anya Amasova (aka Agent XXX) is a fictional character in the James Bond film The Spy Who Loved Me, portrayed by Barbara Bach. In the film Amasova is an agent of the KGB. Barbara Bach (born August 27, 1947) is an American actress and model, best-known as the Bond girl from the James Bond movie The Spy Who Loved Me (1977). She is married to musician Ringo Starr, former drummer of The Beatles.
Max Zorin is a fictional character and the main antagonist in the James Bond film A View to a Kill. He was portrayed by Christopher Walken, (born March 31, 1943) is an American film and theatre actor.
Walken is a prolific actor who has spent more than 50 years on stage and screen. He has appeared in over 100 movie and television roles, including The Deer Hunter, The Dead Zone, A View to a Kill, At Close Range, King of New York, Batman Returns, True Romance, Pulp Fiction, The Funeral, and Catch Me If You Can, and in TV's Kojak and The Naked City. Walken gained a cult following in the 1990s[citation needed] as the Archangel Gabriel in the first three The Prophecy movies, as well as his frequent guest-host appearances on Saturday Night Live. In the United States, films featuring Walken have grossed over $1.8 billion. He has also played the main role in the Shakespeare plays Hamlet, Macbeth, Romeo and Juliet, and Coriolanus. His most famous film roles were Nikanor "Nick" Chevotarevich in The Deer Hunter and in Pulp Fiction, as Captain Koons, a Vietnam War veteran, which has since become a pop culture icon, despite his appearance being less than ten minutes at length.
John Steinbeck III (February 27, 1902—December 20, 1968) was an American writer. He wrote the Pulitzer Prize-winning novel The Grapes of Wrath, published in 1939 and the novella Of Mice and Men, published in 1937. In all, he wrote twenty-five books, including sixteen novels, six non-fiction books and several collections of short stories. In 1962 Steinbeck received the Nobel Prize for Literature. Seventeen of his works, including The Grapes of Wrath (1940), Cannery Row (1945), The Pearl (1947), and East of Eden (1952), went on to become Hollywood films (some appeared multiple times, i.e., as remakes), and Steinbeck also achieved success as a Hollywood writer, receiving an Academy Award nomination for Best Story in 1944 for Alfred Hitchcock's Lifeboat.
Ernest Miller Hemingway (July 21, 1899 — July 2, 1961) was a novelist, short-story writer, and journalist. He was part of the 1920s expatriate community in Paris, and one of the veterans of World War I later known as "the Lost Generation." He received the Pulitzer Prize in 1953 for The Old Man and the Sea, and the Nobel Prize in Literature in 1954.
Hemingway's distinctive writing style is characterized by economy and understatement, and had a significant influence on the development of twentieth-century fiction writing. His protagonists are typically stoical men who exhibit an ideal described as "grace under pressure." Many of his works are now considered classics of American literature.The influence of Hemingway's writings on American literature was considerable and continues today. James Joyce called "A Clean, Well Lighted Place" "one of the best stories ever written". (The same story also influenced several of Edward Hopper's best known paintings, most notably "Nighthawks."[41] ) Pulp fiction and "hard boiled" crime fiction (which flourished from the 1920s to the 1950s) often owed a strong debt to Hemingway.
During World War II, J. D. Salinger met and corresponded with Hemingway, whom he acknowledged as an influence.[42] In one letter to Hemingway, Salinger wrote that their talks "had given him his only hopeful minutes of the entire war," and jokingly "named himself national chairman of the Hemingway Fan Clubs."[43]
Hunter S. Thompson often compared himself to Hemingway, and terse Hemingway-esque sentences can be found in his early novel, The Rum Diary. Thompson's later suicide by gunshot to the head mirrored Hemingway's.
Hemingway's terse prose style is known to have inspired Charles Bukowski, Chuck Palahniuk, Douglas Coupland and many Generation X writers. Hemingway's style also influenced Jack Kerouac and other Beat Generation writers. Hemingway also provided a role model to fellow author and hunter Robert Ruark, who is frequently referred to as "the poor man's Ernest Hemingway".
Popular novelist Elmore Leonard, who has authored scores of western- and crime-genre novels, cites Hemingway as his preeminent influence, and this is evident in his tightly written prose. Though Leonard has never claimed to write serious literature, he has said: "I learned by imitating Hemingway.... until I realized that I didn't share his attitude about life. I didn't take myself or anything as seriously as he did."
Salma Hayek Jiménez (born September 2, 1966) is a Mexican and American actress, director, television and film producer. Hayek has appeared in more than thirty films and performed as an actress outside of Hollywood in Mexico and Spain.
Hayek is the first Mexican national to be nominated for a Best Actress Oscar. She is one of the most prominent Mexican figures in Hollywood, since the legendary Dolores del Rio. She is also, after Fernanda Montenegro, the second of four Latin American actresses to achieve a Best Actress Oscar nomination.
Augusto Nicolás Calderón Sandino (May 18, 1895 – February 21, 1934) was a Nicaraguan revolutionary and leader of a rebellion against the U.S. military presence in Nicaragua between 1927 and 1933. He was labeled as a bandit by the U.S. government, and his exploits made him a hero throughout much of Latin America, where he became a symbol of resistance to U.S. domination. Drawing the United States Marines into an undeclared guerrilla war, his guerrilla organization suffered many defeats, but he successfully evaded capture. US troops withdrew from the country after overseeing the inauguration of President Juan Bautista Sacasa. Sandino was assassinated by General Anastasio Somoza García, who went on to seize power in a coup d'état two years later, establishing a family dynasty that would rule Nicaragua for over forty years. Sandino's legacy was claimed by the Sandinista National Liberation Front (FSLN), which overthrew the Somoza government in 1979.
Roberto Boninsegna (born November 13, 1943 in Mantua) is an Italian former football player. He started his career in Serie B (Italian 2nd division) with Prato in 1963-64 season. He transferred to FC Potenza, who was Serie B team in 1964-65 season. He also played for Varese in 1965-66 and Cagliari between 1966-1969. Boninsegna gained a status as an efficient striker with Internazionale and Italy in the 1970s. In Series A he totaled 171 goals in 281 games, and was top goalscorer in Italy in 1971 and 1972. He transferred to Juventus F.C. in 1976 and played 3 seasons for them. He finished his career at Verona end of 1979-80 season.
Boninsegna scored Italy's only goal (though at the time it was an important equaliser) in the 1970 FIFA World Cup final against Brazil, which Italy ultimately lost 4–1.
Leighton Koizumi was and is the lead singer of Gravedigger V and the Morlocks, two seminal garage punk band of the 80's. After the third album in the 1991, Leighotn Koizumi haddisappeared; someone guessed the aids killed him in 1990 but two years later some rumours from San Diego gave him out clean and ready to start again, then nothing else… Till the beginning of 1998 when they spread the groundless piece of news that he left us forever…but finally in the 1999 Koizumi had reformed the Morlocks.
Alberto Juantorena Danger (born 3 December 1950) is a former Cuban track athlete. At the 1976 Summer Olympics, White Lightning became the first and so far only athlete to win both the 400 and 800 m Olympic titles.
Born in Santiago de Cuba, Juantorena first played basketball, until he was discovered by a Polish track coach, Zygmunt Zabierzowski, who convinced him to start running. Only a year later, Juantorena was eliminated in the semi-finals of the 400 m event at the Munich Olympics (1972).
Juantorena became better known in the next years, winning a gold medal at the World University Games (1973) and a silver at the 1975 Pan American Games, both in the 400 m. He only seriously took up running the 800 m in 1976, so few thought he was a serious candidate for the Olympic gold that year. However, Juantorena made it to the Olympic final, and led the field for most of the race, eventually winning in a world record time of 1:43.50. Three days later, he also won the 400 m final, setting a low-altitude world record of 44.26.
Juantorena, now known at home as El Caballo (the horse), continued his career, although he would never reach the same level as in Montreal. He just missed out on a medal in the 400 m at the 1980 Summer Olympics in Moscow, placing fourth. At the 1983 World Championships, his last international appearance in a major event, he broke his foot when he stepped on the inside of the track after qualifying in the first round of the 800m. Juantorena later served as the Vice Minister of Sports for Cuba.
Chris Cornell (born Christopher John Boyle on July 20, 1964) is an American rock musician best known as the lead singer and songwriter for rock bands Soundgarden (1984–1997) and Audioslave (2001–2007). He was the founder and frontman for Temple of the Dog.
Philippe Leroy , of his true name Philippe Leroy-Beaulieu , is a Acteur French, born on October 15th 1930 in Paris. It is revealed by the Film the Hole (1960) of Jacques Becker. It is directed quickly towards the Italy, where he becomes a much in demand actor. It obtains a great success by holding the main role of the whodunnit Seven men out of gold (1965) of Mario Vicario, where it interprets the organizer of a daring holdup. It shares then its career between the France and Italy, with a very clear preference for Italy, where it resides.
Colonel Rosa Klebb is a fictional character and the antagonist from the James Bond film and novel From Russia with Love. She was played by Lotte Lenya in the film version. Her name punningly derives from the popular Soviet phrase for women's rights, khleb i rozy, which in turn was a direct Russian translation of the internationally used Labor slogan bread and roses. Lenya was born Karoline Wilhelmine Charlotte Blamauer (October 18, 1898 – November 27, 1981) to working class Roman Catholic parents in Vienna, Austria. She moved to study in Zürich, Switzerland in 1914, taking up her first job at the Schauspielhaus using the stage name Lotte Lenja.
Vladimir Pyotrovich Tkachenko (September 20, 1957 in Golovinka, USSR) is a retired Ukrainian basketball player. The 7'3" (2.21m), 243 lbs, (110 kg) center won two Olympic medals and three FIBA World Championship medals in a career that lasted 16 years. He was named Mr Europa player of the year in 1979.
A great defensive player, Tkachenko could block out 2-3 opponents to give teammates a chance to grab a rebound. His offensive ability was however important too: His post up moves were basic but effective and his shooting was good for a player his size, with a range of approximately 17 feet.
Tkachenko began playing for Stroitel Kiev in 1973-74, when he was 16 years old. He continued to play for them through the 1980-81 season. In 1983 he began playing for CSKA Moscow and he stayed there until his retirement after the 1988-89 season.
From 1976 to 1987 Tkachenko played on the Soviet national team, participating in many European and World competitions. Highlights would include the two bronze medals at the Olympics (1976 and 1980), the gold medal at the 1982 FIBA World Championship (also silver medals in 1978 and 1986) and three gold medals in the European Championship in 1979, 1981 and 1985 (and silvers in 1977 and 1987).
Emilio Largo is a fictional character and the main antagonist from the James Bond novel Thunderball. In the novel he is depicted according to the British stereotypes about Italians as a large, olive-skinned, powerful man exuding animal charm, with a profile of a Roman emperor and hairy hands which are likened to crawling tarantulas. He also appears in the 1965 film adaptation, with Italian actor Adolfo Celi filling the role. Born in Messina in the 1922, Sicily, Celi appeared in nearly 100 movies, specializing in international villains. He also appeared as a protagonist in some Italian comedies like Amici Miei and Brancaleone alle Crociate. Another well-known role of his was as camp commandant Battaglia opposite Frank Sinatra and Trevor Howard's Allied POWs in the 1965 World War II escape drama Von Ryan's Express.
Celi was fluent in several languages, but his thick Sicilian accent meant that he was usually dubbed when appearing in an English language film.
During his early career, Celi was also successful as a stage actor in Argentina and Brazil, where he owned an actors' company along with the Brazilian stage greats Paulo Autran and Tonia Carrero. He directed three films in South America in the 1950s, including the Brazilian hit Tico-Tico no Fubá in 1952.
Fabrizio De André (Genova, February 18, 1940 - Milano, January 11, 1999) was an Italian singer-songwriter and poet. In his works he often told stories of prostitutes, marginalized and rebellious people. In Italy he is considered as a poet because of the quality of his lyrics.
Alessandro (Sandro) Pertini (September 25, 1896 - February 24, 1990) was an Italian socialist, probably the most popular President of the Italian Republic.Born in Stella (Province of Savona) as the son of a well to do landowner, Alberto, he studied at a Salesian college in Varazze, and completed his schooling at the "Chiabrera" lyceum (high school) in Savona. His philosophy teacher was Adelchi Baratono, a reformist socialist who contributed to his approach to Socialism and probably introduced him to the inner circles of the Ligurian labour movements. Pertini obtained a Law degree from the University of Genoa. Sandro Pertini was against Italy's participation in World War I, but served as a lieutenant and was awarded several medals as for bravery. In 1918 he joined the United Socialist Party, PSU, then he settled in Florence where he also graduated in political science with a thesis entitled La Cooperazione ("Cooperation"; 1924). While in the city, Pertini also came into contact with people such as Gaetano Salvemini, the brothers Carlo and Nello Rosselli, and Ernesto Rossi. Pertini was physically beaten by Fascist squads on several occasions, but never lost faith in his ideals. In 1935 he was interned on Santo Stefano Island, Ventotene (LT), Pontine Islands, an island in the Tyrrhenian Sea, where he remained through Italy's entry into World War II and until 1943. There he saved the famous diaries of Antonio Gramsci. Although he had begun suffering from severe illness, Pertini never demanded pardon. He was released a month after Benito Mussolini's arrest, and joined the Italian resistance movement against the Nazi German occupiers and Mussolini's new regime - the Italian Social Republic. Arrested by the Germans, he was sentenced to death but freed by a partisan raid. After April 25, 1945 (the end of the war in Italy) he was elected to the first Parliament of the Italian Republic (the parliament which created the modern Italian Constitution, and thus was called La Costituente). In the postwar era he was a prominent member of the directive board of the Italian Socialist Party. He was appointed president of the Italian Chamber of Deputies in 1968, and in 1978 President of the Italian Republic, the highest office in the Republic. As President he succeeded in regaining the public's trust in the State and institutions. During the Brigate Rosse terrorism period of the Anni di piombo, Pertini was a defender of the institutions he represented. His death in Rome was viewed by many as a national tragedy, and he is arguably one of modern Italy's most accomplished politicians.
This image is quite special for me and I consider it as one of the best I have taken. Taken at the Botanical Gardens about a month ago when I was there with Bruce and I saw this creature right down the bottom of a thick leaf of a lily I think (maybe bromeliad). The plant was about a metre high with thick green leaves closely together. This cricket (for I think it is a cricket) was right down near the base of one of the leaves and I wanted to take this supermacro that the S3 can do, but I had to wedge the cameras right down between this stem and one on top of it.
I really forced the camera in and wedged it in there but was still able to operate the shutter. The real bonus was that there would be no camera shake and the photo was taken at .6 sec.
I have actually uploaded the original size so my contacts can see the full image. I hope you like it. As I said I think it is a cricket but beyond that, I have no idea. I have some marvellous, intelligent contacts so I think some may be able to add more information here. [Don't want to be stumped with this; or bowled out over facts; or caught out through a slip!! (a joke Aussie or English sports followers will understand)].
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Some consider all asbestos cement as a durable, "non-friable" product. However, over time much of these materials have become deteriorated or damaged, consequently allowing release of asbestos fibers into the surroundings.
www.twitter.com/Memoire2cite #recherche #archives #Banlieue #socialhousing #logement #Collectif #Copropriété #Habitation #Habitat #HLM #Quartier #Béton #immeuble #Cité #Moderne #Europe #World #Mémoire2Cité #Mémoire2Ville @ Les 30 Glorieuses . com l' #Urbanisme d'Antan, et ses belles cartes postales @ mais aussi les clichés d'Archilaid, comme les "prix citron" de la France moche.. ou encore la laideur architecturale en Françe et Ailleurs. Dans le triste sillage des cités de banlieue construites ds les années 50, 60, 70... @ l'apres guerre.. dans l'urbanisation massive des territoires via l'industrialisation du logement @ le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme @ De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments banlieue89 ANRU1 ANRU2 bientot ANRU3 @ le Renouvellement urbain, la rénovation urbaine, des "Ensembles Tout Béton" qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM L'urbanisation à marche forcée des années 60 est devenue synonyme de bétonnage et d'enlaidissement. Dans L'Express du 23 août 1971 @ "La loi du 7 juillet dernier relative à la liberté de la création, à l'architecture et au patrimoine a ainsi créé un label spécifique permettant de veiller sur cet héritage architectural récent, que le Comité du patrimoine mondial de l'Unesco vient lui aussi de mettre en lumière", ajoute la ministre de la Culture.
Pas un village, dans la plus reculée des provinces, qui ne soit atteint. C'est comme une lèpre qui, peu à peu, prolifère sur l'épiderme du paysage urbain français. Un des plus beaux du monde, disait-on. Agressive médiocrité des bâtiments publics, des écoles, des postes, des administrations, monotonie concentrationnaire des grands ensembles, prétention et passéisme débile des maisons individuelles : le bilan architectural des dix dernières années est, en France, catastrophique. Jamais on n'a autant construit. Jamais si mal, si pauvre, si triste. A de rares exceptions. Cela devient si flagrant à la lumière de l'été, que même l'O.r.t.f. s'en est ému. Après Vivre aujourd'hui, l'émission de Jacques Frémontier (dimanche, consacrée à "la rue"), La France défigurée, de Michel Péricart et Louis Bériot, a donné l'alerte : par milliers, des témoignages ont afflué. Les Français prennent conscience du mal et s'interrogent : "Comment, pourquoi, en est-on arrivé là ?" Spéculation Que "cet avachissement, cet avilissement de la qualité architecturale", comme le définit M. Michel Denieul, directeur de l'Architecture au ministère des Affaires culturelles, ne soit pas l'exclusivité de la France, personne ne le conteste. Le monde entier connaît un malaise architectural. Après avoir, des siècles durant, bâti pour le seigneur, le prince, le mécène, l'architecture ne sait pas encore bâtir pour la masse, le peuple, "l'innombrable", comme le dit l'architecte Emile Aillaud. En Grande-Bretagne, en Allemagne, en Italie, aux Etats-Unis, aussi, elle tâtonne. Ce n'est pas une consolation. Ni une raison suffisante pour admettre comme une fatalité la piètre architecture française. Ni pour excuser ceux qui l'ont laissée pousser comme les mauvaises graines, à tous les vents. Le premier des responsables, avant les architectes dépassés (voir page suivante l'opinion de Pierre Schneider) et les promoteurs avides, c'est l'Etat. Qui, par le jeu des servitudes, des permis de construire, etc., contrôle et, le plus souvent, paralyse la totalité de ce qui se bâtit en France. Qui est lui-même le premier client des architectes, le premier maître d'ouvrage des nouveaux édifices (hôpitaux, écoles, logements sociaux). Qui, à ce titre, aurait pu, et ne l'a pas fait, promouvoir une politique de l'habitation qui soit une politique d'embellissement. "Construire beaucoup, c'est une occasion d'embellir", dit Bertrand de Jouvenel.Au lieu de cela, que voit-on, en dépit de la réaction amorcée depuis quelques années par le ministère des Affaires culturelles ? La médiocrité primée, la création handicapée, la spéculation triomphante. Les grands ensembles sont une erreur, mais nous ne savons pas pourquoi. Colin Davidson, professeur à l'Ecole d'architecture de l'université de Montréal.Dans un vieux pays comme la France, pour lutter contre la laideur, il y a deux méthodes : une stratégie de choc qui favorise la qualité architecturale ; une stratégie défensive qui prévient la détérioration du patrimoine ancien. La première n'a jamais été définie. Comment s'étonner des résultats ? On ne s'est même jamais soucié d'en jeter les bases en pratiquant une politique d'urbanisme conséquente. "Une ville comme Paris, dit M. Denieul, se caractérise par une propension à accorder les permis de construire, quand ils sont demandés, au coup par coup. Et cela, faute de documents d'urbanisme suffisamment précis, souples et contraignants en même temps."Appréciation Contre ce système du n'importe quoi, n'importe où, n'importe comment, M. André Malraux avait voulu réagir. Il avait demandé à l'architecte urbaniste Gaston Leclaire d'étudier l'aménagement du quartier de la rotonde de La Villette, et spécialement des abords du bassin, appelé à devenir le pôle d'attraction d'un site urbain peu connu et insolite. L'étude a été menée à terme, mais ses conclusions sont restées lettre morte. De telles études, faites systématiquement, auraient pu freiner bien des désastres, non seulement à Paris, mais sur la Côte d'Azur, autre victime notoire d'une urbanisation désordonnée. Et servir de tremplin à une architecture raisonnée, sinon réussie, alors que celle dont nous souffrons n'est ni l'un ni l'autre. C'est aussi M. André Malraux qui, par la loi du 4 août 1962, dite des secteurs sauvegardés, tenta de consolider la stratégie défensive. De fait, à l'intérieur des quartiers préservés, au voisinage des monuments historiques on ne peut construire ni détruire n'importe quoi. Un immeuble tout en verre où se reflète la cathédrale d'Amiens ? Soit : le mélange des siècles n'est pas prohibé, au contraire, c'est la vie même des villes. A condition que les deux architectures soient, comme c'est le cas, bien intégrées l'une à l'autre. La R.a.t.p., en revanche, n'a pas reçu le droit de construire sur les quais de la Seine, déjà si meurtris, une tour de bureaux qui viendrait s'inscrire entre celles de Notre-Dame. Il y aurait donc sauvegarde sans le drame des dérogations laissées à l'appréciation des administrations. A cause d'une de ces dérogations, va s'élever, rue de l'Université, l'immeuble de bureaux réservé aux membres de l'Assemblée nationale. On le verra, de la place de la Concorde, se profiler derrière les deux étages de l'hôtel de Lassay, résidence du président de l'Assemblée. Dérogation aussi pour la barre massive des immeubles de Maine-Montparnasse et la tour de 200 m qui les couronnera : quand la maquette fut présentée devant la Commission des sites, un ministre et cinq préfets étaient présents pour l'appuyer de leur autorité politique. Il n'y eut pour ainsi dire pas de discussion. Quant à la tour de la Halle aux vins, autre pont aux ânes architectural, c'est l'enfant bâtard d'un grand projet : une flèche hélicoïdale, construite par l'architecte Edouard Albert, et couverte de mosaïque par Georges Braque. Hélas ! Albert et Braque sont morts, et les Parisiens n'ont sous les yeux que la tour sans génie d'Henri Coulomb. Bénédiction A Strasbourg, c'est le maire lui-même, M. Pierre Pflimlin, qui s'est obstiné à permettre la construction, à deux pas de la cathédrale, d'un complexe immobilier de 60 m de haut et de plus de 60 millions de Francs. La Commission départementale des sites, les Monuments historiques, la direction départementale de l'Equipement ont émis un avis défavorable. Les P.t.t. aussi, car cette tour fera écran aux liaisons hertziennes entre Strasbourg et Paris. Rien n'y a fait. M. Pflimlin a gagné. Les P.t.t. devront déplacer le relais de leurs ondes hertziennes, situé à Saverne, et la flèche rose de la cathédrale, point de ralliement de toute l'Alsace, se verra fâcheusement disputer le ciel. La Côte d'Azur regorge, hélas ! d'exemples tout aussi significatifs. Le dernier en date n'est pas le moins accablant. A Mandelieu-La Napoule, sur un terre-plein de 10 ha gagné sur la mer, vient d'être construit un "complexe" d'une quinzaine d'immeubles, hauts de sept étages, et d'une médiocrité affligeante, qui dépare un des plus beaux panoramas de la Côte, entre le massif de l'Esterel et les îles de Lérins. Avant de voir le jour, ce projet a reçu toutes les bénédictions officielles. Quinze organismes différents ont été consultés par le Conseil municipal, et, parmi eux, la Commission des sites. Pas un souffle de protestation ne s'est élevé. L'affaire est remontée à Paris. Finalement, le ministre de l'Equipement lui-même a signé le permis de construire et la concession d'endigage du port. Aujourd'hui, l'Association pour la défense des sites de Cannes et des environs distribue la photo du chantier à des milliers d'exemplaires. "Ce que nous voulons empêcher désormais." Et Mme Louise Moreau, élue maire de La Napoule aux dernières élections, est formelle : "Si, alors, j'avais été maire, je n'aurais jamais permis cela."
Répétition D'une part, l'Etat protège peu ou mal, d'autre part, loin de promouvoir la recherche et la qualité, il impose les normes d'une architecture concentrationnaire. Ainsi par le système des Cos (Coefficients d'occupation des sols), dans Paris et dans les grandes villes, où la pression de la rentabilité est énorme, on construit au maximum, même si c'est dépourvu de toute plausibilité, même si, du point de vue architectural. c'est une hérésie. "Il faudrait, dit M. Denieul, créer des zones de discontinuité : des Cos de 3 à un endroit, et, à d'autres, des Cos de 0 à 5, ce qui donnerait au faciès urbain un modelé, un relief. Au lieu de cela, le mot d'ordre est de 'bourrer' partout. Et le XVIe arrondissement de Paris, entre autres victimes, devient un immense chantier où se multiplient les surélévations intempestives." A quoi M. Jean Chapon, directeur du cabinet de M. Albin Chalandon, rétorque : "Il faut bâtir au maximum, sinon, où logera-t-on les milliers de gens qui affluent dans les villes ?" On touche, ici, au coeur du problème. Parce que les besoins étaient immenses et impérieux, on a construit beaucoup. Très vite. Sans se préoccuper du plaisir de vivre des futurs habitants. Comme si un environnement harmonieux était un luxe, cet environnement que les arbres et les champs fournissaient naturellement aux gens d'autrefois. Comme si l'on ne savait pas que la laideur monotone sécrète l'ennui, la morosité, le désespoir. Était-il impossible, au même prix, de construire bien ? Les réussites d'Emile Aillaud, par exemple, à Grigny-la-Grande-Borne, ou de Michel Andrault et de Pierre Parat à Sainte-Geneviève-des-Bois prouvent le contraire. Même avec les crédits limités des H.l.m., même en respectant les normes étouffantes de l'urbanisme réglementaire, on peut créer des habitations à l'échelle de l'homme, du paysage, des architectures favorables à la détente et au bien-être. Ce n'est pas une question de crédits, ni de servitudes ni de préfabrication. C'est une question d'audace, d'invention. Malheureusement, les inventeurs, en cette époque de conformisme, sont rares, et on les encourage peu. Sauf dans les cas où l'obstination d'un créateur a réussi à vaincre les résistances pour modeler un univers vraiment neuf, on s'est contenté d'additionner, de juxtaposer les machines à vivre, les cités dortoirs, de confondre industrialisation et répétition, fonctionnalisme et monotonie. Multiplication "Quand je me promène autour de Paris, disait, peu de temps avant sa mort, le grand architecte américain Richard Neutra, j'ai l'impression que ceux qui bâtissent n'ont jamais été à l'école maternelle. Ils ne savent pas où le soleil se lève, ni où il se couche. Ils ont oublié que l'homme a besoin de chlorophylle comme les arbres et d'espace comme les oiseaux. Ils ne savent faire que des prisons." Le ministère de l'Equipement, pour sa part, est fier d'avoir mis au point un catalogue de grands ensembles --boîtes géantes et tours de tous calibres -- qui permet aux maires et aux offices d'H.l.m. de choisir sur photos et sur plans des immeubles types, spécialement étudiés par des architectes (certains sont renommés) qui en garantissent la qualité de la fabrication et le prix. Au ministère de l'Education nationale qui, à lui seul, dépense 3 milliards par an pour construire 4 millions de m2 (un C.e.s. par jour), on prône la préfabrication (sauf dans les établissements de l'enseignement supérieur). Chaque année, parmi les propositions des trente-cinq entreprises agréées, qui se sont engagées à ne pas dépasser le prix plafond de 520 Francs le m2, on choisit trois ou quatre types nouveaux de C.e.s. On les expérimente en petite série l'année suivante. Puis, on se lance dans la fabrication industrielle. En soi, le système pourrait être bon. S'il n'aboutissait pas à la multiplication de bâtiments déprimants. Même à Cajarc (Lot), cher à M. Georges Pompidou, le C.e.s. offense la vue. L'Education nationale, à qui incombe, entre autres tâches, le soin de former l'oeil et le goût des enfants, ne s'en émeut pas. "Elle n'accepte, dit un haut fonctionnaire, aucun conseil, et se drape dans sa dignité de gros consommateur d'architecture." Subvention Le ministère de l'Agriculture n'agit pas avec plus de discernement. Il n'impose pas de modèles. Mais les prix plafonds des bâtiments agricoles ont été calculés si bas (en partant de la tôle ondulée et du parpaing non enduit) que l'agriculteur qui souhaiterait construire convenablement ne peut le faire, sans risquer de perdre le bénéfice de la subvention. Ainsi, la campagne française s'est couverte peu à peu de bergeries et d'étables qu'on dirait échappées de bidonvilles. Aucun site n'est épargné. Ni la Bretagne ni la Lozère. Si le classement de Colombey-les-Deux-Eglises n'était pas intervenu à temps, un hangar de tôle ondulée serait venu boucher la perspective historique qui s'étend devant la Boisserie... Une grande part de ces diverses calamités est due à l'incompétence des maîtres d'ouvrage - fonctionnaires et élus - desquels dépend la commande publique. "Le sens de l'architecture est aussi rare chez eux que le bon sens", disait quelqu'un qui les pratique. Et Raymonde Moulin, dans sa récente étude sur l'Etat et les architectes, l'a noté : "L'intérêt pour la qualité architecturale appartient sinon à l'ordre du rêve, du moins de ce qui peut être considéré comme un hasard heureux." Les promoteurs privés ne sont pas plus royalistes que le roi. Pas plus que l'Etat, ils ne se soucient d'apporter aux Français le plaisir que procure un heureux agencement de l'espace. Pour la plupart, ils se contentent d'appâter avec du clinquant - baies vitrées, travertin dans le hall, céramique dans la salle de bains - et offrent des immeubles de (faux) prestige, mal insonorisés, mal compris, étriqués, qui n'ont que de lointains rapports avec l'architecture, même s'ils portent des signatures connues.
Impulsion Peut-on enrayer l'épidémie de laideur ? Alertés par les avertissements de la Commission du VIe Plan, les Pouvoirs publics semblent vouloir secouer leur torpeur. Pas question de définir une politique. "On ne peut imposer une architecture officielle, comme en U.R.S.S., se défend M. Chapon. Nous sommes en pays de liberté." Mais on éprouve la nécessité d'agir. Premier essai de stratégie dynamique : le plan-construction, lancé, en mai, conjointement par MM. Chalandon, Jacques Duhamel et François-Xavier Ortoli. Son objectif avoué : rechercher un habitat qui réponde mieux au besoin de l'homme d'aujourd'hui. En fait, il s'agit de trouver des remèdes à l'échec des grands ensembles.
Au ministère des Affaires culturelles, dans la même foulée réformatrice on prépare deux projets de loi : l'un sur la profession d'architecte, l'autre sur les conditions de la commande publique. Toujours sous l'impulsion de M. Duhamel, la Fondation de France finance un concours d'architecture agricole qui sera lancé à l'automne en Franche-Comté, en Bourgogne et en Bretagne. Enfin, une étude a été menée pour voir de quelle façon on pourrait, dès l'école maternelle, sensibiliser les enfants aux problèmes de volumes et d'espaces. Il reste à convaincre l'Education nationale d'inscrire cet enseignement nouveau à ses programmes.A la direction de l'Architecture, malgré les faibles moyens financiers dont il dispose, M. Denieul souhaite influer plus directement sur la qualité de la construction, en développant les services de la création architecturale. Dans les trente prochaines années, la France va construire autant de logements qu'il en existe actuellement. Il est temps de se souvenir que le degré de civilisation d'un peuple se juge à la qualité des édifices qu'il laisse à la postérité. "La France n'est ni belle ni laide", Vasarely "La France n'est ni belle ni laide. C'est le point de vue où nous nous plaçons qui décide. Celui qui se promène à New York ne voit qu'une ville chaotique et sale. Mais si, le soir, on arrive de l'aéroport, on découvre les gratte-ciel illuminés qui émergent au-dessus du fog. C'est un spectacle inoubliable. La Courneuve ou Sarcelles, vues d'avion, présentent des aspects intéressants.""Remédier à la laideur est une tâche extrêmement complexe qui se place sur d'innombrables plans, sociologiques, psychologiques, esthétiques. Le gouvernement actuel est favorable à l'esthétique, mais peut-on imposer la beauté comme on a imposé la vaccination obligatoire ? Actuellement on construit partout des habitations du genre clapier. Ce phénomène est universel. Sarcelles et Saint-Denis ressemblent à Sydney ou à Tokyo." Le droit à la beauté, par Pierre Schneider Le mot "esthétique" a mauvaise presse. Mais l'esthétique, dans la bouche des architectes, c'est ce que font les autres... En réalité, jamais l'architecture n'a été plus préoccupée de beauté. Elle peut prendre les formes les plus diverses. Ici, elle est dans l'intense présence d'un édifice ; là, dans un agencement heureux de l'espace obtenu par des moyens insignifiants. Tantôt harmonieuse, tantôt agressive. L'élégance du chemin le plus court, mais aussi l'extravagance du chemin des écoliers : Ludwig Mies Van der Rohe ne nie pas Antonio Gaudi. L'essentiel est de ne pas se soumettre passivement aux idées reçues, d'exprimer son temps - fût-ce en s'efforçant de le réorienter. "Lorsqu'une oeuvre est à son maximum d'intensité, de proportions, de qualité d'exécution, de perfection, il se produit un phénomène d'espace indicible, les lieux se mettent à rayonner, physiquement. C'est du domaine de l'ineffable." Cette définition du beau est due au père du fonctionnalisme : Edouard Le Corbusier. L'absence de volonté créatrice se traduit par des formes inertes. Et l'inertie démoralise. Le jour n'est pas loin où le plus fanatique des technocrates sera contraint d'inclure le droit à la beauté dans ses frais généraux. A quelques exceptions près, l'histoire de l'architecture moderne - celle du dernier quart de siècle, surtout - ne s'est pas écrite en France. Pourquoi ? La raison la plus évidente est qu'elle n'a pas voulu ou su produire des architectes. La faute en incombe, en premier lieu, à l'Ecole des beaux-arts. La formation, ou plutôt la déformation qu'elle dispensait à ses élèves, était, depuis cent cinquante ans, résolument passéiste : on se référait à Versailles ou au Parthénon, oubliant que leur pouvoir de fascination venait de ce qu'ils avaient été, en leur temps, des bâtiments modernes. Le premier travail des élèves utilisant l'acier, le verre, fut présenté à l'Ecole en 1950.Vers 1956, un groupe d'élèves qui proposaient à Nicolas Untersteller, directeur de l'Ecole, d'organiser une exposition Mies Van der Rohe, s'entendirent répondre : "Je ne connais pas cette demoiselle." Un promoteur définit assez brutalement le produit de cet enseignement figé : "Les architectes ? Ils se croient des artistes. Ils ignorent la vie." Effectivement, l'Ecole n'a pas su assimiler la révolution industrielle. Vers 1840, un divorce s'opère entre architecte et ingénieur. Le premier n'a que mépris pour le second. Lorsque, au début du siècle, Fulgence Bienvenüe, ingénieur en chef du métropolitain, veut enseigner aux élèves de l'Ecole la technique du béton armé, ceux-ci le chahutent au cri de : "Tu nous prends pour des entrepreneurs ?" Bibliothèque nationale, Halles de Baltard, viaduc de Garabit - les chefs-d'oeuvre de la construction industrielle du XIXe siècle sont si peu considérés comme de l'architecture, que le premier d'entre eux à avoir été classé monument historique fut la tour Eiffel. Depuis quelques générations, les architectes apprenaient les techniques modernes, mais comme un mal nécessaire. "Un tuyau, ça se cache", dit l'un d'eux. Ils acceptaient de construire une usine ou une H.l.m. - il faut bien vivre - mais leur rêve restait de bâtir pour un prince. Aucune place n'était faite, dans l'enseignement, à l'économie, à la sociologie - en un mot à la donnée humaine qui est à la fois le grand problème de l'époque et sa chance de renouvellement : les nombres. Que pèsent ces rêveurs anachroniques en face de gens qui ont le sens des réalités - ceux-là mêmes qui les font travailler : les promoteurs ? Rien. Dans les pays anglo-saxons, l'architecte est respecté ; chez nous, c'est le pauvre type qui oublie un escalier. Un promoteur explique : "Comment je choisis un architecte ? C'est simple : je prends celui qui fait ce que je veux." Et ce qu'il veut, c'est ce qui se vend, c'est-à-dire le "standing". Il n'y a pas de grand architecte sans grand client, note l'architecte Michel Bezançon. Or, à l'encontre des Etats-Unis ou de l'Italie, en France, l'architecture ne se vend pas comme image de marque." M. Claude Alphandéry, P.d.g. de la Banque de la construction et des travaux publics, confirme : "Les gens d'affaires français ne considèrent pas encore l'architecture comme le bon signe extérieur de la réussite." Créer, dans ces conditions, tient du miracle. L'architecture abdique ou se condamne à périr de faim. Dans le secteur public, l'accueil à l'architecture vivante n'est pas meilleur que dans le privé. L'architecte, pour faire aboutir un projet, doit avoir l'obstination des personnages de Kafka. Un disciple connu de Le Corbusier se voit refuser une commande parce que, selon les mots du financier désolé, "il n'a personne dans sa manche". Savoir se débrouiller est plus important que savoir créer. "Le secteur public est démembré en parties qui doivent négocier entre elles", explique M. Alphandéry. D'excellentes réalisations, toutes dues à la volonté d'individus, soulignent d'autant plus cruellement la formidable indifférence des hommes politiques (qu'ils soient de droite ou de gauche) et des technocrates à "la dimension poétique". Les ministres se préoccupent de pouvoir proclamer à la fin de l'année qu'on a construit tant de logis, mais II ne vient à l'idée de personne de supposer que ces logis devraient, en toute justice, tomber sous le coup de la loi qui interdit de déposer des ordures sur la voie publique. Pourtant, il est des raisons d'espérer. La principale est l'apparition d'une génération d'architectes pour qui l'industrie n'est plus l'ennemi - pas plus que la panacée - mais un instrument. Un instrument qui, bien utilisé, peut libérer l'architecture de ses servitudes. Ici et là, surgissent des bâtiments, des ensembles dont la réussite démontre qu'aujourd'hui les contraintes techniques et budgétaires ne sont plus que l'alibi facile des médiocres. L'imagination est humainement nécessaire. Elle est techniquement possible. A nous de savoir l'exiger. www.lexpress.fr/culture/1971-architecture-et-urbanisme-la... Métamorphoses des villes : d'hier à aujourd'hui L'oeuvre de Le Corbusier classée au patrimoine mondial de l'Unesco Marseille, d'hier à aujourd'hui Lille d'hier à aujourd'hui... www.lexpress.fr/culture/en-images-l-oeuvre-de-le-corbusie... Dix-sept réalisations de l'architecte franco-suisse, dont dix situées en France, sont désormais inscrites au patrimoine mondial de l'organisation. Une proposition adoptée par consensus et sans changement par le comité en charge du classement. La troisième aura été la bonne. Après deux tentatives infructueuses, l'oeuvre architecturale de Le Corbusier a été inscrite au Patrimoine mondial, a annoncé dimanche l'Unesco. La décision a été prise lors de la 40e session du Comité du patrimoine mondial de l'Unesco à Istanbul. Cette réunion a été suspendue samedi en raison de la tentative de putsch militaire, avant de reprendre dimanche matin. Le classement porte sur dix-sept réalisations de l'architecte franco-suisse dans sept pays. Dix d'entre elles sont situées en France. Parmi elles figure la Maison de la Culture de Firminy A ces réalisations s'ajoutent les Maisons La Roche et Jeanneret à Paris, la Villa Savoye et loge du jardinier à Poissy, l'Immeuble locatif à la Porte Molitor à Boulogne-Billancourt, la Manufacture à Saint-Dié-des-Vosges, le couvent Sainte-Marie-de-la-Tourette à Eveux. Le Corbusier : hommage au virtuose de la modernité www.cotemaison.fr/chaine-d/deco-design/le-corbusier-un-ar... frontières françaises, d'autres créations de Le Corbusier ont également été classées. L'immeuble Clarté à Genève, la petite villa au bord du lac Léman à Corseaux (Suisse), la maison Guiette à Anvers (Belgique), les maisons de la Weissenhof-Siedlung à Stuttgart (Allemagne), la Maison du Docteur Curutchet à La Plata (Argentine), le musée national des beaux-Arts de l'Occident à Taito-Ku à Tokyo (Japon) et le complexe du capitole à Chandighar (Inde)."Cette bonne nouvelle survient après plus de dix ans de travail, de concertation et deux échecs", s'est félicité dans un communiqué Benoît Cornu, premier adjoint à Ronchamp (Haute-Saône), qui préside depuis 2016 l'Association des Sites Le Corbusier créée en 2010. Le Corbusier: hommage au virtuose de la modernité Interrogé par Le Monde, le même interlocuteur considère que Icomos, le Conseil international des monuments et des sites, avait par le passé jugé la série proposé "trop pléthorique et éclectique, et surtout, déploré l'absence du site de Chandigarh en Inde, qui révélait la dimension urbanistique de l'oeuvre". En intégrant ce site qui comprend un quartier, sa maison de la culture, son stade, sa piscine et son église -le plus grand conçu par l'architecte- les promoteurs du dossier de candidature ont tiré parti des expériences passées. La ministre de la Culture et de la Communication, Audrey Azoulay, s'est réjouie de la décision de l'Unesco, en relevant qu'elle soulignait "l'importance de la préservation et de la valorisation du patrimoine récent, de moins de cent ans". l'architecture moderne au rang d'art majeur. L'occasion de revisiter son oeuvre architecturale avec notamment la Cité radieuse à Marseille, sans oublier son parcours de peintre et de designer. L'Express Styles est aussi parti à la rencontre d'artistes comme India Mahdavi ou Ora-ïto qui s'en sont inspirés... Découverte ! L'architecte de tous les possibles est aussi celui de tous les paradoxes. Mort en eaux troubles - on a retrouvé son corps noyé sur la plage de Roquebrune-Cap-Martin le 27 août 1965 -, Le Corbusier est, aussi, l'homme solaire qui a accouché de la Cité radieuse et un "visionnaire persuadé de pouvoir apporter la joie de vivre", affirme Sylvie Andreu, directrice de collection du livre Cher Corbu... (1). Cinq décennies après sa disparition, son aura continue de briller et son héritage est intact, de la villa Savoye, à Poissy (Yvelines), à l'unité d'habitation de Firminy (Loire), en passant par la chapelle de Ronchamp en Franche- Comté ou la ville nouvelle de Chandigarh en Inde. Et pourtant, l'homme n'a pas que des admirateurs... La Cité radieuse à Marseille.La Cité radieuse à Marseille.SDP La ville nouvelle de Chandigarh, en Inde, construite en 1947.La ville nouvelle de Chandigarh, en Inde, construite en 1947.Narinder Nanu/AFP
Critiquant ses excès et sa mégalomanie, ses détracteurs lui reprochent également, encore aujourd'hui, son approche fonctionnaliste trop radicale et d'être à l'origine de l'urbanisme des banlieues. Autant dire que le mystère autour de Charles-Edouard Jeanneret- Gris, dit Le Corbusier - né en Suisse en 1887 -, reste entier. Qui était vraiment cet autodidacte insatiable et obstiné dont l'oeuvre attend toujours son classement à l'Unesco, au titre de sa "contribution exceptionnelle au mouvement moderne"? Un virtuose de l'architecture bien qu'il n'ait pas le diplôme (il a quitté l'école à 13 ans) ? Un grand designer ? Un peintre compulsif ("Le dessin est fait avant que je ne l'aie pensé") ? Un sculpteur majeur ?
De toute évidence, un artiste surdoué et protéiforme "qui a profon dément marqué le XXe siècle et bouleversé notre façon d'habiter, explique Sylvie Andreu. Il sera guidé toute sa vie par l'esprit nouveau de son époque et n'au ra de cesse de combattre les conservatismes". A partir du 29 avril 2015, l'exposition du Centre Pompidou propose une relecture de ses créations - plus de 300 dessins, tableaux, sculptures, photos, meubles, dont certaines pièces réalisées dès 1923 avec Pierre Jeanneret... - qui seront présentées via le prisme de la mesure du corps humain. La villa Savoye (1928-1931), à PoissyLa villa Savoye (1928-1931), à PoissyArcaid/Corbis
Empreinte du modulor dans le béton, visible a Rezé (Loire-Atlantique)Empreinte du modulor dans le béton, visible a Rezé (Loire-Atlantique)SDP "L'homme a toujours été au centre de ses préoccupations, explique Jacques Sbriglio, architecte urbaniste et commissaire de l'exposition organisée à Marseille, en 2013, Le Corbusier et la question du brutalisme. Il a inventé un langage et fait basculer l'architecture dans le XXe siècle. Chacune de ses réalisations inter - rogeait le rapport de l'homme aux usages quotidiens. Quand il dessinait les plans d'une ville, il indiquait l'échelle, mais aussi le temps de déplacement d'un point à un autre." Et Olivier Cinqualbre, commissaire de l'exposition du Centre Pompidou, d'ajouter : "La cellule d'habitation pensée par Le Corbusier est petite mais pratique, à taille humaine. Pour épouser les mouvements du corps, le mobilier devient réglable (dès 1929), modulable ou encastrable." La chapelle Notre-Dame-du-Haut (1950-1955), à RonchampLa chapelle Notre-Dame-du-Haut (1950-1955), à RonchampCalle Montes/Photononstop
Avant-gardiste, ce bâtisseur souhaite libérer l'individu des contraintes, du mal-logement, de l'inconfort. Car, ne l'oublions pas, au lendemain de la guerre, chaque mètre carré compte! Pour modifier la perception des volumes, il use en plus de couleurs franches. Là aussi, il connaît sa palette... Depuis qu'il s'est installé à Paris en 1917, il peint tous les jours et manie le nuancier avec finesse. Voilà qui explique sans doute qu'il ait autant d'influence auprès des créateurs tous azimuts : designers et stylistes de mode! La preuve, ci-contre, en cinq témoignages... . Le Corbusier. Mesures de l'homme, du 29 avril au 3 août 2015, Centre Pompidou, Paris (IVe), www.centre pompidou.fr
Chandigarh, 50 ans après Le Corbusier, du 11 novembre 2015 au 14 mars 2016 à la Cité de l'architecture et du patrimoine, Paris (XVIe). www.citechaillot.fr
"Cher Corbu" Recueil de témoignages de 12 architectes contemporains sur le grand homme, dans lequel chacun lui écrit une lettre."Cher Corbu" Recueil de témoignages de 12 architectes contemporains sur le grand homme, dans lequel chacun lui écrit une lettre.SDP
(1) Cher Corbu..., un ouvrage collectif qui recueille le témoignage de 12 architectes contemporains sur le grand homme : de Paul Chemetov à Odile Decq en passant par Elisabeth de Portzamparc ou Claude Parent, qui lui ont chacun écrit une lettre. Bernard Chauveau éd., 48 p., 22,50 ?
Ils se sont inspirés du Corbusier...India Mahdavi, amoureuse d'innovation
India Mahdavi, architecte d'intérieur et designer. Vient de terminer le restaurant I Love Paris pour Guy Martin.India Mahdavi, architecte d'intérieur et designer. Vient de terminer le restaurant I Love Paris pour Guy Martin.SDP
L'Express Styles : Que représente pour vous le Corbusier ?
India Mahdavi : C'est un révolutionnaire et un provocateur, qui a fait renaître l'architecture moderne en mettant l'homme au centre de la vie et de la ville. Il a eu l'intelligence de s'interroger sur les modes de vie des gens bien avant tout le monde. Son rapport aux proportions m'a imprégnée. Sur mes chantiers, j'utilise aussi le Modulor. Ses références sont devenues les miennes. Il a cassé les normes bourgeoises de l'habitat. L'Express Styles : En quoi a-t-il inspiré vos créations ? India Mahdavi : J'aime beaucoup sa façon d'appliquer la couleur en aplats pour redessiner les volumes, rythmer les espaces, marquer les perspectives. C'était un formidable coloriste. L'ouvrage Le Corbusier. Polychromies architecturalesest d'ailleurs une de mes bibles. Il référence toutes les nuances et permet, grâce à une réglette, de les associer harmonieusement. C'est un outil dont je me sers sur tous mes chantiers.
L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? India Mahdavi : Le tabouret à poignées, en chêne, qu'il a conçu pour son cabanon, d'après une caisse à whiskys. On peut évidemment s'asseoir dessus, mais on peut surtout l'empiler pour séparer une pièce, le transformer en chevet ou en table basse. Il n'y a pas de meuble qui résume mieux son oeuvre. Le Corbusier : hommage au virtuose de la modernitéSDP Ora-ïto et sa fascination pour la minutie
Ora-ïto, architecte designer. Propriétaire du toit terrasse de la Cité radieuse à Marseille.Ora-ïto, architecte designer. Propriétaire du toit terrasse de la Cité radieuse à Marseille.SDP L'Express Styles : Que représente pour vous Le Corbusier ? Ora-ïto : Il est l'inventeur de la modernité. Pour chacune de ses réalisations, il a établi un vrai scénario de vie. La Cité radieuse en est le plus bel exemple. Tout y est pensé au millimètre près et à bonne hauteur grâce au Modulor-une grille de mesures qu'il a inventée et représentée par la silhouette d'un homme debout, le bras levé. C'était aussi un obsessionnel. D'ailleurs, quand il érige cette unité d'habitation, on le surnomme le "Fada". Mais il reste un grand monsieur qui m'a beaucoup influencé.
L'Express Styles : En quoi a-t-il inspiré vos créations ?
Ora-ïto : Je ne suis pas habité par Corbu, mais imprégné de ses concepts. Sa rigueur, sa façon d'organiser les espaces en lien avec les modes de vie et sa simplicité restent des valeurs essentielles. C'est le Steve Job de l'architecture !
L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? Ora-ïto : La villa Savoye à Poissy. Art déco, cette première maison de week-end est spectaculaire : une "boîte en l'air" montée sur pilotis, qui a tout pour elle. Elle est lumineuse, élégante et intemporelle.
Le Corbusier : hommage au virtuose de la modernitéSDP
Pierre Charpin, sensibilité des couleurs Pierre Charpin, designer. Prépare une exposition pour la galerie Kréo à Londres.Pierre Charpin, designer. Prépare une exposition pour la galerie Kréo à Londres.SDPL'Express Styles : Que représente pour vous Le Corbusier ?Pierre Charpin : Ce n'est pas un maître à penser, mais un grand architecte et aussi un étonnant plasticien doué d'une sensibilité aux formes hors pair. La chapelle de Ronchamp - tout en courbes et en harmonie avec le paysage - en est un des plus beaux exemples, le contraire d'un bâtiment standardisé. L'Express Styles : En quoi a-t-il inspiré vos créations ? Pierre Charpin : Je ne sais pas s'il m'a influencé, mais son travail sur les couleurs m'a beaucoup intéressé. Il utilise une gamme de coloris plus subtile et sophistiquée que celle des primaires. Comme lui, je n'aime pas les fausses couleurs et les demi-teintes, ni les objets trop lisses. J'apprécie sa façon d'appréhender le béton, notamment à la Cité radieuse. Il en a fait une surface vivante et pas si brutale que ça ! Pour y avoir séjourné, je suis frappé par la sophistication et la simplicité de ce grand vaisseau. Corbu fait partie, avec Sottsass, des gens qui comptent pour moi. C'est à la fois un théoricien et un être très sensible. L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? Pierre Charpin : Son cabanon de Roquebrune-Cap-Martin, de 3,66 mètres sur 3,66, est un modèle d'intelligence : il a optimisé chaque centimètre carré. Cette réalisation démontre à quel point il était libre. Eux aussi l'apprécient... Jérome Dreyfuss, créateur de sacs"Mes grands-parents étant les voisins de Jean Prouvé, à Nancy ; j'ai été sensible, très jeune, à l'architecture et à Corbu, qui a toujours eu une longueur d'avance. A chaque problème il trouvait une solution. Il avait cette capacité d'inventer des concepts et des principes de construction. Il était à la fois rationnel et créatif. Quand j'ai aménagé mon cabanon à Fontainebleau, j'ai optimisé chaque mètre carré. Chaque objet a sa fonction et sa raison d'être." www.jerome-dreyfuss.com Frédérique Dessemond, créatrice de la marque de bijoux Ginette NY "Je vis aujourd'hui à New York mais j'ai grandi - juqu'à 28 ans - à la Cité radieuse, dont je garde un souvenir ému. On vivait en autarcie, entre copains, c'était mieux que le Club Med ! Les appartements étaient très lumineux, remarquablement bien étudiés. J'ai conçu ma future boutique [66, rue des Saints-Pères, Paris VIe] à partir du Modulor. Et mes bijoux sont simples, faciles à vivre et sans ostentation, comme l'étaient ses réalisations." www.ginette-ny.com - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Official Trailer - the Pruitt-Igoe Myth: an Urban History
www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …
Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …
DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015 www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin)
www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/
www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM... l'UNION SOCIALE POUR L HABITAT fete ses 90 ans "TOUT savoir tout voir, tout connaitre, sur le LOGEMENT SOCIAL des HLM aux HBM avec le Musée HLM" en ligne sur le WEB içi musee-hlm.fr/ www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … içi www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi. www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije
31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …
archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...que dire de RICARDO BOFFIL Les meilleures balades que j’ai fait autour de Paris je les ai faites dans l’application Plans. Je ne minore pas le rôle de Google Maps, révolution cartographique sans précédent et sans égale, qui aura réalisé nos fantasmes d’Aleph borgesien — l’idée d’un point d’où le monde serait visible en totalité — parachevé Mercator et permis d’explorer des parties du globe inconnues de Cook, Bougainville et Amundsen. Je n’oublie pas non plus cet exercice de cartographie au collège, qui nous avait démontré que nous étions à 3 cartes IGN de la capitale, et que le tissu urbain était de plus en plus serré à mesure que nous avancions vers le nord. Mais Plan possédait une fonctionnalité inédite, le Flyover, technologie à l’origine destinée aux pilotes de chasse, et qui fournissait des rendus 3D spectaculaire des bâtiments survolés — ainsi que des arbres et des déclivités du sol On quittait enfin les champs asphyxiants de la photographie aérienne pour des vues à l’oblique des villes visitées : après un siècle d’écrasement — la photographie aérienne est étroitement contemporaine du bombardement aérien — les villes reprenaient enfin de la vigueur et remontaient vers le ciel. J’avais d’ailleurs effectué moi-même une manœuvre de redressement similaire le jour où j’étais parti, à pied depuis Paris, visiter à Nanterre une exposition sur la photographie aérienne. J’étais à la quête des premières vues de Paris qu’avait prises Nadar depuis un ballon captif. À défaut de ces images, définitivement manquantes, j’avais parcouru, après la Grande Arche, les derniers kilomètres de la Voie Royale, cette prodigieuse perspective historique partie du Louvre — rare exemple de frise chronologique implémentée dans une structure urbanistique.J’avais en réalité un peu dévié de la ligne droite pour aller voir les tours Nuages d’Emile Aillaud, le Facteur Cheval du modernisme, dont je connaissais déjà les autres chefs d’œuvres d'architecture naïve, les nouilles chinoises de Grigny et le spaghetti de Pantin.C’était précisément l’usage que j’avais fait de l’application Plans : j’étais parti à la recherche de tous les groupements de tour qu’elle m’avait permis d’identifier, sur mon iPad. Je les faisais tourner avec deux doigts, comme un éclaireur qui marcherait autour d’un donjon, avant de les immortaliser, sous leur plus bel angle, par une capture d’écran.Un éclaireur autour d’un donjon : c’était exactement cela, qui m’avait fasciné. Les guerres territoriales entre Les Tarterêts de Corbeil et les Pyramides d’Evry avaient marqué mon enfance. La notion de cité, telle qu’elle avait été définie, à partir des années 80, dans le second âge des grands ensembles, l’âge du déclin, avait conservé un cachet médiéval. Ici, vivaient guetteurs et trafiquants, condottieres à la tête d’une écurie de go-fast et entretenant des chenils remplis de mâtins rares et dangereux. Ici, l’État central ne remplissait plus ses tâches régaliennes, ici la modernité laïque était entrée en crise. Mais ce que j’avais découvert, en collectionnant ces captures d’écran, c’était à quel point l’urbanisme de la banlieue parisienne était, strictement, d’obédience médiévale. On était passé, d’un seul mouvement et sans même s’en rendre compte de Château-Gaillard à la Cité 4000, du Donjon de Vincennes aux tours de Sarcelles, du château de Gisors aux choux fleurs de Créteil.J’ai même retrouvé la colonne détruite du désert de Retz dans le babylonien château d’eau de Noisiel.Des hauteurs de Rosny à celle de Chanteloup, du plateau de Clichy à la dalle d’Argenteuil, on avait bizarrement livré des pastiches inconscients de la grande architecture militaire médiévales : les environs de Paris s’étaient retrouvés à nouveau fortifiés, la vieille tour de Montlhéry n’était plus solitaire, et même les immeubles de briques rouges qui avaient succédé à l’enceinte de Thiers évoquaient des murailles.Et ce que j’avais initialement pris pour des anomalies, des accidents malheureux du post-modernisme, les grand ensembles voûtés et cannelés de Ricardo Boffil, étaient peut-être ce qui exprimait le mieux tout cela — ou du moins qui clôturaient avec le génie le plus clair cet âge des grands ensembles.Car c’était cela, ces Carcassonnes, ces Acropoles, ces Atlandides qui surnageaient avec le plus de conviction au milieu des captures d’écrans de ruines médiévales qui s’accumulaient sur mon bureau.Si décriées, dès leur construction, pour leur kitch intolérable ces mégastructures me sont soudain apparues comme absolument nécessaires.Si les Villes Nouvelles n’ont jamais existé, et persisteront dans la mémoire des hommes, elles le doivent à ces rêveries bizarres et grandioses, à ces hybridations impossibles entre les cités idéales de Ledoux et les utopies corbuséennes.L’Aqueduc de Saint-Quentin-en-Yvelines, les Espaces d’Abraxas à Marne-la-Vallée, les Colonnes de Saint-Christophe à Cergy-Pontoise sont les plus belles ruines du Grand Paris. www.franceculture.fr/emissions/la-conclusion/ricardo-bofill immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs. Architecture d’Aujourd’hui n° 46, 1953 p. 58-55 C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP)