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MATADERO MADRID - CENTRO DE CREACIÓN CONTEMPORÁNEA Antiguos Matadero y Mercado Municipal de Ganados
Pº de la Chopera, 2 a 14 C/V a Pza. de Legazpi 8, Vado de Santa Catalina y Av. del Manzanares. Madrid.
Actuación inicial: Luis Bellido González, arquitecto y José Eugenio Ribera Autaste, ingeniero. 1910 (Proyecto) 1910-1925 (Obras).
Matadero de aves y gallinas: Luis Bellido González y Francisco Javier Ferrero Llusiá: 1926 (Proyecto) 1932-1933 (Obras).
Acondicionamiento de la Casa del Reloj, Nave de Terneras y pabellones de acceso para Junta Municipal del Distrito de Arganzuela y salas culturales y deportivas: Rafael Fernández-Rañada Gándara: 1983 (Proyecto) 1983-1984 (Obras).
Rehabilitación de la “nave de patatas” para Invernadero-Palacio de Cristal, antiguo parque del matadero y consolidación estructural de naves del recinto sur: Guillermo Costa Pérez-Herrero: 1990 (Proyecto) 1990-1992 (Obras).
Adaptación de naves para sedes del Ballet Nacional y Compañía Nacional de Danza: Antonio Fernández-Alba y José Luis Castillo-Puche Figueira 1990 (Proyecto) 1993-1999 (Obras)
Vestíbulo y Espacio Intermediae. (nave 17c) Arquitectos Arturo Franco y Fabrice Van Teslaar en colaboración con el arquitecto de interiores Diego Castellanos 2006-07
Naves del Español (naves 10, 11 y 12) Arquitectos Emilio Esteras 2007-10 y Justo Benito 2009-10
Central de Diseño (nave 17) Arquitecto José Antonio García Roldán 2007
Taller y Oficina de Coordinación (parte de la nave 8) Arquitecto Arturo Franco 2010
Calle y Plaza Matadero Arquitectos Ginés Garrido, Carlos Rubio y Fernando Porras 2011
ESCARAVOX Andrés Jaque Arquitectos 2012
Depósito de especies y nuevo acceso por Legazpi. BCP Ingenieros -Luis Benito Olmeda y Francisco Calderón- con María Langarita y Víctor Navarro arquitectos. 2011
Nave 16 Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Nave de Música (Nave 15) Arquitectos: María Langarita y Víctor Navarro, en colaboración con el diseñador mexicano Jerónimo Hagerman, 2011
Cineteca y Cantina Archivo Documenta (nave 17 c, d, e y f) Arquitectos: José María Churtichaga y Cayetana de la Quadra Salcedo 2011
Casa del Lector. Centro Internacional para la Investigación, el Desarrollo y la Difusión de la Lectura de la Fundación Germán Sánchez Ruipérez. (naves 13 y 14, 17b y tres crujías de la nave 17. Arquitecto Antón García Abril. Diseño gráfico y señalización: Alberto Corazón. Interiorismo Jesús Moreno y Asociados 2012
El arquitecto Joaquín Saldaña resulta ganador del concurso convocado por el Ayuntamiento de Madrid el año 1899 para la realización de los nuevos matadero y mercado municipal de ganados en la Dehesa de La Arganzuela, junto al Manzanares, si bien, finalmente las obras se realizan de acuerdo con el proyecto redactado en 1910 por Luis Bellido, arquitecto de propiedades del Ayuntamiento, con la colaboración de J. Eugenio Ribera, ingeniero de reconocido prestigio. El conjunto arquitectónico se compone de 48 edificios agrupados en cinco sectores de producción: dirección y administración, matadero, mercado de abastos, mercado de trabajo y sección sanitaria, cuenta además con viviendas para el personal y capilla; también de sistema de circulaciones y ferrocarril propios... una autentica ciudad laboral.
Sigue el sistema alemán de pabellones aislados, relacionados por medio de viales y presididos por un edificio administrativo, la "Casa del Reloj" situado sobre el eje principal de la composición. Por sus características arquitectónicas y por su escala es uno de los conjuntos edificados más significativos de Madrid. Se advierte en él una unidad estilística y constructiva derivada del uso racional en sus fábricas de tres materiales esenciales ladrillo, mampostería y cerámica, y una cuidadosa introducción de elementos metálicos en la estructura; además de otros aspectos significativos como el empleo de un lenguaje de inspiración neomudéjar muy atenuado, habitual en la arquitectura industrial de la época. El matadero de Madrid sirve de modelo para la construcción en España de este tipo de edificios.
Para el crítico González Amezqueta "Es un ejemplo de gran calidad de arquitectura industrial perfectamente insertado en los procedimientos del ladrillo, con derivaciones hacia el neomudéjar. La mecánica funcional de los procesos laborales no impide discretas acentuaciones ornamentales, ya que todo el proceso constructivo es estrictamente artesanal, con predominio de las técnicas fabricadas del ladrillo en las partes más acertadas".
En 1926, en zona próxima al Vado de Santa Catalina, proyecta Bellido el matadero de gallinas y aves, siendo realizadas las obras, entre 1932 y 1933, bajo la dirección de Francisco Javier Ferrero con la introducción de una clara y cuidada estructura de hormigón pionera en la ciudad y en la que reside uno de sus valores principales.
A partir de 1940 se llevan a cabo diferentes remodelaciones y ampliaciones, entre ellas la de la nave de patatas, el pabellón de autopsias y los abrevaderos.
En la década de 1980, perdida su función original, el Departamento de Conservación de Edificios del Ayuntamiento comienza la rehabilitación sistemática de los edificios del conjunto para su uso como contenedores de actividades culturales, sociales, deportivas y administrativas propias del Ayuntamiento; primero bajo la dirección de Rafael Fernández-Rañada, que acondiciona la Casa del Reloj para Junta Municipal del Distrito de Arganzuela y la nave de terneras para sala cultural y deportiva, y después, de Guillermo Costa que realiza el Palacio de Cristal (rehabilitación de la nave de patatas para invernadero) y el parque del matadero, con la colaboración del ingeniero, también municipal, M. Ángel Martínez Lucio.
Desde 1996 Costa continúa la consolidación estructural de fachadas y cubiertas de 7 naves del recinto sur, sin un uso predeterminado y en distintas fases, a la espera de la realización del proyecto para su adecuación a nuevas actividades de carácter cultural, comercial o de ocio. Finalmente, el conjunto edificado se incluye en el catálogo de bienes a conservar dentro del Plan General de Ordenación Urbana de 1997.
En el extremo norte parte de las antiguas naves de estabulación son cedidas al Instituto Nacional de Artes Escénicas y de la Música (INAEM) para establecer en ellas las sedes del Ballet Nacional de España y de la Compañía Nacional de Danza, según proyecto de Fernández Alba y Castillo-Puche, concluyéndose las obras de adaptación en 1999.
En 2005 se aprueba la modificación del Plan Especial de Intervención, Adecuación Arquitectónica y Control Urbanístico-Ambiental de Usos del recinto del antiguo matadero municipal, que incrementa el uso cultural hasta el 75% del total.
A partir de 2006 el Ayuntamiento se plantea rehabilitar en distintas fases, mediante proyectos derivados de concursos de arquitectura, este inmenso contenedor de casi 150.000 m2, para albergar multitud de eventos y encuentros, fomentando la creatividad de artistas de múltiples especialidades. El conjunto se convierte en un núcleo de actividad cultural que alberga las más importantes citas de la ciudad. Así, se inician actuaciones para convertir el recinto en centro de apoyo a la creación, en campo de experimentación de la nueva arquitectura, pero siguiendo los criterios de intervención del Plan Especial, que establece la preservación de la envolvente de las naves. La línea maestra que ha guiado las intervenciones es la reversibilidad, de modo que los edificios pueden ser fácilmente devueltos a su estado original. Las actuaciones mantienen expresamente las huellas del pasado para reforzar el carácter experimental de las nuevas instituciones que alojan. Se ha buscado el equilibrio entre el respeto máximo al espacio, y una dotación específica, que lo distinga, a través del uso limitado de materiales industriales directos y que, al mismo tiempo, dé servicio a los diferentes usos que pueda albergar.
En 2012, tras la visita del jurado de los premios FAD a Matadero Madrid, decidió reconocer la labor en conjunto de todos los arquitectos que han participado en el proceso de reforma. El fallo valora “tanto la actitud global de la propuesta, que apuesta de una forma valiente por la experimentación y el respeto a los espacios de libertad gestionados desde la sociedad civil, como la conceptualización del proyecto, desde su inicio en el 2007 con la rehabilitación del vestíbulo y el espacio Intermediae, hasta las recientes intervenciones de la Nave 16 y la Nave de Música finalistas en la presente edición de los Premios FAD”. Así mismo, el jurado destacó de Matadero Madrid “la inteligencia colectiva, la unidad que le viene inferida por la arquitectura industrial preexistente, y que con un mínimo de protagonismo exterior de las nuevas intervenciones, en el interior resuelve con rigor y autenticidad las diversas necesidades del extenso programa del centro, buscando no sólo mantener los espacios arquitectónicos y formas estructurales, sino también el carácter, la atmósfera y sobre todo el irrepetible paso del tiempo”.
Ese mismo año el Colegio Oficial de Arquitectos de Madrid otorgó uno de sus premios a las intervenciones en la Cineteca y Archivo Documenta, y en la Nave 16. Por último, destaca la interconexión de Matadero Madrid y Madrid Río mediante la urbanización de los espacios públicos -Calle y Plaza Matadero- por el mismo equipo de arquitectos -Ginés Garrido, Carlos Rubio y Fernando Porras- que proyectó Madrid Río. Está previsto además que dicha conexión, gracias a dos nuevos accesos, se amplíe entre diciembre de 2012 y julio de 2013. Madrid Río ha recibido, entre otros premios, el International Architecture Award 2012 del Chicago Athenaeum of Architecture and Design y el European Centre for Architecture Art Design and Urban Studies, el Premio de Diseño Urbano y Paisajismo Internacional otorgado por el Comité de Críticos de Arquitectura CICA, en el marco de la XIII Bienal de Buenos Aires; o el Premio FAD de Ciudad y Paisaje 2012, entre otros galardones.
Quality control: XSIT employees regularly survey moths caught in these yellow traps. By counting the number of wild moths and sterile moths in the trap, they can determine the effectiveness of the control programme and the volume of moth release can be adjusted, if needed.
Photo Credit: Miklos Gaspar / IAEA
The National Ignition Facility's complex operation, alignment and diagnostic functions are controlled and orchestrated by the integrated computer control system. It consists of 300 front-end processors attached to nearly 60,000 control points, including mirrors, lenses, motors, sensors, cameras, amplifiers, capacitors and diagnostic instruments. The shot director must coordinate all 14 NIF subsystems when preparing for a shot.
That's the way it's been up here on the hill since 2010. I hope I can move away before the construction is finished and all the new residents move in.
Final version of the two trains for the layout of 2017.
One train has color dark blue and the other dark red.
Chennai college students engage in engrossing discussion on Guns Rights vs. Gun Control, the first in the series of seminars on current issues organized by the American Library on February 21, 2013. (Photo by U.S. Consulate General in Chennai)
photos of this series flic.kr/s/aHsjGcjoVd flic.kr/s/aHsjGfa8xJ
Saturday,. June 22. 2013 - external `technical check´ for the Jiu-Jitsu athletes from the Sports clubs: "SF Wüsting-Altmoorhausen", "TuS Bloherfelde", "PSV Oldenburg" and "VfL Rastede", in Wüsting / near the city Oldenburg, in the State Lower Saxony, Germany.
Ju-Jutsu Gürtelprüfung am 22. 06. 2013 beim `SF Wüsting-Altmoorhausen´, mit dabei der `TuS Blohrfelde´, der `PSV Oldenburg´ und der `VfL Rastede´.
Full sized remote controlled digger. Remote control by Laing Plc. Lightweight artificial rocks by artificialrocks.co.uk.
We all want control, control over our lives, control over our destiny, control over others... But are we really in control, can we truly say we know what will happen the next second? I may not know about my own future but I know the One who controls my tomorrow. The Lord Jesus is not just my Saviour but He is the ruler of my life. =)
Salida nocturna a la Playa del Pinet en compañia de varios noctámbulos...
Quise probar la iluminación dentro de la propia escena: inicio la toma subiendo las escaleras iluminando la misma..a continuación desde la torre ilumino el suelo y el techo...bajo las escaleras para aplicar dos linternazos a cada pilar...
Fue un ejercicio experimental cuya dificultad es no aparecer ninguna sombra...
Goodrich Castle is a Norman medieval castle ruin north of the village of Goodrich in Herefordshire, England, controlling a key location between Monmouth and Ross-on-Wye. It was praised by William Wordsworth as the "noblest ruin in Herefordshire"[1] and is considered by historian Adrian Pettifer to be the "most splendid in the county, and one of the best examples of English military architecture".[2]
Goodrich Castle was probably built by Godric of Mappestone after the Norman invasion of England, initially as an earth and wooden fortification. In the middle of the 12th century the original castle was replaced with a stone keep, and was then expanded significantly during the late 13th century into a concentric structure combining luxurious living quarters with extensive defences. The success of Goodrich's design influenced many other constructions across England over the following years. It became the seat of the powerful Talbot family before falling out of favour as a residence in late Tudor times.
Held first by Parliamentary and then Royalist forces in the English Civil War of the 1640s, Goodrich was finally successfully besieged by Colonel John Birch in 1646 with the help of the huge "Roaring Meg" mortar, resulting in the subsequent slighting of the castle and its descent into ruin. At the end of the 18th century, however, Goodrich became a noted picturesque ruin and the subject of many paintings and poems; events at the castle provided the inspiration for Wordsworth's famous 1798 poem "We are Seven". By the 20th century the site was a well-known tourist location, now owned by English Heritage and open to the public.
Architecture
A castle, with a large circular tower facing the viewer, with an angular spur jutting out from the base of the tower; a metal fence is in the foreground, with green vegetation around it.
The south-eastern tower shows the characteristic right-angled "spur", designed to prevent its undermining during a siege.
Goodrich Castle stands on a high rocky sandstone outcrop overlooking the River Wye. It commands a crossing of the river, known as Walesford or Walford, Ross-on-Wye, about 26 kilometres (16 mi) from Hereford and 6.4 kilometres (4.0 mi) from Ross-on-Wye.[3] The castle guards the line of the former Roman road from Gloucester to Caerleon as it crosses from England into Wales.[4]
At the heart of the castle is an early Norman square keep of light grey sandstone, with Norman windows and pilaster buttresses.[5] Although the keep had thick walls, its relatively small size – the single chambers on each floor measure only 5.5 by 4.5 metres (18 by 15 ft) internally[6] – would have made it more useful for defence than for day-to-day living.[7] The keep originally had a first-storey door for safety, this was later turned into a window and the entrance brought down to the ground floor.[2] The keep would originally have had an earth mound built up against the base of it to protect against attack, and the stone work remains rougher in the first few courses of masonry.[7]
Around the keep is an essentially square structure guarded by three large towers, all built during the 1280s from somewhat darker sandstone.[1] On the more vulnerable southern and eastern sides of the castle, ditches 27 metres (90 ft) long and 9 metres (28 ft) deep have been cut into the rock,[8] exploiting a natural fissure.[5] These towers have large "spurs", resulting from the interface of a solid, square-based pyramid with the circular towers rising up against the walls. This feature is characteristic of castles in the Welsh Marches, including St Briavel's and Tonbridge Castle, and was intended to prevent the undermining of the towers by attackers.[9]
A castle, with a flat fronted tower facing the viewer with a stained glass window in the middle of it; a stone causeway is on the right of the picture, leading to a gateway to the right of the tower – a partially filled arch is supporting the causeway.
The gatehouse is reached by an exposed causeway covered by the barbican to the right of the picture. The chapel window can be seen in the left-hand tower.
The castle's fourth corner forms its gatehouse. Here the classic Edwardian gatehouse design has been transformed into an asymmetrical structure, with one tower much larger than the other.[10] The gatehouse included portcullises, murder-holes and a drawbridge. Beyond the gatehouse lies a large barbican, inspired by a similar design of the period at the Tower of London and possibly built by the same workmen, designed to protect the causeway leading to the gatehouse.[11] The barbican today is only half of its original height, and includes its own gate, designed to trap intruders within the inner defences.[12] The gatehouse and barbican are linked by a stone causeway.
The gatehouse's eastwards-facing tower contains the chapel, an unusual arrangement driven by a lack of space, with a recently restored east window of reset 15th-century glass designed by Nicola Hopwood, which illuminates the priest's seat, or sedile.[13] The 15th-century window frame itself replaced an even taller, earlier 13th-century window.[14] The chapel's west window is modern, and commemorates the British scientists, engineers and servicemen involved in radar development who died between 1936 and 1976.[nb 1] The altar itself is particularly old, possibly pre-dating the castle.[15]
The bailey was designed to include a number of spacious domestic buildings. These include a great hall, a solarium, kitchen, buttery and pantry,[10] with a luxuriously large number of garderobes and fireplaces.[16] The large towers provided additional accommodation.[10] The design of the domestic buildings was skilfully interlocked to support the defensive arrangements of the bailey.[16] The great hall for example, 20 by 9 metres (66 by 30 ft), was placed in the strongest position overlooking the river Wye, allowing it to benefit from multiple large windows and a huge fireplace without sacrificing defensive strength.[15] Water for the castle was originally raised from the courtyard well, but was later piped in from a spring across the valley;[17] the castle kitchens had acquired running water by the beginning of the 17th century.[1] The design of the buildings ensured that the servants and nobility were able to live separately from one another in the confined space of the castle, revolutionary at the time.[18]
Beyond the main bailey walls lies the stable block, now ruined but with a visible cobble floor.[19] The stables and the north and west sides of the castle were protected by another, smaller curtain wall, but this is now largely ruined.[20] Accounts suggest that the original stables could hold around 60 horses, although by the 17th century they had been expanded to accommodate more.[21]
History
Medieval history
11th and 12th centuries
A square stone keep dominates the picture, sat behind a patch of green grass; the keep has a doorway at ground level, with two windows irregularly placed above it.
The Great Keep replaced Godric of Mappestone's original earth and timber fortification on the site in the mid-12th century.
Goodrich Castle appears to have been in existence by 1101, when it was known as Godric's Castle, named probably after Godric of Mappestone, a local Anglo-Saxon thane and landowner mentioned in the Domesday Book of 1086.[5] Victorian historians, however, believed the castle to date back further to the pre-Norman conquest days of King Canute,[22] and the site may have been among a small number of Saxon fortifications along the Welsh border.[23] By Norman times, Goodrich formed part of the Welsh Marches, a sequence of territories granted to Norman nobles in, and alongside, Wales. Although Goodrich lay on the safer, English side of the border, the threat of raids and attacks continued throughout most of the period.[24]
During the 12th century the attitudes of the English nobility towards the Welsh began to harden; the policies of successive rulers, but especially Henry II, began to become more aggressive in the region.[25] In the mid-12th century Godric's original earth and timber fortification was dismantled and replaced by a tall but relatively small square keep built of stone,[2] sometimes known as "Macbeth's Tower".[26] The keep was designed to be secure and imposing but relatively cheap to build.[27] It is uncertain, however, precisely who was responsible for this rebuilding or the date of the work, which may have been between 1120 and 1176.[28]
At the beginning of the 12th century, the castle had passed from Godric to William Fitz Baderon, thought to be his son-in-law, and on to his son, Baderon of Monmouth, in the 1120s.[29] England descended into anarchy, however, during the 1130s as the rival factions of Stephen and his cousin the Empress Matilda vied for power. Baderon of Monmouth married Rohese de Clare, a member of the powerful de Clare family who usually supported Stephen, and there are records of Baderon having to seize Goodrich Castle during the fighting in the region, which was primarily held by supporters of Matilda.[30] Some suspect that Baderon may have therefore built the stone keep in the early years of the conflict.[2][nb 2] Stephen went on, however, to appoint Baderon's brother-in-law, Gilbert de Claire, the Earl of Pembroke, and Gilbert de Clare eventually acquired Goodrich Castle himself.[29] Gilbert's son, Richard de Clare, known as "Strongbow", succeeded him in 1148, and Richard is another candidate for the construction of the keep.[28] In 1154 Richard fell out of favour with King Henry II because of the de Clares' support for Stephen, and the castle was taken into royal hands. Some argue that the king himself may have ordered the construction of the great keep.[1]
13th and 14th centuries
Part of a castle, with a huge semi-circular arch containing two smaller Norman arches dominating the picture. Through the arches, a ruined pillar can just be made out.
The private solarium was incorporated into the defensive walls during the expansion under William de Valence.
During the following reigns of King Richard I and his brother John, the castle and manor were held by the Crown. King John, however, lost many of his lands in France which in turn deprived key English nobles of their own estates – John became concerned about possible opposition to his rule. Accordingly, in 1203 John transferred Goodrich Castle and the surrounding manor to William Marshal, Earl of Pembroke, to partially compensate him for his lost lands on the continent.[31] Marshal was a famous English knight with reputation as a heroic warrior, and he expanded Goodrich by building an additional towered curtain wall in stone, around the existing keep.[5] Marshal had to intervene to protect Goodrich Castle from Welsh attack, most famously in 1216 when he was obliged to leave Henry III's coronation feast in Gloucester to hurry back to Goodrich to reinforce the castle.[32]
Marshal's sons inherited the castle after their father's death; Marshal left the castle to his eldest son, William, who in turn gave it to his younger brother, Walter.[32] After William's death, however, Marshal's second son, Richard, took over the castle. Richard led the baronial opposition to Henry III and allied himself with the Welsh, resulting in King Henry besieging Goodrich Castle in 1233 and retaking personal control for a period.[32] Walter was eventually given Goodrich back once more, but died shortly afterwards in 1245.[33]
The castle briefly reverted to the Crown again, but in 1247 passed by marriage to William de Valence, half brother to Henry III.[34] De Valence was a French nobleman from Poitiers and a noted soldier who spent most of his life fighting in military campaigns; Henry arranged his marriage to Joan de Munchensi, one of the heiresses to the Marshal estate. The marriage made Valence immensely rich and gave him the title of Earl of Pembroke.[33]
A massive castle tower, sat on top of a rugged rock outcrop; a massive angular stone spur juts out from the base of the tower towards the viewer.
The massive south-east tower
The Welsh border situation remained unsettled however, and in the decades after 1250 security grew significantly worse, as the Welsh prince Llywelyn ap Gruffudd conducted numerous raids into English territories.[24] The Wye valley and Goodrich were particularly affected by these raids.[35]
Accordingly, William de Valence began to build a much larger castle around the original keep from the 1280s onwards, demolishing Marshal's earlier work.[35] As part of the extremely expensive construction work, Valence used oak trees drawn from several royal forests.[36] Valence was building at the same time that his nephew Edward I was constructing his major castles in the north of Wales, and the concentric castle that he built at Goodrich is both very similar in design and a rarity in England itself.[2] Valence's son, Aymer de Valence built an additional line of outer defences before his death in 1324, including the external barbican,[10] inspired by that at the Tower of London, and for which the earlier Valence barbican at Pembroke may have been an experimental forerunner.[12] The effect was an early success in converting a fortress into a major dwelling, without damaging its defensive arrangements, and influenced the later castle conversion at Berkeley.[37]
The castle then passed to Aymer's niece, Elizabeth de Comyn, a well-connected young noblewoman. By the middle of the 1320s, however, England was in the grip of the oppressive rule of the Marcher lords Hugh le Despenser the older and his son Hugh Despenser the younger, the royal favourites of King Edward II.[38] As part of a "sweeping revenge" on their rivals, especially in the Marches, the Despensers illegally seized a wide range of properties, particularly from vulnerable targets such as widows, wives whose husbands were out of favour with the king or unmarried women.[39] Upon her inheritance, Hugh le Despenser the younger promptly kidnapped Elizabeth in London and transported her to Herefordshire to be imprisoned in her own castle at Goodrich.[1] Threatened with death, Elizabeth was finally forced to sign over the castle and other lands to the Despensers in April 1325.[40] Elizabeth then married Richard Talbot, the 2nd Baron Talbot, who seized back the castle in 1326 shortly before Queen Isabella of France landed in England and deposed both the Despensers and her husband Edward II; Talbot and Elizabeth regained their legal title to the castle the following year.[41] Richard later received permission from Isabella's son Edward III to create a dungeon under the keep for holding prisoners.[42]
15th and 16th centuries
An stained glass window, with three columns and some curved pieces of glass at the top, surrounded by blackness. A blue river traces its way through the glass, surrounded by yellow, orange and red background glass.
The current stained glass window in the chapel was designed in 2000 but used 15th-century glass.
Goodrich remained the favourite home of Richard Talbot's descendants for many years. During the early years, the security situation in Wales remained of concern. Owain Glyndŵr rebelled against English rule in 1402 and Welsh forces invaded the Goodrich area in 1404 and 1405. Gilbert Talbot was responsible for fighting back the Welsh advance and securing the castle.[43] As time went on, however, the threat began to diminish. During the 15th century the Talbots considerably expanded the size of the lord's quarters in the castle[15] and provided additional accommodation for servants and retainers.[43]
The Talbots became the Earls of Shrewsbury in 1442, shortly before the Wars of the Roses in which they supported the Lancastrian faction.[10] The wars meant that the Talbots were frequently fighting elsewhere in England, and often staying at their castle in Sheffield.[36] John Talbot died in the Lancastrian defeat at Northampton in 1460, and the castle was forfeited and transferred to the Yorkist William Herbert. John's son, also called John Talbot, later made his peace with the king, however, and regained control of his lands and Goodrich Castle before his death in 1473.[44]
By the 16th century the castle was becoming less fashionable as a residence. Goodrich was too distant from London to be a useful power base, and was gradually abandoned in favour of more stylish residences,[45] Goodrich continued to be used as a judicial centre however; the antiquarian John Leland noted that some of the castle was used to hold prisoners for the local court during the 1530s, and the castle ditch was sometimes used to store confiscated cattle taken from local farmers.[46]
In 1576 Gilbert Talbot and his wife Mary stayed at Goodrich Castle and sent his father a gift of local produce, a Monmouth cap, Ross boots, and perry.[47] Gilbert Talbot died in 1616 with no male heir and Goodrich passed into the hands of Henry Grey, Earl of Kent.[44] The Greys chose not to live at Goodrich, but instead rented the castle to a series of tenants.[48]
English Civil War
Ruined foundations of buildings, some patches of ground covered in cobblestones; at the far and near ends of the foundations the stonework is built up to around a metre tall; a castle wall can be seen in the background left.
What remains of the stables, destroyed by Colonel John Birch during a night attack in May 1646
Goodrich Castle became the scene of one of the most desperate sieges during the English Civil War in the 1640s, which saw the rival factions of Parliament and the king vie for power across England. In the years before the war, there had been a resurgence of building at the castle. Richard Tyler, a local lawyer, became the tenant and constable of the castle, and during the early 1630s there had been considerable renovation work.[48]
Shortly after the outbreak of war, the Earl of Stamford, with support from Tyler, garrisoned the castle for Parliament until December 1643, when increasing Royalist pressure in the region forced his withdrawal to Gloucester.[49] The castle was then occupied by a garrison led by the Royalist Sir Henry Lingen.[50] The occupation was not peaceful, with Royalist troops burning surrounding farm buildings – Tyler himself was imprisoned by Lingen, although not before he had begun to sell off his livestock and other moveable property.[51] Some references to Goodrich Castle during this period refer to it as Guthridge Castle, a variant on the name Goodrich.[52]
As the Royalist situation deteriorated, the south-west became one of the few remaining Royalist strongholds.[53] Lingen, with 200 men and 90 horses at Goodrich Castle, conducted raids on Parliamentary forces in the region, representing a continuing challenge.[54] No action had been taken, however, to strengthen the castle's defences with more modern 17th-century earthworks, and the castle remained essentially in its medieval condition.[55]
In 1646, the Parliamentary Colonels John Birch and Robert Kyrle marched south from their successful Siege of Hereford and besieged the castle, with the aim of eliminating one of the few remaining Royalist strongholds.[50] There was some personal animosity between Lingen and Birch, and both were outspoken, impulsive men.[54] Birch's first move was to prevent further attacks from Lingen, and on 9 March he burned the weakly defended stables in a surprise night attack, driving away the Royalist horses and temporarily denying the Royalist forces' mobility.[56] Birch was unable to press home his advantage however, and over the next few months Lingen succeeded in replacing some of his horses and resumed his attacks on Parliamentary forces.[57]
A squat black mortar, the end gapped with a wooden plug on which is carved "Roaring Meg"; the mortar has wooden supports with black metal brackets.
The "Roaring Meg" mortar used against the castle in March 1646
In June, Birch returned and besieged the castle itself.[55] He found that it was too strong to be taken by direct attack, and instead began laying down trenches to allow him to bring artillery to bear on the structure.[57] Parliamentary attacks broke the pipe carrying water into the castle, and the cisterns in the courtyard were destroyed by exploding shells, forcing the garrison to depend on the older castle well.[55] With the castle still holding out, Colonel Birch built an enormous mortar called "Roaring Meg", able to fire a gunpowder-filled shell 85–90 kilograms (187–198 lb) in weight, in a local forge.[58]
Birch concentrated his efforts on the north-west tower, using his mortar against the masonry and undermining the foundations with his sappers.[59] Lingen responded with a counter-mine dug out under Parliament's own tunnel.[60] This would probably have succeeded, but Birch brought his mortar forward under the cover of darkness and launched a close-range attack on the tower, which collapsed and buried Lingen's counter-mine.[57] Down to their last four barrels of gunpowder and thirty barrels of beer, and with a direct assault now imminent, the Royalists surrendered.[61] According to tradition, the garrison left to the tune of "Sir Henry Lingen's Fancy".[26]
Despite the damage, Tyler was able to move back into his castle, which was now protected by a small Parliamentary garrison.[62] After investigation by Parliamentary agents Brown and Selden, however, the castle was slighted the following year, which rendered it impossible to defend.[63] The Countess of Kent, the new owner of the castle, was given £1,000 in damages, but chose not to rebuild the fortification as it was by then virtually uninhabitable.[26]
18th and 19th-century history
A watercolour painting, with a dark castle in the middle surrounded by dark green painting and a swirling, dark sky.
The picturesque ruins of the castle inspired many artists' work, including David Cox, who produced this watercolour in 1815.
After the Civil War, Goodrich Castle remained with the Earls of Kent until 1740, when it was sold by Henry Grey to Admiral Thomas Griffin.[64] Griffin undertook some restoration of the castle but retained it as a ruin.[1]
During the 1780s the concept of the picturesque ruin was popularised by the English clergyman William Gilpin. Goodrich Castle was one of the ruins he captured in his book Observations on the River Wye in 1782, writing that the castle was an example of the "correctly picturesque" landscape.[65] By this time, the castle was in a slow state of decay. Theodore Fielding, an early Victorian historian, noted how the "castle's situation, far from human dwellings, and the stillness which that solitude, insures to its precinct, leaves contemplation to all the solemnity, that is inspired by the sight of grandeur sinking in dignity, into decay".[66] The Regency and Victorian watercolour artists David Cox and William Callow also captured Goodrich Castle and its landscape in paint, again invoking the picturesque, romantic mood of the setting at the time.[67]
The castle was praised by William Wordsworth as the "noblest ruin in Herefordshire".[1] Wordsworth first visited Goodrich Castle in 1793, and an encounter with a little girl he met while exploring the ruins led him to write the poem We are Seven in 1798.[68] Other poets from this period were also inspired by the castle, including Henry Neele in 1827.[69]
By the 1820s, visitors could purchase an early guidebook at the site outlining the castle's history,[70] and Victorian tourists recorded being charged six-pence to wander around the castle.[71] In the early 1820s, the antiquarian Sir Samuel Rush Meyrick attempted to purchase the site, with the aim of converting the castle back into a private dwelling, but was unable to convince the owners to sell.[72] Instead, Meyrick built the neo-gothic Goodrich Court in a similar style next door, which greatly displeased Wordsworth when he returned to Goodrich in 1841 and found the view spoilt by the new building.[73][nb 3] The new bridge over the river Wye, built in 1828, and the 1873 railway line added to the number of visitors.[74][nb 4]
Goodrich Castle then passed through various hands, until in 1915 the Office of Works began discussions with its then owner, Mrs Edmund Bosanquet; large-scale collapses of parts of the north-west tower and curtain wall in 1919 contributed to Bosanquet's decision to grant the castle to the Commissioner of Works in 1920. The Commissioners began a programme of repairs to stabilise the ruin in its current state.[1]
An F-150 belonging to Terminix in Danville, IL sports a DiamondBack 180 butterfly tonneau cover on the back.
"Women need to take over Control of their bodies by knowing their bodies... and by Masturbating" --Anonymous female I interviewed
The complex operation, alignment and diagnostic functions of the National Ignition Facility at Lawrence Livermore National Laboratory are controlled and orchestrated by an integrated computer control system. It consists of 300 front-end processors attached to nearly 60,000 control points, including mirrors, lenses, motors, sensors, cameras, amplifiers, capacitors and diagnostic instruments. The shot director must coordinate all 14 NIF subsystems when preparing for a shot.
El éxito es la habilidad de ir de fallo en fallo sin perder tu entusiasmo.
Winston Churchill
También me encontrarás/Links to where you can find me
Salida Vuelta Ciclista de España desde Ciudad Real. En el control de firmas Luis Perez (Cofidis)y Oscar Pereiro (Phonak)
JSC2013-E-087976 (18 Sept. 2013) --- In a special viewing room behind the Johnson Space Center's Mission Control Center station flight control room known as FCR-1, students with experiments aboard the Orbital Sciences Corporation Cygnus spacecraft settle in to watch video of the vehicle lifting off atop an Antares rocket from Pad-0A of the Mid-Atlantic Regional Spaceport (MARS), NASA Wallops Flight Facility, Va., at 10:58 a.m. (EDT) on Sept. 18, 2013. Parents and mentors join them in the viewing room, while flight controllers can be seen on the other side of the glass supporting the current Expedition 37 mission that is ongoing aboard the International Space Station. Photo credit: NASA
Burning piles of bark beetle infested logs and slash. Badger Creek Watershed, Ochoco National Forest, Oregon.
"First infestation noted in Badger Creek watershed in 1909, and about 100 trees cut and treated in spring of 1910. In the spring of 1912, 1502 infested yellow pines and 1960 lodgepole pines were treated in the Badger Creek watershed. This has been a decided check to the infestation in this particular region. Average cost per tree, $ .778. Cost per M. ft. B.M., $ 3.91. Total cost of project, $ 2,846, including $178. for camps and control equipment."
For more see: "Memorandum of General Extent of Insect Infested Areas on the Various Forests of District 6", here: www.fs.usda.gov/Internet/FSE_DOCUMENTS/stelprdb5376570.pdf
Photo by: J.O.F. Anderson
Date: 1913
Credit: USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection.
Source: Boyd E. Wickman Collection; Regional Office; Portland, Oregon.
Andy Eglitis brought Boyd's collection from Bend to Portland February 13, 2019.
For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources
Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth