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Developed in collaboration with Sweetwater, and magpul. To replace the ACR in 2016, developed for any eviroment. The IMR-68, or Infanty Modular Rifle -sixty eight, is capable of being fired underwater at a depth of 900 feet, due to Magpuls' recoil system, that takes the bullets initial firing shock and turns it into lateral motion propelling the bolt backwards. Fire modes: semi, two round burst with a rate of fire of 800 rounds per minute. The weapon fires 6.8SPC from a 22 inch barrel, using either sweetwaters' 30 round 'Garde' mag or standard STANAG mags.
This weapon is the standard model two DMR for the US Special forces. Nicknamed the 'Condor' by the operators who use it.
This weapon features my completed 'Garde' 20 round mag.
Credit to: Wes, and KevinTK
Comment, fav, suggestions, are very much appreciated
Digital ID: 480973. Model V First light duty truck developed by General Motors Truck Co., Pontiac, Mich.
Notes: Aluminum engine, crank-case and transmission.
Source: Photographs of General Motors and Chrysler car and truck models, 1902 - 1938. / General Motors Truck Company, Pontiac, Michigan, 1936, photographs - specifications (more info)
Repository: The New York Public Library. Science, Industry and Business Library. General Collection Division.
See more information about this image and others at NYPL Digital Gallery.
Persistent URL: digitalgallery.nypl.org/nypldigital/id?480973
Rights Info: No known copyright restrictions; may be subject to third party rights (for more information, click here)
Taken in the glass room at the in-laws.
Bronica SQA, manual metering/focus.
Kodak Portra 800, home developed (tetenal C41) and scanned.
I love the whole being in control from start to finish - the mixing of chemicals, the precision of temperature and timing - to seeing the negative emerge and finally seeing the end result!
History
The Fiesta was originally developed under the project name "Bobcat" (not to be confused with the subsequent rebadged Mercury variant of the Ford Pinto) and approved for development by Henry Ford II in September 1972. Development targets indicated a production cost US$100 less than the current Escort. The car was to have a wheelbase longer than that of the Fiat 127 (although shorter than some other rivals, like the Peugeot 104, Renault 5 and Volkswagen Polo), but with an overall length shorter than that of the Escort. The final proposal was developed by Tom Tjaarda at Ghia. The project was approved for production in December 1973, with Ford's engineering centres in Cologne and Dunton (Essex) collaborating.
Ford estimated that 500,000 Fiestas a year would be produced, and built an all-new factory near Valencia, Spain; a trans-axle factory near Bordeaux, France; factory extensions for the assembly plants in Dagenham, UK. Final assembly also took place in Valencia.
The name Fiesta belonged to General Motors when the car was designed, as they had used the name for the Oldsmobile Fiesta in the 1950s; however, it was freely given for Ford to use on their new supermini. Ford's marketing team had preferred the name Bravo, but Henry Ford II vetoed it in favour of the Fiesta name. The motoring press had begun speculating about the existence of the Bobcat project since 1973, but it was not until December 1975 that Ford officially announced it as the Fiesta. A Fiesta was on display at the 24 Hours of Le Mans in June 1976, and the car went on sale in France and Germany in September 1976; to the frustration of UK dealerships, right hand drive versions only began to appear in the UK in January 1977.
Mechanically, the Fiesta followed tradition, with an end-on four-speed manual transmission of the Ford BC-Series mounted to a new version of the Ford Kent OHV engine, dubbed "Valencia" after the brand new Spanish factory in Almussafes, Valencia, developed especially to produce the new car. Ford's plants in Dagenham, England, and Saarlouis and Cologne (from 1979) in Germany, also manufactured Fiestas. To cut costs and speed up the research and development, the new powertrain package destined for the Fiesta was tested in Fiat 127 development "mules". Unlike several rivals, which used torsion bars in their suspension, the Fiesta used coil springs. The front suspension was of Ford's typical "track control arm" arrangement, where MacPherson struts were combined with lower control arms and longitudinal compression links. The standard rear suspension used a beam axle, trailing links and a Panhard rod, whilst an anti-roll bar was included in the sports package. All Mk1 Fiestas featured 12-inch wheels as standard, with disc brakes at the front and drum brakes at the rear.
Model history
Although not the first Ford vehicle to feature front-wheel drive (the 1960s Taunus produced by Ford of Germany laid claim to that title), the Fiesta is widely credited as being Ford's first globally successful front-wheel-drive model. UK sales began in January 1977, where it was available from £1,856 for the basic 950 cc-engined model.
It was only the second hatchback mini-car to have been built in the UK at this stage, being launched a year after the Vauxhall Chevette, but a year before the Chrysler Sunbeam and four years before the Austin Metro. The millionth Fiesta was produced in 1979.
The car was initially available in Europe with the Valencia 957 cc (58.4 cu in) I4 (high compression and low compression options), and 1,117 cc (68.2 cu in) engines and in Base, Popular, L, GL (1978 onward), Ghia and S trim, as well as a van. The U.S. Mark I Fiesta was built in Saarlouis, Germany but to slightly different specifications; U.S. models were Base, Decor, Sport, and Ghia, the Ghia having the highest level of trim.[7] These trim levels changed very little in the Fiesta's three-year run in the USA, from 1978 to 1980. All U.S. models featured the more powerful 1,596 cc (97.4 cu in) engine, (which was the older "Crossflow" version of the Kent, rather than the Valencia) fitted with a catalytic converter and air pump to satisfy strict Californian emission regulations), energy-absorbing bumpers, side-marker lamps, round sealed-beam headlamps, improved crash dynamics and fuel system integrity as well as optional air conditioning (a/c was not available in Europe). In the U.S. market, the Ford Escort replaced both the Fiesta and the compact Pinto in 1981.
A sporting derivative (1.3 L Supersport) was offered in Europe for the 1980 model year, using the 1.3 L (79 cu in) Kent Crossflow engine, effectively to test the market for the similar XR2 introduced a year later, which featured a 1.6 L version of the same engine. Black plastic trim was added to the exterior and interior. The small square headlights were replaced with larger circular ones resulting in the front indicators being moved into the bumper to accommodate the change. With a quoted performance of 0–60 mph (0–97 km/h) in 9.3 seconds and 105 mph (169 km/h) top speed, the XR2 hot hatch became a cult car beloved of boy racers throughout the 1980s.
Minor revisions appeared across the range in late 1981, with larger bumpers to meet crash worthiness regulations and other small improvements in a bid to maintain showroom appeal ahead of the forthcoming second generation.
In 1978, the Fiesta overtook the Vauxhall Chevette as Britain's best-selling supermini, but in 1981 it was knocked off the top spot by British Leyland's Austin Metro and was still in second place at the end of 1982.
[Text from Wikipedia]
en.wikipedia.org/wiki/Ford_Fiesta_(first_generation)
SONY a7II + SIGMA MC-11 ( SA-E ) + SIGMA 70mm F2.8 DG MACRO A018
Developed by Adobe Lightroom Classic 7.4
2 minute exposure on Efke 25 developed in Rodinal 1+25 for 5 minutes. Sorry for the dust, I didn't have the patience to spot it.
The Barchetta was developed between 1990 and 1994 under the project name Tipo B Spider 176. It was designed by Andreas Zapatinas and Alessandro Cavazza under the supervision of Peter Barrett Davis and other car designers at the Fiat Centro Stile, and prototyping was carried out by Stola.
Production began in February 1995 and lasted until June 2005, with a brief pause due to the bankruptcy of coachbuilder Maggiora. The Barchetta was based on the chassis of the Mark 1 Fiat Punto. The Barchetta has 1,747 cc DOHC petrol engine fitted with variable camshaft timing, used for the first time in a Fiat production car, after being patented in 1970. The engine has 132 PS (97 kW; 130 hp) and 164 N·m (121 lb·ft) of torque. The Barchetta weighs 1056 kg (2328 lb) without air conditioning and can accelerate to 100 km/h (62 mph) in 8.9 seconds and has a top speed of 200 km/h (124 mph). It came in various trim levels which offered different features, for example, diamond cross stitch - patterned red leather instead of the standard black leather or fabric seats, alloy wheels instead of steel wheels, or fog-lights as an option. Arguably one of the biggest external cosmetic changes was made by the addition of the third brake light, first introduced by Fiat on the Lido and Riviera in 2000, and on sub models thereafter.
The Barchetta was revised in 2003, for its relaunch the following year, with some alterations inside and out. The most notable changes were the revised front spoiler and rear bumper. Production of the car eventually stopped in June 2005.
2nd Regiment, Advanced Camp Cadets develop critical skills during the Platoon Situational Training Exercise at Cadet Summer Training 2018. (Fort Knox, Kentucky, 24 June) Photos By: Jakob Coombes
Back to b/w film, and the last of the Viking series.. Godmanchester Viking Festival.
Bronica SQ-A
Zenzanon PS 150mm f/4 lens
Ilford FP4+ film
Developed in Rodinal
16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
Tohbetsu, Hokkaido. They sell good tofu ( white, cheese-like curd made from soy beans ). Canon AV-1, NFD35-70mm F3.5-4.5, negative ISO 100 exposed as ISO 100, developed with reversal processing as described before, scanned with Plustek OpticFilm 120 + VueScan, edited with GIMP. Bigger sizes: www.flickr.com/photos/threepinner/50255964558/sizes/ up to 7473 × 4929 pixels compatible. Learn DIY development and upgrade to film !
2nd Regiment, Advanced Camp Cadets develop critical skills during the Platoon Situational Training Exercise at Cadet Summer Training 2018. (Fort Knox, Kentucky, 24 June) Photos By: Jakob Coombes
We do learn and develop when we are exposed to those who are greater than we are. Perhaps this is the chief way we mature. - Madeleine L'Engle
Most of the nearly two–billion children in the developing world are inadequately educated, or receive no education at all. One in three does not complete the fifth grade.
The individual and societal consequences of this chronic global crisis are profound. Children are consigned to poverty and isolation—just like their parents—never knowing what the light of learning could mean in their lives. At the same time, their governments struggle to compete in a rapidly evolving, global information economy, hobbled by a vast and increasingly urban underclass that cannot support itself, much less contribute to the commonweal, because it lacks the tools to do so.
It is time to rethink this equation.
Given the resources that developing countries can reasonably allocate to education—sometimes less than $20 per year per pupil, compared to the approximately $7500 per pupil spent annually in the U.S.—even a doubled or redoubled national commitment to traditional education, augmented by external and private funding, would not get the job done. Moreover, experience strongly suggests that an incremental increase of “more of the same”—building schools, hiring teachers, buying books and equipment—is a laudable but insufficient response to the problem of bringing true learning possibilities to the vast numbers of children in the developing world.
Standing still is a reliable recipe for going backward.
Any nation's most precious natural resource is its children. We believe the emerging world must leverage this resource by tapping into the children's innate capacities to learn, share, and create on their own. Our answer to that challenge is the XO laptop, a children's machine designed for “learning learning.”
XO embodies the theories of constructionism first developed by MIT Media Lab Professor Seymour Papert in the 1960s, and later elaborated upon by Alan Kay, complemented by the principles articulated by Nicholas Negroponte in his book, Being Digital.
Extensively field-tested and validated among some of the poorest and most remote populations on earth, constructionism emphasizes what Papert calls “learning learning” as the fundamental educational experience. A computer uniquely fosters learning learning by allowing children to “think about thinking”, in ways that are otherwise impossible. Using the XO as both their window on the world, as well as a highly programmable tool for exploring it, children in emerging nations will be opened to both illimitable knowledge and to their own creative and problem-solving potential.
OLPC is not, at heart, a technology program, nor is the XO a product in any conventional sense of the word. OLPC is a non-profit organization providing a means to an end—an end that sees children in even the most remote regions of the globe being given the opportunity to tap into their own potential, to be exposed to a whole world of ideas, and to contribute to a more productive and saner world community.
Find out more at laptop.org/
Sometimes it's not working out with developing but still a nice result. Shot with a Mamiya 645M on Kodak Porta 400
Double Dance Dose at The Old Fire Station, 7 December 2013. Photos of Ran Kan Kan and Baila La Cumbia providing a night of Cuban and Colombian dance music for a full house of appreciative ears and feet. This was an ideal opportunity for me to try a film that I've been eager to use for myself, a 35mm color cinema film called CineStill 800Tungsten Xpro C-41.
The Brothers Wright took Kodak Vision3 500T 5219 color negative film, notable for its low light performance, and removed a black pigmented layer called rem-jet, used in cinema cameras for antihalation, antistatic, lubrication, and scratch protection. This process results in the film which they then cut down for 35mm still camera canisters and rebrand as CineStill, safe for normal C-41 processing, including standard lab processing machines.
So, that's what I did. I shot three rolls at this concert, and sent the film to ASDA. (Thanks, again, for the ride, Nas!) And I am impressed. I am thinking of this night as a practice run for this film, because there were definitely shots where I could have been less conservative with my exposures. I look forward to my next opportunity to use the film, as I intend to push, and possibly find, its limits. I thought it handled stage lighting in a small, dark club in a way that is fully deserving of the repute of its Kodak forebear, and it well exceeded my expectations.
* Pentax Spotmatic F *
* Pentax Digital Spot Meter *
* Zeiss Pancolar 1.8/50 *
* Jupiter 9 2/85 *
* CineStill 800Tungsten Xpro C-41 film *
* Developed by ASDA *
* Epson V500 scanner *
* Photoshop CS6 *
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The man who was in charge of developing Apple’s iconic iPhones and iPods has received a special award from the University of Salford, recognising his achievements since he graduated in 1988.
David Tupman was presented with his Alumni Achievement Award last night at a special preview for the Create at Salford Festival, which is a major showcase of the University’s student art and design, performing arts, music, computer gaming, animation and TV news broadcasting talent.
The Shanghai World Financial Center (SWFC; Chinese: 上海环球金融中心) is a supertall skyscraper located in the Pudong district of Shanghai, China. It was designed by Kohn Pedersen Fox and developed by the Mori Building Company. It is a mixed-use skyscraper, consisting of offices, hotels, conference rooms, observation decks, and ground-floor shopping malls. Park Hyatt Shanghai is the hotel component, containing 174 rooms and suites. Occupying the 79th to the 93rd floors, it is the second-highest hotel in the world, surpassing the Grand Hyatt Shanghai on the 53rd to 87th floors of the neighboring Jin Mao Tower.
There are three observation decks in Shanghai World Financial Center. The height of the lowest observation deck (观光大厅) is 423 m (1,388 ft), on the 94th floor, the second is 439 m (1,440 ft) high, on the 97th floor, named "Observatory Bridge" (观光天桥), and the highest (观光天阁) is 474 m (1,555 ft) high, on the 100th floor.[19] Admission fees range from RMB100 (US$15.40) for the 94th floor only, to RMB150 (US$23.10) for all three observation decks.
The skyscraper's roof height is set at 492 m, and has temporarily claimed the highest roof in the world. Before construction resumed on the roof, tower height was scheduled to be 509.2 m (1,671 ft) so the building would hold the title of the world's tallest building (structural top) over the Taipei 101, but a height limit was imposed, allowing the roof to reach a maximum height of 492 m. Architect William Pedersen and developer Minoru Mori have resisted suggestions to add a spire that would surpass that of Taipei 101 and perhaps One World Trade Centre, calling the Shanghai WFC a "broad-shouldered building". The SWFC boasts a gross floor area of more than 377,300 m2 (4,061,200 sq ft), 31 elevators, and 33 escalators.
Source: en.wikipedia.org/wiki/Rapid_City,_South_Dakota
Rapid City is the second most populous city in South Dakota and the county seat of Pennington County. Named after Rapid Creek, where the settlement developed, it is in western South Dakota, on the Black Hills' eastern slope. The population was 74,703 as of the 2020 Census.
Known as the "Gateway to the Black Hills" and the "City of Presidents" because of the life-size bronze president statues downtown, Rapid City is split by a low mountain ridge that divides the city's western and eastern parts. Ellsworth Air Force Base is on the city's outskirts. Camp Rapid, part of the South Dakota Army National Guard, is in the city's western part.
Rapid City is home to such attractions as Art Alley, Dinosaur Park, the City of Presidents walking tour, Chapel in the Hills, Storybook Island, and Main Street Square. The historic "Old West" town of Deadwood is nearby. In the neighboring Black Hills are the tourist attractions of Mount Rushmore, the Crazy Horse Memorial, Custer State Park, Wind Cave National Park, Jewel Cave National Monument, and the museum at the Black Hills Institute of Geological Research. To the city's east is Badlands National Park.
Source: www.visittheusa.com/destination/rapid-city
Where a rugged landscape surrounds charm and culture
While Rapid City is best known for its proximity to national parks and enormous mountain carvings, including Mount Rushmore just 40 kilometers away, visitors to the heart of this Black Hills destination will be enthralled by a plethora of outdoor adventures, a charming and historic downtown and a salute to American Indian heritage in southwestern South Dakota.
The Famous Faces
Make Rapid City your headquarters for short jaunts to six national parks – Badlands National Park, Devils Tower National Monument, Jewel Cave National Monument, Wind Cave National Park, Minuteman Missile Silo National Park and Mount Rushmore National Memorial – as well as Crazy Horse Memorial.
No trip here would be complete without seeing the heads of four U.S. presidents, each about 18 meters tall, carved into granite on the side of Mount Rushmore. Once there, you’ll see why the sculpture, which took 14 years to complete, attracts nearly 3 million people a year. Nearby, work continues in the Black Hills on another mountain carving, this one of the famous Lakota warrior Crazy Horse astride his horse, that will become the world’s largest sculpture upon completion. The memorial serves to preserve the culture of North American Indians.
Find out more about the area at The Journey Museum & Learning Center, which features exhibits tracing some 2.5 billion years of history, from the earliest rock formations to Native American cultures and Western frontier exploration.
Large-Scale Outdoor Adventures
Options are plentiful for people who enjoy outdoor activities like hiking, biking, fishing, kayaking, rock climbing, wildlife viewing and off-the-beaten-path exploration. Traipse through all of those national parks and see a variety of landscapes, including mountains, hills, canyons, valleys, creeks and lakes.
Take in the natural beauty of the Black Hills National Forest and all of its hidden gems, including the Stratobowl clearing that was home base for historic balloon flights. Venture into Custer State Park, where the Wildlife Loop takes visitors through 29 kilometers of hills and grasslands, home to more than 1,300 free-roaming bison. Stop in the Wildlife Station Visitor Center to learn what other types of wildlife you might encounter. Sites along the George S. Mickelson Trail – a Black Hills rail trail route that is about 175 kilometers long – include tunnels, bridges and 15 trail heads.
A City of Culture
In addition to the prominent Native American arts and culture, Rapid City has become known for its culinary, winery and brewery scene as well as history tied to the original settlers. The Sculpture Project: Passage of Wind and Water is a five-year public art initiative with sculptor Masayuki Nagase working during the summer months to carve by hand granite sculptures in Main Street Square. As you tour the city, look for the City of Presidents, life-size bronze statues of 43 former U.S. presidents, including the famous four that are also on Mount Rushmore.
Comfort is key in Rapid City, which features smaller boutique hotels, larger hotel chains, vacation rentals, camping and bed-and-breakfast establishments. Perhaps you will find a place with a history that includes some of the nation’s presidents.
Source: bearcountryusa.com/
Welcome to Bear Country USA!
Come see black bears, elk, cougars, goats, and more!
Very few people have had a full-grown black bear look in the window of their family car, or if they have, it was not by choice. Even fewer have seen a reindeer or a elk up close. However, many people are getting experiences like these at Bear Country U.S.A. in the Black Hills of South Dakota.
Nestled over 200 acres amidst towering pines and along rolling meadows just eight miles south of Rapid City, Bear Country U.S.A. offers visitors intimate views of most North American mammals. Visitors take a leisurely three-mile drive through several enclosures and encounter black bear, elk, reindeer, deer, cougars, bobcats, rocky mountain goats, bighorn sheep, dall sheep, pronghorn and buffalo.
At this “the home of the largest collection of privately owned black bear in the world”, Bear Country U.S.A. guests are guaranteed to see more than they bargained for. From the comfort of their own car, visitors watch as these clowns of nature frolic in a pool, climb trees and amble across the road in front of their vehicle.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(South Dakota) "داكوتا الجنوبية" "南达科他州" "Dakota du Sud" "दक्षिण डकोटा" "サウスダコタ" "사우스다코타" "Южная Дакота" "Dakota del Sur"
(Rapid City) "رابيد سيتي" "拉皮德城" "Ville rapide" "रैपिड सिटी" "ラピッドシティ" "래피드시티" "Рапид Сити" "Ciudad rápida"
KONSTRUCTIVE ZEOLITE STEEL
High-Performance Gravel Cyclo-Cross-Bike
•Fortschrittlichste Stahl-Rahmen-Fertigungsmethoden
•Handmade in Europa
•Beste Schwingungsdämpfungs- und Komfortwerte
•Optimales Steifigkeits- zu Gewichtsverhältnis
•Wählbare Ausstattungsvarianten für das individuelle DREAMBIKE verfügbar.
•Optional: Fertigung nach Maß
TECHNISCHE DATEN DES ABGEBILDETEN BIKES
Modell: ZEOLITE FULL CUSTOM Bike
Größe / Gewicht Bike / Gewicht Rahmen: 56 cm / 11,5 kg / 2.300 g
Design Style: Konstructive Gunmetal Grey / Red Candy Metallic und Gabel
High-Performance Gravel Cyclo-Cross-Bike
•Most advanced steel frame fabrication methods
•Developed in Germany, handmade in Europe
•Highly comfortable ride with very good damping characteristics
•Excellent stiffness-to-weight-ratio
•Large selection of configurable options to create the ultimate DREAM BIKE
•Extras: Custom tailored frame size and geometry
SPECIFICATIONS OF THE PICTURED BIKE
Model name: ZEOLITE FULL CUSTOM BIKE
Size / Bike weight / Frame weight: 56 cm / 11,5 kg / 2.300 g
Design Style and color: Konstructive Gunmetal Grey / Red Candy Metallic and Fork
COMPANY NAME
Konstructive Cycles Berlin
Bike Model: KONSTRUCTIVE ZEOLITE STEEL GRAVE CYCLO CROSS BIKE
WHO
Konstructive Cycles is a German cycling brand. Konstructive Custom Dream Bikes and accessories are designed in Berlin, Germany and hand made by the best craftsmen in Europe. Konstructive Cycles Berlin are distributed by RevolutionSports.eu.
WHAT
Konstructive Cycles develops high performance carbon and steel Bikes, high-end accessories and functional clothing. The bike categories include Road Bikes, Cyclo-Cross Bikes, Mountain Bikes as well as niche products. We offer complete bicycles with various build kit options and individual frames. Our products are for bike enthusiasts and weight conscious riders and racers (weight weenies).
WHY
Konstructive Cycles offers quality instead of quantity and focuses on all important details. The era of individualisation has started. Konstructive Cycles Berlin would like to build your exclusive Dream Bike tailored to your specific needs.
HOW
Get more information and start to configure your ultimate Dream Bike on our Website: www.konstructive.de.
MISSION
We offer products and individual solutions that make cyclists happy.
Get in touch with us and support products made in Germany and Europe!
UNTERNEHMEN
Konstructive Cycles Berlin
WER
Konstructive Cycles ist eine deutsche Marke Konstructive Cycles Berlin Produkte werden in Berlin entwickelt und gestaltet (Design Made in Germany) und von den besten Handwerkern in Europa gefertigt (Made in Europe). Die Firma RevolutionSports.eu vertreibt die hochwertige Dream Bikes (Traumbikes) und Zubehörprodukte.
WAS
Konstructive Cycles entwickelt Hochleistungs-Bikes aus Carbon und Stahl sowie exklusives Zubehör und Funktionsbekleidung. Zu den Bike-Kategorien zählen Rennräder, Cyclo-Cross Bikes, Mountain Bikes und zahlreiche Sonderlösungen. Wir bietet komplette Bikes mit vielfältigen Ausstattungsoptionen und einzelne Rahmen an. Unsere Produkte werden für Bike-Enthusiasten entwickelt, die besonderen Wert auf Qualität und das Gewicht des Bikes legen.
WARUM
Konstructive Cycles bietet Klasse anstatt Massenware und legt großen Wert auf alle wichtigen Details. Für uns hat die Ära der Individualisierung begonnen. Konstructive Cycles fertigt Ihr individuelles Traumbike, zugeschnitten auf Ihre Wünsche.
WIE
Nutzen Sie die Informationen auf unserer Website und konfigurieren Sie Ihr ultimatives Traumbike: www.konstructive.de.
MISSION
Wir möchten mit unseren Produkten und Lösungen ambitionierte Fahrradfahrer begeistern.
Nehmen Sie Kontakt zu uns auf und unterstützen Sie Produkte aus Deutschland und Europa!
Konstructive Custom Dream Bikes and accessories are designed in Berlin, Germany and hand made by the best craftsmen in Europe. Konstructive Cycles Berlin are distributed by RevolutionSports.eu.
WHAT
Konstructive Cycles is a German cycling brand. We develop high-performance carbon and steel bikes, high-end accessories and functional clothing. Bike categories include Road Bikes, Cyclo-Cross Bikes, and Mountain Bikes. KONSTRUCTIVE custom dream bikes and accessories are designed in Berlin, Germany, and hand made by the best craftsmen in Europe. Quality is king.
KONSTRUCTIVE Cycles entwickelt Hochleistungs-Bikes aus Carbon und Stahl sowie exklusives Zubehör und Funktionsbekleidung. Die Entwicklung und Produktion von KONSTRUCTIVE CYCLES findet in Europa statt, um die gewünschte Qualität und Leistungsfähigkeit zu gewährleisten.
Pushing Kodak Gold 200 @ 800
Developed with Compard C41 - 3part developer.
Camera Minolta Dynax 60 with ISO set to 800.
Development time at 40 degrees C @ 3 minutes per Stop so 9 minutes in total, Bleach and Fix as normal, also at 40 degrees.
Results look very usable, grain comparable to normal exposure. I am pleasantly surprised by the result.
Fresh film is requirement i think
Developing an Arduino application for a series of revolving storefront window displays. Each display holds a laptop which is plugged in, so the motor must be reversed once every revolution to avoid twisting the laptop's power cord.
The display's rotating axle will have a reflective tab that crosses over the sensor (a phototransistor) shown above. Arduino's analog I/O pin detects a change in voltage from the sensor-- a value that can be adjusted in the script, to make the sensor more or less sensitive. It then makes one of two digital output pins high, which triggers the respective coil in the relay. The relay then reverses the polarity to the motor, reversing it until the tab comes back around and the process starts again.
In this image I have LEDs simulating the reversal, in the real thing a motor will be hooked up instead.
See a video of this guy in action: www.youtube.com/watch?v=mpuy9b2Fk4k
The SU-100 was a Soviet casemate-style tank destroyer. It was used extensively during the last year of World War II and saw service for many years afterwards with the armies of Soviet allies around the world.
It was developed in 1944 as an improvement to the SU-85, built on the same chassis as the T-34-85 tank. It was designed and built at the UZTM (Russian abbreviature УЗТМ for Уральский Завод Тяжелого Машиностроения – Ural Heavy Machinery Factory, also called Uralmash) in Yekaterinburg. The SU-100 quickly proved itself to be among the best self-propelled anti-tank guns of World War II, able to penetrate 125 mm (4.9 in) of vertical armor from a range of 2,000 m (1.2 mi) and the sloped 85 mm (3.3 in) front armor of the German Panther from 1,500 m (0.93 mi).[citation needed] The development was conducted under supervision of L. I. Gorlitskiy, chief designer of all medium Soviet self-propelled guns. The work started in February 1944 and first prototype of SU-100, called "Object 138", was built in March. After intensive testing with different models of 100 mm gun Soviet engineers approved the D-10S gun for mass production. This gun was developed in Constructors Bureau of Artillery Factory No. 9 under guidance of F. F. Petrov. After the Second World War it was installed on T-54 and T-55 tanks and its derivatives were in service forty years after initial development. The hull of SU-100 had major improvements over the SU-85; the thickness of the front armour was increased from 45 to 75 mm (1.8 to 3.0 in), and the commander's workplace was made in a small sponson on the right side of the hull; combined with the commander's cupola this greatly improved the commander's effectiveness. For better ventilation two ventilator units were installed, instead of only one as in the SU-85. Mass production began in September 1944.
The SU-100 saw extensive service during the last year of the war. It was used en masse in Hungary in March 1945, when Soviet forces defeated the German Operation Frühlingserwachen offensive at Lake Balaton. By July 1945, 2,335 SU-100s had been built.
The vehicle remained in service with the Red Army well after the war; production continued in the Soviet Union until 1947 and into the 1950s in Czechoslovakia. It was withdrawn from Soviet service in 1957 but many vehicles were transferred to reserve stocks. Some exist to this day in the Russian Army holding facilities.
Many Warsaw Pact countries also used the SU-100, as did Soviet allies such as Egypt, Angola and Cuba. A few SU-100 were delivered to Yugoslavia after the war, under the designation M-44.[1] The SU-100 saw service in the fighting that accompanied the 1956 Suez Crisis, in which the Egyptians used SU-100s against Israel's M4 Sherman tanks. The vehicle was also utilized in the 1967 Six-Day War and the 1973 Yom Kippur War. It was modified slightly to adapt it to the sandy conditions of the Middle East, thus creating the SU-100M variant. Exported SU-100s continued in service until the 1970s, and in some countries, even later. Yugoslavs used them during the civil war however due to lack of spare parts they were quickly retired, but performed satisfactorily. The SU-100 remains in use by the Vietnam People's Army and the Korean People's Army Ground Force despite the age of the design.
SU-100s entered service with the People's Liberation Army (PLA) of China after 1 December 1950 when Soviet forces left Dalian. The armaments in Dalian were sold to China, including 99 SU-100s, 18 IS-2 heavy tanks, 16 T-54s and 224 T-34s, with which PLA formed its 1st Mechanised Division.
(Text Wikipedia)
Developing a sense of identity can be challenging for young Nigerian women. They’re taught to know their place, and there are rigid expectations about which careers they should choose. Photographer Phillis Kwentoh, 25, rejects that. “Many people have told me that I should have been born a boy. I won’t hinder myself because of someone else’s opinion,’’ she says.
Her parents expected Phillis to be a doctor, but at the University of Connecticut, she switched her major from pre-med to print journalism to photojournalism. For a whole semester, she didn’t tell her parents. When they found out, they weren’t pleased. Her mother told her she was going to end up homeless and living in a box. “Nigerian parents don’t understand the liberal arts world,” Phillis explains. “They want their children to pursue something practical and safe.”
“I showed my mother some of my writings in college about Hurricane Katrina and my mother said, ‘I hope you know you can’t have the kind of journalism career in Nigeria that you can have in America. They will kill you’,” Phillis says, describing the corruption and lack of equality rampant in Africa. “It’s that serious there.”
But Phillis was inspired to become a photographer when she saw Robin Romano’s Stolen Childhood photos about child labor while interning at the William Benton Museum of Art, which specialized in human rights work.
Ambitious but still uncertain about her abilities, she bought a digital SLR camera and returned to her native Nigeria later that summer. Originally born in Texas, it had been fifteen years since she had been back. She was captivated by the vibrancy of her homeland and developed her photos into a series about Africa. “I just felt everything around me was so beautiful and that was reflected in the pictures. Even when I went to the market, even shooting the poor people out there, there’s a beauty in them and there was color everywhere.”
The museum later exhibited her work and after a successful first show in Brooklyn curated by Kareem Black at Harriet’s Alter Ego, she decided photography more than print journalism was the path she wanted to take. “I’m into portraits because they capture who a person is in that moment and it’s great storytelling. That’s part of the reason why I wanted to be a photojournalist. I think storytelling is what attracted me to journalism in the first place. It’s true when they say a picture says a thousand words. Actually it says way more.”
Currently, Phillis works for Essence Magazine shooting street fashion and as production assistant on cover shoots. Her work has also been featured in Parlour Magazine and Vogue Italia. “I’m very picky about how I shoot for Street Style. I’m not so much into fashion, but I really love style - how someone adorns themselves and accessories themselves. Its not a façade that they put on, it’s a dressing up of who they are. Fashion is here and now and style is timeless. But no matter what they are wearing, she always tells her subjects to be natural. Better than posing, be yourself. I just want to capture who you are.”
After four years of shooting professionally, she still feels new in the game and hopes to use her voice and creativity to become an international philanthropist. “In America there is a definite struggle for the poor but there are so many government programs that can help you. In Nigeria if you’re poor, you are shit out of luck. There’s no welfare, there’s no WIC. There are people who live in dirty dug out ditches on the side of the road.”
Her advice to aspiring photographers: Don’t call yourself aspiring. Either you’re doing it or you’re not. If you’re serious then, pick up a camera and shoot. “I definitely believe all my experiences were a part of my destiny and I made the right decision in not becoming a doctor. I know my parents are still a little nervous but they see that I’m consistent about it and I am successful so they support me and I’m truly grateful.”
On December 25, 2011 a sect known as Boko Hakram bombed a Catholic church in Lagos, Nigeria killing at least 39 people with the majority dying on the steps of the church after celebrating Christmas Mass. Boko Haram has carried out increasingly sophisticated and bloody attacks in its campaign to implement strict Shariah law across Nigeria, a multiethnic nation of more than 160 million people. The group, whose name means "Western education is sacrilege", is responsible for at least 504 killings this year alone, according to an Associated Press count. Phillis' story is dedicated to the lives lost, Nigeria’s unseen beauty and hopes for a more peaceful future.
Words by fayemi shakur & Images by Phillis Kwentoh
Developed by Fritz B. Burns Research Division for Housing
Architects: Walter Wurdeman and Welton Becket
Landscape Architects: Eckbo, Royston & Williams
It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.
PDF of the crease pattern.
Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)
From a trip to one of the marshy inlets at Leaser Lake in late 2015.
Technical Details:
Nikon F2 Photomic 35mm film camera. Nippon Kogaku (Nikon) Nikkor-S Auto 50mm F1.4 non-AI lens.
Kodak Tri-x 400 B&W film shot at ISO 1250.
Developed in Diafine for 4 minutes (part A) and 4 minutes (part B) @ 20 degrees Celsius in Paterson 3 reel tank. 5 seconds initial agitation with swizzle stick followed by 5 seconds of additional agitation evey minute thereafter.
Negative scanned with Epson 4990 on holders with ANR glass.
Nymans is an English garden in Haywards Heath, Sussex. It was developed, starting in the late 19th century, by three generations of the Messel family, and was brought to renown by Leonard Messel.
In 1953 Nymans became a National Trust property.[1] Nymans is the origin of many sports, selections and hybrids, both planned and serendipitous, some of which can be identified by the term nymansensis, "of Nymans". Eucryphia × nymansensis (E. cordifolia × E. glutinosa) is also known as E. "Nymansay". Magnolia × loebneri 'Leonard Messel', Camellia 'Maud Messel' and Forsythia suspensa 'Nymans', with its bronze young stems, are all familiar shrub to gardeners.
History[edit]
In the late 19th century, Ludwig Messel, a member of a German Jewish family, settled in England and bought the Nymans estate, a house with 600 acres on a sloping site overlooking the picturesque High Weald of Sussex. There he set about turning the estate into a place for family life and entertainment, with an Arts and Crafts-inspired garden room where topiary features contrast with new plants from temperate zones around the world. Messel's head gardener from 1895 was James Comber, whose expertise helped form plant collections at Nymans of camellias, rhododendrons, which unusually at the time were combined with planting heather (Erica) eucryphias and magnolias. William Robinson advised in establishing the Wild Garden.[2]
His son Colonel Leonard Messel succeeded to the property in 1915 and replaced the nondescript Regency house with the picturesque stone manor, designed by Sir Walter Tapper and Norman Evill in a mellow late Gothic/Tudor style. He and his wife Maud (daughter of Edward Linley Sambourne) extended the garden to the north and subscribed to seed collecting expeditions in the Himalayas and South America.
The garden reached a peak in the 1930s and was regularly opened to the public. The severe reduction of staff in World War II was followed in 1947 by a disastrous fire in the house, which survives as a garden ruin. The house was partially rebuilt and became the home of Leonard Messel's daughter[3] Anne Messel and her second husband the 6th Earl of Rosse. At Leonard Messel's death in 1953 it was willed to the National Trust with 275 acres of woodland, one of the first gardens taken on by the Trust. Lady Rosse continued to serve as Garden Director.
wikipedia
Here's my first attempt at unfolding the sphere and an homage to this work of Seb Przd's, "Cut and fold..." I think I'm finally beginning to get this. This, too, can be printed out and folded together with no distortion (i.e., it's developable). Images output exclusively with Hugin and laid out with Photoshop (to add the pretty stroke and drop shadow).
For some reason, the final 3D object struck me as resembling a Pringles potato chip snack packs, hence the name.
[FYI: the shot is the lobby of my office. I haven't posted this pano yet. It's a 360°x180° view].
©2008 David C. Pearson, M.D.
Church of St Bartholomew, Coffinswell Devon
The village seems to have developed as a settlement beside the springs (one perhaps a sacred well) where the lands of 2 agricultural Manors of that time met. - Tavistock Manor to the north east owned from Saxon times by the Abbey of Tavistock who leased the land to a succession of tenant gentry. The other on the north and west known as the Lay Manor as it never belonged to the Church. In 1086 Lay Manor was held by Radulph Paganel and the Exeter doomsday survey of this year places both Manors in "Willa / Wille".
c1155 with the advent of the third manor of Daccombe to the south east, a site for a church was chosen where all 3 manorial boundaries came together and in 1191 the name of the area is givenas Wille et Daccumbe. (Later Church records of 1193 name it Willa et Daggecumba and a deed of 1225 mentions de Welle de Dacum).
c 1230 the Coffyn family acquired Lay Manor and by 1282 the Manor was called Welle Coffyn.
A visitation of 1301 reported that the chapel had a good missal with musical notes, an old gradale, a good troparium and ordinale, a legenda and psalter, an old monastic antiphonale, a manuale and hymnale. A fairly good chalice, gilt inside. Two complete sets of vestments and two alb, nine altar cloths. a thurible, wooden chrismatory and a wooden pyx for the eucharist without a lock. Also 2 surplices and a rochet, a lenten veil. a processional cross, two cruets & 2 bells for the dead..
By 1326 it was clearly differentiated from the Tavistock Manor by is name of Coffinswille, and consisted of the village of Coffinswell and the hamlet of Daccombe.
The Norman font www.flickr.com/gp/52219527@N00/7iNSyHF4ZM survives from the original building of c 1159 which was an oblong thatched structure of stone or cob with a small south chapel to the east, with narrow unglazed Norman windows .
It now consists of a continuous nave & chancel (the waggon roof extending from the east end to the west), a north aisle divided from the nave by 4 arches supported on columns with carved capitals, a small transept, north porch, and west tower
The earliest part now is the 70ft red sandstone two stage tower, now dark roughcast, dating to c1220, its walls 2.0 metres thick and not quite square with the nave It has 6 bells; (two being of pre-Reformation date (Henry Vll) inscribed in Old English lettering:" Protege Virgo Pia quos Sancta Maria" (Protect us, Virgin Pious, Holy Mary;) ; two date from 1626 and 1637, and have the inscription: "Soli Deo detur gloria" (Glory is given to God alone;) ; the latter was recast in 1894 when a fifth bell was added with the inscription: Sit Deo gloria" (To God be the glory) .; the sixth bell was added in 1904.
Glass windows in the decorated style were inserted mid-14c when a small south transept was built . A three-light granite window in the south-west corner near the tower was added in the 15c
The north aisle erected late 15c with 14c style windows was also thatched and a broad trench around it caught the rain dropping off the thatch. The most westerly column dividing it from the nave has several coats of arms which refer to the Holbeame family and their connections (Scobahull, Leyton, and Gambon). This suggests that the aisle was erected by John Holbeame, a local gentleman who died in 1473.
The chancel altar was at St Mary church before 1855, one of the several copies made in wood of the high altar in Cologne cathedral. An older oak table altar with carved sides stood in the vestry but was removed in 1925 to the chapel of the retreat house at West Ogwell. The altar rails of oak are carved in the Gothic style. www.flickr.com/gp/52219527@N00/9t90prBH82
The vestry was built in 1820, blocking the west window of the north aisle. inside are preserved the old stocks, remarkable for the fact that the board with the holes for the feet is flat instead of upright, so that the prisoners would either have to stand in them, or sit in a very cramped position. The old parish chest with slits for coins and two iron clasps for double locking. is also kept here, and some pieces of lead with foot and hand marks on them. ( It is said at one time visitors to the roof used to amuse themselves by tracing the shape of their hands and feet on the lead covering, and when the rood was re-leaded these shapes were preserved). devonhistoricgraffiti.org.uk/coffinswell-st-bartholomew/
The vestry has recently been refurbished with the facilities of kitchenette and WC, allowing for concerts and communal events to take place here
A fine granite cross in the churchyard was found supporting a cattle shed in the village. www.flickr.com/gp/52219527@N00/7Upg0S0o53
The registers date: baptisms, 1560; marriages, 1560; burials, 1561.
Near the church is Court Barton, a manor house of partly 16c date; the southern part of which was used as a court house by Torre Abbey. There are many traditional cob and thatch cottages of which 29 are listed.
Picture with thanks - copyright historicengland.org.uk/listing/the-list/list-entry/1164557
The engine model shown here is based on the 1:21 scale Bugatti Veyron SS model by Mr.Koenigsegg:
Bugatti Veyron EB 16.4
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego (1:24)-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).
Pilates, was developed by German-born gymnast, boxer, diver, and body builder Joseph Pilates (1880-1967). He moved to England in 1912 where he earned his living as a professional boxer, circus-performer, and self-defence trainer at police schools and Scotland Yard.
When World War I broke out the British Authorities interned him together with other Germans first at Lancester Castle and than on the Isle of Man. In order to help his fellow prisoners to keep their strength and fitness during their internment he developed and taught early stages of his method, which he called "Contrology".
After World War I, Joseph Pilates returned to Germany and migrated to the United States around 1925 where he lived until his death in 1967.
Photograph by J. Vílchez via Wikimedia Commons
Atlanticwall Regelbau S75 & S80 - 38 cm S.K.C/34 Naval Gun - The Adolf Gun Bunker.
S75 is the ammunition depot of the Bunker and
The S80 is the for machine room and room for crew.
The 38 cm SK C/34 naval gun was developed by Germany mid to late 1930s. It armed the Bismarck-class battleships and was planned as the armament of the O-class battlecruisers and the re-armed Scharnhorst-class battleships. Six twin-gun mountings were also sold to the Soviet Union and it was planned to use them on the Kronshtadt-class battlecruisers, however they were never delivered. Spare guns were used as coastal artillery in Denmark, Norway and France. One gun is currently on display at Møvig Fortress outside Kristiansand.
Ammunition
It used the standard German naval system of ammunition where the base charge was held in a metallic cartridge case and supplemented by another charge in a silk bag. Both cartridges were rammed together.
Propellant charge
Main charge: 38 cm HuelsKart34 – GefLdG – 108 kg (238 lb) RPC 38 (16/7)
Fore charge: 38 cm VorKart34 – GefLdG – 104 kg (229 lb) RPC 38 (16/7)
Shell
Four types of shells were used by the 38 cm SK C/34 although the Siegfried-Granate could only be used by the coast defense versions. Almost 40 percent lighter, this latter shell could be fired with a reduced charge at 920 metres per second (3,000 ft/s) out to 40 kilometres (44,000 yd). With a full charge it reached 1,050 metres per second (3,400 ft/s) and could travel 55.7 kilometres (60,900 yd) – over 34 miles.
Naval gun
The data given is according to Krupp datasheet 38 cm S.K.C/34 e WA52-453(e). This gun was mounted in pairs in the Drh.L. C/34e turret which allowed elevation from -5° 30' to +30°. Each gun had an individual cradle, spaced 3.5 metres (11 ft) apart, but they were normally coupled together. In general the turret was hydraulically powered, but the training gear, auxiliary elevation, auxiliary hoists and some loading gear was electrically powered. The turrets weighed 1,048 tonnes (1,031 long tons; 1,155 short tons) to 1,056 tonnes (1,039 long tons; 1,164 short tons), rested on ball bearings on a 8.75 metres (28.7 ft) diameter track, could elevate 6° per second and traverse 5.4° per second. The guns were loaded at +2.5° and used a telescoping chain-operated rammer. According to German manuals the required permanent capacity for the loading equipment for ammunition was 2.5 shells per minute. During testing period at the Baltic Sea the AVKS Report states an output of the ammunition delivery system up to 3.125 shells per minute. Under battle conditions Bismarck averaged roughly one round per minute in her battle with HMS Hood and Prince of Wales.
These guns were modified with a larger chamber for coast defense duties to handle the increased amount of propellant used for the special long-range Siegfried shells. Gander and Chamberlain quote a weight of 105.3 tonnes (103.6 long tons; 116.1 short tons) for these guns, presumably accounting for the extra volume of the enlarged chamber. An armored single mount, the Bettungsschiessgerüst ("Firing platform") C/39 was used by these guns. It had a maximum elevation of 60° and could traverse up to 360°, depending on the emplacement. The C/39 mount had two compartments; the upper housed the guns and their loading equipment, while the lower contained the ammunition hoists, their motors, and the elevation and traverse motors. The mount was fully powered and had an underground magazine. Normally these were placed in open concrete barbettes, relying on their armor, but Hitler thought that there was not enough protection for the guns of Battery Todt emplaced on Cap-Gris-Nez in the Pas de Calais near Wimereux and ordered a concrete casemate 3.5 m (11 ft) thick built over and around the mounts. This had the unfortunate effect of limiting their traverse to 120°. Other C/39 mounts were installed at the Hanstholm fortress in Denmark, and the Vara fortress in Kristiansand, Norway.
Four Drh LC/34 turrets, three of which were originally intended to re-arm the Gneisenau and one completed to the Soviet order, modified for land service, were planned to be emplaced at Paimpol, Brittany and on the Cap de la Hague on the Cotentin Peninsula, but construction never actually began. Construction for two of those turrets was well underway at Blaavand-Oksby, Denmark when the war ended.
how is a Regelbau
Before and during World War II, the Wehrmacht built several standardised bunkers and weapon positions in Germany and German-occupied countries. These buildings were called Regelbau, i.e. standardised buildings.
The Regelbau (German for "standard design") were a series of standardised bunker designs built in large numbers by the Germans in the Siegfried Line (German: Westwall) and the Atlantic Wall as part of their defensive fortifications prior to and during the Second World War.
#Bunker #WorldWar2 #Atlanticwall
Block Arcade Melbourne
VHR citation
BLOCK ARCADE
Location
280 - 286 COLLINS STREET 96 - 102 ELIZABETH STREET MELBOURNE, Melbourne City
Google Maps and Google Streetview
Victorian Heritage Register (VHR) Number
H0032
Heritage Overlay Number
HO596
a Level of Significance
Registered
Extent of Registration 1. All the building known as the Block Arcade marked B1 on Diagram 32 held by the Executive Director.
2. All the land marked L1 on Diagram 32 held by the Executive Director, being the land described in Certificate of Titles Vol. 4645 Fol. 875, part of Vol. 9409 Fol. 669, Vol. 9924 Fol. 206, Vol. 9409 Fol. 669 and Vol. 4645 Fol. 874.
Statement of Significance
What is significant?
The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.
How is it significant?
The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.
Why is it significant?
The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.
The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.
Year Construction Started 1891
Architectural Style Victorian Period (1851-1901) Mannerist
Heritage Act Categories Heritage place
Municipality MELBOURNE CITY; MELBOURNE CITY
VHR H0032 Statement of signficance
What is significant?
The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.
How is it significant?
The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.
Why is it significant?
The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.
The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.
Source Victorian heritage database: vhd.heritage.vic.gov.au/places/result_detail/730?print=true & vhd.heritage.vic.gov.au/vhd/heritagevic_new#detail_places...
Art for the Soul by Richard Lazzara
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