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Jamaica Business Resource Center, 90-33 160th Street, Jamaica, Queens, New York City, New York, United States
La Casina is a rare surviving example of Streamlined Moderne design in New York City. The metal and stucco facade of this former nightclub and restaurant structure was constructed c. 1933, during the period of greatest popularity for the streamlined style. The building, erected in the heart of Jamaica’s commercial center, is representative of the many entertainment facilities built in Jamaica during the first decades of the twentieth century as this area developed into the commercial and entertainment hub for Queens County and nearby sections of Long Island. Although altered over the years, the La Casina Building has been beautifully restored and is again one of the most distinctive structures in Jamaica’s business district.
Development of Jamaica
Jamaica, one of the oldest settlements within the boundaries of New York City, developed into the leading commercial and entertainment center of Queens County. The Dutch purchased land in Jamaica from the Jameco (also spelled Jemeco) Indians in 1655. The following year, Governor Peter Stuyvesant granted a charter to the town, originally known as Rusdorp.
Following the transfer of power from the Dutch to the English in 1664, Rusdorp was renamed Jamaica, after the original Indian inhabitants of the region. Queens County (incorporating present-day Queens and Nassau Counties) was chartered in 1683. The English established Jamaica as the governmental center of Queens County, with a court, county clerk’s office, and parish church (Grace Church; the present structure, dating from 1861-62, is a designated New York Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle. The rural village was officially incorporated by New York State in 1814.
Jamaica’s central location in Queens County and the extensive transportation network that developed in the town during the nineteenth century, resulted in the transformation of the community into the major commercial center for Queens County and much of eastern Long Island. It was the arrival of the railroads that began this transformation. The roads and rail lines connecting Jamaica with other sections of Queens County, with Brooklyn to the west, eastern Long Island, and ferries to New York City had a tremendous impact. Jamaica’s farmland was soon being subdivided into streets and building lots, and new homes were erected.
By the turn of the century, Jamaica’s importance as a commercial area became evident in the impressive buildings beginning to appear on Jamaica Avenue, most notably the Beaux-Arts Jamaica Savings Bank Building (Hough & Deuell, 1897-98), 161-02 Jamaica Avenue. After Jamaica was incorporated into the borough of Queens and became a part of New York City on January 1, 1898, additional transportation improvements brought increasing numbers of people. As a result, the population of Jamaica quadrupled between 1900 and 1920.
It was during the 1920s, when the major mass transit links were in place, and during a period when private automobile ownership was growing at an extraordinary rate, that Jamaica experienced its major expansion as a commercial and entertainment center. By 1925, Jamaica Avenue between 160th Street and 168th Street had the highest assessed valuation in Queens County.
During the 1920s and early 1930s, many small- scale commercial buildings were erected in Jamaica, as well as several major office and commercial structures, including the Jamaica Chamber of Commerce Building (George W. Conable, 1928-29) on 161st Street; the Title Guarantee Company Building (Dennison & Hirons, 1929), 90-04 161st Street; and the J. Kurtz & Sons Store (Allmendinger & Schlendorf, 1931; a designated New York City Landmark) on Jamaica Avenue. In addition, Jamaica developed into a significant entertainment center. By the mid-1930s, there were at least eight movie theaters on or just off of Jamaica Avenue, and there were over sixty restaurants, bars, and clubs, ranging from small ethnic taverns to elegant restaurants. It was within this bustling commercial and entertainment setting that La Casina opened.
The Nightclub:
A Brief Examination of Its History and Design
During the late 1920s and 1930s, the nightclub became a prominent and romantic symbol of New York’s nightlife. While partially based on the reality of the city’s exclusive clubs and restaurants, the nightclub image was largely a fantasy based on Hollywood’s interpretation of these elegant establishments. Nightclubs and restaurants with live shows began to appear in New York City in the late 1920s as the enforcement of Prohibition ebbed. With the end of Prohibition in 1933, nightclubs proliferated." As nightclubs and restaurants with live shows grew in popularity, their designs became increasingly elegant. Clubs and related restaurants such as the Central Park Casino, the Persian Room, the Rainbow Room, El Morocco, the 21 Club, and the Stork, catered to an exclusive clientele. While most New Yorkers could not afford to patronize these establishments, they were well known through newspaper gossip columns, magazines, and other popular media outlets.
Movies such as Broadway (1929), Puttin’ on the Ritz (1930), Gold Diggers of 1935 (1935), Broadway Melody of 1936 (1935), and Swing Time (1936) created a romantic image of nightclubs with Modeme and Art Deco decor incorporating streamlined walls and ceilings, glistening mirrored floors, and elegantly appointed revelers. Perhaps in homage to popular Latin dances, many of these clubs, both real and cinematic, were given Spanish- sounding names.
Although modest in scale, La Casina was designed to fit the image of the up-to-date night spot. The club and restaurant was provided with a Latin name and its streamlined design echoes, in miniature, the elegant clubs enjoyed vicariously by patrons as they viewed movies at their local movie palaces.
La Casina: The Site and the Design of the Building
La Casina is located on 160th Street between Jamaica Avenue and 90th Avenue. Located only a few blocks from the center of Jamaica, 160th Street was initially developed with modest frame buildings, most erected as residences but later converted for commercial use. In 1907, the Queens Borough Real Estate Exchange erected a neo-Classical style brick and limestone office building designed by Tuthill & Higgins at 90-33 160th Street.
The building was purchased in 1918 by Arnold Behrer, Jr., and Clarence Behrer. On November 1, 1932, the Behrers leased the site to Bernard Levy and La Casino, Inc., for a period of four years (until 1936). According to the lease agreement, the building was "to be used and occupied only as a restaurant, cabaret, beer garden, casino and dance hall." The rent rose from $1,800 a year the first year to $3,000 during the fourth year. All alterations made to the building by the lessee had to be approved by the owner.
The La Casino Supper Club opened in 1933. It first appeared in the Queens telephone directory for winter 1933-34. Apparently, the club was only open for a short time since it did not appear in the telephone directory for winter 1934-35. The club reopened by May 1936. Telephone directory listings continued to call the establishment the La Casino Restaurant. However, the weekly La Casina Journal, published by the establishment, spelled the name with an "a" and also referred to the La Casina Restaurant and Supper Club in its text. The work undertaken to create the present streamlined design was an alteration of the original building, but no surviving alteration application has been located that specifically notes the construction of a new front. Several permits for small alterations were issued in 1933, and one of these may have included the new facade.
La Casina was designed in the Streamlined Modeme style which became popular in America in the 1930s.' Although it initially appeared on residential buildings, the Streamlined Moderne style was soon adapted for commercial buildings since the dramatic massing and dynamic stripped forms drew attention and, therefore, brought people to the buildings. The style was popular for relatively small-scale public buildings, especially those that were erected for businesses that relied on a large paying clientele.
These businesses included hotels, such as those in Miami Beach; theaters, such as the Pan Pacific Auditorium in Hollywood; movie theaters, notably those designed by S. Charles Lee; bus depots, such as the Greyhound Bus Terminal in Washington, D.C.; and roadside structures such as auto showrooms, motels, and diners. Historian Martin Greif characterized the Streamlined Moderne (also sometimes referred to as Depression Modem) as "an art stripped bare of all ornamentation. . . . Ideally, the Depression Modern style was spare . .
. without a single detail that could be called extraneous, without any embellishment, without a line that did not seem inevitable."
With its smooth planes of stucco, dynamic ziggurat massing, sweeping bands of metal, and its lack of applied ornamentation, the La Casina building fits Greifs description of the ideal streamlined structure. The streamlined mode was an appropriate choice for La Casina, not only providing an up-to-date image for the establishment, but also creating a noticeable form for the small midblock structure, one that would attract attention from busy Jamaica Avenue. This was heightened by the use of a bright projecting vertical neon sign announcing the nightclub’s presence.
La Casina: The Restaurant and Nightclub
La Casina offered dining, dancing, and entertainment. According to the La Casina Journal, La Casina offered three shows a night performed by the La Casina Adorables and the La Casina Swing Melo-Dears. The club also featured special guests such as Maureen Rio, the Broadway star of Earl Carroll’s Sketch Book? There was no cover charge and the club offered free parking.
The Journal noted such special events as "Celebrity Night"; "Democratic Night" and "Republican Night" (at the latter two evenings guests were to meet primary candidates); and "Bowery Night," where guests were to dress in old clothes, men were to arrive unshaven, and all were to be entertained by Diamond L’il, Cuspidor Carrie, Fishface Fanny, Gashouse Gertie, Willie the Gonof, Little Annie Rooney, Champagne Lil, and Limehouse Lou.
Later History
La Casina (or a facility with a similar name) occupied the building until about 1938; the last entry in the telephone directory is for winter 1937-38. In 1940, Arnold Behrer, Jr., lost the property in a legal proceeding to the mortgagor, the Domestic and Foreign Missionary Society of the Protestant Episcopal Church in the United States of America. A tax photograph taken by New York City in 1940 shows "For Rent" signs in the picture windows of the club.
In 1942, the building was sold to the Church of God of Greater New York, Inc., although it does not appear to have ever been used as a church (the Church of God was headquartered on 224th Street). The use, if any, of the building in the early 1940s is not known.
In 1946, the former nightclub was sold to Polly Foundations, Inc., which converted the building into a factory that manufactured Ladyform bras. In 1952, the building was purchased by the Ellen Howard Corporation which manufactured Roxanne swim suits in the building until c.1987.
At some point, probably in the 1960s or 1970s, the galvanized-iron cladding of the ziggurat was covered in aluminum siding. The building was vacated in the late 1980s and deteriorated. In 1989, the Greater Jamaica Development Corporation acquired the former home of La Casina. A restoration was undertaken in 1994-95 under the guidance of the architectural firm of Li-Saltzman.
The restoration entailed the removal of the aluminum siding, the replacement of the deteriorated galvanized iron with aluminum that matched the form of the original, the restoration of the stucco at the lower level to its original colors, the removal of historically and stylistically inappropriate glass block windows and their replacement with historically accurate plate-glass windows, and the restoration of the tile flanking the entrance and of the original doors and glass entrance surround. The original vertical sign was conserved and encased within a new sign. The building now houses the Jamaica Business Resource Center.
Description
La Casina is a one-story symmetrical structure with a two-tiered streamlined facade in the form of a stepped pyramid or ziggurat. The base of the pyramid is set parallel to the sidewalk. This section of the building is faced with stucco.
The stuccoed portion of the facade is divided into a lower section that is painted gray and an upper section painted coral (paint studies determined the historical accuracy of these colors). The base is punctuated by a central entrance that is set back from the sidewalk within a five-stepped enframement clad in glazed black tiles at the lower section; the upper section is coral-colored stucco.
The entrance contains its original wood and glass double doors with very large vertically-placed bronze handles supported by silver-metal upper and lower stepped brackets. The doors are set within a frame of opaque black glass. The entrance bay is flanked by rectangular windows.
During the restoration, glass blocks that were crudely installed, probably when the building became a factory in the 1940s, were removed and replaced with historically accurate undivided plate glass. In addition, a shallow ramp for handicapped access has been added in front of the building.
Directly above the entrance is a curving streamlined frontispiece. It is divided into six wide horizontal bands with seven raised narrower bands covering the joints. To either side of this frontispiece is a six-layer stepped ziggurat. The frontispiece and flanking ziggurats were originally clad in smooth galvanized sheet metal attached to a wooden frame. The metal may originally have been painted gray. During the restoration, the deteriorated galvanized metal was replaced with shiny bands of aluminum.
Attached to the Building is the original vertical neon sign. This sign, which retains the words "La Casina" (an "o" for "casino" overlaps the "a"), "Ladyform Bras," "Swim Suits," and "Roxanne Swim Suits,” has been encased in a new aluminum sleeve with the "JBRC" initials of the Jamaica Business Resource Center in neon.
- From the 1996 NYCLPC Landmark Designation Report
Developing natterjack toadlets . Note characteristic yellow stripe down back beginning to show.
© Natural England/Peter Roworth 2013
From an eight inch circle, using 3° and 6° pleats, because my fingers are too fat to fold smaller. Hard to tell it's concave from this side.
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The International Telecommunication Union (ITU) and the Republic of Korea signed a cooperation agreement on 6 November to assist developing countries in the Caribbean to establish national spectrum management master plans.
© ITU/PH.Seung
£10.49 for a 36 exposure colour film to be developed..........I think not.
Boots.........although you're looking at 3 days, is £4.99 with 5x7 prints as well. That's just a quid more than I was getting 'developing only' at my usual place in London. Let's wait and see what the quality is like..........
A 10-sided tato box with a point instead of a bottom. I was looking for something that would accomodate a 10 line ballade stanza. Also, makes a nice top.
Left, 11 inch 60 lbs. cobalt bond. Right, 8 inch gray linen résumé paper.
Crease pattern available.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Well - what I set out to be as a Sautoir (necklace), turned out to be a devant de corsage and sautoir combined. Still - I am pleased with the result so far. The next step is to ink the design in, then it will be highlighted with silver gouache, and then touched up with the ink - and finally colored in.
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
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!
According to legend, Canterbury was founded by Rudilibas in 900 BC and called Caerkent by the ancient Britons. From 43 AD, the Roman Durovernum Cantiacorum was built here and developed into an administrative centre. From 200 AD, the city was surrounded by city walls. Æthelberht of Kent, who ruled from 568 AD, made Canterbury his residence.
After the Anglo-Saxons converted to Christianity, the city became the seat of the archbishop. In 842 and 851, Canterbury suffered great loss of life in Danish raids. In 1011, the city was besieged by a Viking army, culminating in the sack of the city.
The people of Canterbury remembered this destruction and offered no resistance to the invasion of William the Conqueror in 1066.
In 1363, during the Hundred Years' War, a commission found that the Roman wall had eroded due to dilapidation, stone theft and ditch filling. Between 1378 and 1402, the wall was virtually rebuilt and new wall towers added. In 1448, Canterbury was granted city charter, which gave the city a mayor and high sheriff.
In the mid-16th century, many Huguenots, facing persecution fled and resettled. The first Huguenot church in Canterbury was founded around 1548. With the accession of Mary I, the Huguenot inhabitants of Canterbury were forced to flee in 1553, but after the accession of Elizabeth I, a number of Huguenots returned. In the 17th century, French-speaking Huguenots made up two-fifths of Canterbury's population.
Canterbury was not only the starting point of the historic Via Francigena, which leads to Rome, but also the destination of many pilgrimages. One of these is described by Geoffrey Chaucer, author of "The Canterbury Tales".
The cathedral towers over all the buildings in the city and can be seen from everywhere.
In 597, missionaries led by the monk Augustine arrived in Canterbury. Remains of this first cathedral were found under the removed floor slabs during renovation work in 1993, including remains from Roman times. . In 950, the building was renovated by Archbishop Bodo. The church burnt down shortly after the Norman conquest in 1067. Begun under Lanfrank, a confidant of William the Conqueror, it then took several centuries to create what can be seen today: a very complicated and extensive spatial structure with Romanesque, early Gothic and late Gothic sections.
The earliest coloured glass windows date from the late 12th century.
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Winner baby cotton tissue can ideally use as wet wipes to clean the baby's sensitive skin.
Part of the less beautiful Stockholm. "Bypass Stockholm" developd. A gigantic show of building and engineering knowledge. A total of 21 km from Kungens Kurva to Häggvik, of which 18 km through tunnel. Expected to be completed in 2026.
En del av det mindre vackra Stockholm. Förbifart Stockholm växer fram. En gigantisk uppvisning av byggnations och ingenjörskonst. Totalt 21 km från Kungens Kurva till Häggvik varav 18 km genom tunnel. Beräknas vara klar år 2026.
The recent rise in sovereign debt vulnerabilities in many developing countries merits attention, especially in the context of a new creditor landscape and rising shares of domestic, non-concessional and collateralized debts. Key policy questions include: How can sovereigns increase their resilience to exogenous shocks? Can state-contingent debt help? What role can official and private creditors play in preventing and resolving unsustainable debt situations?
I fund my old 35 mm and tried with x developed film( I hope that is what is called) The idea was that I trying to get a golden light, so I asked my photography guy for a film for my old canon camera 35 mm. But instead it got this crazy coldish colors
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
Finally make the attempt at colour developing and it was easier than I thought certainly no more difficult than black and white.
The CIS developed this ship later on in the Clone Wars to transport Super Battle Droids across planets quickly. It not only took the Droids, but had storage capacity for ammunition and fuel for the front-line. Unfortunately for the Federation, they were put into service so late on that they barely saw any action before the end of the war. In the years that followed they were either cannibalized by pirates and sold in separate parts or taken by companies as part of freighter fleets.
Finished three days after start. 17 hours of labour involved. Thank you to Scorpix of Eurobricks for the awesome name!
OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO
“ 64M High Res Shot ”
Developed by Adobe Photoshop Lightroom CC 2015.10.1
© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
The Fairchild Republic A-10-C Warthog The Thunderbolt II is a single-seat, twin turbofan engine, straight wing jet aircraft developed by Fairchild-Republic for the United States Air Force (USAF). Commonly referred to by its nicknames Warthog or Hog, its official name comes from the Republic P-47 Thunderbolt, a World War II fighter that was effective at attacking ground targets. The A-10 was designed for close-in support of ground troops, close air support (CAS), and providing quick-action support for troops against helicopters and ground forces. It entered service in 1976 and is the only production-built aircraft that has served in the USAF that was designed solely for CAS. Its secondary mission is to provide forward air controller – airborne (FAC-A) support, by directing other aircraft in attacks on ground targets. Aircraft used primarily in this role are designated OA-10.
The A-10 was intended to improve on the performance of the A-1 Skyraider and its poor firepower. The A-10 was designed around the 30 mm GAU-8 Avenger rotary cannon. Its airframe was designed for durability, with measures such as 1,200 pounds (540 kg) of titanium armor to protect the cockpit and aircraft systems, enabling it to absorb a significant amount of damage and continue flying. Its short takeoff and landing capability permits operation from airstrips close to the front lines, and its simple design enables maintenance with minimal facilities. The A-10 served in Operation Desert Shield, and Operation Desert Storm, the American intervention against Iraq's invasion of Kuwait, where the A-10 distinguished itself. The A-10 also participated in other conflicts such as Operation Urgent Fury in Grenada, the Balkans, Afghanistan, Iraq, and against ISIL in the Middle East.
The A-10A single-seat variant was the only version produced, though one pre-production airframe was modified into the YA-10B twin-seat prototype to test an all-weather night capable version. In 2005, a program was started to upgrade remaining A-10A aircraft to the A-10C configuration with modern avionics for use of precision weaponry. The U.S. Air Force had stated the F-35 would replace the A-10 as it entered service, but this remains highly contentious within the Air Force and in political circles. With a variety of upgrades and wing replacements, the A-10's service life may be extended to 2040.
The Lockheed Martin HC-130J Hercules The Combat King II is the U.S. Air Force's only dedicated fixed-wing personnel recovery platform and is flown by the Air Education and Training Command (AETC) and Air Combat Command (ACC). This C-130J variation specializes in tactical profiles and avoiding detection and recovery operations in austere environments. The HC-130J replaces HC-130P/Ns as the only dedicated fixed-wing Personnel Recovery platform in the Air Force inventory. It is an extended-range version of the C-130J Hercules transport. Its mission is to rapidly deploy to execute combatant commander directed recovery operations to austere airfields and denied territory for expeditionary, all weather personnel recovery operations to include airdrop, airland, helicopter air-to-air refueling, and forward area ground refueling missions. When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, and noncombatant evacuation operations.
Features
Modifications to the HC-130J have improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications, and the ability to receive fuel inflight via a Universal Aerial Refueling Receptacle Slipway Installation (UARRSI).
The HC-130J can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.
Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.
Background
The HC-130J is a result of the HC/MC-130 recapitalization program and replaces Air Combat Command's aging HC-130P/N fleet as the dedicated fixed-wing personnel recovery platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard will operate the aircraft.
First flight was 29 July 2010, and the aircraft will serve the many roles and missions of the HC-130P/Ns. It is a modified KC-130J aircraft designed to conduct personnel recovery missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range or air refueling.
In April 2006, the personnel recovery mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.
General Characteristics
Primary function: Fixed-wing Personnel Recovery platform
Contractor: Lockheed Aircraft Corp.
Power Plant: Four Rolls Royce AE2100D3 turboprop engines
Thrust: 4,591 Propeller Shaft Horsepower, each engine
Wingspan: 132 feet, 7 inches (40.4 meters)
Length: 97 feet, 9 inches (29.57 meters)
Height: 38 feet, 9 inches (11.58 meters)
Operating Weight: 89,000 pounds (40,369 kilograms)
Maximum Takeoff Weight: 164,000 pounds (74,389 kilograms)
Fuel Capacity: 61,360 pounds (9,024 gallons)
Payload: 35,000 pounds (15,875 kilograms)
Speed: 316 knots indicated air speed at sea level
Range: beyond 4,000 miles (3,478 nautical miles)
Ceiling: 33,000 feet (10,000 meters)
Armament: countermeasures/flares, chaff
Basic Crew: Three officers (pilot, co-pilot, combat system officer) and two enlisted loadmasters
Unit Cost: $66 million (fiscal 2010 replacement cost)
Initial operating capability: 2013
Metcheck said 67 % cloud cover for sunrise , it also said rain would stop 30 minutes before sunrise BANG ON ME WEATHER MAN
Watercolor dreamscape on paper
Visit Kent's Studio Blog here:
artifactsgallery.blogspot.com/
Thanks for your comments.
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.)
Developed with Gimp 2.10. This is a negative scan of 4x5 sheet film. I scanned it using this process youtu.be/oOKmjXIz2Uw
Highbridge, The Bronx, New York City, New York, United States
Highbridge, The Bronx, New York City, New York, United States of America
Summary
The Union Reformed Church of Highbridge in the South Bronx was constructed in 1887-88 to the design of Alfred E. Barlow, a little-known architect who began his career in suburban residences. Highbridgeville (later known as Highbridge) developed along the high ridge of land along the Harlem River located to the south and east of High Bridge (1838-48, John B. Jervis, engineer), part of the Croton Aqueduct system that brought New York City its first adequate water supply. The village was initially populated with the workers (mostly Irish) who built the aqueduct, bridge, and also the railroad along the river. A Protestant “Union Sunday-School of Highbridgeville” was established in 1860, and a chapel was built in 1866 on Highbridge (later Ogden) Avenue.
After 1874, the church became affiliated with the Reformed Church of America, and became known as the Union Reformed Church of Highbridge. As the congregation grew, a larger building was needed. The significant firm of D.C. Weeks & Son was the builder. Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the church is one story with a taller square bell tower at the southwest corner. The Ogden Avenue facade has a steeply-pitched gable and three round-arched windows with voussoirs, connected to the tower by a tourelle, and both side elevations have buttresses and round-arched windows with leaded stained glass.
The eastern (altar) end contains a leaded stained-glass rose window (1889) manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs. The Union Reformed Church of Highbridge (now Highbridge Community Church), one of the Bronx’s significant 19th-century religious structures, is also one of the finest surviving churches in New York City in the Richardsonian Romanesque style, named after one of the greatest American architects, Henry Hobson Richardson (1838-1886). It is particularly unusual within New York as a more informal, suburban example of the style.
Union Reformed Church of Highbridge
Highbridgeville (later known as Highbridge) in the South Bronx developed on the high ridge of land along the Harlem River located to the east of High Bridge (1838-48, John B. Jervis, engineer), which was constructed as part of the Croton Aqueduct system that brought New York City its first adequate fresh water supply. The village was initially settled by the workers who built the Croton Aqueduct and High Bridge, as well as the railroad along the river. Almost entirely Irish originally, these workers were followed later by other European and Jewish immigrants. The Bronx shore of the Harlem River began to be subdivided in the later 19th century for building lots along the main thoroughfare, Highbridge Avenue. It was re-named Ogden Avenue in 1876, in honor of William B. Ogden (1805-1877), the first mayor of Chicago and first president of the Union Pacific Railroad, who after his retirement owned a Highbridge estate called “Villa Boscobel.” Initially, there were few neighborhood amenities and but one small district school; this was replaced by Public School 91 (1889, George W. Debevoise), 1257 Ogden Avenue.
As no church was located within several miles of Highbridgeville, the area’s Protestants organized a religious congregation in October 1860, which was led by William Newton Clark and incorporated in 1864. The “Union Sunday-School of Highbridgeville” held classes in various neighborhood buildings until funds were donated to purchase property and to construct a chapel on Highbridge Avenue. After its completion in 1866, it became the religious center of the community with regular Sunday School meetings. In order to establish a formal church, the congregation called a meeting in June 1874 to vote on a specific Protestant denomination. The Reformed Church of America was chosen and, after official recognition, the church became known as the Union Reformed Church of Highbridge. From 1870 to 1884, the church was served by the pastor of the Mott Haven Reformed Church, Rev. Hasbroek DuBois. After 1884, with the installation of its own minister, Daniel Hoffman Martin, the membership of the church grew rapidly and a larger building was needed. Additional property was purchased, the old chapel was moved to the east, and a new church edifice constructed between December 1887 and its dedication in December 1888, at a contracted cost of $18,000. The rockfaced gneiss church, measuring 43 by 70 feet, was designed by Alfred E. Barlow in the Richardsonian Romanesque style, then at the height of its popularity. The New York Times called it a “new and picturesque home.” D.C. Weeks & Son was the builder. This significant firm, established in 1840 by DeWitt Clinton Weeks and including his son, Francis
M. Weeks, as a partner in the 1860s, was responsible for the construction of numerous mansions, churches, institutions, and office buildings in New York and elsewhere, including St. Thomas Church (1865, Richard M. Upjohn; demolished), Fifth Avenue and West 53rd Street; the first American Museum of Natural History (1874-77, Calvert Vaux and Jacob Wrey Mould; demolished); World (Pulitzer) Building (1888-90, George B. Post; demolished), Park Row and Frankfort Street; Biltmore, the George W. Vanderbilt Estate (1888-95, Richard Morris Hunt), Asheville, North Carolina; and Morton F. Plant Residence (1903-05, Robert W. Gibson), 651 Fifth Avenue.
The Richardsonian Romanesque style was named after one of America’s greatest architects, Henry Hobson Richardson (1838-1886), who created an American interpretation of the Romanesque based on French and Italian prototypes. His Trinity Church (1873-77), Boston, as well as his many libraries and other buildings, firmly established Richardson’s professional reputation and launched the popularity and influence of the style. Following Richardson’s precedent, many architects employed it in the 1880s and 90s for a wide variety of building types, ranging from mansions to courthouses, university structures, and railroad stations, and including many notable churches. The style was characterized by its appearance of massiveness and such features as rockfaced masonry, round-arched fenestration, and steeply pitched roofs with towers and dormers. The noted architectural critic Montgomery Schuyler expressed the opinion in 1903 that “the Romanesque, in the Richardsonian version of it, gave a more rational promise in church building than in almost any other of the phases... there is very much to be said in favor of Romanesque as the most suitable style for church architecture.”
The Union Reformed Church of Highbridge is one of the finest remaining examples of the style in New York City. The major features of the church, including the asymmetrical massing of the forms, the bell tower, the arched openings, and the rockfaced gneiss stonework accented by red sandstone, combine to create a masterful, skillfully articulated, and characteristic example of the Richardsonian Romanesque style. It is particularly unusual within New York City as a more informal, suburban example of the style. A contemporary example outside of New York is St. Mary’s-in-Tuxedo (1887-88, William A. Potter), Tuxedo Park. Only a few major, fully-urban examples of the style survive in Manhattan, including Holy Trinity (later St. Martin’s) Episcopal Church, Rectory, and Parish House (1887-89, Potter), 230 Lenox Avenue in Harlem; and St. Agnes Parish House (now part of Trinity School)(c. 1890-92, Potter), 121 West 71st Street.
In 1889, a leaded stained-glass rose window manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs, was installed in the rear (altar end) of the Union Reformed Church of Highbridge. Louis Comfort Tiffany (1848-1933), originally a painter and later a decorator, started working in stained-glass windows in the mid-1870s and established the Tiffany Glass Co. in 1885. The firm’s early work was largely in the development of ornamental stained glass for windows, which were notable for their brilliant colors and the varied textures within the glass. Robert Koch, in his study Louis C. Tiffany, Rebel in Glass (1982), noted that “the best Tiffany windows made prior to 1890 are generally those of purely decorative and geometric design. Examples of such ornamental use of glass may be seen in... the windows of the Union Reformed Church of Highbridge.” Koch further noted the increasing rarity of in situ Tiffany windows in New York, based on an 1893 listing of churches and public buildings in the U.S. containing Tiffany work – “since that time more than half of the churches in New York in which Tiffany had a hand in the decoration have been demolished.”
Alfred E. Barlow, Architect
Little is known of the background of architect Alfred E. Barlow (1855-1926), who was apparently born in Brooklyn, the son of English-born machinist John Barlow. His career, however, strongly parallels that of fellow architect William Augustus Bates. Barlow was first listed in New York and Brooklyn directories as an architect in 1877, thereafter with an office in Manhattan and residence in Brooklyn. Bates and Barlow were two of the founders (along with Thomas Hastings and Cass Gilbert, etc.) in 1879 of the Architectural Sketch Club, which became the Architectural League of New York the following year. A League publication in 1906 stated that “most of [the founders] were at that time in the employ of Herter Brothers,” one of the nation’s leading interior decoration firms. Bates (1853-1922), the son of a New Jersey lumber merchant, was born in Michigan, educated in Cleveland, and entered Herter Brothers as a draftsman in 1872, where he remained until around 1881, working on one of the most noteworthy commissions of the day -- the decoration of William H. Vanderbilt’s twin mansions (1879-82, Trench & Snook; demolished), Fifth Avenue and West 51st Street. Bates established his own architectural practice in 1882, which specialized in country estates, resort buildings, and suburban houses. He was one of the leading (if lesser known) East Coast proponents of the Queen Anne style (closely influenced by English architect Richard Norman Shaw), as well as the Shingle style. Both Bates and Barlow contributed designs to William T. Comstock’s publication American Cottages (1883), and numerous of Bates’s designs around the country were published in contemporary architectural periodicals, as were some of Barlow’s, including “Astonfield” (1882), a Queen Anne style country estate for Samuel Rhodes. Bates designed Wentworth Hall and Cottages (1881-89), a large resort complex in the White Mountains at Jackson, New Hampshire, as well as the Wentworth residence (1891-92); and at least five houses (1888-99) in the exclusive enclave of Tuxedo Park, New York. The wealthy pharmaceutical businessman and real estate developer William Van Duzer Lawrence (who founded Sarah Lawrence College in 1926), a friend of Bates from Michigan, hired him in 1890 as lead architect for the planned suburban community of Lawrence Park in Bronxville, New York. Bates moved here by 1893, and worked in the community until his death in 1922, including as a partner in the firm of Bates & [Kenneth G.] How after 1910. Bates’s houses (at least 35 of which are extant) were mostly in variants of the Shingle style.
The exact nature of the collaboration between Barlow and Bates is unknown, although they shared the same office address from 1885 until 1910, and an architectural directory listed them as “Barlow & Bates” in 1892. It is probable that Barlow performed work for Bates. They were also associated architects for the Mission Revival style Hotel Gramatan (1905; demolished) in Lawrence Park (which became Bates’s residence). New York’s Great Industries in 1884 had described Barlow as a partner in the firm of Charles W. Romeyn & Co., along with Arthur Jay Stever, working on projects such as Alfred Corning Clark’s enormous Dakota Stables building (1883; demolished) at Broadway and West 75th Street. There are not many known independent commissions of Alfred E. Barlow, though a few of them were prominent. He designed five rowhouses (1887) at 15-23 West 120th Street; the Ivy Club remodeling (1887; demolished), Princeton University; the Berkeley Lyceum (1887-88; demolished), 21 West 44th Street, a theater for amateur players; the Union Reformed Church of Highbridge (1887-88); the medieval chateau-inspired Samuel R. Smith Infirmary (1888-90), 101 Stanley Avenue, Staten Island; a stable/loft building (1891) at 19 Vestry Street; a neo-Federal style town house (1904) at 868 Lexington Avenue; and a store-and-loft building (1907) at 49 West 45th Street. In 1910, Barlow was living in Red Bank, New Jersey, he declared bankruptcy in 1916, he had moved by 1920 to Long Island City, and died in St. Petersburg, Florida.
Later History of the Church
A large stone parsonage was constructed nearby in 1890, which remained in use until 1925 – it was sold and moved down the block, extant today at No. 49 West 167th Street. Due to the growth of the congregation, utilitarian additions were made to the rear of the church (apparently in 1901 and 1913). Rev. Daniel G. Verway served as the pastor for thirty years, until 1946. The old chapel building was demolished for an ambitious educational building (Walter J. Campbell, architect) planned with quarters for the pastor and sexton and administrative offices – it was never completed and only a utilitarian two-story, brick-clad Sunday School building was constructed in 1924 at the eastern end of the church property (this structure and the easternmost 50 feet of the lot are excluded from this designation).
The 19th-century character of Highbridge, composed mostly of small homes, changed greatly with the construction of large apartment buildings in the 20th century, spurred in part by the Jerome Avenue elevated railroad in 1918 and the subway (with a stop at the Grand Concourse and 161st Street) in 1933. The Art Deco style Noonan Plaza Apartments (1931, Horace Ginsberg and Marvin Fine), bordering the church’s property to the south, is one of the premiere complexes in the neighborhood. After World War II, the southwest Bronx, including Highbridge and the area of the Grand Concourse, began to suffer a severe decline. The rapid de-industrialization of the city, increasing suburbanization, heavy-handed urban renewal policies, disinvestment by area landlords, and the redlining of much of the Bronx by local banks all contributed to the economic downturn of the area. The owners of Noonan Plaza defaulted in 1976, and during the 1970s, many apartment buildings were abandoned by their owners and were set on fire, and the neighborhood suffered a catalogue of ills until it began to stabilize in the 1980s. The demographic composition of the Highbridge neighborhood also underwent substantial changes. The area’s residents, largely of European Jewish extraction, began to move to suburban areas, and the west Bronx became a diverse urban community as African-Americans and Latin Americans settled here. By the 1980s, the neighborhood began to experience renewal, as seen by the rehabilitation of Noonan Plaza in 1980-82 for federally subsidized apartments. The former Union Reformed Church of Highbridge, now Highbridge Community Church (sharing its building with Emmanuel Presbyterian Church) stands as a poignant reminder of the earlier history of the Highbridge neighborhood, and is one of the most distinctive churches in the Bronx and New York City.
Description
Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the Union Reformed Church of Highbridge is a one-story structure with a taller square bell tower at the southwest corner. The wide, steeply-pitched roof (originally covered by slate shingles, now asphalt shingles) terminates at the eastern end in a polygonal louvered cupola with a tall conical roof. West (Ogden Avenue) Facade: The west facade, rising from a stone foundation/retaining wall with a stone watertable, consists of the main body of the church with a steeply-pitched gable and three round-arched windows with voussoirs, connected to the bell tower by a tourelle with a conical roof (capped by roofing tiles) and a pierced parapet wall. The base of the tourelle was originally columnar, but was re-built battered. The three windows have geometric-patterned leaded stained glass (covered by plexiglass panels). The gable, tourelle, and tower are pierced by slit windows. A utility meter is attached to the base of the church.
The peak of the gable bears an historic ornamental wrought-iron cross. Tower: A cornerstone at the base of the tower bears the date “1888.” Each face of the top section of the tower (which contains an 1866 bell, from the earlier chapel) has large corner columns above a stone molding, two round sandstone arches (originally with louvers, many of which survive) supported by sandstone colonnettes, surmounted by a checkerboard-patterned spandrel and a corbelled stone cornice. The eaves are bracketed. The pyramidal roof of the tower was originally covered with slate shingles (now asphalt shingles); the base of the original ornamental weathervane is extant. South Facade: The main entrance is in the base of the tower, approached by three bluestone steps. The round-arched surround consists of a compound-molded sandstone arch, surmounted by rockfaced sandstone voussoirs, and supported by triple rockfaced sandstone columns with molded capitals, edged by quoins. There are non-historic wooden double doors.
The wooden tympanum is ornamented by carved foliation surrounding a circle. A small Gothic lantern hangs above the entrance. The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof; a stone chimney rises from the juncture with this wing. There is a non-historic metal door in the basement at this end. North Facade: The north entrance, at the western end, is located in a pedimented portico, supported by bracketed stone piers, with grey slate shingle facing and a peaked roof. The round-arched entrance surround consists of a sandstone tympanum surmounted by double rows of rockfaced sandstone voussoirs, supported by triple rockfaced sandstone columns with molded capitals. The spandrel has stone corbels supporting a molded cornice. There are three bluestone steps and non-historic wooden double doors.
The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. Two non-historic lanterns are placed next to the buttresses. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof. East Facade: The original east facade, clad in red brick, consists of the main central body of the church (now partly obscured) having a taller central pavilion with a hipped roof that rises to the polygonal louvered cupola, flanked by the polygonal wings. The central pavilion contains a Tiffany Glass Co. leaded stained-glass rose window (1889), composed of a geometric design with seven circular motifs (covered by a square metal-mesh grille). The southern polygonal wing has a paneled wooden door and a window (both covered with metal-mesh grilles). There are two utilitarian one-story additions (apparently 1901 and 1913), clad in brick (the northernmost is parged with concrete) and pierced by windows and a door.
Property Features: Along Ogden Avenue there is a stone post with non-historic wrought-iron gates, and an historic wrought-iron fence (with signage) atop the stone retaining wall to the north of church; and bluestone steps, stone posts, historic wrought-iron gates, and an historic wrought-iron fence atop the stone retaining wall to the south. On the south side are bluestone stairs (with iron railings) leading to the basement at the east end; bluestone stairs with cheek walls and wrought-iron railings leading to the entrance; a low rubble stone retaining wall bordering the lawn; and a flagstone and concrete walkway. On the north side are an asphalt driveway; a flagstone walkway by the church; and a yard. On the east side are an asphalt parking lot, yard, and a walkway.
- From the 2010 NYCLPC Landmark Designation Report
Developed these in HC110, and scanned as color negative in my film scanner.
All three pictures were from the same film ("oslo", "operataket" and "plata"), but turned out with quite different tones. It´s taken from a some 20meter roll of tech-pan film expired approx year 2000. Minolta Hi-Matic 7sII
For our this years #BritArmyAndFriendsReunion @CosmicConEvent in Manchester on 06./07.June 2015 I decided to proceed with my tradition of creating a special design for our group and get it printed on badges and T-Shirts being worn and shared with others and posters to be signed by all of us.
@Twitter @cosmicconevent
FB: www.facebook.com/cosmicconevent
Little did I know about how things would develop then:
During our holiday on Big Island / Hawai’i we met the incredibly talented Jon Lomberg and he gave us a private tour through one of his wonderful projects: #GalaxyGarden ( www.galaxygarden.net )
Jon is one of the world's most distinguished artists inspired by astronomy.
From 1972 until Carl Sagan's death in 1996, he illustrated most of Sagan's books and magazine articles, and he was Chief Artist for Sagan's classic television series. For his work on #COSMOS Jon received in 1981 a Prime Time EMMY Award for "Outstanding Individual Achievement in Creative Technical Crafts".
With the #VoyagerGoldenRecord Jon and his team have created some of the most unusual, durable, and far-flung artifacts ever produced by the human species.
The design for the cover of the Voyager Interstellar Record, predicted to last for over a thousand million years, may be the longest lived piece of human art ever made.
(Just typing this gives me goosebumps)
www.jonlomberg.com/profile.htmlhttp://en.m.wikipedia.org/...
Meeting this great artist in person, whom I always deeply admired and whose work is breathtakingly beautiful and who is inspiring so many people all around our beautiful blue dot touched me deeply inside.
Jon’s work made history already decades ago and still is a fundamental part of #SpaceExploration of mankind.
Talking about many things like space, art and projects like his #GalaxyGarden etc. was amazing.
The latest project of Jon and his team is a crowdfunding campaign to create a self-portrait of humanity to send to the stars on NASA's #Pluto mission #NewHorizons.
This campaign is an invitation to all humans to join this amazing project and become part of our global message.
www.fiatphysica.com/campaigns/oem
@Twitter @OneEarthMessage
FB: www.facebook.com/pages/One-Earth-Message
FB: www.facebook.com/nhmessage
I fell in love with that campaign immediately, so after our meeting the idea of integrating the #VoyagerGoldenRecord2.0 in my design grew in me.
After completion I send my painting to Jon as I wanted to dedicate it to his project. His reply left me deeply touched and honored, reading that he loves it and would like to share it with his friends.
Like a friend lately said so perfectly:
"Heroes you admired appreciating your work…priceless."
I am delighted to say that my design now even includes a dedication of Jon himself, inviting all of us to #SpeakForEarth together.
And all of us can share our voice and thoughts and build a huge mosaic of our beautiful #BlueDot which then will be sent to #OuterSpace digitally in the near future by Jon's global team and I am curious to see how humankind defines itself these days and what kind of message we will leave in that time capsule - also for our future generations.
I feel like having received an invitaion to a #EndlessGlobalSpaceTweetup - #Spaceholix travelling through space and time TOGETHER.
So I hope YOU will join, support and share this project.
#TheMoreTheMerrier
Here are the details behind my design:
COSMICCON BADGE DETAILS:
* #SPACEHOLIX #ReachingBeyondTheStars
I created this @Spaceholix logo and catchphrase for my lanyards for last years @SpacefestVI in Pasadena/ US and #AlexTweetup in Baikonur, an epic trip, where we met the generation of moonwalkers as well as the generation of #Shenanigans2009 @Astro_Alex ( #BlueDot) and @AstroSamantha ( #Futura) – the @esa astronauts who launched to #ISS together with their US and Russian crewmates last year.
#Spaceholix include ALL people sharing their love of our stars and beyond during special events as well as via Social Media - hence all of us are circling around all planets of our solar system
* LOGO IN WIDMANSTÄTTEN STRUCTURE
The Widmanstätten structure honors all #Meteorite hunters out there, especially our dear friend and speaker at @CosmicConEvent,
@GeoffNotkin, the inspiring #RockHound and host of @MeteoriteMen ( meteoritemen.com )
as well as their brand new show @MHUnlimited ( www.meteoritehuntersunlimited.com ) the world premiere of which will be shown during @CosmicConEvent.
It is because of Geoff, that I fell in love with #SpaceRocks and his exceptional way to fascinate and inspire people.
He rocks #STEM and even more #STEAM like no one else and is truly one of a kind.
* COSMICCON-ROCKET - PASSING BY ALL OUR PLANETS FROM MERKUR TO NEPTUN AND OUR EX-PLANET #PLUTO
reflecting this years #PlutoFlyBy of the #NewHorizons @NewHorizons mission
* VOYAGER GOLDEN RECORD
a message created by design director Jon Lomberg and his team sent to our stars already decades ago
en.wikipedia.org/wiki/Voyager_Golden_Record
* CONSTELLATION LEO
representing the name of my little one and also reflecting #LowEarthOrbit – the home of #ISS ( en.wikipedia.org/wiki/Low_Earth_orbit"; - as well as the lion in the coat of arms of England / UK – home of #CosmicCon
* CONSTELLATION DRACO
representing our #TravelBuddy and #SpaceMascot @PinkLilDragon as well as #DRAGON - the partially reusable spacecraft developed by @SpaceX, which has docked to #ISS already several times and will deliver cargo regularly
Both constellations are recurring patterns in many of my designs
* VI+VII
VI
MMXV
Date of @CosmicConEvent 06./07.June 2015 - in Roman figures - stylising the shape of #ISS circling around earth in #LEO
* TEXT
#LetsGoInterstellar
“ You always dreamed of #ReachingBeyondTheStars ?
www.oneearthmessage.org is YOUR chance to send YOUR message to outer space.
Do you want to become part of 'Voyager Golden Record 2.0' ?
Join this crowdfunding campaign to create a self-portrait of humanity to send to the stars on NASA's Pluto mission #NewHorizons. “
* Invitation to “SPEAK FOR EARTH” BY JON LOMBERG, the inspiring design director of the #VoyagerGoldenRecord HIMSELF.
#SpaceExplorationAtItsBest
Now #LetsGoInterstellar together ;-D
P.S. Not all pics here are taken by myself/my iPhone.
Some are part of the brainstorming process for the design (Thanks Mr. Google) or such a precious part of this unique experience, that I wanted to save and share them here.
Sorry for not being able to credit all properly due to missing source info.