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The Soyuz MS-02 spacecraft, encapsulated in its fairing, is rotated from a horizontal position back into a vertical position in its work platform on Thursday, Tuesday, Oct. 11, 2016 at the Baikonur Cosmodrome in Kazakhstan. Expedition 49 flight engineer Shane Kimbrough of NASA, flight engineer Andrey Borisenko of Roscosmos, and Soyuz commander Sergey Ryzhikov of Roscosmos are scheduled to launch from the Baikonur Cosmodrome in Kazakhstan on Oct. 19. Photo Credit: (NASA/Victor Zelentsov)
ESA’s Biomass satellite, encapsulated within a Vega-C rocket fairing, has been rolled out to the launch pad at Europe’s Spaceport in French Guiana ahead of liftoff, planned for 29 April at 11:15 CEST.
Once in orbit, this latest Earth Explorer mission will provide vital insights into the health and dynamics of the world’s forests, revealing how they are changing over time and, critically, enhancing our understanding of their role in the global carbon cycle.
Credits: ESA-CNES-ARIANESPACE/Optique vidéo du CSG–T. Leduc
The Soyuz MS-02 spacecraft, encapsulated in its fairing, is rotated from a horizontal position back into a vertical position in its work platform on Thursday, Tuesday, Oct. 11, 2016 at the Baikonur Cosmodrome in Kazakhstan. Expedition 49 flight engineer Shane Kimbrough of NASA, flight engineer Andrey Borisenko of Roscosmos, and Soyuz commander Sergey Ryzhikov of Roscosmos are scheduled to launch from the Baikonur Cosmodrome in Kazakhstan on Oct. 19. Photo Credit: (NASA/Victor Zelentsov)
If you find an error, corrections are welcomed.
This started out as a project to make a t-shirt. The t-shirt maker required an Encapsulated Postscript (vector) file. This is a montage of cobbled together images. Some of the above was created from traced raster images from my photos. The knobs and shadows all had to be horsed with to get to this image. The virtual "Frequency 9" label is vector art.
At the top is the radio control head used by the operator to adjust settings. A twenty to thirty five pound box housing the electronics and tubes was mounted elsewhere in the vehicle and connected via a garden-hose-sized cable. The speaker and microphone are pasted below. These had maybe 3 tubes in their transmitter and everything else was transistors.
FREQUENCY 9 GE MASTR PROFESSIONAL UHF RADIO: At left is what's supposed to look like a 1975 Santa Clara County ambulance radio made by now-defunct General Electric Mobile Radio. It might be what you saw in a Fields, Palo Alto Ambulance, Bigleys, AAA, San Jose Ambulance, or the other companies whose names I can't recall. This was before paramedics. Everything was on one channel. If someone was bitten by a dog in Los Altos Hills, an ambulance in Gilroy, (at the other end of the county), could hear the dispatch. When an ambulance crew called the hospital to give report, everyone heard that, too. "Wheeler, Three Zero Six, inbound with a 57-year-old male, victim of a fall from a horse..." Radio users had to set the 1-2-3-4 switch to the correct setting for the geographic location of the ambulance. The ultra-high frequency (UHF) transmitter produced 60 watts. It was a basic, functional, single-channel system. Even in 1975, it was almost 24-hour, non-stop radio calls. Monday at 2am? There were people talking on the radio.
CALFIRE MOTOROLA SPECIAL PRODUCTS MOTRAC RADIO: In the 1970s, CalFire was known as CDF: California Division of Forestry. It was part of the Resources Agency. Like the Highway Patrol, they had radios custom built to match their growing, statewide system.
Their radios might be made by low bidders RCA, General Electric, or Motorola. The buttons, and names on them, looked the same regardless of who made the radio. They might be a different shaped button but they were labeled as here. Nowadays this is called "user interface." If you needed "District, Tone 4" you press the D button (District channel) and the 4 button (Tone 4) whether it was an RCA or Motorola radio. This was true until Midland microprocessor-based radios of the mid-1980s. "District" is now "Region."
I do not own this CDF Motrac or any other old CDF equipment. I may have had a MASTR Professional, or possibly a MASTR II, repair manual but these seem to have disappeared.
Both of these systems used an elderly technology called, "tone burst." I think the State tones were 1,800 Hertz, 1,950 Hertz, 2,100 Hertz, 2,250 Hertz, and 2,552 Hertz. Each mountaintop site listened for its assigned beep tone. If you selected 3, the radio would make a roughly 2-second, 2,100 Hertz beep every time you pressed the push-to-talk button. "[beeeeep] San Andreas, Chief Fourty Four Hundred responding." After an hour of busy radio traffic, your ears would be ringing with a 2,100 Hertz tone. Our engineers put a notch filter that knocked the ambulance network (Frequency 9) burst tone down to about one tenth of its original volume while having no effect on voice.
You may recognize the microphone and speaker on the CalFire radio at right. These were standard Motorola parts you'd see on television shows like Dragnet, Emergency, or Adam 12. Both the City and County of Los Angeles used a standard Motorola control head less complicated than the CalFire model shown.
By the way, the t-shirt came out perfectly.
The good thing about a legacy system is that you have one…
— Homer R. Wagner MD, Ph D
Please do not copy this image.
Journalism Grade Image.
Source: montage 5,200x2,700 TIF file.
The Art of Minimalism - splendid light with clouds encapsulated over the River Tay - I was captivated by the light and clouds today - love the simpicity and beauty in this image
"When waterfalls comes from the sky."
Picked one today from the archive. I still remember the moment.
I wasn't really hanging around when this weather came through. You probably know, It's all about getting the most of it. Even getting soaked, you at least have a story to tell for a late dinner with friends.
(All Rights Reserved)
sorta encapsulates the hot, sticky days of summer - wouldn't be summer w/o a fly or two around
backyard capture in chesterfield
nhq201609150019 (09/15/2016) --- The Soyuz MS-02 spacecraft is seen before encapsulation in its fairing on Thursday, Sept. 15, 2016 at the Baikonur Cosmodrome in Kazakhstan. Photo Credit: (NASA/Victor Zelentsov)
"The car’s name encapsulates the true significance of all that has been achieved in terms of performance. The reference to the 90th anniversary of the foundation of Scuderia Ferrari underscores the strong link that has always existed between Ferrari’s track and road cars. A brilliant encapsulation of the most advanced technologies developed in Maranello, the SF90 Stradale is also the perfect demonstration of how Ferrari immediately transitions the knowledge and skills it acquires in competition to its production cars..."
Source: Ferrari
Photographed during Driven Club event in Northern Ireland.
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An encapsulation of the variety of activities and pursuits undertaken on a crisp winter’s morning around the northern shores of Lake Annecy. The lake is purported to be Europe’s cleanest.
nhq201609150019 (09/15/2016) --- The Soyuz MS-02 spacecraft is seen before encapsulation in its fairing on Thursday, Sept. 15, 2016 at the Baikonur Cosmodrome in Kazakhstan. Photo Credit: (NASA/Victor Zelentsov)
GPM is a joint mission between NASA and the Japan Aerospace Exploration Agency (JAXA). The Core Observatory will link data from a constellation of current and planned satellites to produce next-generation global measurements of rainfall and snowfall from space.
On Feb. 11, the Core Observatory was moved into the spacecraft fairing assembly building and into the Encapsulation Hall. Final inspections and preparations were completed for the installation into the fairing, which began on Feb 13. The fairing is the part of the rocket that will contain the spacecraft at the top of the H-IIA rocket.
The encapsulation process for the H-IIA is very different than for most U.S. rockets. For U.S. rockets, the fairing is usually in two pieces that close around the payload like a clamshell. To install the GPM Core Observatory into the fairing of the H-IIA rocket, first the Core Observatory and the Payload Attach Fitting (PAF) are set up in scaffolding in the Encapsulation Hall. Then, the fairing is lifted above and lowered onto the fitting. When only a few feet remain above the final position, stanchions support the fairing while technicians go inside to complete the electrical connections. When this is completed, they remove the stanchions and lower the fairing to its final position, where it is bolted in place.
The GPM mission is the first coordinated international satellite network to provide near real-time observations of rain and snow every three hours anywhere on the globe. The GPM Core Observatory anchors this network by providing observations on all types of precipitation. The observatory's data acts as the measuring stick by which partner observations can be combined into a unified data set. The data will be used by scientists to study climate change, freshwater resources, floods and droughts, and hurricane formation and tracking.
Credit: Japan Aerospace Exploration Agency
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Iceland is famously known as the "Land of Fire, Ice, and Snow," a moniker that perfectly encapsulates its unique and dramatic landscape. The "Fire" in this name refers to the country's intense and ongoing volcanic activity. Situated on the Mid-Atlantic Ridge, a major tectonic plate boundary, Iceland is a hotspot of geothermal energy. It is home to over 130 volcanoes, both active and dormant, which regularly shape the land through eruptions, lava flows, and the creation of new geothermal features like hot springs and geysers. This constant geological dynamism is a fundamental part of the Icelandic identity, providing a stark and powerful contrast to the country's colder elements.
The "Ice" component of the name is equally prominent and is a direct result of Iceland's subarctic climate. Despite the volcanic heat, a significant portion of the country is covered by vast glaciers, or *jöklar* in Icelandic. The Vatnajökull glacier, for example, is the largest in Europe and covers approximately 8% of Iceland's landmass. These immense ice caps are not just static features; they are dynamic forces that carve out valleys, create glacial lagoons filled with icebergs, and feed powerful rivers. The interplay between the fire of the volcanoes and the movement of these glaciers creates a stunning and ever-changing topography.
The "Snow" aspect, while often grouped with ice, deserves its own recognition as a defining feature of the Icelandic landscape. Snowfall is a regular occurrence, especially in the highlands and during the long winter months, blanketing the country in a pristine white cover. This snow transforms the scenery, creating a magical, often serene, and sometimes harsh environment. The snowmelt in spring and summer also plays a crucial role, feeding the countless waterfalls and rivers that crisscross the island, further shaping the land and contributing to the island's vibrant ecosystem.
The combination of these three elements—fire, ice, and snow—is what makes Iceland's geography so extraordinary. You can find landscapes where steaming volcanic vents and hot springs are located just a short distance from massive glaciers. The sight of a black volcanic sand beach juxtaposed with a brilliant white snowfield and the deep blue of a glacial lagoon is a common, yet breathtaking, spectacle. This remarkable geological harmony creates a landscape of extreme contrasts and raw natural beauty that is unlike anywhere else on Earth.
Ultimately, the nickname "Land of Fire, Ice, and Snow" is more than just a catchy phrase; it's a precise scientific and poetic description of Iceland's fundamental character. It speaks to the constant struggle and collaboration between elemental forces that have shaped the island's past, continue to define its present, and will undoubtedly influence its future. It is a land of extremes, where the raw power of nature is on full display, offering visitors and inhabitants alike a constant reminder of the planet's powerful and awe-inspiring geological processes.
This purchased slide encapsulates my two main photographic interests in one photo. Sacramento Fire Department Hose Tender 19 is seen here, with Union Pacific Railroad steamers 3985 and 8444 in the background, during the California Railroad Museum's 1981 Railfair in Old Sacramento, California. The photographer is unidentified.
Hose Tender 19 was built by Seagrave on a 1979 Ford C-Series chassis; it had a 1000-GPM pump and a 500-gallon water tank.
When I stepped outside this morning I noticed the water in the birdbath had frozen, encapsulating some maple leaves well below the surface and a solitary maple key sitting just near enough to the surface to be partially above and partially just under the surface. The combination of the colours, the distorted autumn leaves, and the texture on the surface created an interesting abstract effect. - JW
Date Taken: 2017-11-12
Tech Details:
Taken using a tripod-mounted Nikon D7100 fitted with a Tamron 90mm f/2.8 Macro 1:1 (272E) lense, ISO100, Daylight WB, Aperture priority mode, f/6.3, 1/20 sec. PP in free Open Source RAWTherapee from Nikon RAW/NEF source files: scaled to 9000x6000, exposure increased (brightened) by approx EV+0.7, significant increase in contrast and Chromaticity in L-A-B mode, significant increase in vibrance, adjust colour balance to reduce a green cast, slightly increase black level, sharpened, saved. PP in free Open Source GIMP: loaded both frames as l2ayers, bottom layer named maple key, top frame named background, adjust the background frame to get good colour balance, tonality and contrast using the tone curve tool and colour balance tool, add a black/transparent layer mask to the top/background frame and using a soft-edged paint brush with white paint, paint the mask to select the maple key and then invert the colours so the background is white and then select the maple key layer and adjust its tone curve, contrast and colour balance to get a good looking maple key, create new working layer from visible result, slightly increase overall contrast, sharpen, save, scale image to 6000x4000, sharpen, save, add fine black black-and-white frame, add bar and text on left, save, scale image to 1800 wide for posting, sharpen slightly, save.
An alternative way of creating shadow effects in Lego. In this case it should look like fluorescent lamps in the ceiling. The roof was adjustable so i could create the column for light I wanted in the center.that i can move around to let in light in the way i want.
Driver shortage…
One of the best examples of the driver shortages impacting the bus industry is encapsulated by this picture here. Here is a SPT-supplied Optare Solo waiting time to make its next journey on the supported 59-service between Mosspark and Glasgow City Centre. SPT owns the vehicle as well as similar vehicles and leases them to various operators for use on its supported services. It allows the services to be run by a uniform standard of vehicle and SPT can use its purchasing power by ordering larger quantities of buses - at a better discount - than the individual bus companies could by themselves. If you order one bus, you’ll maybe get a discount. If you order 20, you’ll get a bigger one.
But back to the shortage. You’ll notice that this bus, 53759 (YJ16DXH) carries First decals. That’s because the service is operated by First Glasgow. But the legal lettering is for Craig of Campbeltown and is run by drivers from its Glasgow Citybus subsidiary. It runs as part of the First network in the city, First passes are accepted and to all extents and purposes it looks like First run it. However due to driver shortages, First has subcontracted operation of this to Glasgow Citybus.
Driver shortages are an endemic issue across the industry, leading to shortages and lost journeys. Despite companies offering large incentives to new recruits, recruiting new drivers is challenging. Together with staff shortages due to COVID its leading to frustrated passengers and pressure on the industry, which is fuelling demands for re-regulation.
So what’s behind it? There’s various reasons. The pandemic was a factor. Recruitment and training stopped dead during it and some say the industry has struggled to catch up. Normal turnover, as employees leaving were not replaced, became skewed as no new replacements arrived to take their place. That’s common across other industries too.
Brexit too is a factor. With the ending of freedom of movement across the European Union, many former EU citizens elected to return home. Many were bus drivers who left during lockdown periods and never came back or elected not to apply to stay in the United Kingdom. Here is not the place to debate the merits of Brexit but it’s clear it has had an impact.
With shortages of other types of drivers in other industries such as lorry drivers, many bus drivers have left to work for better paid jobs driving lorries. And who could blame them? Pay in the industry has always been an issue and it’s only now that pay seems to be getting addressed, albeit in some cases as a result of industrial action.
However one issue affecting bus driving is that it’s not seen as a ‘sexy’ job. Indeed it’s far from it - it’s bloody hard graft. So it doesn’t appeal. The industry is trying all it can. It’s trying to recruit more female and younger drivers into what is traditionally is seen as a older male dominated industry. But it can only do so much and unless the recruitment improves companies are facing real problems and service cuts are a real threat.
Fake inter dimensional rainbow paper silhouette table faffing.
Usual nocturnal routine; Mrs in the front room watching what can only be described as dog arse on tv whilst I shine lights at things in the kitchen whilst rotating my camera through the axis of its lens at twenty degree increments during a long exposure.
sooc
To go where no man has gone before.
This photo was taken by a Kowa/SIX medium format film camera with a KOWA 1:3.5/55mm lens using Kodak Portra 800 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
As preparations for the launch of ESA’s latest Earth Explorer continue on track, the team at Europe’s Spaceport in French Guiana has bid farewell to the Aeolus satellite as it was sealed from view in its Vega rocket fairing. Liftoff is set for 21 August at 21:20 GMT (23:20 CEST). Aeolus carries one of the most sophisticated instruments ever to be put into orbit. The first of its kind, the Aladin instrument includes revolutionary laser technology to generate pulses of ultraviolet light that are beamed down into the atmosphere to profile the world’s winds – a completely new approach to measuring the wind from space.
Credits: ESA/CNES/Arianespace/Optique Video du CSG - J Durrenberger
ENCAPSULATED IN OBLONG SHAPES / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT.
GPM is a joint mission between NASA and the Japan Aerospace Exploration Agency (JAXA). The Core Observatory will link data from a constellation of current and planned satellites to produce next-generation global measurements of rainfall and snowfall from space.
On Feb. 11, the Core Observatory was moved into the spacecraft fairing assembly building and into the Encapsulation Hall. Final inspections and preparations were completed for the installation into the fairing, which began on Feb 13. The fairing is the part of the rocket that will contain the spacecraft at the top of the H-IIA rocket.
The encapsulation process for the H-IIA is very different than for most U.S. rockets. For U.S. rockets, the fairing is usually in two pieces that close around the payload like a clamshell. To install the GPM Core Observatory into the fairing of the H-IIA rocket, first the Core Observatory and the Payload Attach Fitting (PAF) are set up in scaffolding in the Encapsulation Hall. Then, the fairing is lifted above and lowered onto the fitting. When only a few feet remain above the final position, stanchions support the fairing while technicians go inside to complete the electrical connections. When this is completed, they remove the stanchions and lower the fairing to its final position, where it is bolted in place.
The GPM mission is the first coordinated international satellite network to provide near real-time observations of rain and snow every three hours anywhere on the globe. The GPM Core Observatory anchors this network by providing observations on all types of precipitation. The observatory's data acts as the measuring stick by which partner observations can be combined into a unified data set. The data will be used by scientists to study climate change, freshwater resources, floods and droughts, and hurricane formation and tracking.
Credit: Japan Aerospace Exploration Agency
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Another forgotten image from winter.
A leaf and dripping rain trapped in time when the weather turned to freezing rain. All motion stopped, all parts became one encapsulated in the ice.
Captured with iPhone and Olloclip Macro lens. Edited on the iPad in Snapseed then on the desktop in Alien Skin's Exposure x for black and white conversion and editing.
Liriope bud under a droplet of water
Taken with a Canon MP-E 65mm f2.8 1-5X macro attached to a focusing rail, using a combination of natural light and a Canon ring-light.
I have been so busy lately between my daughter's birthday and work, not to mention playing with my new glass. I apologize for not keeping up with your streams lately. Hopefully, I will be able to make some time soon.
nhq201609150016 (09/15/20160 --- The Soyuz MS-02 spacecraft is seen prior to being encapsulated in its fairing on Thursday, Sept. 15, 2016 at the Baikonur Cosmodrome in Kazakhstan. Expedition 49 flight engineer Shane Kimbrough of NASA, flight engineer Andrey Borisenko of Roscosmos, and Soyuz commander Sergey Ryzhikov of Roscosmos are scheduled to launch to the International Space Station aboard the Soyuz MS-02 spacecraft from the Baikonur Cosmodrome. Photo Credit: (NASA/Victor Zelentsov)
The title encapsulates both George's expression here and my life currently. He stopped by for a visit on the weekend and while I unfortunately had to dash his hopes of food, I'm hoping I'm a little luckier.
jsc2019e012761 (March 6, 2019) --- In the Integration Building at the Baikonur Cosmodrome in Kazakhstan, the Soyuz MS-12 spacecraft stands at the ready March 6 prior to its encapsulation into the nose fairing of the Soyuz booster rocket. Expedition 59 crew members Nick Hague and Christina Koch of NASA and Alexey Ovchinin of Roscosmos will launch on March 14, U.S. time, on the Soyuz MS-12 spacecraft from the Baikonur Cosmodrome for a six-and-a-half month mission on the International Space Station. Credit: NASA/Victor Zelentsov
nhq201610110011 (Oct. 11, 2016) --- The Soyuz MS-02 spacecraft is seen after being rotated into a horizontal position in preparation for encapsulation in its fairing on Thursday, Tuesday, Oct. 11, 2016 at the Baikonur Cosmodrome in Kazakhstan. Expedition 49 flight engineer Shane Kimbrough of NASA, flight engineer Andrey Borisenko of Roscosmos, and Soyuz commander Sergey Ryzhikov of Roscosmos are scheduled to launch from the Baikonur Cosmodrome in Kazakhstan on Oct. 19. Photo Credit: (NASA/Victor Zelentsov)
Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park. Born on the same day in Bulgaria and Morocco, respectively, the pair met and married in Paris in the late 1950s. Originally working under Christo's name, they later credited their installations to both "Christo and Jeanne-Claude". Until his own death in 2020, Christo continued to plan and execute projects after Jeanne-Claude's death in 2009. Their work was typically large, visually impressive, and controversial, often taking years and sometimes decades of careful preparation – including technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. The pair refused grants, scholarships, donations or public money, instead financing the work via the sale of their own artwork. Christo and Jeanne-Claude described the myriad elements that brought the projects to fruition as integral to the artwork itself, and said their projects contained no deeper meaning than their immediate aesthetic impact; their purpose being simply for joy, beauty, and new ways of seeing the familiar.
Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon. Their first show, in Cologne, 1961, showcased the three types of artworks for which they would be known: wrapped items, oil barrels, and ephemeral, large-scale works.[3] Near Christo's first solo show in Paris, in 1962, the pair blocked an alley with 240 barrels for several hours in a piece called Iron Curtain, a poetic reply to the Berlin Wall. They developed consistent, longtime terms of their collaboration. They together imagined projects, for which Christo would create sketches and preparatory works that were later sold to fund the resulting installation. Christo and Jeanne-Claude hired assistants to do the work of wrapping the object at hand. They originally worked under the name "Christo" to simplify dealings and their brand, given the difficulties of establishing an artist's reputation and the prejudices against female artists,[6] but they would later retroactively credit their large-scale outdoor works to both "Christo and Jeanne-Claude". They eventually flew in separate planes such that, in case one crashed, the other could continue their work. Within a year of Wrapped Coast, Christo began work on Valley Curtain: an orange curtain of fabric to be hung across the mountainous Colorado State Highway 325.[ They simultaneously worked on Wrapped Walk Ways (Tokyo and Holland) and Wrapped Island (South Pacific), neither of which came to fruition. The artists formed a corporation to benefit from tax and other liabilities, a form they used for later projects. Following a failed attempt to mount the curtain in late 1971, a new engineer and builder-contractor raised the fabric in August 1972. The work only stood for 28 hours before the wind again destroyed the fabric. This work, their most expensive to date and first to involve construction workers, was captured in a documentary by David and Albert Maysles. Christo's Valley Curtain was nominated for Best Documentary Short in the 1974 Academy Awards.[15] The Maysles would film many of the artists' later projects.Inspired by a snow fence, in 1972, Christo and Jeanne-Claude began preparations for Running Fence: a 24.5- mile fence of white nylon, supported by steel posts and steel cables, running through the Californian landscape and into the ocean. In exchange for temporary use of ranch land, the artists agreed to offer payment and use of the deconstructed building materials. Others challenged its construction in 18 public hearings and three state court sessions. The fence began construction in April 1976 and the project culminated in a two-week display in September, after which it was deconstructed. Christo and Jeanne-Claude planned a project based on Jeanne-Claude's idea to surround eleven islands in Miami's Biscayne Bay with 603,850 m2 (6,499,800 sq ft) of pink polypropylene floating fabric. Surrounded Islands was completed on May 7, 1983, with the aid of 430 workers and could be admired for two weeks. The workers were outfitted with pink long sleeve shirts with pale blue text written on the back reading “Christo Surrounded Islands”, and then in acknowledging the garment's designer, "designed and produced by Willi Smith". Their 1991 The Umbrellas involved the simultaneous setup of blue and gold umbrellas in Japan and California, respectively. The 3,100-umbrella project cost US$26 million and attracted three million visitors. Christo closed the exhibition early after a woman was killed by a windblown umbrella in California. Separately, a worker was killed during the deconstruction of the Japanese exhibit. Christo and Jeanne-Claude wrapped the Berlin Reichstag building in 1995 following 24 years of governmental lobbying across six Bundestag presidents. Wrapped Reichstag's 100,000 square meters of silver fabric draped the building, fastened with blue rope. Christo described the Reichstag wrapping as autobiographical based on his Bulgarian upbringing. The wrapping became symbolic of unified Germany and marked Berlin's return as a world city. The Guardian posthumously described the work as their "most spectacular achievement". In 1998, the artists wrapped trees at the Beyeler Foundation and its nearby Berower Park. Prior attempts had failed to secure government support in Saint Louis, Missouri, and Paris. The work was self-funded through sale of photographic documentation and preparatory works, as had become standard for the couple. Work began on the installation of the couple's most protracted project, The Gates, in New York City's Central Park in January 2005. Its full title, The Gates, Central Park, New York, 1979–2005, refers to the time that passed from their initial proposal until they were able to go ahead with it with the permission of the new mayor Michael R. Bloomberg. The Gates was open to the public from February 12–27, 2005. A total of 7,503 gates made of saffron-colored fabric were placed on paths in Central Park. They were five meters (16 ft) high and had a combined length of 37 km (23 mi). The mayor presented them with the Doris C. Freedman Award for public art.[30] The project cost an estimated US$21 million, which the artists planned to recoup by selling project documentation. Christo filled the Gasometer Oberhausen from March 16 until December 30, 2013 with the installation Big Air Package. After The Wall (1999) as the final installation of the Emscher Park International Building Exhibition, Big Air Package was his second work of art in the Gasometer. The "Big Air Package – Project for Gasometer Oberhausen, Germany" was conceived by Christo in 2010 (for the first time without his wife Jeanne-Claude). The sculpture was set up in the interior of the industrial monument and was made of 20,350 m3 (719,000 cu ft) of translucent fabric and 4,500 m (14,800 ft) of rope. In the inflated state, the envelope, with a weight of 5.3 tonnes (5.8 short tons), reached a height of more than 90 m (300 ft), a diameter of 50 m (160 ft) and a volume of 177,000 m3 (6,300,000 cu ft). The monumental work of art was, temporarily, the largest self-supporting sculpture in the world. In the accessible interior of Big Air Package, the artist generated a unique experience of space, proportions, and light. The Floating Piers were a series of walkways installed at Lake Iseo near Brescia, Italy. From June 18 to July 3, 2016, visitors were able to walk just above the surface of the water from the village of Sulzano on the mainland to the islands of Monte Isola and San Paolo. The floating walkways were made of around 200,000 polyethene cubes covered with 70,000 m2 (750,000 sq ft) of bright yellow fabric: 3 km (1.9 mi) of piers moved on the water; another 1.5 km (0.93 mi) of golden fabric continued along the pedestrian streets in Sulzano and Peschiera Maraglio. After the exhibition, all components were to be removed and recycled.[33] The installation was facilitated by the Beretta family, owners of the oldest active manufacturer of firearm components in the world and the primary sidearm supplier of the U.S. Army.[34] The Beretta family owns the island of San Paolo, which was surrounded by Floating Piers walkways. The work was a success with the Italian public and critics as well. The London Mastaba was a temporary floating installation exhibited from June to September 2018 on The Serpentine in London. The installation consisted of 7,506 oil barrels, in the shape of a mastaba, a form of an early bench in use in ancient Mesopotamia, with a flat roof and inward sloping sides. It sat on a floating platform of high-density polyethene, held in place by 32 anchors. It was 20 m (66 ft) in height and weighed 600 tonnes (660 short tons). The vertical ends were painted in a mosaic of red, blue and mauve, whilst the sloping sides were in red with bands of white. Simultaneously with the display of The London Mastaba, the nearby Serpentine Gallery presented an exhibition of the artists' work, entitled Christo and Jeanne-Claude: Barrels and The Mastaba 1958–2018. The exhibition comprised sculptures, drawings, collages, scale-models and photographs from the last 60 years of the artists' work. Christo and Jeanne-Claude announced plans for a future project, titled Over The River, to be constructed on the Arkansas River between Salida, Colorado, and Cañon City, Colorado, on the eastern slope of the Rocky mountains. Plans for the project call for horizontally suspending 10.8 km (6.7 mi) of reflective, translucent fabric panels high above the water, on steel cables anchored into the river's banks. Project plans called for its installation for two weeks during the summer of 2015, at the earliest, and for the river to remain open to recreation during the installation. Reaction among area residents was intense, with supporters hoping for a tourist boom and opponents fearing that the project would ruin the visual appeal of the landscape and inflict damage on the river ecosystem. One local rafting guide compared the project to "hanging pornography in a church." The U.S. Bureau of Land Management released a Record of Decision approving the project on November 7, 2011. Work on the project cannot begin, however, until the Bureau of Land Management issues a Notice to Proceed. A lawsuit against the Colorado Division of Parks and Wildlife was filed on July 22, 2011, by Rags Over the Arkansas River (ROAR), a local group opposed to the project. The lawsuit is still awaiting a court date.[ Christo and Jeanne-Claude's inspiration for Over the River came in 1985 as they were wrapping the Pont-Neuf and a fabric panel was being elevated over the Seine. The artists began a three-year search for appropriate locations in 1992, considering some eighty-nine river locations. They chose the Arkansas River because its banks were high enough that recreational rafters could enjoy the river at the same time. Christo and Jeanne-Claude spent more than $6 million on environmental studies, design engineering, and wind tunnel testing of fabrics. As with past projects, Over The River would be financed entirely by Christo and Jeanne-Claude, through the sale of Christo's preparatory drawings, collages, scale models, and early works of the 1950s/1960s. On July 16, 2010, the U.S. Bureau of Land Management released its four-volume Draft Environmental Impact Statement, which reported many potentially serious types of adverse impact but also many proposed "mitigation" options. In January 2017, after the election of President Trump, Christo canceled the controversial project citing protest of the new administration as well as tiring from the hard-fought legal battle waged by local residents.
L'Arc de Triomphe, Wrapped
Continuing their series of monumental "wrapping" projects, the Arc de Triomphe in Paris is to be wrapped in 30,000 square meters of recyclable polypropylene fabric in silvery blue, and 7,000 meters (23,000 feet) of red rope, originally scheduled for autumn of 2020.[54] This was postponed a year to Saturday, September 18 to Sunday, October 3, 2021, due to the COVID-19 pandemic in France and its impact on the arts and cultural sector worldwide. Following Christo's death, his office stated that the project would nevertheless be completed.
Reception
Christo and Jeanne-Claude's work is held by many major public collections. The artists received the 1995 Praemium Imperiale, the 2006 Vilcek Prize,[59] and the 2004 International Sculpture Center's Lifetime Achievement in Contemporary Sculpture Award. Art critic David Bourdon described Christo's wrappings as a "revelation through concealment."[61] Unto his critics Christo replied, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."[ Jeanne-Claude was a firm believer in the aesthetic beauty of works of art; she said, "'We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful.'"
Biographies
Christo
Young Christo
Christo Vladimirov Javacheff (Bulgarian: Христо Владимиров Явашев, [xrisˈtɔ vlɐˈdimirof jaˈvaʃɛf]) was born on June 13, 1935, in Gabrovo, Bulgaria, as the second of three sons to Tzveta Dimitrova (a Macedonian Bulgarian from Thessaloniki) and Vladimir Javacheff, who worked at a textile manufacturer. Christo was shy and had a predilection for art. He received private art instruction at a young age and the support of his parents, who invited visiting artists to their house.[65] Christo was particularly affected by events from World War II and the country's fluid borders. During evacuations, he and his brothers stayed with a family in the rural hills outside town, where Christo connected with nature and handicraft. While Bulgaria was under repressive totalitarian rule, and Western art was suppressed, Christo pursued realistic painting through the mid-1950s. He was admitted into the Sofia Academy of Fine Arts in 1953[68] but found the school dull and stifling. Instead, he found inspiration in Skira art books, and visiting Russian professors who were older than he and once active in Russian modernism and the Soviet avant-garde. On the weekends, academy students were sent to paint propaganda and Christo unhappily participated. He found work as a location scout for the state cinema and served three tours of duty during summer breaks. In 1956, he used an academy connection to receive permission to visit family in Prague, where the theater of Emil František Burian reinvigorated him. Amid fears of further Russian suppression in Hungary, Christo decided to flee to Vienna as a railcar stowaway. He had little money after paying the bribe, did not speak the language, had deserted during his Bulgarian military service, and feared being trapped in a refugee camp. In Vienna, he stayed with a family friend (who had not expected him), studied at the Vienna Fine Arts Academy, and surrendered his passport to seek political asylum as a stateless person. There, he supported himself with commissions and briefly visited Italy with the academy, whose program he found equally unhappy as the one before it. At the behest of a friend relocated from Sofia, he saved up to visit Geneva in late 1957. In violation of his visa, he continued to pursue commissions (whose works he would sign with his family name, reserving his given name for more serious work) and was transformed after visiting the Kunstmuseum Basel and Kunsthaus Zürich. In January 1958, he first began to wrap things, as would become his trademark, starting with a paint can. His collection of wrapped household items would be known as his Inventory. In February 1958, Christo left for Paris, having received a visa with the assistance of a Sofia academy connection. In 1973, after 17 stateless years, Christo became a United States citizen.[80] He died at his home in New York City on May 31, 2020, at 84. No cause of death was specified.[81] L’Arc de Triomphe, Wrapped, a planned work by Christo and Jeane-Claude, is to go ahead posthumously in Paris in September 2021.
Jeanne-Claude
Jeanne-Claude Denat de Guillebon (French: [ʒan klod dəna də gijəbɔ̃]) was born in Casablanca, Morocco, where her father, an army officer, was stationed. Her mother, Précilda, was 17 when she married Jeanne-Claude's father, Major Léon Denat. Précilda and Léon Denat divorced shortly after Jeanne-Claude was born, and Précilda remarried three times. Jeanne-Claude earned a baccalauréat in Latin and philosophy in 1952 from the University of Tunis.[5] After Précilda married the General Jacques de Guillebon in 1947, the family lived in Bern (1948–1951) and Tunisia (1952–1957) before returning to Paris.[ Jeanne-Claude was described as "extroverted" and with natural organizational abilities. Her hair was dyed red, which she claimed was selected by her husband.[84] She took responsibility for overseeing work crews and for raising funds. Jeanne-Claude died in New York City on November 18, 2009, from complications due to a brain aneurysm. Her body was to be donated to science, one of her final wishes.[85] When she died, she and Christo were at work on Over the River[86] and the United Arab Emirates project, The Mastaba.[5] She said, "Artists don't retire. They die. That's all. When they stop being able to create art, they die."
Marriage
Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon. Initially, Christo was attracted to Jeanne-Claude's half-sister, Joyce. Jeanne-Claude was engaged to Philippe Planchon.Shortly before her wedding, Jeanne-Claude became pregnant by Christo. Although she married Planchon, Jeanne-Claude left him immediately after their honeymoon. Christo and Jeanne-Claude' s son, Cyril, was born on May 11, 1960. Jeanne-Claude became an American citizen in March 1984.[19] The couple received permission to wrap the Pont Neuf, a bridge in Paris, in August and the wrapped the bridge in for two weeks in August 1985. The Pont Neuf Wrapped attracted three million visitors. Wrapping the Pont Neuf continued the tradition of transforming a sculptural dimension into a work of art. The fabric maintained the principal shapes of the Pont Neuf but it emphasized the details and the proportions. As with Surrounded Islands, workers who assisted with the installation and deinstallation of Pont Neuf Wrapped wore uniforms designed by Willi Smith.
The couple relocated to New York City, the new art world capital, in 1964. Christo began to make Store Fronts, wooden facades made to resemble shop windows, which he continued for four years. His largest piece was shown in the 1968 Documenta 4. In the mid-1960s, they also created Air Packages,[8] inflated and wrapped research balloons.[9] In 1969, at the invitation of the museum director Jan van der Marck they wrapped the Chicago Museum of Contemporary Art while it remained open.[10] It was panned by the public and ordered to be undone by the fire department, which went unenforced.[11] With the help of Australian collector John Kaldor, Christo and Jeanne-Claude and 100 volunteers wrapped the coast of Sydney's Little Bay as Wrapped Coast, the first piece for Kaldor Public Art Projects.[12]
There are many smaller stories within the larger sweep of history. Christo, the Bulgarian-born artist who died on 31 May 2020, famous for his gigantic wrapping works at the scale of Paris’s Pont Neuf in 1985 and the Berlin Reichstag ten years later, first came into existence thanks to a hairdresser. When Christo was a young artist, this hairdresser, René Bourgeois, introduced him to rich ladies whose portraits he painted to survive. And it was within this context that he was introduced to Précida Guillebon who had a daughter named Jeanne Claude; a young upper class girl who would eventually become Christo’s wife, his accomplice, and the linchpin of his sprawling projects, whose name would end up appearing with his on their works. She died in 2009. Between 1958 and 1964 Christo lived in Paris, before going to spend the rest of his life in New York. The Centre Pompidou’s exhibition focuses on this particular period, which would determine the rest of his creative output, followed by two large rooms homing in on the “making of” the project that remains etched in memory but which lasted only two weeks (like all of his monumental works): the wrapping of the Pont Neuf. It was in 1958 that Christo, a young refugee from Eastern Europe who crossed the border hidden in the back of a truck, began wrapping objects. He was interested in their volume and he talks about this as a process of “mummifying”, a practice he performed unconsciously: “I don’t know why I wrapped things”. At the time it was interpreted as the actions of a nomad figuratively packing his bags. Christo went off to explore different directions, including the “Wall of Oil Barrels” which the influential art critic of the time Pierre Restany referred to as “cathedrals of an unknown religion”. This description also perfectly encapsulates the artist’s future monumental practice. On 18 September 2021 he was due to wrap the Arc de Triomphe in Paris over a period of two weeks. The project, the ultimate ephemeral cathedral to the cult of Christo, had to be delayed owing to rare birds nesting on top of the Napoleonic edifice.
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