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Battersea Power Station

 

Official nameBattersea A and B power stations

CountryEngland

LocationNine Elms, Battersea, Wandsworth, South West London

Coordinates51°28′54″N 0°8′41″WCoordinates: 51°28′54″N 0°8′41″W

StatusDecommissioned and in redevelopment

Construction began1929 (A station)

1945 (B station)

Commission date1933–35 (A station)

1953–55 (B station)

Decommission date1975 (A station)

1983 (B station)

Construction cost£2,141,550 (A station)

Owner(s)London Power Company

(1939–1948)

British Electricity Authority

(1948–1955)

Central Electricity Authority

(1955–1957)

Central Electricity Generating Board

(1957–1983)

Thermal power station

Primary fuelCoal

Secondary fuelOil (A station only)

Power generation

Units operationalA station:

Two 69 MW Metropolitan-Vickers (MV) British Thomson-Houston and one 105 MW Metropolitan-Vickers

B station:Two 100 MW and one 72 MW Metropolitan-Vickers

Nameplate capacity1935: 243 MW

1955: 503 MW

1975: 488 MW

1983: 146 MW

External links

Websitebatterseapowerstation.co.uk

CommonsRelated media on Commons

[edit on Wikidata]

 

Listed Building – Grade II*

Official nameBattersea Power Station

Designated14 October 1980

Reference no.1357620

 

Battersea Power Station is a decommissioned coal-fired power station, located on the south bank of the River Thames, in Nine Elms, Battersea, in the London Borough of Wandsworth. It was built by the London Power Company (LPC) to the design of Leonard Pearce, Engineer in Chief to the LPC, and CS Allott & Son Engineers. The architects were J. Theo Halliday and Giles Gilbert Scott. The station is one of the world's largest brick buildings and notable for its original, Art Deco interior fittings and decor.

 

The building comprises two power stations, built in two stages, in a single building. Battersea A Power Station was built between 1929 and 1935 and Battersea B Power Station, to its east, between 1937 and 1941, when construction was paused owing to the worsening effects of the Second World War. The building was completed in 1955. "Battersea B" was built to a design nearly identical to that of "Battersea A", creating the iconic four-chimney structure.

 

"Battersea A" was decommissioned in 1975. In 1980 the whole structure was given Grade II listed status; "Battersea B" shut three years later. In 2007 its listed status was upgraded to Grade II*. The building remained empty until 2014, during which time it fell into near ruin. Various plans were made to make use of the building, but none were successful. In 2012, administrators Ernst & Young entered into an exclusivity agreement with Malaysia's SP Setia and Sime Darby to develop the site to include 253 residential units, bars, restaurants, office space (occupied by Apple and No. 18 business members club), shops and entertainment spaces. The plans were approved and redevelopment commenced a few years later. As of 2021, the building and the overall 42-acre site development is owned by a consortium of Malaysian investors.

 

History

 

Located on the south bank of the River Thames, in Nine Elms, Battersea, an inner-city district of South West London, the building comprises two power stations, built in two stages in a single building. Battersea A Power Station was built in the 1930s and Battersea B Power Station, to its east, in the 1950s. They were built to a near-identical design, providing the four-chimney structure.

 

The Power Station was decommissioned between 1975 and 1983 and remained empty until 2014. It was designated as a Grade II listed building in 1980. In 2007 its listed status was upgraded to Grade II*.[1][2]

 

The station is one of the world's largest brick buildings[3] and notable for its original, lavish Art Deco interior fittings and decor.[4] The structure remained largely unused for more than 30 years after its closure; in 2008 its condition was described as "very bad" by English Heritage, which included it in its Heritage at Risk Register.[5] The site was also listed on the 2004 World Monuments Watch by the World Monuments Fund.[6]

 

Since the station's closure, redevelopment plans have been drawn up by successive site owners. In 2004, when a redevelopment project by Parkview International stalled, the site was sold to the administrators of Irish company Real Estate Opportunities (REO), who bought it for £400 million in November 2006 with plans to refurbish the station for public use and build 3,400 homes on the site.[7][8] This plan fell through due to REO's debt being called in by the state-owned banks of the UK and Ireland. The site was again put up for sale in December 2011 through commercial estate agent Knight Frank.[9][10][11] The combination of an existing debt burden of some £750 million, the need to make a £200 million contribution to an extension to the London Underground, requirements to fund conservation of the derelict power station shell, and the presence of a waste transfer station and cement plant on the river frontage made commercial development of the site a significant challenge.[12][13]

 

Until the late 1930s, electricity was supplied by municipal undertakings. These were small power companies that built power stations dedicated to a single industry or group of factories, and sold any excess electricity to the public. These companies used widely differing standards of voltage and frequency. In 1925 Parliament decided that the power grid should be a single system with uniform standards and under public ownership. Several of the private power companies reacted to the proposal by forming the London Power Company (LPC). They planned to heed parliament's recommendations and build a small number of very large stations.[14]

 

The London Power Company's first of these super power stations was planned for the Battersea area, on the south bank of the River Thames in London. The proposal was made in 1927, for a station built in two stages and capable of generating 400 megawatts (MW) of electricity when complete.[14] The site chosen was a 15-acre (61,000 m2) plot of land which had been the site of the reservoirs for the former Southwark and Vauxhall Waterworks Company.[15] The site was chosen for its proximity to the River Thames for cooling water and coal delivery, and because it was in the heart of London, the station's immediate supply area.[16]

 

The proposal sparked protests from those who felt that the building would be too large and would be an eyesore, as well as worries about the pollution damaging local buildings, parks and even paintings in the nearby Tate Gallery. The company addressed the former concern by hiring Sir Giles Gilbert Scott to design the building's exterior. He was a distinguished architect and industrial designer, famous for his designs for the red telephone box and Liverpool Anglican Cathedral. He subsequently designed another London power station, Bankside, which now houses Tate Modern art gallery.[14] The pollution issue was resolved by granting permission for the station on the condition that its emissions were to be treated, to ensure they were "clean and smokeless".[15]

 

Construction of the first phase (the A Station) began in March 1929. The main building work was carried out by John Mowlem & Co,[17] and the structural steelwork erection carried out by Sir William Arrol & Co. Other contractors were employed for specialist tasks.[16] Most of the electrical equipment, including the steam turbine turbo generators, was produced by Metropolitan-Vickers in Trafford Park, Manchester.[14] The building of the steel frame began in October 1930. Once completed, the construction of the brick cladding began, in March 1931. Until the construction of the B Station, the eastern wall of the boiler house was clad in corrugated metal sheeting as a temporary enclosure.[16] The A Station first generated electricity in 1933, but was not completed until 1935.[16][18] The total cost of its construction was £2,141,550.[16] Between construction beginning in 1929 and 1933, there were six fatal and 121 non-fatal accidents on the site.[19]

 

After the end of the Second World War, construction began on the second phase, the B Station. The station came into operation gradually between 1953 and 1955.[14] It was nearly identical to the A Station from the outside and was constructed directly to its east as a mirror to it, which gave the power station its now familiar four-chimney layout. The construction of the B Station brought the site's generating capacity up to 509 megawatts (MW), making it the third largest generating site in the UK at the time, providing a fifth of London's electricity needs (with the remainder supplied by 28 smaller stations).[20] It was also the most thermally efficient power station in the world when it opened.[14]

 

The A Station had been operated by the London Power Company, but by the time the B Station was completed, the UK's electric supply industry had been nationalised, and ownership of the two stations had passed into the hands of the British Electricity Authority in 1948.[14]

 

On 20 April 1964, the power station was the site of a fire that caused power failures throughout London, including at the BBC Television Centre, which was due to launch BBC Two that night. The launch was delayed until the following day at 11 am.[21]

Design and specification

 

Battersea power station was designed in the brick cathedral style. It is now one of few existing examples in England of this once common design style.

 

Both of the stations were designed by a team of architects and engineers. The team was headed by Dr. Leonard Pearce, the chief engineer of the London Power Company, but a number of other notable engineers were also involved, including Henry Newmarch Allott, and T. P. O'Sullivan who was later responsible for the Assembly Hall at Filton. J. Theo Halliday was employed as architect, with Halliday & Agate Co. employed as a sub-consultant. Halliday was responsible for the supervision and execution of the appearance of the exterior and interior of the building. Architect Sir Giles Gilbert Scott was involved in the project much later on, consulted to appease public reaction, and referred to in the press as "architect of the exterior".[16] The station was designed in the brick-cathedral style of power station design, which was popular at the time.[22] Battersea is one of a very small number of examples of this style of power station design still in existence in the UK, others being Uskmouth and Bankside.[23] The station's design proved popular straightaway, and was described as a "temple of power", which ranked equal with St Paul's Cathedral as a London landmark. In a 1939 survey by The Architectural Review a panel of celebrities ranked it as their second favourite modern building.[24]

 

The A Station's control room was given many Art Deco fittings by architect Halliday. Italian marble was used in the turbine hall, and polished parquet floors and wrought-iron staircases were used throughout.[15] Owing to a lack of available money following the Second World War, the interior of the B Station was not given the same treatment, and instead the fittings were made from stainless steel.[25]

 

Each of the two connected stations consists of a long boiler house with a chimney at each end and an adjacent turbine hall. This makes a single main building which is of steel frame construction with brick cladding, similar to the skyscrapers built in the United States around the same time. The station is the largest brick structure in Europe.[14] The building's gross dimensions measure 160 metres (520 ft) by 170 metres (560 ft), with the roof of the boiler house standing at over 50 metres (160 ft). Each of the four chimneys is made from concrete and stands 103 metres (338 ft) tall with a base diameter of 8.5 metres (28 ft) tapering to 6.7 metres (22 ft) at the top. The station also had jetty facilities for unloading coal, a coal sorting and storage area, control rooms and an administration block.[16]

 

The A Station generated electricity using three turbo alternators; two 69 megawatt (MW) Metropolitan-Vickers British Thomson-Houston sets, and one 105 MW Metropolitan-Vickers set, totalling 243 MW. At the time of its commissioning, the 105 MW generating set was the largest in Europe.[26] The B Station also had three turbo alternators, all made by Metropolitan-Vickers. This consisted of two units which used 16 MW high-pressure units exhausting to a 78 MW and associated with a 6 MW house alternator, giving these units a total rating of 100 MW. The third unit consisted of a 66 MW machine associated with a 6 MW house alternator, giving the unit a rating of 72 MW. Combined, these gave the B station a generating capacity of 260 MW, making the site's generating capacity 503 MW. All of the station's boilers were made by Babcock & Wilcox, fuelled by pulverised coal from pulverisers also built by Babcock & Wilcox. There were nine boilers in the A station and six in the B station. The B station's boilers were the largest ever built in the UK at that time. The B station also had the highest thermal efficiency of any power station in the country for the first twelve years of its operation.[27]

Operations

Coal transportation

Coal was usually brought to the station by collier ships, and unloaded by cranes, which are still intact on the station's riverfront.

 

The power station consumed over 1,000,000 tonnes of coal annually, mostly from pits in South Wales and North East England, delivered by coastal collier ships. They were "flat-irons"[28] with a low-profile superstructure and fold-down funnels and masts to fit under the Thames' bridges above the Pool of London. The LPC and its nationalised successors owned and operated several "flat-irons" for the service.[28]

 

Coal was usually delivered to the jetty where two cranes, capable of unloading two ships at a time at a rate of 480 tonnes an hour, offloaded coal. Some coal was delivered by rail to the east of the station from the Brighton Main Line which passes nearby. A conveyor belt system moved the coal to a storage area or directly to the station's boiler rooms. The conveyor belt system consisted of a series of bridges connected by towers. The storage area was a large concrete box capable of holding 75,000 tonnes of coal. It had an overhead gantry and a conveyor belt attached to the conveyor belt system for moving coal to the boiler rooms.[15][16]

Water system

 

Water, essential to a thermal power station, is used to condense steam from the steam turbines before it is returned to the boiler. Water cycled through the power station's systems was taken from the Thames. The station could extract an average of 1.5 gigalitres (340,000,000 imperial gallons) of water from the river each day.[15]

 

After the end of World War II, the London Power Company used the waste heat to supply the Pimlico District Heating Undertaking.[15]

Scrubbers

 

The reduction of sulphur emissions was an important factor from when the station was in the design stages, as it was one of the main concerns of the protesters. The London Power Company developed an experimental technique for washing flue gases in 1925. It used water and alkaline sprays over scrubbers of steel and timber in flue ducts. The gases were subject to continuous washing, as to the principal acid pollutant by using catalyst iron oxide, the sulphur dioxide was converted into sulphuric acid. The plant was one of the world's first commercial applications of this technique. This process was stopped in the B Station in the 1960s, when it was discovered that the discharge of these products into the Thames was more harmful than sulphur dioxide would be to the atmosphere.[16]

.

Closure and redevelopment

Closure

The station in November 1986, three years after ceasing to generate electricity

 

The station's demise was caused by its output falling with age, coupled with increased operating costs, such as flue gas cleaning. On 17 March 1975, the A Station was closed after being in operation for 40 years.[31][32] By this time the A Station was co-firing oil and its generating capacity had declined to 228 MW.[32]

 

Three years after the closure of the A Station, rumours began to circulate that the B Station would soon follow. A campaign was then launched to try to save the building as part of the national heritage. As a result, the station was declared a heritage site in 1980, when the Secretary of State for the Environment, Michael Heseltine, awarded the building Grade II listed status.[31] (This was upgraded to Grade II* listed in 2007.)[33] On 31 October 1983 production of electricity at Station B also ended, after nearly 30 years of operation.[32][34] By then the B Station's generating capacity had fallen to 146 MW.[32] The closure of the two stations was put down largely to the generating equipment becoming outdated, and the preferred choice of fuel for electricity generation shifting from coal toward oil, gas and nuclear power.[16]

Theme park proposal

The station's roof was removed in the late 1980s, when there were plans to convert the structure into a theme park.

 

Following the station's closure, the Central Electricity Generating Board had planned to demolish the station and sell the land for housing, but because of the building's then Grade II listed status, they had to pay the high cost of preserving the building. In 1983 they held a competition for ideas on the redevelopment of the site. It was won by a consortium led by developer David Roche[35] and which included John Broome, owner of Alton Towers Ltd. This consortium proposed an indoor theme park, with shops and restaurants. At an estimated cost of £35 million, the scheme was risky and would require over 2 million visitors a year to make any profit. The scheme received planning approval in May 1986 and the site was purchased by John Broome for £1.5 million in 1987. Work on converting the site began the same year.[34] British Rail planned to procure three electric multiple unit trains, designated "Class 447", to run a shuttle service from London Victoria station to the theme park.[36]

 

The project was halted in March 1989, for lack of funding, after costs had quickly escalated that January, from £35 million to £230 million. By this point huge sections of the building's roof had been removed, so that machinery could be taken out. Without a roof, the building's steel framework had been left exposed and its foundations were prone to flooding.[34]

 

In March 1990, the proposal was changed to a mixture of offices, shops and a hotel. This proposal was granted planning permission in August 1990, despite opposition from 14 independent organisations, including English Heritage. Despite permission being granted, no further work took place on the site between 1990 and 1993.[34]

Parkview proposal

 

In 1993, the site and its outstanding debt of £70 million were bought from the Bank of America by Hong Kong-based development company, Parkview International, for £10 million.[37] Following resolution of creditors' claims, it acquired the freehold title in May 1996. In November 1996 plans for the redevelopment of the site were submitted and outline consent was received in May 1997. Detailed consent for much of the site was granted in August 2000, and the rest in May 2001.[38] The company received full possession of the site in 2003. Having purchased the site, Parkview started work on a £1.1 billion project to restore the building and to redevelop the site into a retail, housing and leisure complex.[39]

 

During the Parkview era several masterplans for the site were developed by various architects and subsequently discarded.[35] One notable plan, called simply "The Power Station", was masterminded by architect Nicholas Grimshaw. The scheme proposed a shopping mall, with 40 to 50 restaurants, cafés and bars, 180 shops, as well as nightclubs, comedy venues and a cinema. Cosmopolitan shops would have been sited in the A Station's turbine hall, and label name shops in the B Station's turbine hall. The boiler house would have been glazed over and used as a public space for installations and exhibitions. A riverside walkway would also be created, running continuously along the riverside from Vauxhall to Battersea Park.[40]

 

Parkview claimed that 3,000 jobs would be created during the construction of the project, and 9,000 would be employed once completed, with an emphasis on local recruitment.[40] The Battersea Power Station Community Group campaigned against the Parkview plan and argued for an alternative community-based scheme to be drawn up. The group described the plans as "a deeply unattractive project that has no affordable housing anywhere on the 38-acre (150,000 m2) site, no decent jobs for local people and no credible public transport strategy".[41] They also criticised how appropriate the project was in its location, and proposal of other large buildings on the site. Keith Garner of the group said "I feel that there's a real problem of appropriateness. They need a completely different kind of scheme, not this airport-lounge treatment. What you see now is a majestic building looming up from the river. If you surround it with buildings 15 storeys high, you don’t have a landmark any more."[40]

 

In 2005 Parkview, English Heritage and the London Borough of Wandsworth claimed that the reinforcement inside the chimneys was corroded and irreparable. Wandsworth Council granted permission for them to be demolished and rebuilt. However, the Twentieth Century Society, the World Monuments Fund and the Battersea Power Station Company Ltd commissioned an alternative engineers' report that claimed that the existing chimneys could be repaired.[42] In response, Parkview claimed to have given a legally binding undertaking to the council to provide certainty that the chimneys will be replaced "like for like", in accordance with the requirements of English Heritage and the planning authorities.[43]

REO proposal

Real Estate Opportunities were granted permission to redevelop the power station in November 2010

 

On 30 November 2006, it was announced that Real Estate Opportunities, led by Irish businessmen Richard Barrett and Johnny Ronan of Treasury Holdings, had purchased Battersea Power Station and the surrounding land for €532 million (£400 million).[7][44] REO subsequently announced that the previous plan by Parkview had been dropped and that it had appointed the practice of the Uruguayan-born architect Rafael Viñoly of New York as the new master planner for the site.[5] The centrepiece of this masterplan was a 980-foot-high "eco tower" that dwarfed the power station and was described by London's then mayor Boris Johnson as an "inverted toilet-roll holder".[35] The tower was quickly dropped from the scheme. Jersey law firms, Ogier, Carey Olsen and Mourant Oxannes helped REO to raise funds for the new Battersea Power Station redevelopment.[45]

 

London Underground extension

Main article: Northern line extension to Battersea

 

A proposed part of the regeneration is an extension of the London Underground to serve the area. Although the site is close to Battersea Park and Queenstown Road stations, trains from these stations to Victoria and Waterloo respectively are already heavily loaded. The proposed 2-mile tunnelled extension would branch from the Northern line at Kennington and travel west to Nine Elms and Battersea. The proposed extension would cost at least £500 million in 2008 terms.[46]

 

Biomass power station

 

They include reusing part of the station building as a power station, fuelled by biomass and waste. The station's existing chimneys would be utilised for venting steam. The former turbine halls would be converted to shopping spaces, and the roofless boiler house used as a park.[5] An energy museum would also be housed inside the former station building. The restoration of the power station building would cost £150 million.[47]

 

Eco-dome

 

A plastic built "eco-dome" was to be built to the east of the power station.[5] This building was originally planned to have a large 300 metres (980 ft) chimney, but this has now been abandoned in favour of a series of smaller towers.[47] The eco-dome would house offices, and aim to reduce energy consumption in the buildings by 67% compared to conventional office buildings, by using the towers to draw cool air through the building. 3,200 new homes would also be built on the site to house 7,000 people.[5]

 

Consultation process

 

In June 2008 a consultation process was launched, which revealed that 66% of the general public were in favour of the plans. At an event at the station on 23 March 2009, it was announced that REO were to submit the planning application for their proposal to Wandsworth Council.[47]

 

Planning consent

 

The Council gave planning consent on 11 November 2010.[48] REO hoped for construction to begin in 2011, but this has now been cancelled.[49] The station structure itself was expected to be repaired and secure by 2016, with completion of the whole project by 2020.[5][48][47] Plans now include the construction of 3,400 apartments and 3,500,000-square-foot (330,000 m2) of office space.[49] Approximately 28,000 inhabitants and 25,000 workers are expected to occupy the space once complete.[50]

 

Lenders allow more time

 

Reuters reported on 1 September 2011 that lenders would allow more time for a new equity partner to be found:[51]

 

"Lenders to the owner of Battersea Power Station in London waived a debt maturity deadline yesterday while talks with potential new equity partners for its redevelopment continued, a source close to the process told Reuters. AIM-listed Real Estate Opportunities is seeking a partner for the 5.5 billion pound ($9 billion) development, and its senior lenders Lloyds and Ireland's National Asset Management Agency have already extended a deadline once relating to the 400 million pounds REO paid for the site in 2006. 'The banks have nothing to gain by calling the debt in. Talks with new equity partners continue, and an announcement may come in the next few weeks,' the source said".

 

However, in November 2011, Lloyds and NAMA called in the debt and the REO scheme collapsed into administration.[52]

Farrell and Partners Urban Park proposal

Battersea Power Station from the Chelsea Bridge

 

In February 2012, Sir Terry Farrell's architectural firm put forward a proposal to convert the power station site into an "urban park" with an option to develop housing at a later date. In this vision, Farrells propose to demolish all but the central boiler hall and chimneys and display the switching equipment from the control rooms in 'pods'. However, this plan was always unlikely to bear fruit due to the Grade II listing status of the building.[53]

Chelsea F.C. Interest

 

On 9 November 2008, Chelsea F.C. was reported to be considering moving to a new purpose built stadium at Battersea Power Station. The proposed stadium was to hold between 65,000 and 75,000 fans and feature a retractable roof. The proposals were designed by HOK Sport, the same company who designed Wembley Stadium. However, the Chelsea F.C. scheme was seriously in doubt due to concerns for the preservation of the site and the collapse of the REO scheme in late November 2011.[54]

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This article needs to be updated. The reason given is: Section is several years out of date. Please update this article to reflect recent events or newly available information. (June 2020)

2012 redevelopment plans

See also: Northern line extension to Battersea

The power station's 39-acre site received much interest, with many submitting bids in the 2012 sale.

Potential buyers were required to preserve the station's Grade II* listed four iconic chimneys and lime wash towers.

 

Following the failure of the REO bid to develop the site, in February 2012, Battersea Power Station was put up for sale on the open market for the first time in its history. The sale was conducted by the commercial estate agent, Knight Frank, on behalf of the site's creditors. In May 2012, several bids were received for the landmark site, which was put on the market after Nama and Lloyds Banking Group called in loans held by Treasury Holdings' Real Estate Opportunities (REO). Bids were received from Chelsea F.C. with other interested parties including a Malaysian interest, SP Setia, London & Regional, a company owned by the London-based Livingstone brothers, and housebuilder Berkeley. The net price was £400 million which would discharge the £325 million to cover the debts held by Nama and Lloyds plus a £100 million contribution to the Northern line extension. If the sale was unsuccessful, the administrator or its agent(s) would have kept the landowner's duty to maintain and preserve the site per its listed status.[55]

 

On 7 June 2012, Knight Frank announced that administrators Ernst & Young had entered into an exclusive agreement with Malaysian developers SP Setia and Sime Darby, who were given 28 days to conduct due diligence and agree the final terms of the deal. Completion of the sale to the Malaysian consortium took place in September 2012.[56] The redevelopment of the site will use the existing Vinoly master plan which intends to position the Power Station as the central focus of the regenerated 42-acre site, housing a blend of shops, cafes, restaurants, art and leisure facilities, office space and residential accommodation. The plan includes the restoration of the historic Power Station itself, the creation of a new riverside park to the north of the Power Station and the creation of a new High Street which is designed to link the future entrance to Battersea Power Station tube station with the Power Station. The redevelopment is hoped to bring about the extension of the existing riverside walk and facilitate access directly from the Power Station to Battersea Park and Chelsea Bridge.[57] The full redevelopment consists of eight main phases, some of which are planned to run concurrently. The plan includes over 800 homes of varying sizes.[58]

 

Construction work on Phase 1, called Circus West Village, designed by architects SimpsonHaugh and dRMM, is being undertaken by Carillion and commenced in 2013 alongside work on the Power Station.[59] Phase 1 was completed in 2017, with the Northern line extension and its new Battersea Power Station terminus anticipated to be completed in 2021.[60] Circus West Village now has over 1500 residents and over 23 restaurants, cafes and retailers now open.[61][62]

 

WilkinsonEyre was appointed in 2013 to carry out the restoration of the Grade II* listed Power Station.[63] Work commenced in 2013 and plans included the restoration of the art deco structure internally and externally, reconstruction of the chimneys, and refurbishment of the historic cranes and jetty as a new river taxi stop.[64] Restoration work on the power station's chimneys was completed in 2017.[65] In 2019, the jetty in front of the power station opened to the public for the first time in its history.[66] Retail brands set to open outlets inside the power station include Hugo Boss, Jo Malone London, Uniqlo, Mac Cosmetics, Space NK, Finlay & Co and Watches of Switzerland.[67][68] In May 2020, the first residents moved into their new homes at the power station.[69] As part of the development, a 200-seat theatre, the Turbine Theatre, was established in railway arches under the Grosvenor Bridge in September 2019.[70]

 

In October 2013, Frank Gehry was appointed joint architect with Foster + Partners to design "Phase 3" of the scheme, which will provide "the gateway to the entire development and the new Northern line extension".[71]

Apple

 

In September 2016, Apple announced plans to renovate and eventually house 1,400 employees at the station by 2021, occupying around 500,000 square feet of the space. Apple and other firms will share the site with over 4,000 homes.[72]

In popular culture

The station has become an iconic structure and has been featured in many forms of culture in its more than eighty-year history.

Main article: Battersea Power Station in popular culture

 

Battersea Power Station has become an iconic structure, being featured in or used as a shooting location for many films, television programmes, music videos and video games. One of the station's earliest appearances on film was in Alfred Hitchcock's 1936 film Sabotage, which shows the station before the construction of the B station.[73] The station makes a brief appearance in The Beatles' second film, Help!, in 1965. It also appears during the first daylight attack on London sequence in the 1969 movie Battle of Britain, in the movie as in real life used as a navigational landmark by the attacking Luftwaffe bombers.

 

One of the likely reasons for the power station's worldwide recognition is its appearance on the cover of Pink Floyd's 1977 album, Animals, which sold millions of copies worldwide. The cover photograph showed the power station with the group's inflatable pink pig floating above it. The photographs were taken in early December 1976 and the inflatable pig was made by the German company Ballon Fabrik and Australian artist Jeffrey Shaw.[74][75] The inflatable pig was tethered to one of the power station's southern chimneys, but broke loose from its moorings and, to the astonishment of pilots in approaching planes, drifted into the flight path of Heathrow Airport. Police helicopters tracked its course, until it landed in Kent.[76] Video footage of the photoshoot was used in the promotional video for the song "Pigs on the Wing".[77] The album was officially launched at an event at the power station.[76]

 

The interior of the A station's control room was used for the "Find the Fish" segment of Monty Python's 1983 film, The Meaning of Life.[78]

 

A close-up of the station can be seen as stand-in for the exterior of a London railway station in Michael Radford's 1984 film, Nineteen Eighty-Four.[79]

 

The station was used several times by ambient house band The Orb on the covers of their albums - the founder of the band Alex Patterson having being born and raised in Battersea - including The Orb's Adventures Beyond the Ultraworld. The band also parodied Pink Floyd's inflatable pig flying over Battersea Power Station on the cover of their Live 93 album, which featured a floating toy sheep named Flossie hovering above a similar power station.[citation needed]

 

The station's ruined interior was also used for the climactic battle of the 1995 Richard Loncraine/Ian McKellen film of Shakespeare's Richard III, reimagined in 1930s England.

 

The station appears in a scene in the 2006 movie Children of Men. A pig balloon also appears in the scene as homage to Pink Floyd's Animals.[80]

 

In October 2007, the power station was used as a filming location for the Batman movie The Dark Knight. The station's stripped, empty interior was used as a setting for a burnt-out warehouse.[81]

 

The station has appeared numerous times in the long-running British science fiction TV series Doctor Who. It appeared briefly in the story The Dalek Invasion of Earth in 1964, which saw the station in the 22nd century with two chimneys demolished, and a nearby nuclear reactor dome.[82] Another notable appearance in the show was in the 2006 two-parter "Rise of the Cybermen" and "The Age of Steel" in which it served as the factory of Cybus Industries, producing Cybermen, one of the show's most iconic villains.

 

The opening sequence of the Agatha Christie's Poirot television series, set in 1936 England, features a stylized rendering of the A Station, accentuating its iconic Art Deco architecture.

 

In recent years, the power station has been used for various sporting, cultural and political events. Since 22 August 2009, the station has been used as a venue on the Red Bull X-Fighters season.[83] On 13 April 2010 the station was used as the venue for the launch of the Conservative Party's 2010 general election manifesto.[84] Between 6 and 7 May 2010, the station site was used by Sky News in their coverage of the election.[85]

 

Recently, Spanish poet Eduardo Moga has written about the building;[86] and a picture of it by Joel P. has been used as the cover for another Spanish writer's short tale: David Ferrer's La verdad sobre Mr. Henry Baker (cuento de Navidad).[87]

 

The building appears in the 2020 video game Watch Dogs: Legion. In the game, set in the near future, the power station has been converted into a shopping complex, named The Battersea, similar to the proposals made for the real site.

The Scream by Edvard Munch

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/The_Scream

  

The Scream

Norwegian: Skrik, German: Der Schrei der Natur

The Scream.jpg

Artist: Edvard Munch

Year1893

TypeOil, tempera, pastel and crayon on cardboard

Dimensions91 cm × 73.5 cm (36 in × 28.9 in)

LocationNational Gallery, Oslo, Norway

The Scream (Norwegian: Skrik) is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. Der Schrei der Natur (The Scream of Nature) is the title Munch gave to these works, all of which show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time."[1]

 

Edvard Munch created the four versions in various media. The National Gallery, Oslo, holds one of two painted versions (1893, shown here). The Munch Museum holds the other painted version (1910, see gallery, below) and a pastel version from 1893. These three versions have not traveled for years.[2]

 

The fourth version (pastel, 1895) was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black,[3][4] the third highest nominal price paid for a painting at auction.[5] The painting was on display in the Museum of Modern Art in New York from October 2012 to April 2013.

 

Also in 1895, Munch created a lithograph stone of the image. Of the lithograph prints produced by Munch, several examples survive.[6] Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch's absence.[7]

 

The Scream has been the target of several high-profile art thefts. In 1994, the version in the National Gallery was stolen. It was recovered several months later. In 2004, both The Scream and Madonna were stolen from the Munch Museum, and were both recovered two years later.

 

Contents [hide]

1Sources of inspiration

2Painting materials

3Thefts

4Record sale at auction

5In popular culture

6Gallery of versions

7References

8Further reading

9External links

Sources of inspiration[edit]

 

Edvard Munch, 1921

The original German title given by Munch to his work was Der Schrei der Natur ("The Scream of Nature"). The Norwegian word skrik usually is translated as scream, but is cognate with the English shriek. Occasionally, the painting also has been called The Cry.

 

In his diary in an entry headed, Nice 22 January 1892, Munch described his inspiration for the image:

 

One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.[8]

 

This memory was later rendered by Munch as a poem, which he hand-painted onto the frame of the 1895 pastel version of the work:

 

I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.[9]

 

Among theories advanced to account for the reddish sky in the background is the artist's memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream.[10] This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration.[11] The scene was identified as being the view from a road overlooking Oslo, the Oslofjord and Hovedøya, from the hill of Ekeberg.[12] At the time of painting the work, Munch's manic depressive sister Laura Catherine was a patient at the asylum at the foot of Ekeberg.[citation needed]

 

In 1978, the Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Munch's friend Paul Gauguin: it stood as a model for the central figure in his painting, Human misery (Grape harvest at Arles) and for the old woman at the left in his painting, Where Do We Come From? What Are We? Where Are We Going?. In 2004, an Italian anthropologist speculated that Munch might have seen a mummy in Florence's Museum of Natural History, which bears an even more striking resemblance to the painting.[13]

 

The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one's self,[14] and also facial pain in the form of Trigeminal neuralgia.[15]0

 

Painting materials[edit]

The material composition of the 1893 painted version was examined in 2010.[16] The pigment analysis revealed the use of cadmium yellow, vermilion, ultramarine and viridian among other pigments of the 19th century.[17]

 

Thefts[edit]

The Scream has been the target of a number of thefts and theft attempts. Some damage has been suffered in these thefts.

  

Two men breaking into the National Gallery, Oslo, to steal the gallery's (1893 tempera on cardboard) version of The Scream, February 1994

On 12 February 1994, the same day as the opening of the 1994 Winter Olympics in Lillehammer, two men broke into the National Gallery, Oslo, and stole its version of The Scream, leaving a note reading "Thanks for the poor security".[18][19] The painting had been moved down to a second-story gallery[20] as part of the Olympic festivities.[21] After the gallery refused to pay a ransom demand of US$1 million in March 1994, Norwegian police set up a sting operation with assistance from the British police (SO10) and the Getty Museum and the painting was recovered undamaged on 7 May 1994.[20] In January 1996, four men were convicted in connection with the theft, including Pål Enger, who had been convicted of stealing Munch's Vampire in 1988.[22] They were released on appeal on legal grounds: the British agents involved in the sting operation had entered Norway under false identities.[23]

  

Thieves taking paintings from the Munch Museum in Oslo on 22 August 2004

The 1910 tempera on board version of The Scream was stolen on 22 August 2004, during daylight hours, when masked gunmen entered the Munch Museum in Oslo and stole it and Munch's Madonna.[24] A bystander photographed the robbers as they escaped to their car with the artwork. On 8 April 2005, Norwegian police arrested a suspect in connection with the theft, but the paintings remained missing and it was rumored that they had been burned by the thieves to destroy evidence.[25][26] On 1 June 2005, with four suspects already in custody in connection with the crime, the city government of Oslo offered a reward of 2 million Norwegian krone (roughly US$313,500 or €231,200) for information that could help locate the paintings.[27] Although the paintings remained missing, six men went on trial in early 2006, variously charged with either helping to plan or participating in the robbery. Three of the men were convicted and sentenced to between four and eight years in prison in May 2006, and two of the convicted, Bjørn Hoen and Petter Tharaldsen, were also ordered to pay compensation of 750 million kroner (roughly US$117.6 million or €86.7 million) to the City of Oslo.[28] The Munch Museum was closed for ten months for a security overhaul.[29]

 

On 31 August 2006, Norwegian police announced that a police operation had recovered both The Scream and Madonna, but did not reveal detailed circumstances of the recovery. The paintings were said to be in a better-than-expected condition. "We are 100 percent certain they are the originals," police chief Iver Stensrud told a news conference. "The damage was much less than feared."[30][31] Munch Museum director Ingebjørg Ydstie confirmed the condition of the paintings, saying it was much better than expected and that the damage could be repaired.[32] The Scream had moisture damage on the lower left corner, while Madonna suffered several tears on the right side of the painting as well as two holes in Madonna's arm.[33] Before repairs and restoration began, the paintings were put on public display by the Munch Museum beginning 27 September 2006. During the five-day exhibition, 5,500 people viewed the damaged paintings. The conserved works went back on display on 23 May 2008, when the exhibition "Scream and Madonna — Revisited" at the Munch Museum in Oslo displayed the paintings together.[34] Some damage to The Scream may prove impossible to repair, but the overall integrity of the work has not been compromised.[35][36]

 

Record sale at auction[edit]

The 1895 pastel-on-board version of the painting, owned by Norwegian businessman Petter Olsen, sold at Sotheby's in London for a record price of nearly US$120 million at auction on 2 May 2012.[37] The bidding started at $40 million and lasted for over 12 minutes when American businessman Leon Black by phone gave the final offer of US$119,922,500, including the buyer's premium.[4] Sotheby's said the painting was the most colorful and vibrant of the four versions painted by Munch and the only version whose frame was hand-painted by the artist to include his poem, detailing the work's inspiration.[2] After the sale, Sotheby's auctioneer Tobias Meyer said the painting was "worth every penny", adding: "It is one of the great icons of art in the world and whoever bought it should be congratulated."[38]

 

The previous record for the most expensive work of art sold at auction had been held by Picasso's Nude, Green Leaves and Bust, which went for US$106.5 million at Christie's two years prior on 4 May 2010.[39] When accounting for inflation, the highest price paid for art at an auction is still held by Van Gogh's Portrait of Dr. Gachet, which sold for $82.5 million in 1990, or about $149 million 2012 dollars.[40] There have been reports that The Card Players, by Cézanne, sold privately for $250m in 2011,[41][42] which can not be verified for the establishment of a record price.

 

In popular culture[edit]

In the late twentieth century, The Scream was imitated, parodied, and outright copies have been made following its copyright expiration, which led to it acquiring an iconic status in popular culture. It was used on the cover of some editions of Arthur Janov's book The Primal Scream.[43] In 1983–1984, pop artist Andy Warhol made a series of silk prints copying works by Munch, including The Scream. His stated intention was to desacralize the painting by making it into a mass-reproducible object. Munch had already begun that process, however, by making a lithograph of the work for reproduction. Erró's ironic and irreverent treatment of Munch's masterpiece in his acrylic paintings The Second Scream (1967) and Ding Dong (1979) is considered a characteristic of post-modern art.[44] Cartoonist Gary Larson included a "tribute" to The Scream (entitled The Whine) in his Wiener Dog Art painting and cartoon compilation, in which the central figure is replaced by a howling dachshund. The Scream has been used in advertising, in cartoons, such as The Simpsons, films, and on television. The principal alien antagonists depicted in the 2011 BBC series of Doctor Who, named "The Silence", have an appearance partially based on The Scream.[45] The Ghostface mask worn by the primary antagonists of the Scream series of horror movies is based on the painting, and was created by Brigitte Sleiertin, a Fun World employee, as a Halloween costume, prior to being discovered by Marianne Maddalena and Wes Craven for the film.[46]

 

In 2013, The Scream was one of four paintings that the Norwegian postal service chose for a series of stamps marking the 150th anniversary of Edvard Munch’s birth.[47]

 

A patient resource group for trigeminal neuralgia (which has been described as the most painful condition in existence) have also adopted the image as a symbol of the condition.[48]

 

In the anime Detective Conan episode 774 (2015) "The Missing Scream of Munch", the disappearance of The Scream plays the main part of story.[49]

s128a 10235 EncLZ1961-5 Meksiko Mexico México Zagreb MCMLXI Enciklopedija Leksikografskog zavoda Zagreb MCMLXI Encyclopedia of the Lexicographical Institute Izrada Zdenka Sertić

Following, a text, in english, from Wikipedia the free encyclopedia:

Great Egret

For the similar Australasian species, see Eastern Great Egret.

The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.

Description:

The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.

The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.

Systematics and taxonomy:

Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.

Subspecies

There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:

Ardea alba alba (Europe)

Ardea alba egretta (Americas)

Ardea alba melanorhynchos (Africa)

Ecology and status:

The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.

The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]

The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.

Diet:

The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.

Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.

In culture:

The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.

"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.

 

A seguir, texto em português da Wikipédia, a enciclopédia livre:

 

Garça-branca-grande

A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.

Dieta:

Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.

Taxonomia:

Subespécies

C. a. modesta - Ásia e Australasia

C. a. alba - Europa

C. a. egretta - América do Norte

C. a. melanorhynchos - África

 

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília, Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

From Wikipedia, the free encyclopedia

 

Shea Stadium

Shea Stadium is located in New York City

 

Location 123-01 Roosevelt Avenue

Flushing, Queens, New York City, New York 11368-1699

Coordinates 40°45′20″N 73°50′53″WCoordinates: 40°45′20″N 73°50′53″W

Owner City of New York

Operator New York City Department of Parks and Recreation (1964–1981)

New York Mets (1981–2008)

Capacity Baseball: 57,333[1]

Football: 60,372[2]

Field size

Left Field 338 ft (103 m)

Left Field ('64-'77) 341 (104)

Medium Left-Center 358 (109)

Left-Center 371 (113)

Left-Center (deep) 396 (121)

Center 410 (125)

Right-Center (deep) 396 (121)

Right-Center 371 (113)

Medium Right-Center 358 (109)

Right Field 338 (103)

Right Field ('64-'77) 341 (104)

Surface Kentucky Bluegrass

Construction

Broke ground October 28, 1961

Opened April 17, 1964

Closed September 28, 2008 (Final game)

Demolished October 14, 2008–February 18, 2009

Construction cost US$28.5 million

($220 million in 2016 dollars[3])

Architect Praeger-Kavanagh-Waterbury[4]

General contractor Carlin–Crimmins J.V.[5]

Tenants

New York Mets (MLB) (1964–2008)

New York Jets (AFL / NFL) (1964–1983)

New York Yankees (MLB) (1974–1975)

New York Giants (NFL) (1975)

 

Shea Stadium (formally known as William A. Shea Municipal Stadium) /ˈʃeɪ/) was a stadium in Flushing Meadows–Corona Park, Queens, New York City.[6] Built as a multi-purpose stadium, it was the home park of Major League Baseball's New York Mets from 1964 to 2008, as well as the New York Jets football team from 1964 to 1983.

 

Shea Stadium was named in honor of William A. Shea, the man who was most responsible for bringing National League baseball back to New York. It was demolished in 2009 to create additional parking for the adjacent Citi Field, the current home of the Mets.

 

History

Planning and construction

 

The origins of Shea Stadium go way back to the Brooklyn Dodgers' and the New York Giants' relocations to the U.S. west coast, which left New York without a National League baseball team. New York City official Robert Moses tried to interest Dodgers owner Walter O'Malley in the site as the location for a new stadium, but O'Malley refused, unable to agree on location, ownership, and lease terms. O'Malley preferred to pay construction costs himself so he could own the stadium outright. He wanted total control over revenue from parking, concessions, and other events. New York City, in contrast, wanted to build the stadium, rent it, and retain the ancillary revenue rights to pay off its construction bonds.[7] Additionally, O'Malley wanted to build his new stadium in Brooklyn, while Moses insisted on Flushing Meadows. When Los Angeles offered O'Malley what the City of New York wouldn't—complete ownership of the facility—he left for southern California in a preemptive bid to install the Dodgers there before a new or existing major league franchise could beat him to it. At the same time, Horace Stoneham moved his New York Giants to the San Francisco Bay Area, ensuring that there would be two National League West Coast teams, and preserving the longstanding rivalry with the Dodgers that continues to this day.

 

In 1960, the National League agreed to grant an expansion franchise to the owners of the New York franchise in the abortive Continental League, provided that a new stadium be built. Mayor Robert Wagner, Jr. had to personally wire all National League owners and assure them that the city would build a stadium.

 

On October 6, 1961, the Mets signed a 30-year stadium lease,[8] with an option for a 10-year renewal. Rent for what was originally budgeted as a $9 million facility was set at $450,000 annually, with a reduction of $20,000 each year until it reached $300,000 annually.

 

The Mets' inaugural season (1962) was played in the Polo Grounds, with original plans calling for the team to move to a new stadium in 1963. In October 1962, Mets official Tom Meany said, "Only a series of blizzards or some other unforeseen trouble might hamper construction."[citation needed] That unforeseen trouble surfaced in a number of ways: the severe winter of 1962–1963, along with the bankruptcies of two subcontractors and labor issues. The end result was that both the Mets and Jets played at the Polo Grounds for one more year.

 

It was originally to be called "Flushing Meadow Park Municipal Stadium"[9] – the name of the public park on which it was built – but a movement was launched to name it in honor of William A. Shea, the man who brought National League baseball back to New York.

Opening

 

After 29 months and $28.5 million, Shea Stadium opened on April 17, 1964, with the Pittsburgh Pirates beating the Mets 4–3 before a crowd of 50,312.[10] The stadium opened five days before the 1964-65 New York World's Fair, across Roosevelt Avenue. Although not officially part of the fair grounds, the stadium sported steel panels on its exterior in the blue-and-orange colors of the Fair. The panels were removed in 1980.

Demolition

 

In accordance with New York City law, Shea Stadium was dismantled, rather than imploded.[11] The company with the rights to sell memorabilia was given two weeks after the final game to remove seats, signage and other potentially saleable and collectable items before demolition was to begin. The seats were the first ($869 per pair plus tax, a combination of '86 and '69),[12] followed by other memorabilia such as the foul poles, dugouts, stadium signage, and the giant letters that spelled out "SHEA" at the front of the building.

Demolition in progress. Top photo: close-up view of the stadium during demolition. Bottom photo: demolition as viewed from the IRT Flushing Line.

 

After salvaging operations concluded, demolition of the ballpark began on October 14, 2008. On October 18, the scoreboard in right field was demolished, with the bleachers, batter's eye and bullpens shortly thereafter.[13]

 

By November 10, the field, dugouts and the rest of the field level seats had been demolished.[14]

 

By mid-December, all of the Loge level seats and a good portion of the Mezzanine level seating were gone as well, leaving only the outer shell remaining.

Plaque commemorating the location of Shea Stadium's home plate, now in Citi Field's parking lot.

 

Demolition work on the upper deck began by January 1, 2009. The next day, all that remained of sections 26–48 of the upper deck was the steel framework. By January 8, the steel framework for sections 36–48 of the upper deck had been completely removed; all that remained of the "Live & In Person" advertising banner at the top above Gate A was the extreme right portion with the Shea Stadium Final Season logo. As of January 15, the far left field portion of Shea was completely demolished and the left field upper deck (sections 25–47) was stripped to its steel framework. The remaining letters at the top of the ballpark behind home plate were taken down on January 21. Approximately two-thirds of the stadium's outer superstructure was gone by January 24.

 

On January 31, Mets fans all over New York came to Shea Stadium for one final farewell. Fans took a tour of the site, told stories, and sang songs.[15] The last remaining section of seats was demolished on February 18. Fans stood in awe as the remaining structure of Shea Stadium (one section of ramps) was torn down at 11:22 that morning.[16][17]

 

The locations of Shea's home plate, pitcher's mound, and bases are marked in Citi Field's parking lot. The plaques feature engravings of the neon baseball players that once graced the exterior of the stadium.[18]

Redevelopment

 

On October 9, 2013, the New York City Council approved a plan to build a mall and entertainment center called Willets West in the Citi Field parking lot where Shea Stadium stood, as part of an effort by the city to redevelop the nearby neighborhood of Willets Point.[19][20] However, in 2015, the Appellate Division of the New York State Supreme Court ruled that the site, considered parkland, could not be used for commercial development without permission from New York State.[21]

 

Shea Stadium was the home of the New York Mets starting in 1964, and hosted the Major League Baseball All-Star Game that year, with Johnny Callison of the Philadelphia Phillies hitting a home run in the ninth inning to win the only Mid-Summer Classic held in the Queens ballpark. A month earlier, on Father's Day, Callison's teammate, future Hall of Fame member and United States Senator Jim Bunning, pitched a perfect game against the Mets.[22]

 

The stadium was often criticized by baseball purists for many reasons, even though it was retrofitted to be a baseball-only stadium after the Jets left. The upper deck was one of the highest in the majors. The lower boxes were farther from the field than similar seats in other parks because they were still on the rails that swiveled the boxes into position for football.[23] Outfield seating was sparse, in part because the stadium was designed to be fully enclosed.

 

At one time, Shea's foul territory was one of the most expansive in the majors. This was very common for ballparks built during the 1960s, in part due to the need to accommodate the larger football field.[23] However, seats added over the years in the lower level greatly reduced the size of foul territory by the dawn of the 21st century. On the plus side, Shea always used a natural grass surface, in contrast to other multi-purpose stadiums such as Three Rivers Stadium, Veterans Stadium, and Riverfront Stadium, which were built in the same era and style and used artificial turf instead of natural grass.

 

Shea Stadium hosted postseason baseball in 1969, 1973, 1986, 1988, 1999, 2000, and 2006; it hosted the World Series in 1969, 1973, 1986, and 2000. It had the distinction of being the home of the 1969 "Miracle Mets"—a team led by former Brooklyn Dodger Gil Hodges that defied 100–1 odds and won the World Series, after seven straight seasons in last or next-to-last place. Shea became famous for the bedlam that took place after the Mets won the decisive Game 5 of the 1969 World Series, as fans stormed the field in celebration. Similar scenes took place a few weeks earlier after the Mets clinched the National League East title, and then defeated the Atlanta Braves in the first National League Championship Series to win the pennant.

 

Tommie Agee, Lenny Dykstra, Todd Pratt, Robin Ventura, and Benny Agbayani hit post-season, game-winning home runs at Shea.

 

Tommie Agee was the only player in the history of the ballpark to hit a home run into the upper deck in left field. The spot was marked with a sign featuring Agee's number, and the date, which was April 10, 1969. Teammate Cleon Jones said the ball was still rising when it hit the seats, so it very likely could have been the longest home run ever hit at Shea Stadium.[citation needed]

 

In 1971, Dave Kingman – then with the San Francisco Giants and later to play for the Mets on two occasions – hit a home run that smashed off the windshield of the Giants' team bus, parked behind the left field bullpen.

 

For many years, the Mets' theme song, "Meet the Mets", was played at Shea before every home game. Jane Jarvis, a local jazz artist, played the popular songs on the Thomas organ at Mets games for many years at the stadium.[24]

 

On October 3, 2004, the stadium was the venue for the last game in the history of the Montreal Expos when the Mets defeated the Expos 8–1.[25] Their story ended where it had started 35 years earlier: at Shea Stadium.[26] The following year, the Expos relocated to Washington, D.C., where they were renamed the Nationals.

 

As of June 10, 2005, the Mets had played more games at Shea Stadium than the Brooklyn Dodgers did at Ebbets Field.[citation needed]

 

The last game played at Shea Stadium was a loss to the Florida Marlins on September 28, 2008. However, the Mets were in the thick of the playoff chase until the last day. A win would have meant another game for Shea as the Mets were scheduled to play the Milwaukee Brewers in a one-game playoff for the National League Wild Card had they won. Following the game, there was a "Shea Goodbye" tribute in which many players from the Mets' glory years entered the stadium and touched home plate one final time so that fans could pay their last respects to the players and the stadium the Mets called home for 45 years. The ceremony ended with Tom Seaver throwing a final pitch to Mike Piazza, then, as the Beatles "In My Life" played on the stadium speakers the two former Met stars walked out of the centerfield gate and closed it behind them, followed by a display of blue and orange fireworks.[27][28]

 

Three National League Division Series were played at Shea Stadium. The Mets won all three, and never lost a Division Series game at Shea.

 

1999 against the Arizona Diamondbacks – Mets won 3 games to 1

2000 against the San Francisco Giants – Mets won 3 games to 1

2006 against the Los Angeles Dodgers – Mets won 3 games to 0

 

Seven National League Championship Series were played at Shea Stadium.

 

1969 against the Atlanta Braves – Mets won 3 games to 0

1973 against the Cincinnati Reds – Mets won 3 games to 2

1986 against the Houston Astros – Mets won 4 games to 2

1988 against the Los Angeles Dodgers – Dodgers won 4 games to 3

1999 against the Atlanta Braves – Braves won 4 games to 2

2000 against the St. Louis Cardinals – Mets won 4 games to 1

2006 against the St. Louis Cardinals – Cardinals won 4 games to 3[3]

 

^ The decisive seventh game of this series was played at Shea Stadium, marking the only time that the Mets ever lost the deciding game of a National League Championship Series at Shea.

 

Four World Series were played in Shea Stadium.

 

1969 against the Baltimore Orioles – Mets won 4 games to 1

1973 against the Oakland Athletics – A's won 4 games to 3

1986 against the Boston Red Sox – Mets won 4 games to 3

2000 against the New York Yankees – Yankees won 4 games to 1

 

The Yankees' World Series win in 2000 was the only time that visiting teams won a World Series at Shea Stadium. The Mets won both their World Series titles at Shea Stadium (in Game 5 in 1969, and Game 7 in 1986).

Shea Stadium prior to the start of a New York Mets game in 2008. Shea had the best attendance in the National League that year, averaging over 51,000 fans per game.

 

The New York Yankees played their home games in Shea Stadium during the 1974 and 1975 seasons while Yankee Stadium was being renovated. The move to Shea had been proposed earlier in the decade, but the Mets, as Shea's primary tenants, refused to sign off on the deal. However, when the city stepped in to pay for renovating Yankee Stadium, the Mets had little choice but to agree to share Shea with the Yankees.[citation needed]

 

On the afternoon of April 15, 1998, the Yankees also played one home game at Shea, against the Anaheim Angels after a beam collapsed at Yankee Stadium two days before, destroying several rows of seats.[29][30] With the Mets playing a game at Shea that evening against the Chicago Cubs, the Yankees used the visitor's locker room and dugout and the Angels used the home dugout and old locker room of the New York Jets.[31] Former Mets star Darryl Strawberry, then playing for the Yankees, hit a home run during the game. Stadium operators partially raised the Mets' home run apple signal before lowering it back down, to the delight of the crowd.[32]

 

Shea Stadium also hosted the first extra-inning regular season baseball opener ever played in New York, on March 31, 1998,[33] when the Mets opened their season against their rival Philadelphia Phillies, playing the longest scoreless opening day game in the National League and the longest one in Major League Baseball since 1926.[34][35] The Mets won the game 1–0 in the bottom of the 14th inning.[35]

 

During the 1977 New York City blackout the stadium was plunged into darkness at approximately 9:30 p.m. during a game between the Mets and the Chicago Cubs. It occurred during the bottom of the sixth inning, with the Mets losing 2–1 and Lenny Randle at bat. Jane Jarvis, Shea's organist (affectionately known as Shea's "Queen of Melody") played "Jingle Bells" and "White Christmas".[36] The game was eventually completed on September 16, with the Cubs winning 5–2.[37]

Football

 

The New York Jets of the American Football League and later, the National Football League played at Shea for 20 seasons, from 1964 to 1983 (excluding their first home game in 1977 played at Giants Stadium). The stadium hosted three Jets playoff games: the American Football League Championship in 1968 (beat the Oakland Raiders, 27–23), an AFL Divisional Playoff in 1969 (lost 13–6 to the Kansas City Chiefs) and the 1981 AFC Wild Card Playoff game (lost 31–27 to the Buffalo Bills).

 

For most of the Jets' tenure at Shea, they were burdened by onerous lease terms imposed at the insistence of the Mets. Until 1978, the Jets could not play their first home game until the Mets' season was finished. For instance, in 1969, the defending Super Bowl champion Jets didn't play a home game until October 20 due to the Mets advancing to (and winning) the World Series. As a result, the 1969 Jets opened with five consecutive road games, and then played all seven home games in consecutive weeks before closing with two road games. Even after 1978, the Mets' status as Shea's primary tenants would require the Jets to go on long road trips (switching Shea from baseball to football configuration was a complex process involving electrical, plumbing, field and other similar work). The stadium was also not well maintained in the 1970s. The Jets moved to Giants Stadium for the 1984 season, enticed by the more than 15,000 additional seats there. Fans ripped apart Shea after the last game of the 1983 season, which also was the last game for Pro Football Hall of Fame quarterback Terry Bradshaw, who threw two touchdown passes to lead the Pittsburgh Steelers to a 34–7 victory.[38] Even the scoreboard operator had a field day, displaying the home team as the "N.J. Jets".[39]

O.J. Simpson pictured breaking the NFL's single-season rushing record at Shea Stadium.

 

It was at Shea Stadium on December 16, 1973 that O.J. Simpson became the first running back to gain 2,000 yards in a single season[40] (and, to date, the only player to do it in 14 games or fewer). In the 1983 season, a Jets game against the Los Angeles Rams featured an 85-yard touchdown run by rookie Eric Dickerson, as well as a brawl between Rams offensive tackle Jackie Slater and Jets defensive end Mark Gastineau when Slater blindsided Gastineau after the Jet performed his infamous "Sack Dance" over fallen Rams quarterback Vince Ferragamo.

 

The NFL's New York Giants played their 1975 season at Shea while Giants Stadium was being built. The Giants were 5–9 that year (2–5 at Shea). Their coach was Bill Arnsparger and their quarterback was Craig Morton. The Giants played their final five home games of 1973 and all seven in 1974 at the Yale Bowl in New Haven, Connecticut after Yankee Stadium was closed on October 1, 1973 for a massive rebuilding, which was completed in time for the 1976 baseball season.

 

On the night of October 9, 1965, Shea Stadium hosted the football rivalry between Army and Notre Dame for the first and only time. The Fighting Irish blanked the Cadets, 17-0, beginning a 15-game winning streak for Notre Dame in the storied series.

 

The football field at Shea extended from around home plate to centerfield, with the baseline seating rotating out to fill left and right fields.

Soccer

 

The first soccer game at Shea Stadium occurred during International Soccer League tournament play on June 17, 1965.[41] New York United of the American Soccer League called Shea home in 1980.[42]

Other events

 

On Sunday, August 15, 1965, the Beatles opened their 1965 North American tour there to a record audience of 55,600.[43] "Beatlemania" was at one of its peaks at their Shea concert. Film footage shows many teenagers and women crying, screaming, and even fainting. The crowd noise was such that security guards can be seen covering their ears as the Beatles entered the field. The sound of the crowd was so deafening that none of the Beatles (or anyone else) could hear what they were playing. Nevertheless, it was the first concert to be held at a major stadium and set records for attendance and revenue generation, demonstrating that outdoor concerts on a large scale could be successful and profitable, and led the Beatles to return to Shea for a successful encore on August 23, 1966. In the television serial drama, Mad Men, the main character, Don Draper, has his secretary buy a pair of tickets for the Beatles' concert at Shea Stadium in 1965.[44] The attendance record stood until 1973 when it was broken by Led Zeppelin with 56,800 fans at Tampa Stadium.[45]

 

The next major music event to play Shea Stadium after the Beatles successful appearances was the Summer Festival for Peace on August 6, 1970.[36] It was a day-long fundraiser, which featured many of the era's biggest selling and seminal rock, folk, blues and jazz performers including: Janis Joplin, Paul Simon, Creedence Clearwater Revival, Steppenwolf, The James Gang, Miles Davis, Tom Paxton, John Sebastian, and others.

 

The next music show at Shea Stadium was the historic 1971 concert by Grand Funk Railroad in 1971, which broke the Beatles' then-record for fastest ticket sales. Humble Pie was the opening band. The same filmmakers for the documentary of the Rolling Stones concert at Altamont were commissioned to film it, but to date, a final film has not been released.

 

The stadium hosted numerous concerts since then, including Jethro Tull with opening act Robin Trower in July 1976 (billed as Tull v. Boeing because of the proximity to LaGuardia Airport), The Who with opening act The Clash in October 1982, and Simon & Garfunkel in August 1983. On August 18, 1983, The Police played in front of 70,000 fans at Shea, a concert that the band's singer and bassist Sting described as "like playing the top of Everest", and announced near the end of the concert: "We'd like to thank the Beatles for lending us their stadium."[46] The Rolling Stones performed at Shea for a six-night run in October 1989, and Elton John & Eric Clapton played a concert in August 1992. Bruce Springsteen and the E Street Band performed at Shea in early October 2003.[36]

 

The last concert event was a two-night engagement by Billy Joel on July 16 and July 18, 2008. The concert was dubbed The Last Play at Shea, and featured many special guest appearances, including former Beatle Paul McCartney who closed the second show with an emotional rendition of the Beatles classic "Let It Be". Other artists that joined Joel on stage for the shows were former Shea performer Roger Daltrey of The Who, Tony Bennett, Don Henley, John Mayer, John Mellencamp, Garth Brooks, and Steven Tyler of Aerosmith. The concert was the subject of a documentary film of the same name, which is used along with Shea's history to tell the story of changes in American suburban life.[47]

 

The 1978 International Convention of Jehovah's Witnesses was held at Shea Stadium from July 12 to July 16, 1978.[36]

 

Shea Stadium was parodied as "Che Stadium" for The Rutles film All You Need is Cash for a sequence that spoofed the Beatles' concert at the stadium.

 

During his tour of America in October 1979, Pope John Paul II was also among those hosted by Shea Stadium.[48] On the morning of the Pontiff's visit, Shea Stadium was awash in torrential rain, causing ankle-deep mud puddles, and threatened to ruin the event. But as the Popemobile entered the stadium, the rain stopped although the deep mud remained.

 

On December 9, 1979, as part of the halftime show of a National Football League game between the New York Jets and New England Patriots, a model airplane group put on a remote control airplane display. The grand finale was a remote control airplane, weighing 40 lbs, made to look like a red flying lawnmower. The pilot lost control of the airplane, and it crashed into the stands and hit John Bowen of Nashua, New Hampshire. Bowen died six days later.[49]

 

Between 1972 and 1980, Shea also hosted 3 wrestling events held by the then World Wrestling Federation. In 1980, it hosted a simulcast of the first fight between Roberto Duran and Sugar Ray Leonard, won by Duran.

 

In 1987, Marvel Comics rented Shea Stadium to re-enact the wedding of Spider-Man/Peter Parker and Mary Jane Watson.[50]

 

Recently on VH1's documentary series 7 Ages of Rock, Shea Stadium was named the most hallowed venue in all of rock music.

 

In Godzilla: The Series the stadium was destroyed in a fight between Godzilla and Crackler.

 

Shea Stadium was used in the 1970s for filming the 1973 movie Bang The Drum Slowly starring Robert De Niro and Michael Moriarty and the 1978 film The Wiz. In the latter film, the exterior pedestrian ramps were used for a motorcycle chase scene with Michael Jackson & Diana Ross.

 

In Men in Black, a Mets game at Shea was featured in the film, with outfielder Bernard Gilkey dropping a fly ball after being distracted by an alien spacecraft in the sky. Shea was also featured in Men in Black 3 which is where K and J intercept Griffin and the ArcNet in 1969 before Boris the Animal can capture it.

 

In the aftermath of the September 11 attacks, the stadium became a staging area for rescuers, its parking lots filled with food, water, medical supplies, even makeshift shelters where relief workers could sleep. Ten days later Shea reopened for the first post-attack sporting event in New York where the Mets beat the Braves, behind a dramatic home run by Mets catcher Mike Piazza.[51]

1975: Four teams, one stadium

 

The Mets, Yankees, Jets and Giants all called Shea home in 1975, the only time in professional sports history that two baseball teams and two football teams shared the same facility in the same year.[4] As Yankee Stadium was being renovated and Giants Stadium was nearing completion, there were scheduling clashes between the New York teams in baseball from April through September and both football teams from October through December. Even though Shibe Park housed the Phillies, A's, and Eagles collectively from 1940 to 1954 (excluding 1941), the 1975 sports calendar in Shea Stadium was unrivaled. The Jets and also the Giants could not play "home" games at Shea Stadium until the baseball season ended for the main tenant Mets and the temporary incumbent Yankees. In 1975, there was only a two-week overlap between the baseball and football seasons (the NFL season started on Sunday, September 21 that year, and the Major League Baseball season ended on Sunday, September 28). This meant the Jets opened at home on Sunday, October 5, the third week of the season, and the Giants on Sunday, October 12, the season's fourth week. It also meant that the Giants and Jets had to play a combined 14 home games in the final 12 weeks of the 14-week NFL season. To do so, the Giants played two Saturday afternoon home games, neither of which were televised, and both of which were played the day before a Jets' Sunday home game. Either the Jets or the Giants had a Sunday home game every weekend from October 5 through December 21.[52]

 

The Mets attracted 1,730,566 and the Yankees attracted 1,288,048 to their respective home games at Shea. Having both the Giants and Jets share Shea Stadium for one season foreshadowed what was to come in the future with the Meadowlands (a.k.a. Giants Stadium) after the Jets left Flushing Meadows for New Jersey following the 1983 NFL season.

Features

Design

 

Shea was a circular stadium, with the grandstand forming about two-thirds of a circle around the field and ending a short distance beyond the foul lines. The remainder of the perimeter was mostly empty space beyond the outfield fences. This space was occupied by the bullpens, scoreboards, and a section of bleachers beyond the left field fence. The stadium boasted 54 restrooms, 21 escalators, seats for 57,343 fans, and a massive 86' x 175' scoreboard. Also, rather than the standard light towers, Shea featured lamps along its upper reaches. Some deemed Shea a showplace, praised for its convenience, even its "elegance".[51]

 

The stadium was located close to LaGuardia Airport. For many years, interruptions for planes flying overhead were common at Shea, and the noise was so loud that radio and television broadcasts couldn't be heard. Later, flight plans were altered to alleviate the noise problem.

 

Shea was originally designed with two motor-operated stands that allow the field level seats to rotate on underground tracks, allowing the stadium to be converted between a baseball and an American football/soccer configuration. After the New York Jets football team moved to Giants Stadium in East Rutherford, New Jersey in 1984, the Mets took over operation of the stadium and retrofitted it for exclusive baseball use. As part of the refitting, Shea Stadium's exterior was painted blue and neon signs of baseball player silhouettes were added to the windscreens prior to the 1988 season. The original scoreboard was removed, and a new one installed in its place (fitting into the shell left behind by the old one), in 1988. The original (wooden) outfield wall was removed also removed at that time, and replaced by a padded fence.[4]

 

Banks of ramps that provided access from the ground to the upper levels were built around the outside circumference of the stadium. The ramps were not walled in and were visible from outside the stadium. The ramps were originally partly covered with many rectangular panels in blue and orange, the Mets' colors. These panels can be seen in the 1970s movie The Wiz, which used the exterior pedestrian ramps for a motorcycle chase scene with Michael Jackson and Diana Ross. The 1960s-style decorations were removed in 1980.[4] The banks of ramps resulted in the outer wall of the stadium jutting out where the banks existed.

 

The design also allowed for Shea Stadium to be expandable to 90,000 seats, simply by completely enclosing the grandstand. It was also designed to be later enclosed by a dome if warranted. In March 1965, a plan was formally announced to add a glass dome and add 15,000 seats.[23][53] The Mets strongly objected to the proposal.[54] The idea was later dropped after engineering studies concluded that the stadium's foundation would be unable to support the weight of the dome.[23]

 

The distances to the right and left field foul poles were initially both 341 feet (104 m). There was a horizontal orange line that determined where a batted ball was a home run or still in play. In 1978, Manager Joe Torre suggested moving in the fences to 338 feet (103 m) in the corners with a wall in front of the original brick wall, to decrease the number of disputed calls.[55]

 

Originally, all of the seats were wooden, with each level having a different color. The field boxes were yellow, the loge level seats were brown, the mezzanine seats were blue, and the upper deck seats were green. Each level above the field level was divided into box seats below the entrance/exit portals and reserved seats above the portals. The box seats were a darker shade than the reserved seats. The game ticket was the same color as the seat that it represented, and the signs in the lobby for that section were the same color as the seat and the ticket. Before the 1980 baseball season, they were replaced with red (upper deck), green (mezzanine), blue (loge), and orange (field level) plastic seats.

Shea Stadium from the air, 2005. Citi Field was later built in the parking area to the right (east) of the stadium.

 

Unlike Yankee Stadium, Shea was built on an open field, so there was no need to have it conform to the surrounding streets.

 

Before Shea Stadium closed in 2008, it was the only stadium in the major leagues with orange foul poles. This tradition is carried on at Citi Field as the foul poles there are the same color.

 

After the Jets left Shea, the exterior of the stadium was painted blue and white, two of the Mets' team colors.

 

In 2003, large murals celebrating the Mets' two world championships were added, covering the two ends of the grandstand. The 1986 mural was removed after the 2006 season because of deterioration (the wall was re-painted solid blue, and a window was opened on the mezzanine level where fans could view the progress of Citi Field), but the 1969 mural survived until the final game at the end of 2008.

 

The scoreboard was topped by a representation of the New York Skyline, a prominent part of the team logo. After the September 11 terrorist attacks, the Twin Towers of the World Trade Center were kept unlit, with a red-white-and-blue ribbon placed over them. The scoreboard was demolished in October 2008, but the skyline was preserved and is now located on the Shake Shack in Citi Field's "Taste Of The City" food court behind the giant scoreboard in center field.[56]

 

During the 2007 and 2008 seasons, the construction of Citi Field was visible beyond the left and center field walls of Shea.

 

From 1973 to 1979, fans could estimate the distance of home run balls, since there were several signs beyond the outfield wall giving the distance in feet from home plate, in addition to the nine markers within the field.[4]

Home Run Apple

 

The Home Run Apple came out of a magic hat after every Mets home run at Shea Stadium. It was first installed in May 1980 as a symbol of the Mets' advertising slogan "The Magic Is Back!" (the hat originally said "Mets Magic" in script but was changed in the mid-1980s to a simple "Home Run" in block capital letters).[57] A bigger apple was placed in center field at Citi Field. The original apple was installed inside Citi Field's bullpen gate and was visible from outside, on 126th Street. In 2010, the original Shea apple was relocated outside the Citi Field, in front of the Jackie Robinson Rotunda.[58]

Seating capacity

Baseball Years Capacity

1964–1984 55,300[59]

1985–1993 55,601[60]

1994–2001 55,777[61]

2002–2003 56,749[62]

2004 57,405[63]

2005 57,369[64]

2006–2008 57,333[65]

 

Football Years Capacity

1964–1983 60,372[66]

 

Homages

 

Four players in the National League named their children after Shea Stadium.[67]

 

Former Atlanta Braves third baseman Chipper Jones named his second son Shea after Jones' success in Shea Stadium against the Mets; he hit 19 home runs there, more than any other road park.[67]

Former Cincinnati Reds shortstop Barry Larkin named his eldest daughter Brielle D'Shea, as he enjoyed playing at Shea Stadium.[67]

Former Houston Astros third baseman Gary Cooper named his youngest daughter Shea after Shea Stadium. He also named his son Camden after Camden Yards in Baltimore.

Current New York Mets third baseman David Wright named his first daughter Olivia Shea. Wright began his career playing everyday in Shea Stadium for the Mets.

 

Actor Kevin James, who is a devoted Mets fan named his youngest daughter, Shea Joelle after the ballpark.[68]

A text, in english, from Wikipedia, the free encyclopedia:

The Burrowing Owl (Speotyto cunicularia) (ex-Athene cunicularia) is a small, long-legged owl found throughout open landscapes of North and South America. Burrowing owls can be found in grasslands, rangelands, agricultural areas, deserts, or any other dry, open area with low vegetation (Lewis 2005). They nest and roost in burrows, such as those abandoned by prairie dogs. Unlike most owls, burrowing owls are often active during the day. However, most hunting is done at dusk or at night.

Burrowing owls are able to live for at least 9 years in the wild and over 10 years in captivity.[citation needed] They are often killed by vehicles when crossing roads, and have many natural enemies, including badgers, coyotes, and snakes. They are also killed by both feral and domestic cats and dogs.

Burrowing owls have bright yellow eyes. The bill can be yellow or greenish depending on the subspecies. The legs are incompletely feathered, and the toes are grayish in color. They lack ear tufts and have a flattened facial disc. The owls have prominent white eyebrows and a white "chin" patch which they expand and display during certain behaviors.

Adult owls have brown upperparts with white spotting. The breast and belly are white with variable brown spotting or barring. Juvenile owls are similar in appearance, but they lack most of the white spotting above and brown barring below. Also, the young owls have a buff bar across the upper wing and their breast may be buffy rather than white.

Males and females are similar in size and appearance. However, adult males sometimes appear lighter in color because they spend more time outside the burrow during daylight, and their feathers become sun-bleached. The average adult is slightly larger than an American Robin, at 25 cm (10 inches) length, 53 cm (21 inches) wingspan, and 170g (6 oz) weight (Lewis 2005).

The typical "who who" call of a burrowing owl is associated with territory defense and breeding, often given by adult males to attract a female to a promising burrow. They also make other sounds, which are described as chucks, chattering, and screams. These sounds are usually accompanied by an up and down bobbing of the head. When alarmed, young birds will give a hissing call - a case of acoustic Batesian mimicry - that sounds like a rattlesnake (Haug et al. 1993).

Before European colonization, burrowing owls probably inhabited every suitable area of the New World, but they have experienced some restrictions in distribution since. They range from the southern portions of the western Canadian provinces through southern Mexico and western Central America. They are also found in Florida and many Caribbean islands. In South America, they are patchy in the northwest and through the Andes, but widely distributed from southern Brazil to Patagonia and Tierra del Fuego.

Burrowing owls are year-round residents in most of their range. Birds that breed in Canada and northern USA usually migrate south to Mexico and southern USA during winter months.

The burrowing owl is endangered in Canada[1], threatened in Mexico, and a species of special concern in Florida and most of the western USA. It is common and widespread in open regions of many Neotropical countries, where they sometimes even inhabit fields and parks in cities. In regions bordering the Amazon Rainforest they are spreading with deforestation. It is therefore listed as Least Concern on the IUCN Red List.

The major reasons for declining populations in North America are control programs for prairie dogs and loss of habitat, although burrowing owls readily inhabit some anthropogenic landscapes, such as airport grasslands or golf courses (Korfanta et al. 2005).

Burrowing owls are protected under the Migratory Bird Treaty Act in Canada, the United States, and Mexico. They are also included in CITES Appendix II.

Genetic analysis of the two North American subspecies indicates that inbreeding is not a problem within those populations (Korfanta et al. 2005).

The nesting season begins in late March or April in North America. Burrowing owls are usually monogamous, but occasionally a male will have two mates (Lewis 2005). Pairs of owls will sometimes nest in loose colonies. Their typical breeding habitat is open grassland or prairie, but they can occasionally adapt to other open areas like airports, golf courses, and agricultural fields. Burrowing owls are slightly tolerant of human presence, often nesting near roads, farms, homes, and regularly maintained irrigation canals.

The owls nest in an underground burrow, hence the name Burrowing Owl. They use burrows created by other burrowing animals such as prairie dogs, ground squirrels, or badgers (Holt et al. 1999). If burrows are unavailable and the soil is not hard or rocky, the owls may excavate their own. Burrowing owls will also nest in shallow, underground, man-made structures that have easy access to the surface.

The female will lay as many as 8-12 eggs over a two week period. She will then incubate the eggs for three to four weeks while the male brings her food. After the eggs hatch both parents will feed the chicks. Four weeks after hatching, the chicks are able to make short flights and begin leaving the nest burrow. The parents will still help feed the chicks for 1 to 3 months. While most of the eggs will hatch, only four to five chicks usually survive to leave the nest.

During the nesting season, burrowing owls will line the burrow with mammal dung, usually from cattle. The dung helps to control the microclimate inside the burrow and to attract insects, which the owls may eat (Levey et al. 2004).

Site fidelity rates appear to vary among populations. In some locations, owls will frequently reuse a nest several years in a row. Owls in migratory northern populations are less likely to return to the same burrow every year. Also, as with many other birds, the female owls are more likely to disperse to a different site than are male owls (Lutz & Plumpton 1999).

The highly variable diet includes small mammals, small birds, snakes, lizards, frogs, insects, and scorpions. But the owls mainly eat large insects and small rodents. Although burrowing owls often live in close proximity to ground squirrels, they rarely prey upon them. Unlike other owls, they also eat fruits and seeds, especially the fruit of tasajillo (Cylindropuntia leptocaulis) and other prickly pear and cholla cacti. When hunting they wait on a perch until they spot prey. Then they swoop down on prey or fly up to catch insects in flight. Sometimes they chase prey on foot across the ground.

The burrowing owl is sometimes separated in the monotypic genus Speotyto. This is based on an overall different morphology and karyotype. On the other hand, osteology and DNA sequence data suggests that the Burrowing Owl is just a terrestrial version of the Athene little owls, and it is today placed in that genus by most authorities.

A considerable number of subspecies have been described, but they differ little in appearance and the taxonomy of several needs to be validated (Holt et al. 1999). Most subspecies are found in the Andes and the Antilles. Only A. c. hypugaea and A. c. floridana are found in North America. Although distinct from each other, the relationship of the Floridan subspecies to (and its distinctness from) the Caribbean birds is not quite clear (Korfanta et al. 2005).

Um texto em português:

Coruja-buraqueira (Speotyto cunicularia).

Veja um vídeo clicando no endereço a seguir:

br.youtube.com/watch?v=BhCP0YqJDnY

Ficha Técnica

Nome comum: coruja-buraqueira, coruja-martelo, coruja-do-campo, caburé-de-cupim, caburé-do-campo, coruja-barata, coruja-buraqueira, coruja-do-campo, coruja-mineira, corujinha-buraqueira, corujinha-do-buraco, corujinha-do-campo, guedé, urucuera, urucuréia e urucuriá.

Nome científico: Speotyto cunicularia

Reino: Animal

Filo: Vertebrado

Classe: Aves

Ordem: Strigiformes

Família: Strigidae

Ave muito interessante e com características peculiares é tida pelo povo grego como a ave da sabedoria. Outros povos porém, acham que causa azar e arrepios seu canto quando rasga o silêncio noturno. Dizem ainda que é sinal de mal agouro e que o seu canto está pressagiando alguma tragédia, o que é pura crendice popular, pois o que se sabe é que as corujas são muito úteis ao homem predando pragas nas lavouras e controlando a população de ratos ao redor das cidades e no campo.

Pode girar seu pecoço em 270º

Características:

A coruja-buraqueira é muito comum pelos campos do Brasil.

Mede em torno de 20-30 cm com envergadura de 50-61cm e pesando em média 170g.

Com peito branco e plumagem amarelada o macho é ligeiramente maior que a fêmea, possuem cabeça arredondada e são aves muito tímidas.

Com olhos grandes e amarelos, a coruja-buraqueira tem a visão 100 vezes mais aguçada que a do homem e seus olhos estão dispostos frontalmente, como os do ser humano.

Quando necessita olhar algum objeto ao seu redor gira o pescoço em um ângulo de até 270 graus, aumentando assim o seu campo visual.

Essa disposição frontal, proporciona à coruja uma visão binocular (enxerga um objeto com ambos os olhos e ao mesmo tempo), isso significa que a coruja pode ver objetos em três dimensões, ou seja, altura, largura e profundidade.

Pode julgar distâncias similares ao ser humano e seu campo visual é de 110 graus, sendo 70 graus de visão binocular.

Os olhos da coruja-buraqueira são bem grandes, em algumas espécies de corujas até maiores que o próprio cérebro, a fim de melhorar sua eficiência em condições de baixa luminosidade, captando e processando melhor a luz disponível.

Além de sua privilegiada visão, a coruja-buraqueira é dona de uma audição potentíssima, conseguindo localizar e abater sua presa com apenas este sentido.

Abate preferencialmente pequenos roedores, insetos, anfíbios e pássaros. A coruja é uma ave de rapina, portanto mata para se alimentar. A tradução da palavra rapina é "roubo", o que caracteriza o fato de tais aves retirarem a vida de suas presas.

Rapineira e atenta à tudo

A coruja como a grande maioria dos animais possue território de caça. São ""equipadas "" com adaptações especiais que as tornam predadoras eficientes, sendo uma delas o vôo.

Sempre muito silenciosa e sorrateira, isso devido às penas especiais de sua asa, muito macias e em grande quantidade, conseguem cortar o ar e planar por muito tempo sendo muito discretas e imperceptíveis às suas presas.

A observação das presas se dá no alto de árvores ou em mourões de cercas nos pastos e até durante o vôo silencioso, quando fazem uma varredura na área de caça. Quando um alvo é avistado a coruja voa silenciosamente até ele, mantendo sua cabeça em linha reta ao alvo, quando então a joga para trás e empurra suas garras para frente a fim de prender seguramente sua presa. A força do impacto é violenta e certeira não dando chances à presa. Posteriormente a vítima é morta pela pressão do bico, num processo de abatimento de presas no solo.

O período reprodutivo da coruja-buraqueira começa nos meses de março e abril, os ninhos são feitos no solo, aproveitando antigas tocas de tatus ou simplesmente promovem a abertura de novos ninhos, num trabalho revezado entre o casal.

Os ninhos são escavados com os pés e bicos, formando uma galeria horizontal de até 3 m de profundidade por 30cm-60cm de largura.

Em média botam de 6 a 12 ovos, que são incubados por 28 dias pela fêmea; fica por conta do macho proteger o ninho e procurar alimento para toda a prole.

Com 14 dias os filhotes já ficam empoleirados na saída da cova, aos 44 dias saem do ninho e com 60 dias estão caçando pequenos insetos.

Informações do site: www.cuestajardins.com.br/?id=149&codigo=426&PHPSE...

Northrop Grumman B-2 Spirit.

From Wikipedia, the free encyclopedia

 

The Northrop (later Northrop Grumman) B-2 Spirit, also known as the Stealth Bomber, is an American heavy strategic bomber, featuring low observable stealth technology designed for penetrating dense anti-aircraft defenses; it is a flying wing design with a crew of two. The bomber can deploy both conventional and thermonuclear weapons, such as eighty 500 lb (230 kg)-class (Mk 82) JDAM Global Positioning System-guided bombs, or sixteen 2,400 lb (1,100 kg) B83 nuclear bombs. The B-2 is the only known aircraft that can carry large air-to-surface standoff weapons in a stealth configuration.

 

Development originally started under the "Advanced Technology Bomber" (ATB) project during the Carter administration, and its performance was one of his reasons for the cancellation of the supersonic B-1A bomber. ATB continued during the Reagan administration, but worries about delays in its introduction led to the reinstatement of the B-1 program as well. Program costs rose throughout development. Designed and manufactured by Northrop Grumman, the cost of each aircraft averaged US$737 million (in 1997 dollars). Total procurement costs averaged $929 million per aircraft, which includes spare parts, equipment, retrofitting, and software support. The total program cost including development, engineering and testing, averaged $2.1 billion per aircraft in 1997.

 

Because of its considerable capital and operating costs, the project was controversial in the U.S. Congress and among the Joint Chiefs of Staff. The winding-down of the Cold War in the latter portion of the 1980s dramatically reduced the need for the aircraft, which was designed with the intention of penetrating Soviet airspace and attacking high-value targets. During the late 1980s and 1990s, Congress slashed plans to purchase 132 bombers to 21. In 2008, a B-2 was destroyed in a crash shortly after takeoff, though the crew ejected safely. A total of 20 B-2s remain in service with the United States Air Force, which plans to operate the B-2 until 2058.

 

The B-2 is capable of all-altitude attack missions up to 50,000 feet (15,000 m), with a range of more than 6,000 nautical miles (11,000 km) on internal fuel and over 10,000 nautical miles (19,000 km) with one midair refueling. Though originally designed primarily as a nuclear bomber, it was first used in combat dropping conventional ordnance in the Kosovo War in 1999 and saw further service in Iraq and Afghanistan.

 

www.wolfgangstaudt.de

 

Sa Calobra ist ein kleines Dorf auf der spanischen Baleareninsel Mallorca. Es liegt in der Gemeinde Escorca an der Nordwestkueste der Insel, in der Region Serra de Tramuntana.

 

Das Dorf Sa Calobra wird auch als Cases de sa Calobra bezeichnet, da es sich nur um eine Ansammlung weniger Haeuser handelt. Es befindet sich etwa 32 Kilometer nordoestlich von Palma und ungefaehr einen Kilometer oberhalb der Cala de sa Calobra

 

Dorf und Bucht erreicht man nur auf zwei Wegen, entweder über die SerpentinenstraÃe MA-2141 oder mit dem Schiff über das Meer. Die Strasse überwindet auf ihren 12,5 Kilometern Laenge einen Hoehenunterschied von 682 Metern. Vom Parkplatz oder der Schiffsanlegestelle der Siedlung an der Cala de sa Calobra führt ein 600 Meter langer Fussweg an den Ausgang der bekannten Felsenschlucht des Torrent de Pareis, die der Sturzbach (katalanisch: Torrent) auf seinem Weg zum Meer in den Fels geschnitten hat.

 

From Wikipedia, the free encyclopedia

In the 1830’s, Joseph Cecil moved his family from Tennessee to an area now known as Cecil Cove in Newton County. His oldest son, John, became the first elected Sheriff of Newton County. When the Civil War began, John became a Captain in the Confederate Army. He left the army to become leader of a notorious guerrilla band. Interestingly, his brother Samuel fought on the Union side. Following the war, John was apparently no longer welcome in Newton County and spent the rest of his life in Madison and Carroll Counties. When he died in the 1880s, he was buried in what is now called Cecil Cemetery in Kingston, Arkansas. Of the old tombstones in the cemetery, most appear to be grandchildren of John. An interesting biography of John Cecil can be found in the on-line Encyclopedia of Arkansas (encyclopediaofarkansas.net/entries/john-cecil-5888/).

 

From Wikipedia, the free encyclopedia

 

+++++++++++++++++++++++++++++++++

Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

1 Art directors

2 The festival

3 The Rencontres d'Arles award winners

4 Exhibitions

5 References

6 External links

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

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From Wikipedia, the free encyclopedia

 

USS Enterprise (CV-6)

 

History

United States

Name: USS Enterprise

Ordered: 1933

Builder: Newport News Shipbuilding

Laid down: 16 July 1934

Launched: 3 October 1936

Commissioned: 12 May 1938

Decommissioned: 17 February 1947

Identification: Hull number: CV-6

Nickname(s):

 

The Big E

Lucky E

The Grey Ghost

The Galloping Ghost

 

Honors and

awards:

 

Bronze-service-star-3d.png 20 Battle Stars

United States Navy Presidential Unit Citation ribbon.svg Presidential Unit Citation

Navy Unit Commendation ribbon.svg Navy Unit Commendation

American Defense Service ribbon.svg American Defense Service Medal

American Campaign Medal ribbon.svg American Campaign Medal

Asiatic-Pacific Campaign Medal ribbon.svg Asiatic-Pacific Campaign Medal

World War II Victory Medal ribbon.svg World War II Victory Medal

Task Force 16 Citation

British Admiralty Pennant

Presidential Unit Citation (Philippines).svg Philippine Presidential Unit Citation

Phliber rib.png Philippine Liberation Medal

 

Fate: Scrapped 1958–1960

General characteristics (as built)

Class and type: Yorktown-class aircraft carrier

Displacement:

 

19,800 tons standard

25,500 tons full load

From October 1943:

21,000 tons standard

32,060 tons full load

 

Length:

 

770 ft (234.7 m) waterline

824 ft 9 in (251.4 m) overall

From July 1942:

827 ft 5 in (252.2 m) overall length

 

Beam:

 

83 ft 3 in (25.4 m)

109 ft 6 in (33.4 m) overall

From October 1942:

114 ft 5 in (34.9 m) overall width

From October 1943:

95 ft 5 in (29.1 m) waterline

 

Draft: 25 ft 11.5 in (7.9 m)

Installed power:

 

120,000 shp (89,484 kW)

9 × Babcock & Wilcox boilers

 

Propulsion: 4 × shafts; 4 × Parsons geared steam turbines

Speed: 32.5 knots (60.2 km/h; 37.4 mph)

Range: 12,500 nmi (23,200 km; 14,400 mi) at 15 knots (28 km/h; 17 mph)

Complement: 2,217 officers and men (1941)

Sensors and

processing systems: CXAM-1 RADAR[1]

Armament:

 

8 × single 5 in/38 cal guns

4 × quad 1.1 in/75 cal guns

24 × .50 caliber machine guns

From April 1942:

8 × 5 in/38 cal

4 × quad 1.1 in/75 cal

30 × 20 mm Oerlikon cannons

From mid-June 1942 to mid-September 1942:

8 × 5 in/38 cal

5 × quad 1.1 in/75 cal

32 × 20 mm Oerlikons

From mid-September 1942:

8 × 5 in/38 cal

4 × quad 40 mm Bofors guns

1 × quad 1.1 in/75 cal

44 × 20 mm Oerlikons(46 from 11/42)

From October 1943:

8 × 5 in/38 cal

40 × 40 mm Bofors (8×2, 6×4)

50 × 20 mm Oerlikon

From September 1945:

8 × 5 in/38 cal

54 × 40 mm Bofors (5×2, 11×4)

32 × 20 mm Oerlikons (16×2)

 

Armor:

 

2.5–4 in belt

60 lb protective decks

4 in bulkheads

4 in side and 2 in top round conning tower

4 in side over steering gear

 

Aircraft carried: 90 aircraft

Aviation facilities:

 

3 × elevators

2 × flight deck hydraulic catapults

1 × hangar deck hydraulic catapults

 

USS Enterprise (CV-6), was the seventh U.S. Navy vessel to bear the name. Colloquially called "the Big E", she was the sixth aircraft carrier of the United States Navy. A Yorktown-class carrier, she was launched in 1936 and was one of only three American carriers commissioned before World War II to survive the war (the others being Saratoga and Ranger). She participated in more major actions of the war against Japan than any other United States ship. These actions included the Attack on Pearl Harbor (18 dive bombers of VS-6 were over the harbor, 6 were shot down with a loss of eleven men, making her the only American Aircraft carrier with men at Pearl Harbor during the Attack and the first to receive casualties during the Pacific War), the Battle of Midway, the Battle of the Eastern Solomons, the Battle of the Santa Cruz Islands, various other air-sea engagements during the Guadalcanal Campaign, the Battle of the Philippine Sea, and the Battle of Leyte Gulf. Enterprise earned 20 battle stars, the most for any U.S. warship in World War II, and was the most decorated U.S. ship of World War II, She is also the first American ship to sink an enemy vessel during the Pacific War, the sole surviving pilot of the six planes shot down over Pearl Harbor sank Japanese submarine I-70 on 10 December 1941. On three occasions during the Pacific War, the Japanese announced that she had been sunk in battle, resulting in her being named "The Grey Ghost".

 

Construction and commissioning

 

The second carrier of the Yorktown-class, Enterprise was launched on 3 October 1936 at Newport News Shipbuilding, sponsored by Lulie Swanson, wife of Secretary of the Navy Claude A. Swanson, and commissioned on 12 May 1938 with Captain Newton H. White in command. Enterprise sailed south on a shakedown cruise which took her to Rio de Janeiro. After her return, she operated along the east coast and in the Caribbean until April 1939, when she was ordered to duty in the Pacific.[2]

Service history

 

Enterprise was one of fourteen ships to receive the early RCA CXAM-1 Radar.[1] Based first at San Diego (where she was used in the filming of Dive Bomber, starring Errol Flynn and Fred MacMurray) and then at Pearl Harbor after President Roosevelt ordered the Fleet to be "forward based," the carrier and her aircraft squadrons trained intensively and transported aircraft among the island bases of the Pacific. Enterprise was completing one such mission when she left Pearl Harbor on 28 November 1941. It was while returning to Hawaii after delivering Marine Fighter Squadron 211 (VMF-211) to Wake Island, when the Japanese attacked Pearl Harbor on December 7.[2]

World War II

 

Enterprise was at sea on the morning of 7 December 1941[3] and received a radio message from Pearl Harbor, reporting that the base was under attack. The next evening, Enterprise, screened by six of her Grumman F4F Wildcat fighters, put into Pearl Harbor for fuel and supplies (VADM Halsey ordered every able bodied man on board to help rearm and refuel the Enterprise, the entire 24 hour process took only 7 hours)[4]. The aircraft were fired on by anti-aircraft defenses, and one pilot radioed in, reporting that his aircraft was an American aircraft.[5] She sailed early the next morning to patrol against possible additional attacks in the Hawaiian Islands. Although the group encountered no surface ships, Enterprise aircraft sank Japanese submarine I-70 at 23°45′N 155°35′W on 10 December 1941.

 

During the last two weeks of December 1941, Enterprise and her group steamed west of Hawaii to cover the islands while two other carrier groups made a belated attempt to relieve Wake Island. After a brief layover at Pearl Harbor, the Enterprise group sailed on 11 January, protecting convoys reinforcing Samoa.[2]

 

On 16 January 1942, one of her TBD Devastators of Torpedo Squadron 6 (VT-6),[6] piloted by Chief Harold F. Dixon, got lost on patrol, ran out of fuel, and ditched. Dixon and his two crewmates, bombardier Anthony J. Pastula and gunner Gene Aldrich, survived for 34 days in a small rubber raft that had no stored food or water, before drifting ashore on Pukapuka atoll. Dixon was awarded the Navy Cross for "extraordinary heroism, exceptional determination, resourcefulness, skilled seamanship, excellent judgment and highest quality of leadership."[7][8]

 

On 1 February, Enterprise's Task Force 8 raided Kwajalein, Wotje, and Maloelap in the Marshall Islands, sinking three ships, damaging eight, and destroying numerous airplanes and ground facilities. Enterprise received only minor damage in the Japanese counterattack, as her group retired to Pearl Harbor.

 

The next month, the Enterprise group swept the central Pacific, attacking enemy installations on Wake and Marcus Islands.

 

After minor alterations and repairs at Pearl Harbor, Enterprise departed on 8 April 1942 to rendezvous with her sister ship Hornet and sail west, escorting Hornet on the mission to launch 16 Army B-25 Mitchells in the "Doolittle Raid" on Tokyo. While fighters from Enterprise flew combat air patrol, the B-25s launched on 18 April, and flew undetected the remaining 600 miles (1,000 km) to the target. The task force, its presence known to the enemy after a sighting by small vessels, reversed course and returned to Pearl Harbor on 25 April.[2]

The Battle of Midway

 

Five days later, Enterprise sortied toward the South Pacific to reinforce U.S. carriers operating in the Coral Sea. However, the Battle of the Coral Sea was over before Enterprise arrived. After executing, with Hornet, a feint towards Nauru and Banaba (Ocean) islands which caused the Japanese to delay Operation RY to seize the two islands, Enterprise returned to Pearl Harbor on 26 May, and began intensive preparation to meet the expected Japanese thrust at Midway Island.

VT-6 TBDs on USS Enterprise during the Battle of Midway

 

On 28 May, Enterprise sortied as Rear Admiral Raymond A. Spruance's flagship with orders "to hold Midway and inflict maximum damage on the enemy by strong attrition tactics". With Enterprise in CTF 16 were Hornet, six cruisers, and 10 destroyers. On 30 May, Task Force 17 (TF17), with Rear Admiral Frank J. Fletcher in Yorktown, left Pearl with two cruisers and six destroyers as CTF-17; as senior officer present, Rear Admiral Fletcher became "Officer in Tactical Command."[2] The usual commander of the Enterprise task force, Vice Admiral William F. "Bull" Halsey, was kept in hospital at Pearl with a stress-related skin condition.

 

Each side launched air attacks during the day in a decisive battle. Though the forces were in contact until 7 June, by 10:45am on 4 June the outcome had been decided. Three Japanese carriers were burning and it was only a matter of time until a fourth was caught and knocked out. The Battle of Midway began on the morning of 4 June 1942, when four Japanese carriers, unaware of the presence of U.S. naval forces, launched attacks on Midway Island. Shortly after the first bomb fell on Midway, the first wave of planes from Midway Island attacked, unsuccessfully. Several more groups attacked, again failing to damage their targets. Planes from the U.S. carriers attacked next. Enterprise torpedo bombers attacked first, scoring no hits and suffering heavy losses. Soon after, Enterprise dive bombers attacked and disabled the Japanese carriers Kaga and Akagi, leaving them ablaze. Within an hour, the one remaining Japanese carrier, Hiryu, launched air strikes that crippled Yorktown with three bombs and two torpedoes striking home during two separate attacks. In late afternoon, a mixed squadron of Enterprise and Yorktown bombers, flying from Enterprise, disabled Hiryu, leaving her burning. (Aircraft from Yorktown had also disabled the Japanese aircraft carrier Sōryū at the same time as the Enterprise planes were bombing Akagi and Kaga, again leaving it burning and dead in the water). The following day Enterprise dive bombers alone sank cruiser Mikuma. While Yorktown and Hammann were the only American ships sunk, TF 16 and TF 17 lost a total of 113 planes, 61 of them in combat, during the battle. Japanese losses were much larger: four carriers (all scuttled), one cruiser and 272 carrier aircraft.[9] Despite losses to her aircraft squadrons, Enterprise came through undamaged and returned to Pearl Harbor on 13 June 1942.[2]

South Pacific

October 1942.

 

After a month of rest and overhaul, Enterprise sailed on 15 July 1942 for the South Pacific, where she joined TF 61 to support the amphibious landings in the Solomon Islands on 8 August. For the next two weeks, the carrier and her planes guarded seaborne communication lines southwest of the Solomons. On 24 August, a strong Japanese force was discovered some 200 miles (300 km) north of Guadalcanal, and TF 61 sent planes to the attack.[2] This was the first time that the Grim Reapers of VF-10 deployed from Enterprise under commanding officer James H. Flatley, who became known as "Reaper Leader."[10] In the ensuing Battle of the Eastern Solomons, the light carrier Ryūjō was sunk, and the Japanese troops intended for Guadalcanal were forced back. Enterprise suffered most heavily of the American ships; three direct bomb hits and four near misses killed 74, wounded 95, and inflicted serious damage on the carrier. Quick, hard work by damage control parties patched her up so that she was able to return to Hawaii under her own power.[2]

 

Repaired at Pearl Harbor from 10 September-16 October 1942, Enterprise departed once more for the South Pacific, where with Hornet she formed TF 61. On 26 October, Enterprise scout planes located a Japanese carrier force and the Battle of the Santa Cruz Islands was under way. Enterprise aircraft struck carriers and cruisers during the struggle, while the Big E herself underwent intensive attack. Hit twice by bombs, Enterprise lost 44 men and had 75 wounded. Despite serious damage, she continued in action and took on board a large number of planes and crewmen from Hornet when that carrier was sunk. Though the American losses of a carrier and a destroyer were more severe than the Japanese loss of one light cruiser, the battle gained time to reinforce Guadalcanal against the next enemy onslaught,[2] and nearby Henderson Field was therefore secure from the Japanese bombardment. The loss of the Hornet meant Enterprise was now the only functioning (albeit damaged) US carrier in the Pacific Theater.[note 1] On the flight deck, the crew posted a sign: "Enterprise vs Japan."[11][12][13][14]

 

Enterprise reached Nouméa, New Caledonia on 30 October for repairs, but a new Japanese thrust at the Solomons demanded her presence and she sailed on 11 November, with repair crews from Vestal still working on board. Part of the repair crew comprised a 75-man Seabee detachment from Company B of the 3rd Construction Battalion because adequate regular repair forces were lacking.[15][note 2] Underway with orders to engage the enemy, the Seabees continued their repair work even during the forthcoming battle. Ship repairs fell under the round-the-clock supervision of her damage control officer Lieutenant Commander Herschel Albert Smith, USN (USNA- Class 1922, Michigan).[16] "She made the open sea with her decks still shaking and echoing to air hammers, with welders' arcs still sparking, with a big bulge in her right side forward, without water tight integrity and one oil tank still leaking, and with her forward elevator still jammed as it had been since the bomb at Santa Cruz broke in half.".[17]

 

The commanding officer of Enterprise, Captain Osborne Bennett "Ozzie B" "Oby" Hardison, USN (USNA- Class 1916, North Carolina)[18] notified the Navy Department that "The emergency repairs accomplished by this skillful, well-trained, and enthusiastically energetic force have placed this vessel in condition for further action against the enemy".[19][note 3] This remarkable job later won the praise of Vice Admiral William Halsey, Jr., USN, Commander South Pacific Area and the South Pacific Force, who sent a dispatch to the OIC of the Seabee detachment stating: "Your commander wishes to express to you and the men of the Construction Battalion serving under you his appreciation for the services rendered by you in effecting emergency repairs during action against the enemy. The repairs were completed by these men with speed and efficiency. I hereby commend them for their willingness, zeal, and capability."[20]

 

On 13 November, aviators from Enterprise helped to sink the Hiei, the first Japanese battleship lost during the war. When the Naval Battle of Guadalcanal ended on 15 November 1942, Enterprise had shared in sinking sixteen ships and damaging eight more. The carrier returned to Nouméa on 16 November to complete her repairs.

 

Sailing again on 4 December, Enterprise trained out of Espiritu Santo, New Hebrides, until 28 January 1943, when she departed for the Solomons area. On 30 January, her fighters flew combat air patrol for a cruiser–destroyer group during the Battle of Rennell Island. Despite the destruction of most of the attacking Japanese bombers by Enterprise planes, the heavy cruiser Chicago was sunk by aerial torpedoes.

 

Detached after the battle, the carrier arrived at Espiritu Santo on 1 February, and for the next three months operated out of that base, covering U.S. surface forces up to the Solomons. Enterprise then steamed to Pearl Harbor where, on 27 May 1943, Admiral Chester Nimitz presented the ship with the first Presidential Unit citation awarded to an aircraft carrier.

 

In the summer of 1943, with the new Essex-class and Independence-class carriers joining the American Pacific Fleet, Enterprise was temporarily relieved of duty, and on 20 July, she entered Puget Sound Naval Shipyard for a much-needed overhaul.[2] Over the course of several months, Enterprise received an extensive refit, which included, among other upgrades, new anti-aircraft weapons and an anti-torpedo blister that significantly improved her underwater protection.[note 4]

Return to duty

 

Back in waters by mid-November, Enterprise joined in providing close air support to the 27th Infantry Division landing on Makin Atoll, during the Battle of Makin, from 19–21 November 1943. On the night of 26 November, Enterprise introduced carrier-based night fighters to the Pacific when a three-plane team from the ship broke up a large group of land-based bombers attacking TG 50.2. Two of the three planes returned to the ship, with LCDR Edward "Butch" O'Hare the only casualty. After a heavy strike by aircraft of TF 50 against Kwajalein on 4 December, Enterprise returned to Pearl Harbor five days later.

 

The carrier's next operation was with the Fast Carrier Task Force in softening up the Marshall Islands and supporting the landings on Kwajalein, from 29 January-3 February 1944. Then, Enterprise sailed, still with TF 58, to strike the Japanese naval base at Truk Lagoon in the Caroline Islands, on 17 February. Again Enterprise made aviation history, when she launched the first night radar bombing attack from a U.S. carrier. The twelve torpedo bombers in this strike achieved excellent results, accounting for nearly one-third of the 200,000 tons of shipping destroyed by aircraft.

 

Detached from TF 58 with escorts, Enterprise launched raids on Jaluit Atoll on 20 February, then steamed to Majuro and Espiritu Santo. Sailing on 15 March in TG 36.1, she provided air cover and close support for the landings on Emirau Island (19–25 March). The carrier rejoined TF 58 on 26 March, and for the next 12 days, joined in a series of strikes against the islands of Yap, Ulithi, Woleai, and Palau. After a week's rest and replenishment at Majuro, Enterprise sailed on 14 April to support landings in the Hollandia (currently known as Jayapura) area of New Guinea, and then hit Truk again from 29–30 April.

 

On 6 June 1944, she and her companions of TG 58.3 sortied from Majuro to join the rest of TF 58 in attacking the Marianas Islands. Striking Saipan, Rota, and Guam from 11–14 June, Enterprise pilots gave direct support to the landings on Saipan on 15 June, and covered the troops ashore for the next two days.

 

Aware of a major Japanese attempt to break up the invasion of Saipan, Admiral Spruance, now Commander 5th Fleet, positioned TF 58 to meet the threat.[2]

The Battle of the Philippine Sea

 

On 19 June 1944, Enterprise was one of four carriers of Task Group 58.3 under the command of Rear Admiral John W. Reeves' during the largest carrier aircraft battle in history: the Battle of the Philippine Sea. For over eight hours, airmen of the United States and Imperial Japanese navies fought in the skies over TF 58 and the Marianas. Over the course of two days, a total of six American ships were damaged, and 130 planes and a total of 76 pilots and aircrew were lost. In sharp contrast, American carrier aircraft, with a major assist from U.S. submarines, sank three Japanese carriers (Hiyō, Shōkaku, and Taihō), and destroyed 426 carrier aircraft, losses from which Japanese naval aviation would never recover.

 

Enterprise participated both in the defense of the fleet and in the subsequent early-evening strike against the Japanese task forces. During the chaotic after-dark recovery of the air strike, a fighter and a bomber came aboard simultaneously, but fortunately did not cause an accident. A planned midnight strike against the Japanese fleet by night-flying Enterprise pilots was cancelled because of the recovery and rescue operations required after the dusk attack. After the battle, Enterprise and her Task Group continued to provide air support for the invasion of Saipan through 5 July. She then sailed for Pearl Harbor and a month of rest and overhaul. Back in action on 24 August, the carrier sailed with TF 38 in that force's aerial assault on the Volcano and Bonin Islands from 31 August – 2 September, and Yap, Ulithi, and the Palaus from 6–8 September.[2]

The Battle of Leyte Gulf

 

After operating west of the Palau Islands, Enterprise joined other units of TF 38 on 7 October and set course to the north. From 10–20 October, her aviators flew over Okinawa, Formosa, and the Philippines, blasting enemy airfields, shore installations, and shipping in preparation for the assault on Leyte. After supporting the Leyte landings on 20 October, Enterprise headed for Ulithi to replenish, but the approach of the Japanese fleet on 23 October called her back to action.

 

In the Battle of Leyte Gulf (23–26 October), Enterprise planes struck all three groups of enemy forces, battering battleships and destroyers before the action ended. The carrier remained on patrol east of Samar and Leyte until the end of October, then retired to Ulithi for supplies. During November, her aircraft struck targets in the Manila area, and at the island of Yap. She returned to Pearl Harbor on 6 December 1944.

 

Sailing on 24 December for the Philippines, Enterprise carried an air group specially trained in night carrier operations; as the only carrier capable of night operations, she left Oahu with her hull code changed from CV to CV(N), the "N" representing "Night".[21][22] She joined TG 38.5 and swept the waters north of Luzon and of the South China Sea during January 1945, striking shore targets and shipping from Formosa to Indo-China including an attack on Macau.[23] After a brief visit to Ulithi, Enterprise joined TG 58.5 on 10 February 1945, and provided day and night combat air patrol for TF 58 as it struck Tokyo on 16–17 February. She then supported the Marines in the Battle of Iwo Jima from 19 February – 9 March, when she sailed for Ulithi. During one part of that period, Enterprise kept aircraft aloft continuously over Iwo Jima for 174 hours.

 

Departing Ulithi on 15 March, the carrier continued her night work in raids against Kyūshū, Honshū, and shipping in the Inland Sea of Japan. Damaged lightly by an enemy bomb on 18 March, Enterprise entered Ulithi six days later for repairs. Back in action on 5 April, she supported the Okinawa operation until she was damaged on 11 April—this time by a kamikaze—and was forced back to Ulithi.[24] Off Okinawa once more on 6 May, Enterprise flew patrols around the clock as kamikaze attacks increased. On 14 May 1945, she suffered her last wound of World War II when a kamikaze Zero, piloted by Lt. J.G. Shunsuke Tomiyasu, destroyed her forward elevator, killing 14 and wounding 34.

 

The carrier sailed for and was fully repaired at the Puget Sound Navy Yard. Near ready, with all planes aboard at the degaussing/demagnetizing range off the Strait of Juan de Fuca when the Nagasaki bombing ended the war on August 9, 1945.[2]

Post war

 

Operation Magic Carpet

Enterprise and Washington in Panama Canal

Enterprise and Washington pass through the Panama Canal en route to New York in October 1945

Enterprise awaiting disposal

 

Restored to peak condition, Enterprise voyaged to Pearl Harbor, returning to the States with some 1,141 servicemen due for discharge, including hospital patients and former POWs, then sailed on to New York on 25 September 1945 via the Panama Canal arriving on 17 October 1945. Two weeks later, she proceeded to Boston for installation of additional berthing facilities, then began a series of three Operation Magic Carpet voyages to Europe, bringing more than 10,000 veterans home in her final service to her country.[2]

 

The first European voyage returned 4,668 servicemen from Southampton, England in November 1945.[25] On the second trip to Europe, she was boarded by the British First Lord of the Admiralty, Sir Albert Alexander in Southampton, who presented Enterprise with a British Admiralty pennant that was hoisted when a majority of the Admiralty Board members were present. The pennant was given to the Big E as a token of respect from several high-ranking officers of an ally. She returned to New York on 25 December 1945 with 4,413 servicemen.[25] On this nine-day trip, she encountered four storms, some with winds of 80mph that caused 75 foot waves that swamped the forecastle deck in water up to 10 feet deep. According to damage control officer John U. Monro, the storms smashed sections of walkways and railings, and swept loose objects overboard.[26] Her last voyage was to the Azores, and returned 3,557 personnel, including 212 WACs to New York on 17 January 1946[25]

The end of the "Big E"

 

With the commissioning of over two dozen larger and more advanced aircraft carriers by end of 1945, Enterprise was deemed surplus for the post-war needs of America's navy. She entered the New York Naval Shipyard on 18 January 1946 for deactivation, and was decommissioned on 17 February 1947. In 1946, she had been scheduled to be handed over to the state of New York as a permanent memorial, but this plan was suspended in 1949.[27] Subsequent attempts were made at preserving the ship as a museum or memorial, but fund-raising efforts failed to raise enough money to buy the vessel from the Navy, and the "Big E" was sold on 1 July 1958 to the Lipsett Corporation of New York City for scrapping at Kearny, New Jersey.

 

A promise was made to save the distinctive tripod mast for inclusion in the Naval Academy's new football stadium, but was never fulfilled; instead, a memorial plaque was installed at the base of what is still called "Enterprise Tower." Scrapping was complete as of May 1960. In 1984, a permanent "Enterprise Exhibit" was dedicated at the Naval Aviation Museum, Naval Air Station Pensacola, Florida to house artifacts, photos and other items of historical interest.

Jersey.

 

Surviving Enterprise artifacts include the ship's bell, which resides at the U.S. Naval Academy,[28] where it is traditionally rung only after Midshipmen victories over West Point; and the sixteen-foot, one-ton nameplate from the ship's stern, which sits near a Little League park in River Vale, New Jersey.[29] Her commissioning plaque and one of her anchors are on display at the Washington Navy Yard in Washington, D.C.

Successors to the "Big E"

 

The name was revived in February 1958 when the world's first nuclear-powered aircraft carrier was laid down as the eighth Enterprise; this ship was commissioned in November 1961. Also nicknamed the "Big E", various artifacts and mementos were kept aboard from her predecessor. The port holes in the captain's in-port cabin and conference room are only one example. She was inactivated and removed from service on 1 December 2012 after being in the fleet for 51 years. Due to needs involving reactor removal, she cannot be turned into a memorial. At her inactivation, it was announced that the ninth ship to bear the name Enterprise would be the planned Gerald R. Ford-class aircraft carrier, CVN-80.[30] It has not been confirmed what, if any, artifacts from USS Enterprise (CV-6) will be incorporated into this next generation aircraft carrier, although a time capsule containing mementos from both CV-6 and CVN-65 will be presented to the first captain of the new Enterprise. The aforementioned port holes aboard the CVN-65 will be removed and returned to the Boston Navy Yard Museum.

Awards and commendations

The ship's insignia of Enterprise

Bronze star

 

Silver star

Silver star

Silver star

Silver star

 

Presidential Unit Citation Navy Unit Commendation

American Defense Service Medal

with "Fleet" clasp American Campaign Medal Asiatic-Pacific Campaign Medal

with twenty stars

World War II Victory Medal Philippine Presidential Unit Citation Philippine Liberation Medal

British Admiralty Pennant

 

Enterprise was awarded a Presidential Unit Citation for her service during World War II.[31] The citation states:

“ For consistently outstanding performance and distinguished achievement during repeated action against enemy Japanese forces in the Pacific war area, 7 December 1941, to 15 November 1942. Participating in nearly every major carrier engagement in the first year of the war, the Enterprise and her air group, exclusive of far-flung destruction of hostile shore installations throughout the battle area, did sink or damage on her own a total of 35 Japanese vessels and shot down a total of 185 Japanese aircraft. Her aggressive spirit and superb combat efficiency are fitting tribute to the officers and men who so gallantly established her as an ahead bulwark in the defense of the American nation. ”

 

In addition to her Presidential Unit Citation, Enterprise received the Navy Unit Commendation and 20 battle stars for World War II service, making her the highest decorated US ship ever.

 

Finally, she was presented with a British Admiralty pennant that was hoisted when a majority of the Admiralty Board members were present. The pennant was given to the "Big E" as an unofficial token of respect from an ally.

List of Commanding Officers

Commanding Officer[32] Dates of Command Notable Events

Captain Newton H. White, Jr., USN 12 May 1938 - 21 Dec. 1938 Commissioning, Shakedown Cruise

Captain Charles A. Pownall, USN 21 Dec. 1938 - 21 March 1941 Winter Maneuvers, Pacific Fleet Exercises and Patrols

Captain George D. Murray, USN 21 March 1941 - 30 June 1942 Pearl Harbor, Marshall Islands Raid, Wake and Marcus Island Raids, Doolittle Raid, Midway

Captain Arthur C. Davis, USN 30 June 1942 - 21 Oct. 1942 Guadalcanal Landings, Eastern Solomons

Captain Osborne B. Hardison, USN 21 Oct. 1942 - 7 April 1943 Santa Cruz, Naval Battle of Guadalcanal, Rennell Island

Captain Carlos W. Wieber, USN 7 April 1943 - 16 April 1943

Captain Samuel P. Ginder, USN 16 April 1943 - 7 Nov. 1943 Pearl Harbor Repairs, Bremerton Refit

Captain Matthias B. Gardner, USN 7 Nov. 1943 - 10 July 1944 Gilberts Landings, Marshall and Truk Islands Raids, Marianas Landings, Philippine Sea

Commander Thomas J. Hamilton, USN 10 July 1944 - 29 July 1944 Pearl Harbor Repairs

Captain Cato D. Glover, USN 29 July 1944 - 14 Dec. 1944 Bonin Islands Raids, Leyte Landings, Leyte Gulf

Captain Grover B. H. Hall, USN 14 Dec. 1944 - 25 Sep. 1945 Luzon Invasion, South China Raids, Tokyo Raids, Iwo Jima, Kyushu Raids, Okinawa, Bremerton Repairs

Captain William A. Rees, USN 25 Sep. 1945 - 20 Feb. 1946 Navy Day Celebrations, Operation Magic Carpet

Captain Francis E. Bardwell, USN 20 Feb. 1946 - 10 June 1946 Docked in Bayonne, New Jersey

Commander Conrad W. Craven, USN 10 June 1946 - 31 Jan. 1947

Commander Lewis F. Davis, USN 31 Jan. 1947 - 17 Feb. 1947 Decommissioning

 

Encyclopédie d'histoire naturelle

Paris :Maresq[1851-1860].

biodiversitylibrary.org/page/10452047

Morokoshi kinmō zui

Naniwa Midōsuji :Kogatanaya Rokubē :Kyōwa 2 [1802]

biodiversitylibrary.org/page/60933015

Polygonia c-album, the comma, is a food generalist (polyphagous) butterfly species belonging to the family Nymphalidae. The angular notches on the edges of the forewings are characteristic of the genus Polygonia, which is why species in the genus are commonly referred to as anglewing butterflies. Comma butterflies can be identified by their prominent orange and dark brown/black dorsal wings.

 

To reduce predation, both the larval and adult stages exhibit protective camouflage, mimicking bird droppings and fallen leaves, respectively. During the later stage of development, the larvae also develop strong spines along their backs. The species is commonly found in Europe, North Africa, and Asia, and contains several subspecies. Although the species is not migratory, the butterflies are strong fliers, resulting in an open population structure with high gene flow and increased genetic variation.

 

From Wikipedia, the free encyclopedia

 

en.wikipedia.org/wiki/Polygonia_c-album

Photo Copyright 2017, dynamo.photography.

All rights reserved, no use without license

 

From Wikipedia, the free encyclopedia

(Redirected from Hong kong)

 

Hong Kong, officially the Hong Kong Special Administrative Region of the People's Republic of China, is an autonomous territory south to Mainland China and east to Macao in East Asia. With around 7.2 million Hong Kongers of various nationalities[note 2] in a territory of 1,104 km2, Hong Kong is the world's fourth most densely populated country or territory.

 

Hong Kong used to be a British colony with the perpetual cession of Hong Kong Island from the Qing Empire after the First Opium War (1839–42). The colony expanded to the Kowloon Peninsula in 1860 and acquired a 99-year lease of the New Territories from 1898. Hong Kong was later occupied by Japan during the Second World War until British control resumed in 1945. The Sino-British Joint Declaration signed between the United Kingdom and China in 1984 paved way for the transfer of sovereignty of Hong Kong in 1997, when it became a special administrative region (SAR) of the People's Republic of China with a high degree of autonomy.[15]

 

Under the principle of "one country, two systems",[16][17] Hong Kong maintains a separate political and economic system from China. Except in military defence and foreign affairs, Hong Kong maintains its independent executive, legislative and judiciary powers.[18] In addition, Hong Kong develops relations directly with foreign states and international organisations in a broad range of "appropriate fields".[19] Hong Kong involves in international organizations, such as the WTO[20] and the APEC [21], actively and independently.

 

Hong Kong is one of the world's most significant financial centres, with the highest Financial Development Index score and consistently ranks as the world's most competitive and freest economic entity.[22][23] As the world's 8th largest trading entity,[24] its legal tender, the Hong Kong dollar, is the world's 13th most traded currency.[25] As the world's most visited city,[26][27] Hong Kong's tertiary sector dominated economy is characterised by competitive simple taxation and supported by its independent judiciary system.[28] Even with one of the highest per capita incomes in the world, it suffers from severe income inequality.[29]

 

Nicknamed "Pearl of the Orient", Hong Kong is renowned for its deep natural harbour, which boasts the world's fifth busiest port with ready access by cargo ships, and its impressive skyline, with the most skyscrapers in the world.[30][31] It has a very high Human Development Index ranking and the world's longest life expectancy.[32][33] Over 90% of the population makes use of well-developed public transportation.[34][35] Seasonal air pollution with origins from neighbouring industrial areas of Mainland China, which adopts loose emissions standards, has resulted in a high level of atmospheric particulates in winter.[36][37][38]

Contents

 

1 Etymology

2 History

2.1 Prehistory

2.2 Imperial China

2.3 British Crown Colony: 1842–1941

2.4 Japanese occupation: 1941–45

2.5 Resumption of British rule and industrialisation: 1945–97

2.6 Handover and Special Administrative Region status

3 Governance

3.1 Structure of government

3.2 Electoral and political reforms

3.3 Legal system and judiciary

3.4 Foreign relations

3.5 Human rights

3.6 Regions and districts

3.7 Military

4 Geography and climate

5 Economy

5.1 Financial centre

5.2 International trading

5.3 Tourism and expatriation

5.4 Policy

5.5 Infrastructure

6 Demographics

6.1 Languages

6.2 Religion

6.3 Personal income

6.4 Education

6.5 Health

7 Culture

7.1 Sports

7.2 Architecture

7.3 Cityscape

7.4 Symbols

8 See also

9 Notes

10 References

10.1 Citations

10.2 Sources

11 Further reading

12 External links

 

Etymology

 

Hong Kong was officially recorded in the 1842 Treaty of Nanking to encompass the entirety of the island.[39]

 

The source of the romanised name "Hong Kong" is not known, but it is generally believed to be an early imprecise phonetic rendering of the pronunciation in spoken Cantonese 香港 (Cantonese Yale: Hēung Góng), which means "Fragrant Harbour" or "Incense Harbour".[13][14][40] Before 1842, the name referred to a small inlet—now Aberdeen Harbour (Chinese: 香港仔; Cantonese Yale: Hēunggóng jái), literally means "Little Hong Kong"—between Aberdeen Island and the southern coast of Hong Kong Island. Aberdeen was an initial point of contact between British sailors and local fishermen.[41]

 

Another theory is that the name would have been taken from Hong Kong's early inhabitants, the Tankas (水上人); it is equally probable that romanisation was done with a faithful execution of their speeches, i.e. hōng, not hēung in Cantonese.[42] Detailed and accurate romanisation systems for Cantonese were available and in use at the time.[43]

 

Fragrance may refer to the sweet taste of the harbour's fresh water estuarine influx of the Pearl River or to the incense from factories lining the coast of northern Kowloon. The incense was stored near Aberdeen Harbour for export before Hong Kong developed Victoria Harbour.[40]

 

The name had often been written as the single word Hongkong until the government adopted the current form in 1926.[44] Nevertheless, a number of century-old institutions still retain the single-word form, such as the Hongkong Post, Hongkong Electric and the Hongkong and Shanghai Banking Corporation.

 

As of 1997, its official name is the "Hong Kong Special Administrative Region of the People's Republic of China". This is the official title as mentioned in the Hong Kong Basic Law and the Hong Kong Government's website;[45] however, "Hong Kong Special Administrative Region" and "Hong Kong" are widely accepted.

 

Hong Kong has carried many nicknames. The most famous among those is the "Pearl of the Orient", which reflected the impressive nightscape of the city's light decorations on the skyscrapers along both sides of the Victoria Harbour. The territory is also known as "Asia's World City".

History

Main articles: History of Hong Kong and History of China

Prehistory

Main article: Prehistoric Hong Kong

 

Archaeological studies support human presence in the Chek Lap Kok area (now Hong Kong International Airport) from 35,000 to 39,000 years ago and on Sai Kung Peninsula from 6,000 years ago.[46][47][48]

 

Wong Tei Tung and Three Fathoms Cove are the earliest sites of human habitation in Hong Kong during the Paleolithic Period. It is believed that the Three Fathom Cove was a river-valley settlement and Wong Tei Tung was a lithic manufacturing site. Excavated Neolithic artefacts suggested cultural differences from the Longshan culture of northern China and settlement by the Che people, prior to the migration of the Baiyue to Hong Kong.[49][50] Eight petroglyphs, which dated to the Shang Dynasty (c. 1600 BC – 1066 BC) in China, were discovered on the surrounding islands.[51]

Imperial China

Main article: History of Hong Kong under Imperial China

 

In 214 BC, Qin Shi Huang, the first emperor of a centralised China, conquered the Baiyue tribes in Jiaozhi (modern-day Liangguang region and Vietnam) and incorporated the area of Hong Kong into his imperial China for the first time. Hong Kong proper was assigned to the Nanhai commandery (modern-day Nanhai District), near the commandery's capital city Panyu.[52][53][54]

 

After a brief period of centralisation and collapse of the Qin dynasty, the area of Hong Kong was consolidated under the Kingdom of Nanyue, founded by general Zhao Tuo in 204 BC.[55] When Nanyue lost the Han-Nanyue War in 111 BC, Hong Kong came under the Jiaozhi commandery of the Han dynasty. Archaeological evidence indicates an increase of population and flourish of salt production. The Lei Cheng Uk Han Tomb on the Kowloon Peninsula is believed to have been built as a burial site during the Han dynasty.[56]

 

From the Han dynasty to the early Tang dynasty, Hong Kong was a part of Bao'an County. In the Tang dynasty, modern-day Guangzhou (Canton) flourished as an international trading centre. In 736, the Emperor Xuanzong of Tang established a military stronghold in Tuen Mun to strengthen defence of the coastal area.[57] The nearby Lantau Island was a salt production centre and salt smuggler riots occasionally broke out against the government. In c. 1075, The first village school, Li Ying College, was established around 1075 AD in modern-day New Territories by the Northern Song dynasty.[58] During their war against the Mongols, the imperial court of Southern Song was briefly stationed at modern-day Kowloon City (the Sung Wong Toi site) before their ultimate defeat by the Mongols at the Battle of Yamen in 1279.[59] The Mongols then established their dynastic court and governed Hong Kong for 97 years.

 

From the mid-Tang dynasty to the early Ming dynasty (1368–1644), Hong Kong was a part of Dongguan County. During the Ming dynasty, the area was transferred to Xin'an County. The indigenous inhabitants at that time consisted of several ethnicities such as Punti, Hakka, Tanka and Hoklo.

European discovery

 

The earliest European visitor on record was Jorge Álvares, a Portuguese explorer, who arrived in 1513.[60][61] Having established a trading post in a site they called "Tamão" in Hong Kong waters, Portuguese merchants commenced with regular trading in southern China. Subsequent military clashes between China and Portugal, however, led to the expulsion of all Portuguese merchants from southern China.

 

Since the 14th century, the Ming court had enforced the maritime prohibition laws that strictly forbade all private maritime activities in order to prevent contact with foreigners by sea.[62] When the Manchu Qing dynasty took over China, Hong Kong was directly affected by the Great Clearance decree of the Kangxi Emperor, who ordered the evacuation of coastal areas of Guangdong from 1661 to 1669. Over 16,000 inhabitants of Xin'an County including those in Hong Kong were forced to migrate inland; only 1,648 of those who had evacuated subsequently returned.[63][64]

British Crown Colony: 1842–1941

A painter at work. John Thomson. Hong Kong, 1871. The Wellcome Collection, London

Main articles: British Hong Kong and History of Hong Kong (1800s–1930s)

 

In 1839, threats by the imperial court of Qing to sanction opium imports caused diplomatic friction with the British Empire. Tensions escalated into the First Opium War. The Qing admitted defeat when British forces captured Hong Kong Island on 20 January 1841. The island was initially ceded under the Convention of Chuenpi as part of a ceasefire agreement between Captain Charles Elliot and Governor Qishan. A dispute between high-ranking officials of both countries, however, led to the failure of the treaty's ratification. On 29 August 1842, Hong Kong Island was formally ceded in perpetuity to the United Kingdom of Great Britain and Ireland under the Treaty of Nanking.[65] The British officially established a Crown colony and founded the City of Victoria in the following year.[66]

 

The population of Hong Kong Island was 7,450 when the Union Flag raised over Possession Point on 26 January 1841. It mostly consisted of Tanka fishermen and Hakka charcoal burners, whose settlements scattered along several coastal hamlets. In the 1850s, a large number of Chinese immigrants crossed the then-free border to escape from the Taiping Rebellion. Other natural disasters, such as flooding, typhoons and famine in mainland China would play a role in establishing Hong Kong as a place for safe shelter.[67][68]

 

Further conflicts over the opium trade between Britain and Qing quickly escalated into the Second Opium War. Following the Anglo-French victory, the Crown Colony was expanded to include Kowloon Peninsula (south of Boundary Street) and Stonecutter's Island, both of which were ceded to the British in perpetuity under the Convention of Beijing in 1860.

 

In 1898, Britain obtained a 99-year lease from Qing under the Convention for the Extension of Hong Kong Territory, in which Hong Kong obtained a 99-year lease of Lantau Island, the area north of Boundary Street in Kowloon up to Shenzhen River and over 200 other outlying islands.[69][70][71]

 

Hong Kong soon became a major entrepôt thanks to its free port status, attracting new immigrants to settle from both China and Europe. The society, however, remained racially segregated and polarised under early British colonial policies. Despite the rise of a British-educated Chinese upper-class by the late-19th century, race laws such as the Peak Reservation Ordinance prevented ethnic Chinese in Hong Kong from acquiring houses in reserved areas such as Victoria Peak. At this time, the majority of the Chinese population in Hong Kong had no political representation in the British colonial government. The British governors did rely, however, on a small number of Chinese elites, including Sir Kai Ho and Robert Hotung, who served as ambassadors and mediators between the government and local population.

File:1937 Hong Kong VP8.webmPlay media

Hong Kong filmed in 1937

 

In 1904, the United Kingdom established the world's first border and immigration control; all residents of Hong Kong were given citizenship as Citizens of United Kingdom and Colonies (CUKC).

 

Hong Kong continued to experience modest growth during the first half of the 20th century. The University of Hong Kong was established in 1911 as the territory's first higher education institute. While there had been an exodus of 60,000 residents for fear of a German attack on the British colony during the First World War, Hong Kong remained unscathed. Its population increased from 530,000 in 1916 to 725,000 in 1925 and reached 1.6 million by 1941.[72]

 

In 1925, Cecil Clementi became the 17th Governor of Hong Kong. Fluent in Cantonese and without a need for translator, Clementi introduced the first ethnic Chinese, Shouson Chow, into the Executive Council as an unofficial member. Under Clementi's tenure, Kai Tak Airport entered operation as RAF Kai Tak and several aviation clubs. In 1937, the Second Sino-Japanese War broke out when the Japanese Empire expanded its territories from northeastern China into the mainland proper. To safeguard Hong Kong as a freeport, Governor Geoffry Northcote declared the Crown Colony as a neutral zone.

Japanese occupation: 1941–45

Main article: Japanese occupation of Hong Kong

The Cenotaph in Hong Kong commemorates those who died in service in the First World War and the Second World War.[73]

 

As part of its military campaign in Southeast Asia during Second World War, the Japanese army moved south from Guangzhou of mainland China and attacked Hong Kong in on 8 December 1941.[74] Crossing the border at Shenzhen River on 8 December, the Battle of Hong Kong lasted for 18 days when British and Canadian forces held onto Hong Kong Island. Unable to defend against intensifying Japanese air and land bombardments, they eventually surrendered control of Hong Kong on 25 December 1941. The Governor of Hong Kong was captured and taken as a prisoner of war. This day is regarded by the locals as "Black Christmas".[75]

 

During the Japanese occupation of Hong Kong, the Japanese army committed atrocities against civilians and POWs, such as the St. Stephen's College massacre. Local residents also suffered widespread food shortages, limited rationing and hyper-inflation arising from the forced exchange of currency from Hong Kong dollars to Japanese military banknotes. The initial ratio of 2:1 was gradually devalued to 4:1 and ownership of Hong Kong dollars was declared illegal and punishable by harsh torture. Due to starvation and forced deportation for slave labour to mainland China, the population of Hong Kong had dwindled from 1.6 million in 1941 to 600,000 in 1945, when the United Kingdom resumed control of the colony on 2 September 1945.[76]

Resumption of British rule and industrialisation: 1945–97

Main articles: British Hong Kong, 1950s in Hong Kong, 1960s in Hong Kong, 1970s in Hong Kong, 1980s in Hong Kong, and 1990s in Hong Kong

Flag of British Hong Kong from 1959 to 1997

 

Hong Kong's population recovered quickly after the war, as a wave of skilled migrants from the Republic of China moved in to seek refuge from the Chinese Civil War. When the Communist Party eventually took full control of mainland China in 1949, even more skilled migrants fled across the open border for fear of persecution.[69] Many newcomers, especially those who had been based in the major port cities of Shanghai and Guangzhou, established corporations and small- to medium-sized businesses and shifted their base operations to British Hong Kong.[69] The establishment of a socialist state in China (People's Republic of China) on 1 October 1949 caused the British colonial government to reconsider Hong Kong's open border to mainland China. In 1951, a boundary zone was demarked as a buffer zone against potential military attacks from communist China. Border posts along the north of Hong Kong began operation in 1953 to regulate the movement of people and goods into and out of the territory.

Stamp with portrait of Queen Elizabeth II, 1953

 

In the 1950s, Hong Kong became the first of the Four Asian Tiger economies under rapid industrialisation driven by textile exports, manufacturing industries and re-exports of goods to China. As the population grew, with labour costs remaining low, living standards began to rise steadily.[77] The construction of the Shek Kip Mei Estate in 1953 marked the beginning of the public housing estate programme to provide shelter for the less privileged and to cope with the influx of immigrants.

 

Under Sir Murray MacLehose, 25th Governor of Hong Kong (1971–82), a series of reforms improved the public services, environment, housing, welfare, education and infrastructure of Hong Kong. MacLehose was British Hong Kong's longest-serving governor and, by the end of his tenure, had become one of the most popular and well-known figures in the Crown Colony. MacLehose laid the foundation for Hong Kong to establish itself as a key global city in the 1980s and early 1990s.

A sky view of Hong Kong Island

An aerial view of the northern shore of Hong Kong Island in 1986

 

To resolve traffic congestion and to provide a more reliable means of crossing the Victoria Harbour, a rapid transit railway system (metro), the MTR, was planned from the 1970s onwards. The Island Line (Hong Kong Island), Kwun Tong Line (Kowloon Peninsula and East Kowloon) and Tsuen Wan Line (Kowloon and urban New Territories) opened in the early 1980s.[78]

 

In 1983, the Hong Kong dollar left its 16:1 peg with the Pound sterling and switched to the current US-HK Dollar peg. Hong Kong's competitiveness in manufacturing gradually declined due to rising labour and property costs, as well as new development in southern China under the Open Door Policy introduced in 1978 which opened up China to foreign business. Nevertheless, towards the early 1990s, Hong Kong had established itself as a global financial centre along with London and New York City, a regional hub for logistics and freight, one of the fastest-growing economies in Asia and the world's exemplar of Laissez-faire market policy.[79]

The Hong Kong question

 

In 1971, the Republic of China (Taiwan)'s permanent seat on the United Nations was transferred to the People's Republic of China (PRC), Hong Kong's status as a recognised colony became terminated in 1972 under the request of PRC. Facing the uncertain future of Hong Kong and expiry of land lease of New Territories beyond 1997, Governor MacLehose raised the question in the late 1970s.

 

The British Nationality Act 1981 reclassified Hong Kong into a British Dependent Territory amid the reorganisation of global territories of the British Empire. All residents of Hong Kong became British Dependent Territory Citizens (BDTC). Diplomatic negotiations began with China and eventually concluded with the 1984 Sino-British Joint Declaration. Both countries agreed to transfer Hong Kong's sovereignty to China on 1 July 1997, when Hong Kong would remain autonomous as a special administrative region and be able to retain its free-market economy, British common law through the Hong Kong Basic Law, independent representation in international organisations (e.g. WTO and WHO), treaty arrangements and policy-making except foreign diplomacy and military defence.

 

It stipulated that Hong Kong would retain its laws and be guaranteed a high degree of autonomy for at least 50 years after the transfer. The Hong Kong Basic Law, based on English law, would serve as the constitutional document after the transfer. It was ratified in 1990.[69] The expiry of the 1898 lease on the New Territories in 1997 created problems for business contracts, property leases and confidence among foreign investors.

Handover and Special Administrative Region status

Main articles: Transfer of sovereignty over Hong Kong and 2000s in Hong Kong

Transfer of sovereignty

Golden Bauhinia Square

 

On 1 July 1997, the transfer of sovereignty over Hong Kong from the United Kingdom to the People's Republic of China took place, officially marking the end of Hong Kong's 156 years under British colonial governance. As the largest remaining colony of the United Kingdom, the loss of Hong Kong effectively represented the end of the British Empire. This transfer of sovereignty made Hong Kong the first special administrative region of China. Tung Chee-Hwa, a pro-Beijing business tycoon, was elected Hong Kong's first Chief Executive by a selected electorate of 800 in a televised programme.

 

Structure of government

 

Hong Kong's current structure of governance inherits from the British model of colonial administration set up in the 1850s. The 1984 Sino-British Joint Declaration states that "Hong Kong should enjoy a high degree of autonomy in all areas except defence and foreign affairs" with reference to the underlying principle of one country, two systems.[note 3] This Declaration stipulates that Hong Kong maintains her capitalist economic system and guarantees the rights and freedoms of her people for at least 50 years after the 1997 handover. [note 4] Such guarantees are enshrined in the Hong Kong's Basic Law, the territory's constitutional document, which outlines the system of governance after 1997, albeit subject to interpretation by China's Standing Committee of the National People's Congress (NPCSC).[95][96]

 

Hong Kong's most senior leader, Chief Executive, is elected by a committee of 1,200 selected members (600 in 1997) and nominally appointed by the Government of China. The primary pillars of government are the Executive Council, Legislative Council, civil service and Judiciary.

 

Policy-making is initially discussed in the Executive Council, presided by the Chief Executive of Hong Kong, before passing to the Legislative Council for bill adoption. The Executive Council consists of 30 official/unofficial members appointed by the Chief Executive and one member among them acts as the convenor.[97][98]

 

The Legislative Council, set up in 1843, debates policies and motions before voting to adopt or rejecting bills. It has 70 members (originally 60) and 40 (originally 30) among them are directly elected by universal suffrage; the other 30 members are "functional constituencies" (indirectly) elected by a smaller electorate of corporate bodies or representatives of stipulated economic sectors as defined by the government. The Legislative Council is chaired by a president who acts as the speaker.[99][100]

 

In 1997, seating of the Legislative Council (also public services and election franchises) of Hong Kong modelled on the British system: Urban Council (Hong Kong and Kowloon) and District Council (New Territories and Outlying Islands). In 1999, this system has been reformed into 18 directly elected District Offices across 5 Legislative Council constituencies: Hong Kong Island (East/West), Kowloon and New Territories (East/West); the remaining outlying islands are divided across the aforementioned regions.

 

Hong Kong's Civil Service, created by the British colonial government, is a politically neutral body that implements government policies and provides public services. Senior civil servants are appointed based on meritocracy. The territory's police, firefighting and customs forces, as well as clerical officers across various government departments, make up the civil service.[101][102]

Encyclopaedia londinensis, or, Universal dictionary of arts, sciences, and literature

London :Printed for the proprietor, by J. Adlard ..., sold at the Encyclopaedia Office ... by J. White ... and Champante and Whitrow ...,1810-1829.

biodiversitylibrary.org/page/15915165

 

A top shelf arrangement of topshells. Can conchology get more beautiful than this?! biodiversitylibrary.org/page/15915165 #bhlpod

Stock market hand signals

To view more of my images, of Aldeburgh, please click

"here" !

 

I would be most grateful if you refrained from inserting images, or group invites; thank you!

 

Aldeburgh is a coastal town in the English county of Suffolk. Located on the River Alde, the town is notable for its Blue Flag shingle beach and fisherman huts where freshly caught fish are sold daily, and the Aldeburgh Yacht Club. The internationally renowned Aldeburgh Festival of arts, which takes place at nearby Snape Maltings, was created in 1948 by the resident and acclaimed composer Benjamin Britten. A popular weekend destination, with second homes making up roughly a third of its residential property, particular attractions are the ancient Moot Hall (where the town council still meets), Napoleonic-era Martello towerto the south, sheltered yachting marina at Slaughden, and two family run shops serving fish and chips, one of which is often cited as among the best fish and chip shops in the UK. Alde Burgh means "old fort" although this structure, along with much of the Tudor town, has now been lost to the sea. In the 16th century, Aldeburgh was a leading port, and had a flourishing ship-building industry. Sir Francis Drake's ships Greyhound and Pelican (later renamed Golden Hind) were both built in Aldeburgh. The flagship of the Virginia Company, the Sea Venture is believed to have been built there in 1608. When the River Alde silted up and was unable to accommodate larger ships, the area went into decline. Aldeburgh survived principally as a fishing village until the nineteenth century, when it became popular as a seaside resort. Much of its distinctive and whimsical architecture derives from this period. The river is now home to a yacht club and a sailing club. Aldeburgh is on the North Sea coast and is located around 87 miles (140 km) north-east of London, 20 miles (32 km) north-east of Ipswich and 23 miles (37 km) south ofLowestoft. Locally it is 4 miles (6.4 km) south of the town of Leiston and 2 miles (3.2 km) south of the village of Thorpeness. It lies just to the north of the River Alde with the narrow shingle spit of Orford Ness all that stops the river meeting the sea at Aldeburgh - instead it flows another 9 miles (14 km) to the south-west. The beach is mainly shingle and wide in places with fishing boats able to be drawn up onto the beach above the high tide. The beach was awarded the Blue flag rural beach award in 2005 and becomes narrower at the neck of Orford Ness. The shingle bank allows access to the Ness from the north, passing a Martello tower and two yacht clubs at the site of the former village of Slaughden. Aldeburgh was flooded during the North Sea flood of 1953 and flood defences around the town were strengthened as a result. The town is within the Suffolk Coast and Heaths Area of Outstanding Natural Beauty (AONB) and has a number of Sites of Special Scientific Interest (SSSI) and nature reserves in the local area. The Alde-Ore Estuary SSSI covers the area surrounding the river fromSnape to its mouth, including the whole of Orford Ness. This contains a number of salt marsh and mudflat habitats. The Leiston-Aldeburgh SSSI extends from the northern edge of the town to cover a range of habitats including grazing marsh and heathland. This includes Thorpeness Mere and the North Warren RSPB reserve an area of wildlife and habitat conservation and nature trails run by the Royal Society for the Protection of Birds. Two smaller geological SSSI units are also found on the southern edges of the town. Aldeburgh Brick Pit is a 0.84 hectares (2.1 acres) site showing a clear stratigraphy of Red Crag deposits above Corralline Crag. It is considered a significant site for demonstrating the stratigraphy of Red Crag. Aldeburgh Hall Pit is a shallow pit of 0.8 hectares (2.0 acres) area. The site features a section of Corralline Crag and is considered to be one of the best sites in Britain for Neogene fauna. It has a number of churches including the Anglican pre-Reformation church of St Peter and St Paul and the Catholic Church of Our Lady and St Peter.

  

From Wikipedia, the free encyclopedia

   

From Wikipedia, the free encyclopedia

 

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Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

1 Art directors

2 The festival

3 The Rencontres d'Arles award winners

4 Exhibitions

5 References

6 External links

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

 

From Wikipedia, the free encyclopedia

 

History

Name

 

1952–1976: Augustus

1976–1980: Great Sea

1980–1983: Ocean King

1983–1985: Philippines

1985–1987: President

1987–1999: Asian Princess

1999–2011: M/S Philippines, 2011-Onwards Philippine.

 

NamesakeEmperor Augustus (original name)

Owner

 

1952–1976: Italian Line

1976–1999: Various Hong Kong-based companies

1999–2011: Manila Hotel 2011–present Alang India ship scrappers.

 

Port of registry

 

1952–1976: Genoa,[1] Italy

1976–197?: Unknown, Seychelles

197?–1980: Unknown, Panama

1980 onwards?: Unknown, Philippines[2]

 

BuilderCantieri Riuniti dell' Adriatico, Trieste, Italy[2]

Yard number1757

Launched19 November 1950

Maiden voyage4 March 1952, Genoa to South America via Naples and Gibraltar

Out of service1987

IdentificationIMO number: 5030684

FateSold for scrap in 2012

General characteristics

Type

 

1952–1976: Passenger / cargo ocean liner

1956–2000: Passenger ship

2000 onwards: Onshore hotel

 

Tonnage27,090 GRT

Length207 m / 681 ft

Beam26.6 m / 87.2 ft

Draught8.5 m / 28 ft

Installed powerTwo 12-cylinder FIAT diesels developing 27,000 BHP

Propulsiontwin screws[2]

Speed

 

Service speed: 21 knots

Top speed: 23.3 knots

 

Capacity

 

Until 1964: First: 178, Cabin: 288, Tourist: 714[2]

From 1964: First: 180, Tourist: Approx 1,000

 

Crew493

 

MS Augustus was a 27,090 GRT, luxury ocean liner built in 1950 for Italian Line. She was the sister ship to MS Giulio Cesare that was launched in the same year. These two ships were built to the same design, with similar specifications. After the Augustus was sold to Hong Kong, she sailed under five names. The ship was later sold to Manila Hotel and renamed MS Philippines, functioning as a static hotel. As reported by both Maritimematters, and maritime, the MS Philippines was sold for scrap in September 2011. As of December 2011, she was beached in Alang for scrapping.[3]

 

Concept and construction

 

After the end of World War II, the Italian Line lost many of their fleet including their two superliners, SS Rex and SS Conte di Savoia, so they planned to build two 27,000 GRT ocean liners for post-war service to replace them. The Giulio Cesare and the Augustus were the impression of power and beauty with fat and round bows, curved superstructures, modern masts, an enormous funnel, and graceful sterns. Her external beauty restrained to the most canvassing standards with pleasingly sculptured bridge wings, an evocative nape at the aft funnel base, and even a trademark ventilator aft of the funnel that earned nicknamed the "robot" for its extraordinary shape. These two ships were one of the Italian post warships. The ship had twin 12-cylinder Fiat diesel engines, generating 24,000 brake horsepower (bhp) that drove her twin screws at a service speed of 21 knots. Both ships were designed to sail on the Italy-South America route, run with three classes. Both ships' interior were designed to have full air conditioning and swimming pools for each of three classes to make the ships looked like a luxurious hotel and to be the symbol of modern technology.[4][5]

Service history

Italian Line service

 

The Augustus was launched on November 9, 1950, at the Cantieri Riuniti dell'Adriatico, San Marco shipyard near Trieste, by Francesca De Gasperi (the wife of the Italian Prime Minister Alcide De Gasperi). On March 4, 1952, she sailed from Genoa to South America on her maiden voyage. She was put in a normal route from Genoa, calling at Naples, Cannes, Barcelona (or Lisbon), Rio de Janeiro, Santos and Montevideo, to Buenos Aires. Following the loss of the SS Andrea Doria in 1956, she was put into the North Atlantic service in February 1957 before returning to her usual Genoa-South America route in 1960 after the new SS Leonardo da Vinci was in service on the North Atlantic route. She and her sister were converted to two classes, which the cabin class was removed.[4] Like her sister, the ship was given a refit; however, these two ships were given a similar addition, which made them still look the same as each other.[5][6]

Interior and exterior of Augustus

 

The Augustus had the following nine passenger decks (arrange from beneath the top of the house): Sun Deck, Lido Deck, Boat Deck, Promenade Deck, Upper Deck, Foyer Deck, A Deck, B Deck, and C Deck. Sun Deck, which started off from the wheelhouse, chartroom, radio room, following along either side of aft, encircling the funnel casing, kennels, and the "robot" ventilator, was first class's facility. Lido Deck started off from a narrow full-wrap around promenade and officers' quarters, culminating aft with a bar, the first class pool, and changing rooms.[7]

 

Boat Deck started off forward with another narrow promenade, opening into wider expansion beneath a canopy of lifeboats and davits along either side. Inwardly, this level started off with the first class Belvedere Observation Lounge that was equipped with a panorama of windows overlooking the ship's bow.[7]

 

A reading room was continuing aft on the starboard side. This space's amidships was the first class writing room. The forward staircase's highest level was just aft with its burled panels and magnificent modern glass railings. Also, there was an elevator, linking the first class decks in this part of the ship. The deluxe suite facility started along port and aft passageways, to a small gymnasium, playroom, solarium, and message room on the starboard side. The aft part of Boat Deck, which had its own pool, lido and bar, was cabin class's facility.[7]

 

Promenade Deck started forward with a first class observation area, then number three-like encompassing, continuing aft through narrow links to the glass-enveloped first class promenade. Inwardly, it started with the phenomenal social hall with its curved panorama of windows and an aft bulkhead that held sculptures and reliefs in bronze by Mascherini. In this sheered salon, the ceiling accommodated an oval recess in which the lighting was designed in a zodiac fashion. This room was converted into an auditorium in 1964. The only part of this social hall to be carried over into the auditorium was an oval ceiling recess constellation-like lighting arrangement.[7]

 

The forward staircase lobby continued aft with foyer starting off on either side to the passageways and promenades which brought aft to the first class ballroom. The staircase itself, was decorated with Mascherini's sculptures.[7]

Hong Kong and Philippines service

 

The Augustus was retired from service in January 1976. On January 15, 1976, she was laid up in Naples. She was sold to Hong Kong and was renamed Great Sea. After a little use, she was renamed Ocean King in 1980. And in 1983, she was renamed Philippines. At that time, she served as an accommodation ship in Manila. She was renamed President in 1985. However, she was laid up in Kaohsiung, and in 1987, she was renamed Asian Princess and in 1997, she was moved to Subic Bay, where she was converted into cruising. However, the ship has failed in making money in this venture. Then she was moved and place at anchorage off Manila. She was dry-docked at Subic Bay in mid-1998, and in February 1999, she returned to Manila, where she was refitted for use as a floating hotel and restaurant venue as originally planned.[4]

The MS Philippines laid up in Manila as a floating hotel and restaurant

 

The ship was berthed at Pier 15 South Harbour Manila on October 2, 1999, after she was acquired by the Manila Hotel. On the October 12, 1999 in a gala ceremony attended by President Estrada, the ship was renamed MS Philippines. She was opened to the public, and in early 2000, the ship was opened as a hotel but due to the political disruption, the hotel was eventually closed. Shortly after, she was reopened for an onshore hotel. However, she was laid up for sale; Italian buyers expressed interest in purchasing her but no sale was ever closed, and the vessel was sold for scrapping. During the months of January 2012 through October 2012, the Philippines was cut up by scrappers in Alang, India, and now there is nothing left recognizable of the former Augustus. [6][8]

Mammalogie, ou, Description des espèces de mammifères

A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.

biodiversitylibrary.org/page/39522547

Manufacturer : Petworks

Scale : 1/6

Material : PVC , POM , ABS , Cloth

Series : 1/6 Men`s Picture Book

Release Date : Mid Oct., 2022

Sales Price : 25,300yen about181.88USD

JAN code : 4571239253902

Item code : 253902

 

- Specification details

Hair color: mahogany brown

Eye color: Ash gray

Skin color: ivory beige

Body: PW-28BODY (Petworks Original)

Head and body prototype: Keisuke Sawada (Sawada Koubou)

Costume production: Taeko Sekiguchi

Height approx 28cm PVC, POM, ABS resin, cloth costume

MADE IN JAPAN (body made in China, costume made in Vietnam)

Item Size/Weight : 34 x 10.5 x 6.8 cm / 280g

 

- 1/6 Men`s Picture Book Sisties Nine

 

- …With you, I can make a promise that never ends. Let's fill in the white pages together [One-sixth Men's Encyclopedia] A 1:6 scale men's doll series developed by Petworks, which continues to make fashion dolls with attention to detail.

 

- Eight has a supple, slender body and a boyish face. The hands and feet are removable and share parts with the Nine. [Sixties Eight] is a coordination model of 1960s mod fashion.

 

- Contents: Eight main body, mod coat, polo shirt, slim pants, men's tassel loafers.

 

This item is limited to 1 per household.

Copyright PW

Height: approx 28cm.

All photographs are © copyright by Rakhi Rawat. Please do not copy, use and modify any of my photographs without my explicit written permission. All rights reserved.

 

Encyclopédie d'histoire naturelle

Paris :Maresq[1851-1860].

biodiversitylibrary.org/page/12381541

February 16, 2017, at Jamundi, Valle del Cauca, Colombia.

>>>>>>>>>>>>

From Wikipedia, the free encyclopedia

"Pied water tyrant

Fluvicola pica.jpg

Conservation status

Least Concern (IUCN 3.1)[1]

Class:Aves

Order:Passeriformes

Family:Tyrannidae

Genus:Fluvicola

Species:F. pica

Binomial name

Fluvicola pica

(Boddaert, 1783)

The pied water tyrant (Fluvicola pica) is a small passerine bird in the tyrant flycatcher family. It breeds in tropical South America from Panama and Trinidad south to Bolivia and Argentina.

 

This species is found in marshy savannahs and the edges of mangrove swamps. The nest is a feather-lined oval ball of grasses and other plant material, with a side entrance. It is placed at the end of a branch near or over water. Both sexes incubate the typical clutch of two or three creamy-white eggs, which are marked with a few brown spots. Cowbirds sometimes parasitise the nest.

 

The pied water tyrant is 13.5 cm long and weighs 13g. Adults are mainly white with a black nape, back, wings and tail. Sexes are similar, although the female may have some brown mixed with the black, and immature birds are brown where the adult is black. The call is a nasal djweeooo.

 

Pied water tyrants often bob up and down when perched, and have a fluttering “butterfly” display flight. They forage for insects, their staple diet, in low waterside vegetation."

Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964.

Digital images from rawpixel's own physical collection of antique chromolithographic plates

 

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

 

Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/board/427285/rawpixel-original-lithographs

Mammalogie, ou, Description des espèces de mammifères

A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.

biodiversitylibrary.org/page/39522299

Sugerencias para una crisis

Three thick encyclopedias having brightly colored hardcovers. The books are stacked on top of each other and sitting on a dark brown coffee table. The covers' corners are in clear focus.

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília (UnB), Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

  

Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964

Encyclopédie d'histoire naturelle

Paris :Maresq[1851-1860].

biodiversitylibrary.org/page/14492643

Wolfgang Staudt

 

Die Ludwigskirche in Alt-Saarbrücken ist eine evangelische Kirche im Barockstil. Sie ist das Wahrzeichen der Stadt und gilt neben der Dresdner Frauenkirche und dem Hamburger "Michel" als einer der bedeutendsten evangelischen barocken Kirchenbauten Deutschlands.

 

Geschichte

 

Die Ludwigskirche sowie der sie umgebende Ludwigsplatz wurden von Friedrich-Joachim Stengel im Auftrag von Fürst Wilhelm Heinrich von Nassau-Saarbrücken als „Gesamtkunstwerk“ im Sinne einer barocken place royale entworfen. Der Bau begann im Jahr 1762. Nach dem Tod Wilhelm Heinrichs im Jahr 1768 wurden die Arbeiten wegen Geldmangels eingestellt. Erst 1775 wurde die Kirche durch seinen Sohn Ludwig, nach dem sie auch benannt wurde, fertiggestellt. Die Einweihung fand am 25. August 1775 mit einem feierlichen Gottesdienst und einer eigens zu diesem Anlass komponierten Kantate statt.

 

In den Jahren 1885–1887 und 1906–1911 führte man Restaurierungsarbeiten durch. Während des Zweiten Weltkriegs wurde die Ludwigskirche schwer beschädigt: Nach dem Bombenangriff vom 5. Oktober 1944 blieben nur noch die Umfassungsmauern erhalten. Der Wiederaufbau begann 1949, ist aber bis heute noch nicht abgeschlossen. Ein wesentlicher Faktor für diese lange Verzögerung war der von den 1950er bis in die 1970er Jahre mit großer Heftigkeit ausgetragene Streit, ob beim Wiederaufbau auch der vollständig verlorene barocke Innenraum rekonstruiert werden sollte. Zunächst hatte man sich auf eine Wiederherstellung der Außenhülle mit einer modernen Innenraumkonzeption verständigt, diesen Plan aber schließlich wieder aufgegeben. Zur Zeit (2007) fehlen im Innern noch der sog. „Fürstenstuhl“ (d.i. fürstliche Gestühl, das sich auf der der Orgel gegenüber liegenden Empore befand), und außen noch einige der Balustraden-Figuren.

 

From Wikipedia, the free encyclopedia

From Wikipedia, the free encyclopedia

 

Chalk's International Airlines

IATA ICAO Callsign

OP CHK CHALKS

Founded1917; 106 years ago

Ceased operations2007; 16 years ago

Hubs

 

Miami Seaplane Base

Fort Lauderdale-Hollywood International Airport

 

Parent companyFlying Boat Inc.

HeadquartersFort Lauderdale-Hollywood International Airport

Broward County, Florida, U.S.

Key peopleCapt. Rajan Nair, President

Website[1]

 

Chalk's International Airlines, formerly Chalk's Ocean Airways, was an airline with its headquarters on the grounds of Fort Lauderdale-Hollywood International Airport in unincorporated Broward County, Florida near Fort Lauderdale.[1] It operated scheduled seaplane services to the Bahamas. Its main base was Miami Seaplane Base (MPB) until 2001, with a hub at Fort Lauderdale-Hollywood International Airport.[2] On September 30, 2007, the United States Department of Transportation revoked the flying charter for the airline,[3] and later that year, the airline ceased operations.

History

 

The airline was founded by Arthur Burns "Pappy" Chalk, and started ad-hoc charter operations as the Red Arrow Flying Service in 1917 flying a floatplane.[4] After "Pappy" Chalk served in the Army Air Service in World War I, he returned to Miami and commenced scheduled service between Miami and Bimini in the Bahamas in February 1919 as Chalk's Flying Service. Chalk's first base was a beach umbrella on the Miami shore of Biscayne Bay. In 1926 a landfill island, Watson Island, was created in Biscayne Bay close to Miami. Chalk's built an air terminal there, and operated from the island for the next 75 years.

 

During Prohibition, Chalk's was a major source of alcohol smuggled from the Bahamas to the United States.[3][5][6]

 

Pappy Chalk sold the airline to a friend in 1966,[7] but continued to be involved in the daily operations of the airline until he retired in 1975. He died in 1977 at the age of 88.[3][8]

Chalk's Turbo Mallard taking-off from Miami Harbor in 1989

 

In the early 1970s, Frakes Aviation bought the rights to the aircraft and began a conversion program, replacing the old Pratt & Whitney R-1340 Wasp radial engines with Pratt & Whitney Canada PT6 turboprops.[9] By 1985 three of Chalk's eight Grumman Mallards had been converted, with five ex-military piston engined Grumman Albatross aircraft making up the balance of the fleet.

 

In 1974, Resorts International purchased Chalk's Airlines, which became the primary air carrier to Paradise Island near the Bahamian capital of Nassau, where Resorts International owned and operated hotels and other resort facilities. After Resorts International constructed a short take off and landing (STOL) runway on Paradise Island and switched to using STOL-capable de Havilland Canada DHC-7 Dash 7 turboprop aircraft operated by subsidiary Paradise Island Airlines, it sold Chalk's in 1991 to United Capital Corporation, an Illinois-based investment firm (which was not affiliated with United Airlines).[10]

 

The television show Miami Vice, a symbol of both Miami and the 1980s, featured a Chalk's seaplane in its opening credits. N2969, which had a fatal accident in 2005, is featured in an extended scene at the end of the third-season episode Baseballs of Death, when the antagonist attempts to leave the US. The music video for George Michael's "Careless Whisper" and Miami Vice second-season episode One Way Ticket featured a Chalk's seaplane, N2974. In one of the final scenes of the motion picture Silence of the Lambs, Dr Frederick Chilton is seen disembarking a Chalk's aircraft in Bimini, where Hannibal Lecter is waiting to "have him for dinner". A Chalks plane also makes an appearance at the end of the movie 'After The Sunset' with Pierce Brosnan and Salma Hayek's characters embracing as they stand next to it. Chalk's fleet was as high-maintenance as it was glamorous. It was a unique carrier, its Watson Island base being the smallest port of entry in the United States. Chalk's revenues were about $7.5 million in 1986, when it carried 130,000 passengers. Most were staying at Resorts International properties, although island residents used the airline for shopping trips to Miami.[11]

 

United Capital expanded Chalk's service to Key West, Florida, and Nassau and acquired additional aircraft, but struggled financially.[10] In 1996, United Capital sold Chalk's to a group of investors, who operated the airline under the name Pan Am Air Bridge. In January 1998, Texas-based aircraft lease company Air Alaska purchased 70% of Pan Am Air Bridge, but following the collapse of Air Alaska, Pan Am Air Bridge filed for Chapter 11 bankruptcy protection only a year later on January 11, 1999.[7] James Confalone, a businessman and former Eastern Airlines pilot, purchased Chalk's out of bankruptcy for $925,000 on August 2, 1999; it had been reduced to two aircraft and only 35 staff. Confalone bought five additional Grumman Mallard seaplanes and arranged a contract to buy 14 larger Grumman G-111 seaplanes to expand the operation.[7] On December 17, 1999, the airline was relaunched as Chalk's Ocean Airways.

Chalk's Turbo Mallard at Bimini seaplane base, Bahamas, in November 1989. This is the accident aircraft of Chalk's Ocean Airways Flight 101

 

In late 2001 following the September 11 attacks, Chalk's was forced to leave its longtime operations base on Watson Island due to security concerns over its proximity to the Port of Miami. Helicopter traffic had also increased around Watson Island.[8] Operations moved to Fort Lauderdale-Hollywood International Airport, where Chalk's already had its maintenance base.

 

The airline suspended operations after the crash of Chalk's Ocean Airways Flight 101 on December 19, 2005. It had planned to resume flights between Fort Lauderdale and the Bahamas under its earlier name of Chalk's International Airlines on November 9, 2006,[12] but its airworthiness certificate issued by the Bahamas had expired.[13] It resorted to using aircraft "wet leased" from and operated by Big Sky Airlines to operate flights from Fort Lauderdale to Key West and to St. Petersburg, Florida.[14] Chalk's added flights between Palm Beach International Airport (PBIA) and destinations in the Bahamas in late May 2007, but carried only 14 passengers through PBIA that August.[3]

 

Chalk's ceased flying from Fort Lauderdale-Hollywood International Airport after September 3, 2007. After the final report from the Flight 101 crash investigation was released, the United States Department of Transportation revoked the airline's flying authority for scheduled service on September 30, 2007, effectively shutting down the airline. Chalk's continued to hold its FAR 121 operating with a part 298 authority in good standing, and sought to add 60-passenger regional jets to its FAR 121 operating licence, but these efforts never came to fruition.

 

Chalk's had claimed to be the oldest continuously operating airline in the world, having begun operations in 1917 and scheduled flights in February 1919, and having only ceased operations for three years due to World War II, two days due to 1992's Hurricane Andrew, and eleven months due to an "at altitude tragedy" on December 19, 2005. The title of oldest operating airline is now given to KLM of the Netherlands, founded later in 1919.

Fleet

Grumman G-73T Turbo Mallard N130FB of Chalk's International Airlines taxies out of the water at Abaco, The Bahamas, November 1999.

 

During 2006 the airline leased conventional Beechcraft 1900D turboprop commuter land planes from Big Sky Airlines which were later replaced by Saab 340A and other wet leased aircraft while working with the Federal Aviation Administration to rebuild its fleet of Grumman G-73T Turbine Mallards.[12][15]

Chalk's Grumman Albatross arriving in Miami Harbor from Nassau, Bahamas, in March 1987

 

As of March 2007 the Chalk's International Airlines fleet comprised:[2]

 

4 Mallards (5 originally delivered but one crashed)

2 Saab 340A The Saabs were chartered by Chalks from Bimini Island Air.

 

Incidents and accidents

 

In 1994, Captain John Alberto and co-pilot Alan Turner drowned after their aircraft sank due to the failure of the airplane's bilge pump while they were taxiing at Key West. Captain Alberto left behind a wife and two children. Jimmy Buffett dedicated a chapter to Captain Alberto in his book A Pirate Looks At Fifty.

On December 19, 2005, Chalk's Ocean Airways Flight 101 from Fort Lauderdale to Bimini made an unscheduled stop at Watson Island, Miami.[8] Within a minute of taking-off again, it fell into the sea near Miami Beach.[16][17] Witnesses said they saw smoke billowing from the plane and the separation of its right wing as it plunged into the ocean.[18] None of the twenty people on board – eighteen passengers and two pilots – survived. At first, only nineteen of the twenty bodies were found (by the Coast Guard and Miami Beach Ocean Rescue); on December 23, 2005, the twentieth was found by two Miami-Dade firefighters while fishing on their day off. Investigators later identified cracks in the main support beam connecting the wing to the fuselage.[19][20] The plane was a Grumman G-73T Turbine Mallard, registration N2969, manufactured in 1947. It was the second fatal accident for Chalk's Ocean Airways. A few months after the NTSB released its report on the crash, the airline shut down.

A Text in english:

Blue-black Grassquit

From Wikipedia, the free encyclopedia

Blue-black Grassquit

Conservation status

 

Least Concern

Scientific classification

Kingdom: Animalia

Phylum: Chordata

Class: Aves

Order: Passeriformes

Family: Emberizidae

Genus: Volatinia

Reichenbach 1850

Species: V. jacarina

Binomial name

Volatinia jacarina

(Linnaeus, 1766)

 

The Blue-black Grassquit, Volatinia jacarina, is a small bird of the family Emberizidae, which also includes the buntings. It breeds from southern Mexico through Central America, and South America as far as northern Chile, Argentina and Paraguay, and on Trinidad and Tobago. It is the only member of the genus Volatinia.

This is a common bird in semi-open areas, including cultivation and gardens. It makes a small cup nest, with a typical clutch of one to three pale green eggs blotched with reddish brown. Both sexes incubate for 9–10 days, with about the same period again for the young to fledge.

Adult Blue-black Grassquits are 10.2cm long and weigh 9.3g. They have a slender conical black bill. The male is glossy blue-black, with a black tail and wings; the white inner underwing is visible in flight or display. Female and immature birds have brown upperparts and dark-streaked buff underparts.

Blue-black Grassquit feeds mainly on seeds. It is quite gregarious, and forms communal evening roosts.

The male has a jumping display, often performed for long periods, which gives rise to the local name Johnny Jump-up. This is accompanied by a persistent wheezing jweeee call.

 

Um texto em português:

O Tiziu, nome vulgar utilizado para identificar Volatinia jacarina, é um passarinho da Família Emberizidae, que mede cerca de 11,4cm. Estes pequenos pássaros são vistos com grande freqüência, geralmente aos pares, em áreas alteradas, descampados, savanas, campos e capoeiras baixas da América do Sul, exceto no extremo sul. Alimentam-se principalmente de sementes verdes, encontradas no próprio colmo das gramíneas ou no chão, ou de insetos. Adultos e jovens, fora da época reprodutiva, são pardo-oliváceos no dorso e levemente amarelados no abdômen, com estrias no peito e flancos. Os machos adultos, durante a época de acasalamento, assumem uma brilhante plumagem nupcial preto-azulada, com uma mancha branca nas penas axilares. Estes são facilmente reconhecidos nesse período pois, além da coloração nupcial vistosa, executam uma exibição que consiste de pequenos vôos verticais, ao mesmo tempo em que fazem vocalização da qual resultou seu nome: "tis-ziu". o vôo é repetido seguidamente, sobre o mesmo puleiro, em média cerca de 12 a 14 vezes por minuto, e com pequenos intervalos entre as repetições. Essa exibição é executada principalmente durante a época reprodutiva: todo ano em Belém, no Pará, e restrito ao verão em regiões meridionais, em função da alteração na oferta de recursos alimentares. Através das exibições, os machos delimitam seus pequenos territórios, que podem variar de cerca de 13 a 73m2, também atraindo as fêmeas para o acasalamento. O ninho, feito com raízes emaranhadas e com formato de taça, é construído dentro do território do macho, sempre a 50cm ou menos do chão, recebendo normalmente uma postura de dois ovos. Tanto o macho quanto a fêmea participam dos cuidados com os filhotes.

Os vários nomes vulgares deste pássaro, como tiziu, bate-estaca, serrador e serra-serra, fazem alusão ao canto e ao pulo vertical de cerca de 1 m que o macho executa na época da reprodução, partindo de um galho seco. Durante estes saltos, ele canta, bate as asas, expões a mancha branca das penas axilares e produz um ruído característico com as rêmiges. O macho delimita um território tão pequeno que está entre os menores observados para os pássaros. É uma espécie migratória, desaparecendo de São Paulo durante o inverno.

 

JULIANA BOSI DE ALMEIDA Programa de Pós-graduação em Ecologia Universidade de Brasília

 

o macho adulto é inconfundível por ser todo preto, exceto por uma pequena mancha branca na parte inferior das asas, já as fêmeas e imaturos são quase idênticas a várias outras espécies da família, especialmente às fêmeas dos papa-capins ( gênero Sporophila ).

Espécie muito conhecida em nosso país, principalmente pelo hábito dos machos fazerem apresentações de corte e defesa do território boa parte do ano. Estas apresentações são geralmente feitas a partir de poleiros não muito altos como mourões de cerca e arbustos. O macho voa verticalmente cerca de 60cm e em seguida solta o corpo, mostrando as manchas brancas nas asas e retornando ao poleiro. Esses movimentos são muito rápidos e repetitivos e a ave vocaliza enquanto voa, lembrando seu nome popular ``tiziu´´.

Alimenta-se principalmente de sementes de gramíneas como a braquiária, mas também captura insetos.

É muito comum nas áreas rurais e também em cidades, especialmente em terrenos baldios.

A fêmea constrói o ninho em forma de bola entrelaçando gravetos finos e folhas de gramíneas. Geralmente são postos 3 ovos. Os pais se revezam na alimentação dos filhotes. A mesma fêmea pode ter mais de uma cria no mesmo ano.

 

The Tiziu, popular name for the Volatinia jacarina, is a bird of the Emberizidae family, whose size is 11.4 centimeters. These small birds, usually in pairs, are frequently seen in plains, prairies, open fields and cleared tracts of land in South America, except in its Southernmost part. They feed mainly upon insects or green seeds, which are collected in the stem of gramineous plants or on the ground. Whenever they are out of their reproductive season, the adult and young bird's back looks dark gray with shades of olive green, while its abdomen looks yellowish with lines on the chest and flank. During their breeding season, the adult male takes up a shiny bluish black nuptial feathering, with white spots in the axillary feathers. They are easily recognized in this period because, besides wearing their showy nuptial feathering, they perform vertical flights, while singing the sound they are named for: "tis-ziu". These flights are repeated over the same spot, at a rate of 12 to 14 times a minute, with short intervals among them. This performance takes place mainly during their reproductive season, which lasts basically all year round in Belém, State of Pará, and is restricted to the summertime in Southern regions. due to variations in food resource. Through these performances, males draw the lines of their small territories, which may range from 13 to 73 square meters, and also attract females for breeding. The nest is built with woven roots in the shape of a cup. It is within the male's territory, always up to 50-centimeter high, and usually receives an offspring of two eggs. Both male and female take part in looking after their issue.

 

JULIANA BOSI DE ALMEIDA Graduation Program in Ecology University of Brasília

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