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Van Nelle Factory, Rotterdam The Netherlands – Architects: Brinkman and Van der Vlugt – masterplan 1914 – 1923; design 1923 – 1925; execution 1925 - 1931
The Van Nelle Factory is one of the highlights of the Modern Movement in the Netherlands. The impressive glass building is not only an example of functionalism and rational production, but also improved working conditions for workers in the twentieth century. The restored building is now one of the most important monuments of Rotterdam
The Firm Van Nelle was selling coffee, tea, tobacco and snuff in Rotterdam since 1782. The entirely new complex consists of the actual factory building, an office building, a warehouse, expedition and storage depots along the canal, a boiler house and several workshops. A cafeteria and sports fields were also to be found in the area. The factory building consists of three elongated in height sloping parts separated by stairwells. Tobacco has eight, coffee five and tea factory three floors. The staircases house the washing and changing facilities, toilets and lifts, separated for men and women. This allowed for continues factory floors and easily adjustable layouts. By using a concrete frame the non-load bearing facades could be made almost entirely of glass with only thin steel frames. Light and air could penetrate deep into the building. The expedition and storage strip along the water is connected to the main building by overhead conveyor bridges. Another sky bridge connects the plant to the office at the entrance of the complex. The office consists of a strip with two layers of offices and a large open space with glass walls and glass meeting rooms. The office follows the curve in the road. During construction, a tea room on the roof of the tobacco factory was added.
In 1942, low-rise warehouses designed by Brinkman and Van den Broek were realized. In 1974 at the back of the building, a new distribution centre was built. In 1951 other products such as pudding and chewing gum made their entrance. After a takeover by the American Standard Brands in 1989, Van Nelle competitor Sara Lee / Douwe Egberts, sold the complex in 1995, so it could finally get the status of national monument. Using the name Van Nelle Design Factory, the complex started a new life. The factory complex was restored by Wessel de Jonge and Claessens Erdmann. The transparency of the factory floor was maintained as much as possible by the new climate walls on the inside. The new inner facades are made of aluminium and therefore clearly identifiable as new elements. On the floors office spaces of various sizes have been realized for the creative sector. The ground floor is used for exhibitions and conferences. The adjacent buildings have been restored and are used by a number of architectural firms.
The man in the white pants and blue stocking cap has a sign around his neck that says 'TRAITOR'. The Confederate soldiers surrounding him are marching him to a place near the Galveston docks where they will execute him. This is part of the reenactment of the Battle of Galveston.
Automation solutions are in high demand in the market today. And warehouse execution software and warehouse robots are on the top of the list. Industry leaders are increasingly investing in these solutions to increase high efficiency and productivity within their facilities.
Chapter 1, "The Execution" from, "A Night of Violence: The Houston Riot of 1917" by Robert V. Haynes, Copyright 1976. Book about the Camp Logan Riot/Mutiny of 1917 in Houston, Texas.
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Here at LivnFresh, we know that you can brighten up any Michigan home with the right DIY furniture. Right now, live-edge resin river tables are some of the most sought after furniture pieces out there. And today we will teach you how to make one on your own!
With careful planning and delicate execution, experienced woodworkers and DIY’ers will surely be able to make a lovely new resin-filled table. This guide covers the basics of making your own live-edge resin-filled table to give you an idea of how it usually goes.
Gather Your Tools and Materials
You will need a few materials for this project, namely: wood, translucent tinting pigments, tape, polypropylene sheet, polishing compound, and of course, some clear epoxy resin. Of course, you will also need some more tools and safety equipment to make sure the process goes as smoothly as possible.
Before you get to work, make sure the environment you are in is a dry, heated space all throughout the process. The resin also needs to be at room temperature. If it’s delivered cold or it’s been in the garage for some time, you will have to raise the temperature to 20°C before use. Damp or cold conditions may affect the end result.
Prepare the Wood
When choosing your wood, you need to make sure that the wood is seasoned, dry, and as flat as possible. The style and type depend on your personal preference—you can get creative here. But waney-edges work best for this type of project. Pro tip: you can ask your supplier to cut the wood down to the correct size and depth or cut it in half if you want to do a central river channel.
Chisel out the bark and then remove any loose material with abrasive paper. Next, check for cracks and gaps on the top and bottom of the pieces of wood. Seal them in by filling them with resin. Use tape to seal the cracks and gaps to prevent the resin from running out. Check on it every now and then and top up the resin if some were absorbed by the wood.
When the resin is fully cured, use abrasives to level off the surface, removing any high spots. You want to leave a keyed surface so a coarse abrasive is ideal.
Create a Container
Position your slabs of wood so you can make a container around the whole table slab—it will support the resin whilst pouring and curing the river. Begin with a flat sheet, which will make a baseboard to work upon.
Use the polypropylene sheet to create a base and side barriers to create a container around the wood. Make the base 8cm larger than the table to allow for side barriers. Then use a hot-melt glue gun and run a bead of glue all around the base and side barrier to making sure the container is water-tight.
If you need to test if it is watertight, just make sure you dry the container thoroughly afterward.
Add the Resin!
Whether you color the resin or not depends on your personal taste. Lots of DIY’ers use glow powders, metallic pigments, solid colors, etc. Try experimenting on a small amount of resin with any effect you want to achieve before applying it to your table. You can also leave it clear, and the resin will look good too. Use a blue translucent tinting pigment if you want to emphasize that watery effect for your river table.
Once you’ve chosen the right style, carefully pour the resin into the container. Then add the correct amount of hardener and mix thoroughly. Make sure the resin completely covers the whole base area. Aim to slightly overfill the river channel, then leave the resin to fully cure.
Place the wood planks back into the correct position on top of the resin. Use a brush to seal the edge and top surface with the resin including all the knots, splits, and cracks. Use a heat gun or hairdryer on medium heat to remove any bubbles.
Finishing Touches
To finish off the table you will need to add the legs and seal the wood.
It is important that you do this prior to polishing the resin river as the polishing compound may mark the wood if it’s not protected. To polish the resin you will need a hand-held polisher and a high-quality polishing compound. This will help you achieve a high gloss finish.
Here at LivnFresh, we love DIY projects as much as we love Michigan. Be sure to visit us at LivnFresh.com for some great Michigan-inspired apparel.
The scene of the crime, really. Upon our return from Eastbourne we see Northumberland blocked off by police tape. An officer seeing my camera tersely instructs us to "move along". It might be an accident? What happened, nobody knows, or they are not saying. Tellingly a little white tent in front of the Nigerian Embassy immediately across the street from our hotel is the center of interest of the police. The police erect these tents to cover homicide victims. They are taking measurements, and many pictures. We canvas the desk clerk who bluntly says that someone was shot, and probably killed in what was described as a an execution. Was it a murder? I don't know, it seems all the information was embargoed, so far, no media carried a trace of the story.
Clearly just another lazy, self entitled hipster that doesn't want to get a job and lives in her mother's basement. Get a job Hippie!
Execution Rocks Light is a lighthouse in the middle of Long Island Sound on the border between New Rochelle and Sands Point, New York. It stands 55 feet tall, with a white light flashing every 10 seconds. The granite tower is painted white with a brown band around the middle. It has an attached stone keeper's house which has not been inhabited since the light was automated in 1979.
It was added to the National Register of Historic Places in 2007 as Execution Rocks Light Station.
A frightening bit of history - there wer many of these illustrations as you climbed the stairs and many of them were positively horrific. Fun learning!
The tragic romance of Mary, Queen of Scots life inspired Victorian artist Robert Herdman. She is shown as a saintly figure. Her blood-red petticoat symbolises her martyrdom to the Catholic faith.
Robert Herdman was a Victorian artist specialising in portraiture and historical compositions - was born in Rottray near Blairgowrie in Perthshire. He lived mainly in Edinburgh and he died in 1888
This painting bequeathed by Adam Teacher, 1898 and is on display at the Glasgow Art Gallery & Museum in Scotland.
Photo by Bill Mneimneh.
The Registan (Uzbek: Регистон, Registon) was the heart of the city of Samarkand of the Timurid Empire, now in Uzbekistan. The name Rēgistan (ریگستان) means "sandy place" or "desert" in Persian.
The Registan was a public square, where people gathered to hear royal proclamations, heralded by blasts on enormous copper pipes called dzharchis — and a place of public executions. It is framed by three madrasahs (Islamic schools) of distinctive Persian architecture. The square was regarded as the hub of the Timurid Renaissance.
The three madrasahs of the Registan are the Ulugh Beg Madrasah (1417–1420), the Sher-Dor Madrasah (1619–1636), and the Tilya-Kori Madrasah (1646–1660). Madrasah is an Arabic term meaning school.
Ulugh Beg Madrasah (1417–1420)
The Ulugh Beg Madrasah, built by Ulugh Beg during the Timurid Empire era of Timur, has an imposing iwan with a lancet-arch pishtaq or portal facing the square. The corners are flanked by high minarets. The mosaic panel over the iwan's entrance arch is decorated by geometrical stylized ornaments. The square courtyard includes a mosque and lecture rooms, and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes. Originally the Ulugh Beg Madrasah was a two-storied building with four domed darskhonas (lecture rooms) at the corners.
The Ulugh Beg Madrasah (Persian: مدرسه الغ بیگ) was one of the best clergy universities of the Muslim Orient in the 15th century CE. Abdul-Rahman Jami, the great Persian poet, scholar, mystic, scientist and philosopher studied at the madrasah. Ulugh Beg himself gave lectures there. During Ulugh Beg's government the madrasah was a centre of learning.
Sher-Dor Madrasah (1619–1636)
In the 17th century Uzbek ruler of Samarkand, Yalangtoʻsh Bakhodir, ordered the construction of the Sher-Dor (Persian: شیردار) and Tillya-Kori (Persian: طلاکاری) madrasahs. The tiger mosaics with a rising sun on their back are especially interesting for their depiction of living beings and use of Turko-Persian motifs. The name of the madrasah comes from the patterns on the portal of the building as the word "Sher" means tiger.
Tilya-Kori Madrasah (1646–1660)
Ten years later the Tilya-Kori (Persian: طلاکاری, meaning "Gilded") Madrasah was built. It was not only a residential college for students, but also played the role of grand masjid (mosque). It has a two-storied main facade and a vast courtyard fringed by dormitory cells, with four galleries along the axes. The mosque building (see picture) is situated in the western section of the courtyard. The main hall of the mosque is abundantly gilded.
Mausoleum of Shaybanids
To the east of the Tilya-Kori Madrasah, the mausoleum of Shaybanids (16th century) is located (see picture). The real founder of Shaybanid power was Muhammad Shaybani—grandson of Abu'l-Khayr Khan. In 1500, with the backing of the Chaghataite Khanate, then based in Tashkent, Muhammad Shaybani conquered Samarkand and Bukhara from their last Timurid rulers. The founder of the dynasty then turned on his benefactors and in 1503 took old Tashkent. He captured Khiva in 1506 and in 1507 he swooped down on Merv (Turkmenistan), eastern Persia, and western Afghanistan. The Shaybanids stopped the advance of the Safavids, who in 1502 had defeated the Akkoyunlu (Azerbaijan). Muhammad Shaybani was a leader of nomadic Uzbek tribes. During the ensuing years they substantially settled down in oases of the Central Asia, Caspian shore, Tian Shan valleys, Russian steeps and Indostan . The one of the last and vast Uzbek invasion of the 15th century CE was the large component of today's Uzbek nation ethnogeny.
Chorsu trading dome
The trading dome Chorsu (1785) is situated right behind the Sher-Dor. Chorsu located at southeast of the Registan at the intersection of the cross-roads connecting Samarkand, Tashkent, Bukhara, and Shahrisabz. Chorsu is a word of Persian origin meaning "crossing roads," referring to this famous intersection of busy roadways. The building is old. It has a rather rich centuries-old history. At the moment, it is included in the UNESCO World Heritage List along with the rest of the historical part of the glorious city.
Chorsu was originally a bazaar constructed in the 15th century but was rebuilt in the 18th century, becoming a hat market. The current building was built during the reign of Amir Shahmurad, in 1785. Today, the bazaar which was previously located at Chorsu is nowadays the Siyob Bazaar near the Bibi-Khanym Mosque.
In 2005, ownership of Chorsu was transferred to the Academy of Arts of Uzbekistan. While renovating the building, three meters of dirt were removed from the building revealing the original base construction. Chorsu now serves as an art gallery which offers the work of artists both contemporary and historical. The art of in the Chorsu gallery displays the arts, culture, history, and diversity of the multi-national Uzbek people.
Rick Carson at Make Believe Recordiing studio. This is taken off the side of the Sound Workshops series thirty recording conslole with an SSL nucleus mod.
The Rieme-Oostakker Place of Execution is the place in the Ghent district of Oostakker where 66 resistance fighters were executed by the Naxi occupation force between February 8, 1943 and August 24, 1944.
This memory is also kept alive the 20 resistance fighters who were killed on the execution site at Rieme . That site was destroyed in 1998 during the construction of the Kluizendok of Ghent Port.
The executions were carried out in secret and the victims were buried anonymously. Some of the resistance fighters killed in Rieme was found in a mass grave in Hechtel.
Moreover, there were German soldiers and Belgian criminals also shot. Because of these circumstances, it is still unclear how many people were killed. After the Liberation the mass grave was uncovered in Oostakker. The victims were identified and buried in their hometowns.
The crosses on the ground thus have a symbolic meaning. Nevertheless, the execution place is a cemetery since in 1952 the remains of 15 decapitated West Flemish political prisoners were moved here from their graves in Munich.
On the grounds is a railway carriage which carried hundreds of Belgians to concentration camps in Germany and Poland. In 1966 the execution place gained the status of a protected landscape.
This poor girl was caught eating eggs and so we either had to put it in solitary confinement or kill it, and as it was a table breed we decided to kill it.
Purchased in 2013, these six French percussion target pistols combine mechanical perfection with extraordinary artistic ingenuity and execution. Specifically designed for display at the great fairs of the second half of the nineteenth century, and yet absolutely functional, these firearms were not intended to be fired but shown and admired for their technological sophistication and their beauty. The acquisition of this group enables the Met to highlight a pivotal moment in the history of European and American gunmaking, when industrial and world fairs that attracted millions of visitors provided unprecedented opportunities for nations, firms, and individuals to showcase their achievements. In the eyes of British and other international commentators, these very pistols spectacularly confirmed that the French were then unsurpassed in their mastery of the gunmaker's art.
The group includes two pairs of pistols stocked in ebony, designed by the versatile ornamentalist and sculptor Michel Liénard (1810–1870), and made by the celebrated Parisian gunmaker Alfred Gauvain (1801–1889). Respectively created for the Exposition des Produits de l'Industrie in Paris in 1844, and for the Great Exhibition of the Industry of All Nations (also known as the "Crystal Palace exhibition") in London in 1851, these pistols, one pair in the Gothic Revival and the other in the Renaissance Revival style, were praised as works of modern art of impeccable taste and execution. The harmonious integration of the ambitious sculptural decoration of the metal parts and carving of the ebony stocks is unrivaled.
The third set of pistols, which are unique for their all-steel construction, and not an exact pair, were embossed in low relief and chiseled by the virtuoso sculptor and silversmith Antoine Vechte (1799–1868) for the renowned Parisian gunmaker Gilles Michel Louis Moutier-Le Page (1810–1887). Vechte, who immigrated to Great Britain around 1850, may have completed the chiseling of the last pistol in London. One, if not both, was exhibited at the Crystal Palace exhibition in 1851, and repeatedly illustrated in contemporary accounts of the fair, which drew six million visitors.
Chapter 1, "The Execution" from, "A Night of Violence: The Houston Riot of 1917" by Robert V. Haynes, Copyright 1976. Book about the Camp Logan Riot/Mutiny of 1917 in Houston, Texas.