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Eglise San Pietro construite en 1198 - Porto-Venere (Ligurie - Italie 2017)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
... I was this weekend!?
LOL It seems the image (any image) of the Eiffel Tower illuminated at night is protected by copyright. So here is the disclaimer.
"Eclairage de la Tour Eiffel - Copyright Société Nouvelle d'Exploitation de la Tour Eiffel – Conception Pierre Bideau"
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
Les VBZ à la dérive!
Après la remise en service commercial des deux motrices historiques Mirage sans arriver à exploiter les lignes avec les convois prévus, une (nouvelle) rupture d'un cardan de transmission sur une motrice Cobra (Be 5/6 3001-3088) en date du 24 décembre 2018 (!) a nécessité trois mois plus tard (!) des mesures d'urgence en vigueur dès le 22 mars 2019 pour une durée indéterminée:
1) réduction de la vitesse maximale des Cobra à 42 km/h et 12 km/h sur les appareils de voie
2) pour limiter sectoriellement les retards attribution des Cobra aux lignes 2, 3, 4, 5, 6, 13 et 17.
Les autres lignes, y compris les lignes 10 et 12 du Glattalbahn, sont exploitées avec des convois Tram 2000 sans garantie d'accès surbaissé.
De plus, à partir du 1 janvier 2019 et avec une arrogance toute zürichoise, des mangers des VBZ ont imposé unilatéralement au TMZ l'immobilisation de pas moins de cinq motrices historiques sous le prétexte fallacieux de délai de révision. C'est faire bien peu de cas du sérieux du travail exécuté depuis plus de cinquante ans par les membres actifs du TMZ.
Si ces bureaucrates ne sont pas en mesure de comprendre la logique différence entre un simple contrôle technique et une inutile révision sur des véhicules en parfait état budgetée à un prix exorbitant ils n'ont certainement pas les compétences requises pour occuper leur poste et ils devraient être poussés vers la sortie par tous les moyens légaux disponibles!
La Be 4/6 2055 circule en solo et offre ainsi une capacité insuffisante en direction du Werdhölzli sur la ligne 17.
19904
Véhicule : MAN Lion's City 12 E
Identification : _ ([D] M - AN 7294)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Dépôt de Bastide-Niel
Sixième bus électrique expérimenté sur une ligne régulière commerciale, du 3 au 20 Août 2020.
Réseau : TBM (Bordeaux Métropole)
Ligne : Lianes 15
Voiture : 1514
Destination : Centre Commercial BORDEAUX LAC
À l'instar de la démonstration menée en Septembre 2018 (avec un GX 337 Elec), Bordeaux Métropole a lancé un projet d'expérimentations de bus électriques, qui se tiendront sur la période 2019-2020. Le but est d'éprouver la capacité de ces véhicules à être mis en service commercial sur le réseau. Pour cela, la Lianes 15 a été retenue : longue d'environ 25 kilomètres, elle met entre 1h15 et 1h30 pour relier Bordeaux du Nord ("Centre Commercial Bordeaux Lac") au Sud (Villenave d'Ornon, "Pont de la Maye" ou "Courréjean"), en passant par l'hyper centre-ville. Remisée au dépôt de Bastide-Niel, elle accueillera les véhicules de 7 constructeurs : BOLLORÉ (BlueBus 12), YUTONG (E 12 LF), MERCEDES-BENZ (eCitaro), HEULIEZ BUS (GX 337 Elec Linium), IRIZAR (ie tram), MAN (Lion's City 12 E), et ALSTOM (Aptis). Les véhicules réalisent quotidiennement une demi-journée de service (compte tenu de l'autonomie limitée de ce type de véhicule), le rechargement des batteries s'effectuant la nuit par "charge lente".
19/08/2020 12:41
Cours de Luze ; F-33 BORDEAUX
“The earth we abuse and the living things we kill will, in the end, take their revenge; for in exploiting their presence we are diminishing our future.”
(Marya Mannes)
Arrangement by my son, photo by me. ;-)
Have a great Wednesday!
[ENG] The complex of Wetlands of Sastago-Bujaraloz constitutes a set of endorheic lagoons without drainage, temporary and saline, considered as the most extensive and important in Europe, being unique for its peculiarities. It is located between the towns of Bujaraloz (Huesca, Spain) and Sástago (Zaragoza, Spain) between the regions of Los Monegros and the Ribera Baja de Ebro. These lagoons are flooded after the rains, and some - located below the water table - They also receive underground water, the latter being the ones with the highest concentration of salts. The evaporation exposes the bottom of the lagoon with a characteristic white saline crust. The vegetation that lives in the salt flats is adapted to low rainfall and extreme temperatures, and is arranged in concentric rings depending on its tolerance to salinity, the macrophytes appearing inside the buckets. Among the inhabitants of the salt flats, the aquatic invertebrates that have adapted their cycle to the presence of water stand out. And in its vicinity you can see foxes, rabbits, garden dormouse and ocellated lizards, as well as the birds short-toed snake eagle, Eurasian stone-curlew, golden eagle, common sandpiper, lesser kestrel, Dupont's lark, black-bellied sandgrouse and pin-tailed sandgrouse.
The Salada de la Playa is the largest of the whole and with the greatest presence of water, in which there are ruins of constructions related to the exploitation of salt dating from the 17th and 18th centuries, between those that include evaporation terraces, wells, salt store and barracks of soldiers guarding the farms.
Other pictures in Saladas de Sástago-Bujaraloz album.
[ESP] El complejo de Humedales de Sástago-Bujaraloz constituye un conjunto de lagunas endorreicas (sin desagüe), temporales y salinas, considerado como el más extenso e importante de Europa, siendo único por sus particularidades. Está situado entre las localidades de Bujaraloz (Huesca, España) y Sástago (Zaragoza, España) entre las comarcas de Los Monegros y la Ribera Baja de Ebro. Estas lagunas se inundan tras las lluvias, y algunas –situadas por debajo del nivel freático- también reciben agua subterráneas, siendo estas últimas las que tienen mayor concentración de sales. La evaporación deja al descubierto el fondo de la laguna con una costra salina blanca característica. La vegetación que vive en las salinas está adaptada a las lluvias escasas y a las temperaturas extremas, y se dispone en anillos concéntricos en función de su tolerancia a la salinidad, apareciendo en el interior de las cubetas los macrófitos. Entre los moradores de las salinas destacan los invertebrados acuáticos que han adaptado su ciclo a la presencia de agua. Y en sus proximidades se pueden observar zorros, conejos, lirón careto y lagartos ocelados, así como las aves culebrera europea, avutarda, archibebe común, alcaraván, ágila real, andarríos chico, cernícalo primilla, rocín o alondra de Dupond, ganga ortega y ganga común.
La Salada de la Playa es la mayor de todo el conjunto y con mayor presencia de agua, en la que existen ruinas de construcciones relacionadas con la explotación de la sal que datan de los siglos XVII y XVIII, entre las que se incluyen eras de evaporación, pozos, almacén de sal y cuartel de soldados que custodiaban las explotaciones.
Más fotografías en el álbum Saladas de Sástago-Bujaraloz
197862
The sad story of the decline and administration of Wrightbus.
As recently as five years ago, Wrightbus was still riding high. It was vying with Alexander Dennis Limited as market leader in the United Kingdom (UK) for buses and indeed in some years prior to that it had actually been market leader. Yet barely a few years later, it had suffered a rapid decline and crashed into administration in one of the most significant issues to affect the industry since the TransBus International debacle. So what happened?
Well like all sad stories it’s important to start at the beginning. Wrightbus was founded in 1946 as Robert Wright & Son Coachbuilders in Ballymena, Northern Ireland. In its early years it rebodied lorries for schools and for local authorities for accessible transport needs. In 1978, the company released its first aluminium-structured bus bodywork but it went barely noticed in mainland of the UK. During the 1980s Wright was not yet a major player in the UK bus market, and most of its sales continued to be to the welfare sector. To try and expand its presence, it designed a very stylish coach body, the Wright Contour. It was built between 1982 until 1987, with the first entering service with Whittles in 1983. Most were fitted to Bedford Y series, but others were seven Leyland Tigers for Ulsterbus, one Ford R1115 and one ACE Puma IV midicoach. The Contour was an attempt to break into the coach market, but only 37 Contours were built over 5 years, prompting Wright to withdraw from the coach market. It also dabbled with minibus building but it was fighting amongst more established players in the market and so while a few sales took place, there were but a drop in the ocean.
Wright's breakthrough into the mainstream bus bodybuilding sector in the UK came in the early 1990s wIth the Handybus. The Handybus was a midibus body offered on a variety of chassis but was probably most successful than some with bodies on the emerging Dennis Dart in attracting reasonably-sized orders from a variety of operators including London Buses, Go Ahead Northern, Ulsterbus and Citybus (Belfast). It was a very square design but unusually featured a recessed driver’s windscreen, angled towards the driver. London Buses went for the type in a big way and many compared the type to the famous London RF type of the 1950s.
This was followed by Wrights with a move into the full size single deck market with the Endeavour which was fitted to Dennis Javelin, Leyland Tiger and Scania K93 chassis, and enabled Wright to develop its highly successful Endurance body which competed with the Alexander Strider and Northern Counties Paladin for orders on Volvo B10B and Scania N113CRB chassis. It saw Wrightbus bodies appear in a variety of fleets.
It was during this period that a friendship was struck between William Wright, son of the original Robert Wright, and Moir Lockheed, Chief Executive of the expanding GRT Group. GRT was one of the embryonic groups forming at that time and had high expectations of increasing passenger comfort. It saw Wrightbus bodywork increasingly preferred for GRT companies. When GRT merged with Badgerline to form Firstbus, it saw Wrightbus become that organisation’s preferred supplier.
Other Wright products introduced in this period included two Mercedes-Benz-based products, the O405 based Cityranger and the OH1416 based Urbanranger. This was launched around the time bus operators in the UK began switching to low floor chassis. As a consequence the Urbanranger only attracted a handful of orders. The Cityranger appeared in some GRT fleets. However Wright had become well established in the bus bodybuilding sector by then and was more than able to exploit the opportunities the low-floor revolution would offer it from the mid-1990s onwards.
In 1993, the Pathfinder on low floor Dennis Lance SLF and Scania N113CRL chassis was unveiled. It saw Wrightbus selected by London’s Buses as the body supplier for the first mass trial of these accessible. buses. Wrightbus was seen as the market leader for low-floor vehicles. However the Dennis and Scania N113CRL buses were still expensive as well as quite compromised (by today’s standards) for accessibility and if they were to achieve market penetration, what was needed was a cheaper alternatives for cost conscious operator. Step forward Wrightbus again, this time with Scania’s help.
The snappily titled Axcess-Ultralow was introduced in 1995 and offered on the Scania L113 chassis. At this time it was selling in reasonable numbers to UK bus operators, but unlike other bodybuilders who could only offer the L113 with step-entrance bodies, Wright modified it by removing the middle section of the chassis and thus offered UK bus operators one of the first mainstream low-floor body/chassis combinations. A major customer for the Axcess-Ultralow was Firstbus taking approximately 240. Next up was the Volvo B10L based Liberator introduced at the end of 1995. A notable purchase came from National Express, who ordered 120 in 1997.
Next came the Renown body built on the Volvo B10BLE which went on to become the standard bus of the Blazefield Group and was also ordered by Go-Ahead Northern and Firstbus. However Renown production was stopped when the B10BLE was replaced by the Volvo B7L on the new Wright Eclipse (later Wright Eclipse Metro), which due to its vertical rear engine wasn't popular with many operators. However Wright did not lose custom and many operators including the likes of Ulsterbus simply switched to the incline-engined Scania L94UB, on a similar Wright Solar body. Another bodywork, which resembles the current Solar/Eclipse range is the Meridian, which was bodied on the MAN A22 full low-floor single-deck chassis. It was introduced as an alternative to the MAN 18.220 range which only really sold to Stagecoach, with Alexander/TransBus/Alexander Dennis bodies. It didn’t sell well, with only a handful of Meridians going to Newport Transport. Other body types offered in due course were the Cadet and Commander on DAF/VDL bus, which sold well to Arriva companies, which was hardly surprising given Arriva held the import franchise for DAF/VDL Bus at the time.
As Dennis became part of Mayflower Bus and Coach, the number of Dennis bodies built by Wrightbus declined. However, Wrightbus offered the only real competition to the all conquering Dennis Dart with its Cadet body on both the Volvo B6LE (later B6BLE) and DAF/VDL SB120. Volvo later dropped the B7L, having replaced it with the B7RLE, more to UK operators tastes, and Wrightbus updated its Eclipse bodywork body work to offer the B7RLE with the Eclipse Urban, to differentiate it from the now renamed Eclipse Metro to anyone who wanted the B7L still. Which no one did…..It also introduced its first articulated vehicles, initially on Volvo chassis and later on Scania. These were the Eclipse Fusion on Volvo chassis and Solar Fusion on Scania, most of which went to Firstbus. However you may have noticed one sector not covered - double deckers. Wrightbus rather oddly felt that articulated buses were the way to go and saw no need for a double decker. That was to change.
With the formation of TransBus, it meant that the majority of Volvo’s double-deckers would be bodied by a competitor. Despite claims by TransBus to the contrary, Volvo was worried that TransBus would try and persuade potential customers to buy its own buses instead of Volvo’s. Whilst East Lancs could build some, it worried about capacity. It needed another option. So, that and pressure from operators with similar concerns persuaded Wrightbus to design a new double-decker body - The Gemini.
The first Wright Eclipse Gemini double-decker was first built on the Volvo B7TL chassis in 2001. A similarly styled bus entered service with Arriva London in August 2003 as the Wright Pulsar Gemini on the VDL DB250 chassis. Apparently designs were produced for a Scania version (Solar Gemini?) but none were built. But the Gemini was a stylish, smart design and looked well ahead of the competing President and ALX400 designs from TransBus as it was then. Large operators of Gemini-bodied buses include Arriva, FirstGroup, Go-Ahead Group and National Express. Key customers won from TransBus were Lothian Buses as well as Metroline, although other companies dual sourced and bought both Gemini’s and other type. Only Stagecoach remained immune and didn’t order any until 2016, although it acquire some with purchases of other companies, such as Yorkshire Traction’s operations in Lincolnshire and part of First’s Manchester’s operation with the sale of its Wigan garage.
Wrightbus formed an increasingly close relationship with Volvo and through Volvo, it won major export orders for operators in Asia with the B10TL Super Olympian and then the B9TL when the B10TL was discontinued. With TransBus going through its own issues, Wrightbus overtook it to be the UK market-leader in bus bodywork.
You may notice the slight important difference there. Wrightbus was a bodybuilder at this stage. It didn’t build its own buses. That didn’t come until much later. However an unexpected and subsequent blow saw the B7TL banned from London due to noise issues, removing an important market for a while until Volvo introduced its B9TL replacement a few years later.
Following the TransBus implosion, successor Alexander Dennis began to recover some of the ground it lost under TransBus. It updated its range to include the very stylish Enviro 200 and 300 single-deckers and 400 double-decker. So to fight back, Wrightbus refreshed its range to produce the Cadet 2, Eclipse 2 and Gemini 2. These were mainly built on Volvo and VDL Bus chassis, Scania having decided to launch its own integral range.
From 2008, Hybrids were seen as the next big thing in the bus world. Volvo introduced the B5LH and Wright adapted its Gemini body accordingly for this new design. However the company also introduced its own Gemini Integral. This wasn’t quite as integral as you may think as it was actually built on an adapted VDL Bus chassis. But it showed that the company was beginning to think along these lines.
The next big issue was the New Routemaster. I’ve covered that bus and its merits in detail here:- flic.kr/p/2mB9qfd
However, the winning of this contract would have a major effect on Wrightbus and some say that this is where the decline of the company started. It changed the company from a bodybuilder into a complete vehicle builder. So in a fateful decision, it acquired extra premises near its current factory to build the New Routemasters.
At the same time Wrightbus wasn’t immune to the flaws in the New Routemaster - in that no one outside London would buy it - and with only 1000 on order over five years, it had this new chassis plant that needed to be kept busy. So it made the second fateful decision to introduce its own integral range of complete buses.
To be fair to Wrightbus, this wasn’t all down to them. Fuel consumption was becoming a major concern to bus operators and loud voices, such as Firstbus’s Moir Lockheed, were calling for lighter weight chassis to save diesel. Alexander Dennis was ahead of the curve in this regard as most of its chassis were lightweight chassis anyway and Volvo and other chassis makes with their heavyweight chassis were seen suddenly as old hat. So Wrightbus introduced its lightweight Streetlite and Streetdeck range.
The Streetdeck was an integral double-decker built on a Wrightbus designed chassis. It had a Mercedes-Benz engine and was designed to compete with the Enviro 400 and crucially the Volvo B9TL. A hybrid version was also available. The Streetlite was a single-decker and available in two variants - the WF (Wheel Forward) which had its entrance behind the front wheel. That variant was designed to compete with the similar design of the Optare Solo. The DF (door forward) variant as seen here by 63268 (SN14DYW) was designed to compete with the Enviro 200. Initially, both Streetlites were available with Cummins and Mercedes-Benz engines, but Cummins was dropped with the move to Euro VI.
However, the decision to launch its own range seems to have led to a breakdown in the relationship with Volvo. Suddenly Wrightbus was competing with Volvo - sounds familiar. So in a repeat of earlier TransBus days, it launched bodywork available by Egyptian company MCV and even allowed Alexander Dennis to build on its chassis, who had launched their frighteningly competent and stylish Enviro 400MMC double-decker.
Nothing daunted, Wrightbus announced it was moving to a new factory in Ballymena, a converted tobacco factory. This would hopefully enable savings to be made as the whole assembly would be under one roof, rather than separate bits built on various halls on the previous factory. All looked fine at this stage but as the New Routemaster contract ended in 2017, it now meant that chassis plant desperately needed more orders. To improve the appeal of its vehicles, it updated the styling of its Eclipse and Gemini bodies, introducing a more aggressive, angular styling known as the ‘stealth’ front, after the United States Air Force’s F117A NIghthawk fighter, known as the Stealth Bomber. It certainly was an acquired taste compared to the curves of the previous Gemini. It also announced it was entering the fledgling electric bus market with the StreetAir, which was an electric single-decker based on an adapted Streetdeck chassis with batteries on the roof.
Then the problems started in 2018. Quality issues began to manifest themselves with its new integral range. Reports of build quality issues, even collapsed floors on some vehicles, began to surface. Although its Streetdeck/Streetlite range was selling, it wasn’t selling well enough to keep the vast new factory busy. It’s Streetdeck range hasn’t achieved any real penetration in London, a crucial market for double-deckers with only Arriva ordering a small batch. The hybrid version of the Streetdeck had flopped, with only First West Yorkshire taking any for use on park and ride services around Leeds. It’s Streetlite range had been ordered by some operators but was being outsold multiple times over by Alexander Dennis’s Enviro 200 model.
On top of that, key customers such as Firstbus and Arriva weren’t ordering as many buses as before or were placing what business they did want elsewhere. Quality issues had seen operators such as Metroline, Lothian and Tower Transit place orders elsewhere. Lothian, which had been the first - and so for only - customer for the StreetAir had found them hopelessly unreliable and it was reported that this unreliability was a key reason that it’s next buses were ordered from Alexander Dennis. The company was caught in a perfect storm.
Then came probably the issues that in all likelihood doomed the company. To keep the new Ballymena factory busy, it took the decision to build an order for a Hong Kong operator in Northern Ireland rather than in China, where buses for the former colony were assembled from kits. It also built Streetdeck buses in anticipation of an order from Firstbus but without the contract signed. Whilst this kept the workers busy, it proved a very expensive decision when you factor in build costs here compared to China and shipping to Asia. Building buses in anticipation of an order is also not a good idea, especially when the order isn’t then confirmed. These were the straws that broke the camel’s back. In July 2019, the company announced it needed investment to support what was listed as ‘cash flow’ issue. Then in September 2019, the company crashed into administration.
However it was the scale of the subsequent job losses that surprised many. The administrators - who in fairness to them have to try and salvage something from the financial wreckage of the company - only retained 50 of the staff and made the remaining 1,200 redundant. Whilst any job losses are terrible news for those affected, the size of these losses suggested that the company’s problems were more severe than anyone out with the directors of Wrightbus were letting on. Then stories came to light of poor working conditions and some questionable donations being made to a religious charity run and set up by the Wright family members. In fairness these donations were made in the past when the company was very profitable but it didn’t look good given the then current circumstances.
It looked the company may not survive. However, the slimmed down business was bought by Joe Bamford, son of the owners of the JCB Company who looked to set the company up as a pioneer in the field of Hydrogen Buses. The pandemic stunted the recovery but the company - which is now known as the Bamford Bus Company but trades as Wrightbus - has begun the slow climb back up from its darkest hour. Former staff were recruited again, helped by large orders from Rotala and Translink. The Rotala order included the same buses that were actually built in anticipation of the Firstbus order, which explains why some brand new Rotala buses running about Greater Manchester featuring interiors designed for Firstbus routes in Leeds. However these welcome orders gave the company the breathing room it needed to innovate and launch new products. Whether it’ll ever return to the levels it was, time will no doubt tell.
The exploitation of mines began from the German company “SPEIDEL” in 1905 and it ceased in 1912 due to the First World War. The exploitation was continued by Vielle Montagne in 1925 until 1930 when they interrupted the operation owing to the financial crash. In 1957 another company poached on the mines in parallel with a Greek one. However, all the activities in the region stopped in 1963. (Taken from www.thassos-view.com/experiences/sightseeing/metalia)
"The bird in the mist"
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
Eglise Saint-Nizier, place Saint-Nizier de Lyon (Rhône-Alpes)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Silène fleur de coucou, ou oeillet des prés (
Silene flos-cuculi). En bordure de champ, Champ des papilles (agriculture biologique). Bouguenais (44).
Chemin de fer-musée Blonay-Chamby (BC): after the suppression of the railway service on May 22, 1966, a group of fans began the procedures for the exploitation of the meter gauge line between Blonay and Chamby, a three-kilometer route, as a tourist railway. After forming a cooperative society for the exploitation of the railway, and an association to support it, on July 20, 1968, the tourist operation was inaugurated. The line remains property of MVR (Transports Montreux-Vevey-Riviera, successor company of CEV, Chemins de fer électriques veveysans), except for the depot and museum, as well as the link track, which are property of the BC.
To celebrate the 125th anniversary of the opening of the first section of the Bex-Villars line, and the 80th anniversary of the merger of the Bex–Gryon–Villars–Chesières (BGVC) and Villars–Bretaye (VB) railways, on September 9, 10, 16 and 17, 2023, the BC held several commemorative events. The main one was the temporary transfer of the BCFe 4/4 1 “TransOrmonan” electric railcar and the C 35 trailer to the BC line. These two vehicles are part of the heritage train (together with the C 34 trailer) preserved by the company Transports publics du Chablais (TPC), with the collaboration of the ASD 1914 association.
Here we see the railcar in Chaulin-Musée. Original of the Chemin de fer Aigle-Sépey-Diablerets (ASD), the BCFe 4/4 1 railcar was built by SWS and AEG in 1913, and was rebuilt in 1941 after a fire. It served on the ASD line between 1913 and 1987.
To its left we see the consist formed by the CF 21 passenger car of the Aigle-Leysin railway (SIG Neuhausen, 1900) and the electric rack and pinion locomotive He 2/2 2 of the Bex-Gryon-Villars railway (SLM and IEG, 1900).
On the right, the BCFeh 4/4 6 mixed electric rack and pinion/adhesion railcar, built in 1909 by SIG, SLM and Alioth for the Monthey-Champéry-Morgins (MCM) railway. He was loaned to BC in 1975.
Keeping tradition: Cedar Forest on Bcharreh, Lebanon.
ENGLISH
The Cedars of God (Arabic: أرز الربّ Arz ar-Rabb "Cedars of the Lord") is one of the last vestiges of the extensive forests of the Lebanon cedar, that once thrived across Mount Lebanon in ancient times. Their timber was used by the Phoenicians, Israelites, Egyptians, Assyrians, Babylonians, Persians, Romans, and Turks. The wood was prized by Egyptians for shipbuilding; the Ottoman Empire used the cedars in railway construction.
The mountains of Lebanon were once shaded by thick cedar forests and the tree is the symbol of the country. After centuries of persistent deforestation, the extent of these forests has been markedly reduced.[2]
It was once said that a battle occurred between the demigods and the humans over the beautiful and divine forest of Cedar trees near southern Mesopotamia.[3] This forest, once protected by the Sumerian god Enlil, was completely bared of its trees when humans entered its grounds 4700 years ago, after winning the battle against the guardians of the forest, the demigods.[3] The story also tells that Gilgamesh used cedar wood to build his city.
Over the centuries, cedar wood was exploited by the Phoenicians, Egyptians, Assyrians, Babylonians, Persians, Romans, Israelites and Turks.The Phoenicians used the Cedars for their merchant fleets. They needed timbers for their ships and the Cedar woods made them the “first sea trading nation in the world”.The Egyptians used cedar resin for the mummification process and the cedar wood for some of “their first hieroglyph bearing rolls of papyrus”.In the Bible, Solomon procured cedar timber to build the Temple in Jerusalem.The emperor Hadrian claimed these forests as an imperial domain, and destruction of the cedar forests was temporarily halted.
Concern for the biblical "cedars of God" goes back to 1876, when the 102-hectare (250-acre) grove was surrounded by a high stone wall, paid for by Queen Victoria, to protect saplings from browsing by goats.Nevertheless, during World War I, British troops used cedar to build railroads.
Time, along with the exploitation of the Cedars’ wood, has led to a decrease in the number of cedar trees in Lebanon. However, Lebanon is still widely known for its cedar tree history, as they are the emblem of the country and the symbol of the Lebanese flag. The remaining trees survive in mountainous areas, where they are the dominant tree species. This is the case on the slopes of Mount Makmel that tower over the Kadisha Valley, where the Cedars of God are found at an altitude of more than 2,000 metres (6,600 ft). Four trees have reached a height of 35 metres (115 ft), with their trunks reaching 12–14 metres (39–46 ft).
CATALÀ
Els Cedres de Déu (en àrab أرز الربّ, Horsh Arz el-Rab) són els supervivents dels immensos boscos de cedres que cobrien antigament els vessants del mont Líban. La seva fusta va ser explotada pels assiris, els babilònics i els perses així com els fenicis. La fusta era especialment estimada pels egipcis per a la construcció naval. Salomó els va utilitzar en la construcció del primer temple de Jerusalem i l'Imperi otomà també els va utilitzar els cedres per construir el seu sistema de ferrocarril.
En l'Antiguitat, el Líban contenia grans boscos de cedre, pel que la seva imatge és el símbol del país. Avui, després de segles de persistent tala, la grandària dels boscos s'ha reduït i tan sols a les àrees muntanyenques del país perduren grans boscos. Aquest és el cas de la muntanya Makemel que domina el paisatge de la vall de Qadisha on a una altitud de més de 2.000 metres es troben els cedres de Déu. Quatre d'ells han aconseguit una altura de 35 metres amb troncs que van des dels 12 fins als 14 metres de circumferència. La preocupació pels cedres bíblics de Déu va portar al fet que el 1876 es construís un mur de pedra, finançat per la reina Victòria de Gran Bretanya. Aquest mur protegeix als brots joves de les cabres que s'alimenten d’ells.
The State of Poverty in Pakistan PIDE Report 2021
pide.org.pk/research/the-state-of-poverty-in-pakistan/
file.pide.org.pk/uploads/rr-050-the-state-of-poverty-in-p....
Causes & Consequences of Poverty in Pakistan By Summia Batool Miankhail
www.qurtuba.edu.pk/jms/default_files/JMS/2_1/03_summia_ba...
Poverty in Pakistan : trends and issues
publications.iwmi.org/pdf/H043757.pdf
Governance and Poverty
in Pakistan By MIAN TAYYAB HASSAN
file.pide.org.pk/pdfpideresearch/mimap-13-governance-and-...
Pakistan Institute of Development Economics
95m Pakistanis live in poverty: World Bank
tribune.com.pk/story/2437352/95m-pakistanis-live-in-pover...
POVERTY IN PAKISTAN
ISSUES, CAUSES AND INSTITUTIONAL RESPONSES
www.adb.org/sites/default/files/institutional-document/33...
Poverty in Pakistan, Malik Muhammad Ashraf September 01, 2023
www.nation.com.pk/01-Sep-2023/poverty-in-pakistan
Pakistan Gender and Social Inclusion Platform and
the Pakistan Poverty and Equity Program
documents1.worldbank.org/curated/en/099055002222210536/pd...
Status of Women and Girls in Khyber District
asiapacific.unwomen.org/en/digital-library/publications/2...
Crisis of street children
Public interests towards these children are shockingly low as they are alienated from the rest of society
tribune.com.pk/story/2347661/crisis-of-street-children
Thousands of street children at high risk of exploitation
By Javed Aziz Khan
www.thenews.com.pk/print/979186-thousands-of-street-child...
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2610 (BC-388-WN)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1809
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
18/06/2016 15:55
Rue du Vergne ; F-33 BORDEAUX
Behind the nets shines freedom. Outside, everything is blurry . Inside, the son complicate everything.
"Copyright © – Nikola Bernard
The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
CHAUSSON AP 521 - SERAG (Société d'Exploitation de Réseaux Automobiles de Guyenne et Gascogne) (Groupe SERA)
Photo d'époque numérisée. Archives des Cars de Bordeaux.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Bus : HeuliezBus GX 327
n°221197 - ligne I
Exploitant : Keolis Val d'Yerres Val de Seine
Réseau : Ile de France Mobilités, VYVS
Lieu : Villecresnes
The Exploited: Matt Justice (guitar) and Wattie Buchan (vocals) performing live in the SO36. Wattie is hitting the mic against his head. He always does this and it must drive all the people at the soundboard nuts. Berlin, 27.10.19, singer, Sänger, guitar player, Gitarrist
Glanon est une cité grecque vouée à un dieu guérisseur, avant d'être le Glanum cité antique de l'empire romain, sur la commune de Saint-Rémy-de-Provence dans les Bouches-du-Rhône (Juin 2019)
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"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Marble sarcophagus dating from 220–230 AD from Attica, displayed at the entrance of Archaeological Museum of Thessaloniki, Greece. The cover resembles a mattress where a couple is couching and scenes of battles between Greeks and Amazons are depicted on the sides. The sarcophagus was pictorially chosen as a symbol of Death.
DEATH frightens or scares almost all of us, human beings. It is this very Fear of death that religions have long exploited or manipulated for their own benefit, for their continued existence. Still, such a “use” of the fear of death has been on the basis of a human right—that of the freedom of belief.
One recently experiences a global spread of increasingly alarming news about a pandemic, the Covid-19 pandemic. Few people may have noticed some very worrying inconsistencies (or even contradictions) in the story regarding the supposed pandemic:
—In the beginning, the press and the media had been reassuring the people that the SARS-CoV-2 caused a mild illness much like the flu (influenza), but nothing more worrying than that. Now, there is a twist, a U-turn: the mild flu-like illness suddenly became a potentially lethal disease (threatening the life of most patients older than 35 yrs); this notorious disease is supposed to cause acute respiratory distress (due to bilateral pneumonia-like abnormalities in both lungs of the patients) requiring mechanical ventilation; this respiratory complication is supposed to result into a permanent, lifelong impairment of respiratory function of the ones who survived the infection. These aspects of the same story contradict each other; they cannot both be true at the same time: it is a direct and absolute proof that the media lie (either now or earlier). Why should one, therefore, trust the information “as is” provided by the media…?!
—Fake video footage was shown on national TV from supposedly crowded streets and beaches, as well as from longest queues of cars in toll stations, whereas nothing of the above was true.
—Fake photographs of hundreds of coffins in Italy have flooded the media, pretending to be related to the dead from Covid-19, whereas the coffins where from a much older disaster (the Lampedusa shipwreck in 2013). Who and why does strive to cause panic and fear of death to the people?
—For how long one intends to enforce the “stay at home” strongest advice (repeated by rote by countless propaganda-victims)…?! What for? Even after 6 whole months of lock-down in-house, the population will still remain unprotected for the SARS-CoV-2, without immunization due to either a vaccine or survival after exposure to the virus. The “stay at home” advice merely delays the unavoidable, it is not a solution by itself!
—Yesterday, on March 20, 2020, the epidemiologist in charge in Greece announced fewest new cases of Covid-19, even less than the day before; such a small number of new cases repudiates the expected exponential increase of new cases. Despite the smallest number of new cases, the Cabinet Member sitting next to the physician spoke with authoritarian style and threatened that more restricting measures are being considered to be enforced to the people.
The people are prepared (by manipulation of their natural fear of death) to silently accept even declaration of Martial Law or a legal state of Emergency. The constitutional articles safeguarding human rights will be stripped. Democracy will cease to exist. An Empire of Fear is likely to be globally hatching as we speak. Then, we’ll know for sure Who is the culprit, the perpetrator of the global manipulation of death’s fear: it will be the one(s) who benefited from rising! The one(s) who masterminded and orchestrated this whole elaborate hoax will, alas, be invested with such absolute an authority to become unstoppable and uncontrollable…
“LASCIATE OGNI SPERANZA, VOI CH'ENTRATE”
(Abandon All Hope All Ye Who Enter Here)
—Dante Alighieri.
Deformed beggars in Dhaka are often victims of sophisticated beggar mafias (syndicates) who abduct, exploit, and even mutilate people (especially children) to force them into begging for higher profits,
Though some are genuinely disabled or impoverished individuals just seeking survival.
Khilkhet
North Dhaka
Photography’s new conscience
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"Copyright © – Jean-marie Boyer
The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
'Win' (Winifred?) at the front and 'Norah' (holding the wheel) in their Talbot-Darracq Tourer at Brean (i think).
I picked up four old photo albums at a boot sale last weekend and they turned out to be full of wonderful pictures from 1922-1925 of the 'sisters' (Update: They may not have been blood relations!) exploits and travels, many of them local to my area. They lived in Weston-Super-Mare! - With research i have managed to find out quite a bit about them and the places they visited but hope to discover more as the weeks go on.
Lots more from this pair to come! - I will replace this 'photo of a photo' with a proper scan in time.
I've looked at the album's so much over the last week that It actually feels like I know them?! :)
"Helmet design"
Hanoi (Vietnam)
Website : www.fluidr.com/photos/pat21
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"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
© Copyright: The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited.
Véhicule : MAN Lion's Intercity C R62 €6
Identification : 7022 (FR-301-ZQ)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : n.c.
Réseau : Région Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : n.c.
Service : n.c.
Destination : n.a.
24/01/2021 17:43
Lotissement Parc de Cadouin ; F-33 POMPIGNAC
Exploitant : Keolis Versailles
Réseau : Phébus
Ligne : 3
Lieu : Ponts et Chaussées (Versailles, F-78)
Lien TC Infos : tc-infos.fr/vehicule/32762
God on the Other Side of a Shipwreck
by Jonathon Martin, from How to Survive a Shipwreck
Meet Jonathon Martin
Your faith will not fail you
You’re Still Here
The first things overboard when your ship wrecked were all the reasons you ever had for sailing. And when the life you knew is a life you know no longer, and the ship that took you on a thousand adventures before can no longer even keep you afloat, you are right to wonder if there is anything left worth having.
There used to be so many things that we could not live without! How could you live without this person? How could you live without this job? How could you live without this relationship? How could you live without this house? How could you live without your dignity? How could you live without your good reputation? And then death came to someone you loved, or you lost the job, or you sabotaged the relationship or felt your love sabotaged you, or you suffered public humiliation, or you lost your all-important sense of honor. And you thought you really would die.
There was a part of you, maybe even a really large part of you, that really did. There are some losses that in their way mark you forever, and some things you never get over. And because you loved this person or this life and career you built, or valued your dignity, when the bow broke, everything in you screamed. While the sails were ripping and the boards splitting, you heard the sound of your spirit dying. The life you had was over. But to your own shame, you were not over, as much as you may have wanted to be.
Maybe like a proud samurai, it seemed the best thing you could do on the other side of the shipwreck was to fall on your own sword and stage a protest against anything you once found beautiful. Because you were so sad. Because you were so guilty. Because you were so scared that in the loss of something outside yourself, you lost your own heart to the sea’s black rage.
And then came what might be the worst discovery: You didn’t die — not really. You walked away from the accident, whether or not you think you or God or the devil or the fates are somehow responsible for it. You just knew you would die, and at times it felt like something in you did.
But not you. Not all of you, anyway.
The ship may have gone down, but miracle of miracles, you’re still here.
Can you remember the first time after the funeral, after you could not bear to eat or drink, that the pangs of hunger overwhelmed you? Did you feel incredulous at yourself, at the animal part of you that still wanted food after such a thing? What about when there was a particular taste you wanted, because it was a taste that on some level you actually desired? However much fog, however much sorrow, however much grief — the experience of loss may have altered your taste buds forever. But it hardly killed them.
You watched dreams you cradled in your arms with the strength of all your tenderness descend into the sea. All that animated you, all that moved you before, could move you forward in the world no longer. The water filled your mouth and your nostrils, and you choked at the taste of it. But when the grief or the guilt or the loss recedes into the night and your soul sets sail again, you still dream — despite yourself. There is still a kind of music you will hear that stirs within you an unspeakable longing. There is still an ache, not just for all you lost, but to see and know and be seen and known still, to explore and imagine and create.
However much the longing for the past may assault your senses, it is not the only longing that remains. There is still a part of you that wants to make love, to feel yourself somehow connected. There is still a part of you that yearns for something outside yourself. You felt yourself out to sea, and yet some kind of desire, for something or another, bears you along, and you find yourself still somehow here — almost against your own wishes. And even in the moments when anything that felt like conscious desire went out with the tide, there is still some kind of near-morbid curiosity of how your life and story are going to turn out — even if you are lost enough to only behold what’s left of your life as a kind of bystander.
Somewhere between your body’s animal refusal to go down quietly, your mind’s refusal to stop imagining, and your heart’s refusal to stop dreaming, in the tangled mess of synapses and memories and impulses, there lies God.
In whatever remains in you that wants to create, to make, to birth something new, in whatever corner that longs for some kind of resurrection on the other side of death, something divine quietly snaps, fires, clicks, flickers. This is the Spirit of God, lurking in your own broken spirit.
You may find that your grief and sense of loss over the world you once knew seem endless. And yet there are possibilities and potentialities within you that are more endless still.
What is this unseen force that carries you forward despite yourself? Why can you not seem to choke, always and forever, your own irrational yearning, this buried but still breathing hope for more?
This ache is God’s fingerprint.
The stirring to create, to love, to live, to give of yourself when there is no self left to give — this comes from the Spirit.
You were created in the image of God. Before you knew anyone or did anything, everything was in you necessary to live at home in divine love. However buried that image of God is within you, that part of you that knows what it is to be perfectly loved, held, and known — it is still very much there. There is a part of you that does not need anything else, or anyone else in particular, to be alive. There is a part of you that knows this — part of you that has always known this — but has long since forgotten.
The God who sustains all created things with love sustains you. The God who created the world not to be exploited, dominated, or needed, but to love and to enjoy without clinging, is awake in your belly. And so in you is the capacity to love and to live without needing the world to work out a certain way in order for you to be okay. Your life, your existence, is contingent on that Spirit. But it is not contingent on anyone else, or anything else.
This is the liberating, terrifying discovery of life on the other side of the shipwreck. That while you are a creature — humble, dependent, small, in need of love and food and Shelter — you didn’t need anything else as much as you thought you did. That the things you knew would kill you don’t actually kill you. That the fire in you the sea should have drowned out, burns within you yet, if you do not let yourself smother it (and maybe even if you do). So much of the world you have known is no more. But if there is any truth in any of this at all, the shipwreck that threatened to destroy you utterly may be the thing that saves you yet. It may not drown you; it may transfigure you.
And if there is something truthful, something larger, about this irrational lust for life that is forged in the fires of death, it says something too about the people you lost. For if there is a God who not only creates but sustains and resurrects, then there can yet be life on the other side of death for all things. Then there is hope, not only for the yearning in you to drive you into union with God, but to be realized in union with those others. If death is not the final word, and chaos produces creation rather than destroys it, then many of the stories of the life you thought were long over are far from over yet.
Believing this won’t mean you won’t still feel the weight of deep, sharp, piercing grief, or that you should feel guilty when you do. On the contrary, people who don’t experience deep pain have not experienced deep love and are not to be envied. That doesn’t mean they are shallow — all of our souls surely have something of the same depths — they just may not be aware of their own yet. That day will come for them. But when you feel your own deep capacity for passion, compassion, mourning, even rage, you are glimpsing something of your soul’s own infinite capacity to know, to feel, and to become. Within the depths of all you feel the most deeply, something of the Spirit’s own immortal depths is reflected in you.
We have a capacity for love and hope and beauty seemingly too big for our heads and hearts, because we are created in the image of God.
Excerpted from How to Survive a Shipwreck by Jonathan Martin, copyright Jonathan Martin.
Véhicule : MERCEDES-BENZ O560 Intouro L €6
Identification : 201101 (FS-725-MF)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Réseau : n.a.
Ligne : n.a.
Service : n.a.
Destination : n.a.
Véhicules destinés à la ligne 4021 du réseau Région Nouvelle-Aquitaine.
10/09/2020 10:47
Dépôt Cars de Bordeaux Bastide
Rue d'Artagnan ; F-33 BORDEAUX
I do not know , maybe the post production is too heavy ? What do you think?
Well , this afternoon I finally tried my new telephoto lens , I hope to exploit it as much as possible because Its really fun.
This shot was made by Juliet.
Véhicule : MERCEDES-BENZ O530 Citaro GNV
Identification : 3050 (EL-374-ZB)
Exploitant : Keolis Chambéry
Dépôt : n.a.
Véhicule réformé.
Réseau : n.a.
Ligne : n.a.
Service : Véhicule réformé
Destination : n.a.
Véhicule : MERCEDES-BENZ O530 Citaro GNV
Identification : 3052 (EL-381-ZB)
Exploitant : Keolis Chambéry
Dépôt : n.a.
Véhicule réformé.
Réseau : n.a.
Ligne : n.a.
Service : Véhicule réformé
Destination : n.a.
Véhicule : IRISBUS IVECO Citelis 12 €5
Identification : 2029 (AB-528-RY)
Exploitant : Keolis Chambéry
Dépôt : Chevaliers Tireurs
Réseau : Bus STAC (Communauté d'Agglo. Grand Chambéry)
Ligne : n.a.
Voiture : n.a.
Destination : Maintenance
Merci à Anthony Levrot.
27/03/2019 14:14
Garage Vasseur Renault Trucks, Rue de la Prairie ; Voglans