When I met Kairon he was homeless, living under a tent in Paris.

He kept on his head this old tatoo, a souvenir of his youth in England.

 

La vallée de Chaudefour possède 5 sources: La plus connue, la source Sainte-Anne, n°1, n°2, Vercingétorix et Petit Griffon. En 1884, le docteur BORIEUX la décrivait comme une source froide, acidulée et ferrugineuse. Malgré son exploitation récente, elle est déjà fort connue pour ses propriétés curatives. Elle est recommandée pour les maladies de l'estomac (dyspepsie et gastralgie) et spécialement celles qui relèvent de la chlorose et l'anémie. L'acide carbonique libre en quantité importante (3 gr.410/litre) et la présence de bicarbonate de soude, calcium et magnésium en font une des eaux naturelles les plus puissantes d'Europe

Exploits River

After the Brotherhood of Makuta exploited the Nynrah Ghosts to acquire enough armor and weaponry, Kuperix was sent by Teridax on the island of Nynrah in order to ensure no one could acquire valuable information on the equipment they came into possession of. Unbeknown to the Brotherhood, a lone, surviving Toa of Iron was waiting for them.

 

Kuperix is an unjustifyibly sadistic and brutal beyond reason Makuta who takes pleasure in instilling dread and helplessness in his enemies. Even when practicing the most unspeakable acts of torture he remains unperturbed, his eerie collectedness alone enough of a reason to be feared even among his brothers. His Kanohi Hamene, Mask of Redirection, allows him to redirect melee attacks and curve the trajectories of projectiles aimed at him, making him virtually impervious to physical means of harm.

 

Great Mask of Elemental Energy by the amazing KhingK

Exploitant : SETRAM

Réseau : SETRAM

Ligne : 11

Lieu : Chêne Vert (Le Mans, F-72)

Lien TC Infos : tc-infos.fr/id/5655

Gullfoss ("Golden Falls"; About this sound Icelandic pronunciation (help·info) is a waterfall located in the canyon of the Hvítá river in southwest Iceland.

Gullfoss is one of the most popular tourist attractions in Iceland. The wide Hvítá rushes southward, and about a kilometre above the falls it turns sharply to the right and flows down into a wide curved three-step "staircase" and then abruptly plunges in two stages (11 metres or 36 feet, and 21 metres or 69 feet) into a crevice 32 metres (105 ft) deep. The crevice, about 20 metres (66 ft) wide and 2.5 kilometres (1.6 mi) in length, extends perpendicular to the flow of the river. The average amount of water running down the waterfall is 140 cubic metres (4,900 cu ft) per second in the summer and 80 cubic metres (2,800 cu ft) per second in the winter. The highest flood measured was 2,000 cubic metres (71,000 cu ft) per second.

As one first approaches the falls, the edge is obscured from view, so that it appears that the river simply vanishes into the earth.

During the first half of the 20th century and some years into the late 20th century, there was much speculation about using Gullfoss to generate electricity. During this period, the waterfall was rented indirectly by its owners, Tómas Tómasson and Halldór Halldórsson, to foreign investors. However, the investors' attempts were unsuccessful, partly due to lack of money. The waterfall was later sold to the state of Iceland, and is now protected.

Sigríður Tómasdóttir, the daughter of Tómas Tómasson, was determined to preserve the waterfall's condition and even threatened to throw herself down. Although it is widely believed, the very popular story that Sigríður saved the waterfall from exploitation is untrue. A stone memorial to Sigriður, located above the falls, depicts her profile.

A splendid rowing boat, at Wick Inner Harbour.

 

There are three harbours in Wick, the Outer Harbour, the Inner Harbour, and the River Harbour, all of which are formed and protected by breakwaters. The Outer and Inner Harbours are on the south side of the estuary, divided from the River Harbour by a breakwater. The River Harbour straddles the river, with breakwaters on either side of an entrance about 30m wide.

 

Wick Inner Harbour now has an extensive marina complex, and is fast becoming a base for leisure boating. It is also now a well known stopping point for visiting pleasure craft.

 

Wick (from the old Norse 'vik' - a bay), lies in a strategic position on the north east tip of mainland Scotland.

 

The earliest harbour works began in 1803 under the British Fisheries Society, to exploit the huge seasonal herring fishing, which peaked around 1900, when some 1120 vessels were based here, and over two particularly busy days, landed fifty million fish!

 

Thirsty work - at about that time the workforce were consuming 3000 litres of whisky a week from the local Old Pulteney Distillery!

Exploits River

Connu pour son sous-sol calcaire rare en Bretagne, le site de Lormandière est exploité à partir de 1853 pour la chaux. En pleine période d’essor industriel (fin XIXe, début XXe), la « Société des fours à chaux de Lormandière et de la Chaussairie réunies » constitue la plus importante entreprise de fabrication de chaux en Bretagne. Fermé en 1938, le site industriel et ses ruines représente aujourd’hui un patrimoine industriel totalement intégré à l’environnement.

Le substrat calcaire de cette région a favorisé l’installation d’une flore particulière. Pelouses et prairies basses alternent avec les prairies hautes, les boisements et les sous-bois où vivent 260 espèces végétales. La présence de plantes remarquables, dont des orchidées rares (l’ophrys abeille, l’orchis mâle, l’orchis pyramidal et l’orchis bouc) ont valu au site de Lormandière d’être classé Zone Naturelle d’Intérêts Ecologique, Floristique et Faunistique (ZNIEFF). La diversité faunistique du site est également importante avec près de 50 espèces d’oiseaux, 7 espèces protégées de batraciens et de reptiles (triton palmé, triton crêté, couleuvre à collier, vipère péliade…) et de nombreux mammifères. Les vieux bâtiments et les fours à chaux offrent des lieux d’hivernage à plusieurs espèces de chauves-souris, toute protégées, telles que le grand rhinolophe, le grand murin ou la barbastelle.

Le site de Lormandière a été racheté par le Département en 1988. Un sentier de découverte a été aménagé. -

 

www4.culture.fr/patrimoines/patrimoine_monumental_et_arch...

Italian postcard by Bromostampa, Milano, no. 380.

 

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

 

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first films to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

 

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the Sci-Fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theatre. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. She released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

 

Sources: Wikipedia and IMDb.

Exploitant : SPL TransUrbain

Réseau : TransUrbain

Ligne : T6

Lieu : Pôle d'Échanges SNCF (Évreux, F-27)

Lien TC Infos : tc-infos.fr/vehicule/17739

Rolleiflex 2.8 E

Ilford Delta 100

Ilford Ilfotec DD-X 1+4

12 min 20°C

Scan from negative film

Night in northwest Florida...

We appreciate the courtesy of Chatwick University Archives for letting us use the journals in our research, and for permission to use parts for the genesis of “Dare’s Game”.

Dare’s Game

Beth, eagerly looking for Dare, walked straight into Seth’s cunning snare…..

 

Suffix, circa 1910?. It was during this time a fanciful young lady, whom we will call Beth, started a journal which she would faithfully keep over the course of almost 50 years. She led quite an adventuresome life for a lady of that time, and her journals were filled with many tales and observations of her exploits. The following story is derived from events that she penned down in the early years in her journal.

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Beth had known Dare since their childhood. Dare was a handsome free spirited youth only two years her senior, who lived for the games his life had to offer. As his cherished nickname inferred, Dare was always trying to find the thrill out of anything he could think up, relishing to go beyond the pale in anything he attempted. Dare always a little different, harboring feelings and ideas way beyond his years, almost as if he had lived a previous life and retained something from it in his being.

Beth would remember times playing dress up with Dare’s sister Diana in some old gowns of their mothers. It was always then that Dare and his friends seemed to appear and talk them into playing hide n seek, tag or cops n robbers. Dare seemed to take pleasure in cajoling the girls into playing with them in this manner. Eyeing them as they played with a far off look that suggested the game they were playing had more meaning to him than he could ever venture to say. It was hard for Beth to explain it, but she did find it pleasurable (almost erotic using a word whose term she would learn much later) to be observed by him in this way.

One warm fall day Diana and Beth headed down to an old shack located near some railroad tracks at the back of a cornfield. Diana was dressed in a long satin play gown with her mother’s jewelry, which Dare had called rhinestones. Beth, herself dressed in a long flowing dress, loved the way Diana’s jewels twinkled and sparkled as she walked. They were going to pretend the shack was a ballroom and they were one their way to a fancy dance, like Beth’s and Diana’s parents had recently attended. Diana wasn’t supposed to be wearing her mother’s jewelry outside the house, but as a result of Dare’s teasing, had done so anyway.

They had reached the shack, an old white brick building with a wooden roof half fallen in, when a man’s voice suddenly said behind them, what are you two ladies up to? Turning they were confronted by a happily sneering drifter. The grubby man looked around, alone is we, and advanced towards them. The two girls stood petrified, he reached out and probed Diana along her side, pretty dress missy, he said, sparsely toothed mouth grinning like a pumpkin. He suddenly reached up and tore the necklace away from Diana’s throat, sending her falling backwards. Beth screamed bloody murder, as the vagrant turned heel, running off towards the tracks. Suddenly Dare appeared, and Beth, meaning to yell for help, exclaimed instead “help honey” to Dare. Dares eyes took on a very different look, almost of a burning yearning. Beth told him what had happened and he took off down towards the tracks in hot pursuit. For Beth, the look he had given her and the way he had dashed off excited her beyond measure. Even for someone that young, Beth now knew what Dare meant to her. From then on, playing games with Dare took on a heightened meaning for Beth.

But, nothing really changed in their relationship until Beth’s sophomore year of high school. Beth was sixteen at the time, a whimsical being, passionate, innocent, not particularly attractive, but radiating with a love of life. A living free spirit, developing into a very sexual being by the time her and Diana decided to attend their schools prom in their sophomore year. Beth dressed in a fuchsia coloured satin dress with dangling rhinestone earrings that had been” borrowed” from Diana’s Mother, the same ones Diana had been wearing when they had run into the drifter at the shack. Diana slipped into the slinky blue spaghetti strap gown and matching cover-all that she had worn as her cousin’s bridesmaid. She was wearing sapphire costume jewels patterned after the hope diamond. Their parents had given them a hard time when they saw their made up girls in their gowns and finery , admonishing them for looking way too mature. They smiled, consoling their parents fears, and went off on their adventure.

Their eyes were dazzled by the display of lights, the cheerfully student filled room, the band. They had stopped and were letting it all sink in, when Beth felt a hand on her shoulder. She turned and came face to face with Dare, who once again had the same yearning fire in his eyes as on that fateful day at the old shack. A veil was lifted from between the two, and Beth spent the whole evening encompassed in Dare’s arms. Soon after that the two had begun seeing much more of one another. Their relationship was still going strong eight years later.

*****************************

8 Years Later

*****************************

Come on Dare, let’s go to the Riverside, it will be fun she urged. She had been trying to get her fiancé’ to take her to the exclusive five star resorts for some time. And now she had a free overnight room card she had won at work! Dare looked into Beth’s wide, hope filled eyes, knowing her passion for attending these types of affairs. Ever hopeful she would see someone rich. Dare knew how to use this to his advantage. Finally he buckled, all right, only if we play the game afterwards he bargained. She squirmed inwardly with passion, nodding her agreement. Beth found the game exciting, though she would never let on to Dare. And, you must wear the gold bridesmaid gown and jewels you wore to your friend’s wedding last week , he added, a wistful smile lighting up his thin face.. Okay she agreed, trying to sound reluctant, but truthfully feeling multiple tingles of delight.

Dare was handsome, in a scrawny, thin bearded, sort of way ( From an old photo that survives he resembled a young Johnny Depp… the eds), with a witty writers imagination and a playful disposition. He could always make Beth laugh, feeling his excitement as he drew her into his stories and games. She would never admit to it, but found the game delightfully erogenous. She smiled to herself, so Dare had liked the satin gown after all, he had not shown any interest in her wearing it since the wedding. And the jewelry, the small rhinestone pendent and earrings had been pretty, but Beth soon came up with another idea. She would knock his socks off by wearing the glittering diamonds and emeralds that had been inherited from her grandmother. The set had laid collecting dust in a safety deposit box all these years, unworn. She had never told Dare about them, waiting for the perfect occasion. She could just imagine the look in his eyes when he saw her wearing them. Okay then, game on, Beth thought, wickedly sending shivers up and down her spine.

Dare’s Game was based on role playing:

Dare would give Beth money to purchase a new outfit, something rich and shiny, like silk or satin. With the new outfit, Beth would wear the good gold jewelry she had received from Dare on her birthdays. The idea was to acting like a bored rich girl out for a good time, alone and vulnerable.

Dare would be at the hotel bar, waiting for Beth to make her entrance, then make her acquaintance , playing a debonair, suited gentleman with a mysterious past and a hidden agenda. They would make a date later, usually to dance and have drinks.

Then that evening, she would go down to the bar. Dressed in one of the long gowns Dare favored, fitting in with the usual spillover from a wedding reception that had been held in one of the Ballrooms. Sometimes she would wear the rhinestone jewelry they had purchased together at various antique stores. Then Beth would wait for Dare to make his entrance, signaling the time for Dare’s game. He would assume one of several roles, or possibly a new one that Beth had never seen. In the past Dare had played:

A spy who would dance with Beth, then disappear. Sending a note to Beth via a third person that would have her meet him clandestinely in a remote location…

A highwayman who would come across Beth on the castle grounds , usually the resorts empty gardens at night….

A rich millionaire looking for romance…

A kidnapper hired by an evil uncle, who after tying up Beth and removing her valuables would have a change of heart….

A Jewel thief who would be cunningly after her valuables…

A handsome prince rescuing Beth’s damsel in distress ….

Or Dare’s favorite, centered on their old childhood game of cops and robbers. Dare would play the thief, and steal something from Beth, usually while dancing. He would then leave preset clues around the grounds that she would have to follow to catch him.

All of the games usually led to some playful groping and then escalating into the upper echelons of erotic pleasure. Sometimes they never made out of the woods, or barely out of the ballroom. Beth shivered at these thoughts, wishing she didn’t have to wait….

 

**********************************************************************

Three weeks later at the Riverside Resort.

**********************************************************************

In the Bar:

At the bar, Dare smiled to himself, pleased. He had dropped Beth off to check in by herself. She would change into her new outfit and wear it down to the bar for lunch. She would come in acting like a complete stranger to the area. Dare would make her acquaintance, invite her to lunch, and make plans to see her that evening at the resorts dance room. There were two wedding receptions going on, and that dance room should be filled with well-dressed patrons. Beth would fit right in; clad that pretty gown she had promised to wear.

Dare had been sitting at the bar, thinking about ways to play out the game that evening, when the answer came to him, in the form of a stranger who had come with his drink and sat next to him. The stranger introduced himself as Seth, and shaking Dare’s hand sat on the stool next to him. After they had had couple of drinks, they had become quite chummy. Seth explaining he had come up for one of the weddings, and assumed Dare was doing the same. Seth did not fail to observe Dare’s secretive smile, but did not question it. Their conversation was distracted only when a newcomer appeared at the entrance. Beth walked in, a long flowing silky skirt swishing down to her leather sandals. A shiny, long sleeved satin top fitting tightly along her perky figure, with bright gold jewelry complementing the ensemble. Real gold, Seth observed silently to himself.

Beth went to a table, both men going silent as they watched her move through the room. Good-looking one, that, Seth commented, looking at Dare who was deep in thought as his eyes were fixed on the sexy newcomer. Seth teasingly offered Dare a penny for his thoughts. Dare smiled mischievously, letting lose his plans. Seth listened to the young man, smiling as a light went on in his steal grey eyes. When Dare finished he offered up a suggestion as to how Dare could make it really interesting for Beth. The two co-conspirators worked it out: Seth told Dare about a stone hut and wall that was located on the back nine of the resorts golf course. He suggested that he, Seth, would meet Beth that evening and pass a note onto her from Dare saying that he was in trouble and needed her help, with directions to the spot. Dare liked the idea, and wrote the note on a cocktail napkin, cementing the plan by handing it to Seth.

Off you go old chap, let Uncle Seth take care of his end, he said grinning, giving Dare a sporting clap on the back. With a wink, Dare left his fellow collaborator, and went over to Beth, who had since been seated by a male waiter, now standing drooling over her shoulder as she looked at the menu.

 

Later that same evening, inside the crowded club:

 

Seth had stopped by the bar for a last drink. His business venture had been concluded earlier than he had expected. With the change in his plans, he had checked out early, his kit packed, boot loaded and the car ready. He now sat at the bar Causley watching young lass of about seventeen who had literally ran into him at one of the receptions. He watched her flirting about the club, weaving in and out of the guests. With a long swishing gown flowing provocatively along her lithe figure, abundant, solid white gold chains swinging out in an alluringly eye catching manner as she scurried about. A diminutive gold ring its half caret diamond flickered playfully from the petite pinky it loosely surrounded once again welcomed his contemplation. The lass presented quite an intriguing gold feathered fledgling, just begging to be plucked. He looked around, spying her parents on the dance floor. The father/husband, despite being an excellent dancer, gave him no interest. It was his partner, the wife/ mother, decked out in a iridescent suit and long swishing satin skirt upon which he now was reexamining. He again studied under the bright dance floor lights her fine pearls dangling from her ears, throat, and wrists. But it was the Ladies’ two rings that stole the show for him; an engagement ring with a rock of at least 2 carets surrounded by numerous shimmering half caret stones and a pinky ring similar to her daughters, that proudly displayed a single white solitaire diamond of at least one caret that had garnered his consideration. He also reconsidered the facts that he had been able to garnish about the lady who wore them, and her husband. The wife/mother was a heavy drinker who would not be expected to make any kind of appearance before noon. Hubby was a golfer, who would be out for breakfast at five am before being on the links at 6 am the next morning . At 5 :15 Seth was planning to pay a visit to his suite, and relieve his two ladies of their expensive trinkets. It should be an easy straight forward caper, that had Seth bristling with anticipation at the prospect.

As he was tossing down the last of his drink he remembered about Dare and the note he still had in his pocket. Setting down the empty glass, he pulled the note out and looked at it, kids he smirked, and was preparing to crinkle toss it on the bar and leave, when his eyes caught sight of Beth. He had felt his breath taken away when he saw her. Not at all what he had expected, he would say to Beth much later in the evening. He looked over the note, stirrings of a plan began formulating. All thoughts of the dancing couple and his plans fled his mind, as He rose, throwing a fiver on the bar and went off to intercept Beth.

Seth held Beth in his arms, she was a vivacious little thing he thought, while smiling charmingly into her eyes. She seemed a little apprehensive at first, but had settled right in when he had told her this had been set up by Dare, remember me at the bar with him this afternoon he had consoled her, she had smile brightly into his eyes in answer. He relished in the feel of her warm satin gown, and allowed himself to be mesmerized by the shimmer of her diamonds.

 

It reminded him of the diamonds that had been worn by one of his dance partners earlier that evening at a reception. He had forgotten her name, but not her diamonds, one of which now resided in a hidden compartment of his roadsters boot, along with the diamond pin he had slipped off the satin cape he had cordially help a well-dressed lady put on. He had also shelved his plans for his 5:15 am “meeting” at the golf playing husbands hotel room, Beth’s jewels were a much more lucrative prospect.

 

When the dance had ended he took her to the bar and sat her down, ordering her a drink. She seemed a little perplexed, Seth kissed her gloved hand; wait for it he told her mysteriously, winking into her eyes. Beth had winked back, the fire in her heart reflecting deep in her eyes. Seth left, smiling cleverly to himself as he took in his surroundings. He looked around as he walked away, now where had the little imp gotten off too?

He had decided that the seventeen year old in the long flirting gown would play a very different role in his plans. He approached her, with Dares note and a twenty. Thought for a moment about the pair of thick platinum gold chains dangling from her throat down the open neckline of the girl’s glossy gown, then banished the though, he had bigger fish to filet. The twenty caught her attention and she eagerly listened as he explained to her what to do, pointing out Beth sitting, waiting in earnest at the bar. Wait until she finishes her drink, Seth told her as she listened eagerly. She took the twenty into her hand, the half caret diamond on her pinky ring flashing, and her gold chain bracelets jangled as she grasped it. Seth left, figuring he had about twenty minutes to stop at his car, get a few items from the boot, and put his plan in motion.

Beth had curiously received the note from the attractively shy young lady, clad a slinky gown that made her appear years older. Reading it she folded it and was just getting up when a man wearing a suit came up to her and offered to let her dance with him. It took her some time, before she was finally able to ward him off and leave the brilliantly lit clubroom for the dark, forbidding grounds outside.

Now, a thoroughly excited Beth walked up the hill. Her senses becoming more prickling alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game!

 

************************************************************************************

Epilogue:

 

As Seth walked away admiring the shimmery necklace, his thoughts travelled back to the gold burdened impish youngster in the swirling gown, and her pearl and diamond laden mother. Revisiting his original plans he decided that he liked the odds, especially since they would be against him. With the father leaving early to meet his cronies for breakfast the Mother should be still sleeping off her drink induced stupor, the hyperactive girl should still be out cold, but presented no risk if she awoke, he had more rope. The ladies jewels should be lying about in the apartment, or handedly on their persons( the pairs of diamond pinky rings, as well as the multi-diamond engagement ring flashed once again across his memory with all their brilliant glory),as he caught fire with the vision. There could be a safe he reasoned, but with a tied up daughter and a knife in his hand, the mother should have no issue opening it for him, or disclosing anywhere else her jewels may have been hidden . But if there was no safe, and the rings, pearls and solid white gold chains were somewhere in the room, he knew he would be able to noiselessly break in, find and slip the jewels from wherever they were perched, and be safely on his way without even causing the slightest stir from the sleeping woman and her daughter. It was a road Seth had travelled down many times. He prickled at the thought, as he foresightedly tallied up the potential haul while making his way to the car. The Mother/wife’s diamond rings, would easily fetch him at least three grand, probably close five with her pearls and the whelp’s jewelry added in. About a quarter of what he probably would get for the jewels now in his procession, so he mused inquisitively to himself, so ,was it worth the risk of his 20,000 bird in hand? Yes he answered himself, as all too familiar and welcome tingling sensation overwhelmed Seths muscular body. Like Dare, Seth like to play risky games, especially those which promised to be somewhat profitable. It would be a tantalizingly chancy gamble of his own; to wait a safe distance away while things cooled down and then return to break into the un protected sleeping ladies chamber.. He knew just the place to hide , and it would be a perfect spot to watch events unfold around Beth and Dare, while making his plans! It also afforded a nicely secret hiding nook for the ill-gotten gains collected so far that evening in case something went wrong, which it wouldn’t..

 

Courtesy of Chatwick University Archives

 

Bracken doesn't get the appreciate it deserves in British countryside, as it often dominates habitats and requires a lot of management, but I can't help but love it. Not only is it a hardy plant, even growing after intense fires, but it provides a home and shelter for many ground nesting birds, reptiles, amphibians and insects. Here's a perfect example after a huge mountain fire, exploiting that extra light, it emerges to re-green the land.

PART 3. (Please do start with Part 1, just 2 images back in my photostream)

 

The media, always eager to exploit the next blockbuster "breaking news" event, hyped the Laquan McDonald video and provided the movement with a stage for Act II, allowing a small group of activists to bring this city to a halt.

 

Chicago Mayor Rahm Emmanuel was cowed into submission, and allowed demonstrators to run amok along the Magnificent Mile throughout the Christmas shopping season, costing retailers millions in lost revenue, and the City millions more in police overtime.

 

Since then, the movement's trump card, its contention that the McDonald video is a "template" that can be applied to all police-involved shootings, has taken a big hit. The next video to be released, that of Ronald Johnson, clearly shows that he was armed with a gun when he was shot and killed.

 

What's more, the in-depth presentation by Cook County State's Attorney Anita Alvarez revealed that Ronald Johnson had been a passenger in a car that was shot at by rival gangbangers. Ronald Johnson then pulled his own gun and told the driver to let him out so he could hunt down that shooter himself.

 

Instead, Mr. Johnson faced the officers who were responding to the original "shots-fired" call by citizens in the area. If he had acted like a responsible citizen and assisted the officers, instead of taking the law into his own hands, those officers would have focused their attention on the original shooter and not on him. By putting himself - gun in hand - in the area where shots had been fired by a different gangbanger, he became the individual the responding officer focused on. Refusing to drop his weapon, he was eventually shot and killed.

 

The ultimate irony is that the Ronald Johnson video could be put forward as a "template" for the situation Chicago Police Officers usually face: armed predators who stubbornly refuse to surrender, either because doing so would violate their gang's code of conduct, or because they're so coked out of their mind that they truly believe themselves to be invincible.

 

The most recently released video, consists of surveillance footage that captured the killing of Cedrick Chapman back in 2013. This video fotage is inconclusive at best, and clearly does not live up to its billing as yet another example of racist White police officers executing yet another unarmed African American young man.

 

In fact, this particular African American young man had just car-jacked a fellow citizen. The officers in this case - armed with the information that this offender was armed and dangerous - spotted the vehicle in question with Cedrick Chapman behind the wheel, and gave chase.

 

When the offender bailed out, he first threw the vehicle's transmission into reverse. That's a favorite trick used by experienced auto-thieves, forcing police officers to jump into a moving vehicle and bring it to a halt before it can injure innocent bystanders or cause more property damage.

 

As soon as the first officer had brought the stolen vehicle to a halt, he joined his partner in the foot-pursuit of the fleeing felon. Too far back to assist his partner, who was about to pounce on the fleeing car-jacker, the first officer noticed that the offender was holding a black object in his right hand, The first officer - "fearing for his partner's life - then fired his own weapon, striking and killing the offender.

 

Does that sound just a little contrived? Yes, it does, but, in the absence of reliable information that proves otherwise, the anti-police movement has little to offer but the now familiar accusations. Left with nothing but hot air, the movement simply pivots back to its ace in the hole: the Lawuan McDonald video.

 

TO BE CONTINUED

 

* * * * * * *

This mural at 57th & Lake Park is but one panel of a large mural devoted to peace vs. militarism, free speech and civil disobedience. This particular panel references the peace movement after the slaughter of the Great War (1914-1918). It shows a woman trying to get both sides to "put the guns down..."

 

Unfortunately, 40 years after this mural was painted, we can not get gangbangers on the South and West Side to put their guns down, and Chicago is on track to reap 600 homicides in 2016.

   

Cigarettes with names like Hope, Fortune, Mighty ... sold on the streets of Iligan, Philippines by a child.

 

Paysage d'Ardèche - France

"Carving"

 

Phare de la Revellata - Calvi (Balagne - Haute-Corse)

 

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."

Initialement découvert en Sarre, le gisement houiller fut exploité côté français à partir de 1856 à Petite-Rosselle. La famille Wendel était alors à la tête d'un empire sidérurgique français.

La mine Wendel comportait 3 puits, créés de 1862 à 1935.

 

Interrompu par la Seconde Guerre mondiale, nationalisé en 1946, le carreau Wendel reprend ses travaux de modernisation et de creusement du puits Wendel 3 en 1947 pour s'achever en 1952, à 902 mètres de profondeur.

 

En 1960, le siège Wendel pouvait extraire jusqu'à 10 000 tonnes quotidiennes de charbon avec un effectif de 5 000 mineurs.

 

Il cesse son activité en 1986, mais une partie des infrastructures du site est encore utilisée jusqu'en 1989. Le puits Wendel 1 ferme en 1989, Wendel 2 en 1992 et Wendel 3 en 2001.

 

Aujourd'hui, le carreau Wendel est le plus important site d'extraction du charbon encore conservé en France. La quasi totalité des bâtiments et machines a été préservée.

 

Le site est ouvert au public. On peut y voir les machines d'extraction, les lavoirs, la sous-station électrique, les salles de douches et la lampisterie. On peut même descendre au fond d'un puits par un des ascenseurs qu'utilisaient les mineurs.

 

Face à ce patrimoine heureusement parvenu jusqu'à nous, on ne peut qu'être ému et rendre hommage à ces hommes qui ont, parfois au prix de leur vie, permis de chauffer les foyers français pendant plusieurs décennies.

 

Je n'ai malheureusement pas pu tout visiter, faute de temps. Voici une sélection de photos prises à l'extérieur du site.

Exploitant : Transdev Montesson les Rabaux

Réseau : Résalys

Ligne : R2N

Ligne : Gaudines (Saint-Germain-en-Laye, F-78)

Lien TC Infos : tc-infos.fr/vehicule/27041

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

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)

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 15:56

Rue du Vergne ; F-33 BORDEAUX

The Exploited: Wullie Buchan (drums) performing live in the SO36, Berlin, 27.10.19, Schlagzeuger, drummer

 

Follow concert photography on Facebook and/or Twitter.

Les plages Bretonnes sont surprenantes

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.

Hasselblad 503CXi; Zeiss CF 80mm f/2.8; CineStill BWXX 400; HC110 1+47 10 minutes

Mirit Ben-Nun uses lines and points as an expressive resource and does so by exploiting its nuances and associations to the fullest. Some forms follow the same direction and others change it constantly, even urgently. Its language is visual and independent of its expressiveness, lies in the value and organization of its elements. The things of the visible world are unimportant, the achievement is the achievement of reproduction of the world and human nature. Constantly encourages creativity. In this case pointillism conveys emotions by the effect it achieves using color, points, lines and thus captures the attention of the observer.

 

Dora Woda

Eiffel Tower

From Wikipedia, the free encyclopedia

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This article is about the landmark in Paris, France. For other uses, see Eiffel Tower (disambiguation).

"300-metre tower" and "Tour Eiffel" redirect here. For other tall towers, see List of tallest towers. For other uses, see Tour Eiffel (disambiguation).

The Eiffel Tower

La tour Eiffel

Tour Eiffel Wikimedia Commons.jpg

Seen from the Champ de Mars

Wikimedia | © OpenStreetMap

Record height

Tallest in the world from 1889 to 1930[I]

General information

TypeObservation tower

Broadcasting tower

Location7th arrondissement, Paris, France

Coordinates48°51′29.6″N 2°17′40.2″ECoordinates: 48°51′29.6″N 2°17′40.2″E

Construction started28 January 1887; 134 years ago

Completed15 March 1889; 132 years ago

Opening31 March 1889; 132 years ago

OwnerCity of Paris, France

ManagementSociété d'Exploitation de la Tour Eiffel (SETE)

Height

Architectural300 m (984 ft)[1]

Tip324 m (1,063 ft)[1]

Top floor276 m (906 ft)[1]

Technical details

Floor count3[2]

Lifts/elevators8[2]

Design and construction

ArchitectStephen Sauvestre

Structural engineerMaurice Koechlin

Émile Nouguier

Main contractorCompagnie des Etablissements Eiffel

Website

toureiffel.paris/en

References

I. ^ Eiffel Tower at Emporis

File:Eiffel Tower Drone 4k-Qx c1X3zfEc-313-251.webm

Eiffel Tower Drone

The Eiffel Tower (/ˈaɪfəl/ EYE-fəl; French: tour Eiffel [tuʁ‿ɛfɛl] (About this soundlisten)) is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.

 

Locally nicknamed "La dame de fer" (French for "Iron Lady"), it was constructed from 1887 to 1889 as the entrance to the 1889 World's Fair and was initially criticised by some of France's leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world.[3] The Eiffel Tower is the most visited monument with an entrance fee in the world; 6.91 million people ascended it in 2015.

 

The tower is 324 metres (1,063 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. It was the first structure in the world to surpass both the 200-metre and 300-metre mark in height. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft). Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct.

 

The tower has three levels for visitors, with restaurants on the first and second levels. The top level's upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union. Tickets can be purchased to ascend by stairs or lift to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second. Although there is a staircase to the top level, it is usually accessible only by lift.

  

Contents

1History

1.1Origin

1.2Artists' protest

1.3Construction

1.3.1Lifts

1.4Inauguration and the 1889 exposition

1.5Subsequent events

2Design

2.1Material

2.2Wind considerations

2.3Accommodation

2.4Passenger lifts

2.5Engraved names

2.6Aesthetics

2.7Maintenance

3Tourism

3.1Transport

3.2Popularity

3.3Restaurants

4Replicas

5Communications

5.1FM radio

5.2Digital television

6Illumination copyright

7Height changes

8Taller structures

8.1Lattice towers taller than the Eiffel Tower

8.2Structures in France taller than the Eiffel Tower

9See also

10References

10.1Notes

10.2Bibliography

11External links

History

Origin

The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853.[4] In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals".[5] Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of the company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.

  

First drawing of the Eiffel Tower by Maurice Koechlin including size comparison with other Parisian landmarks such as Notre Dame de Paris, the Statue of Liberty and the Vendôme Column

The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was put on display at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise

[n]ot only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.[6]

 

Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars.[6] (A 300-metre tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.

 

After some debate about the exact location of the tower, a contract was signed on 8 January 1887. Eiffel signed it acting in his own capacity rather than as the representative of his company, the contract granting him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.[7]

 

Artists' protest

 

Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids, published in Le Temps, February 14, 1887.

The proposed tower had been a subject of controversy, drawing criticism from those who did not believe it was feasible and those who objected on artistic grounds. Prior to the Eiffel Tower's construction, no structure had ever been constructed to a height of 300 m, or even 200 m for that matter,[8] and many people believed it was impossible. These objections were an expression of a long-standing debate in France about the relationship between architecture and engineering. It came to a head as work began at the Champ de Mars: a "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the arts, such as William-Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet. A petition called "Artists against the Eiffel Tower" was sent to the Minister of Works and Commissioner for the Exposition, Adolphe Alphand, and it was published by Le Temps on 14 February 1887:

 

We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection … of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal.[9]

  

A calligram by Guillaume Apollinaire

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian pyramids: "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?"[10] These criticisms were also dealt with by Édouard Lockroy in a letter of support written to Alphand, sardonically saying,[11] "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell this protest is the result of collaboration of the most famous writers and poets of our time", and he explained that the protest was irrelevant since the project had been decided upon months before, and construction on the tower was already under way.

 

Indeed, Garnier was a member of the Tower Commission that had examined the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"[12]

 

Some of the protesters changed their minds when the tower was built; others remained unconvinced.[13] Guy de Maupassant supposedly ate lunch in the tower's restaurant every day because it was the one place in Paris where the tower was not visible.[14]

 

By 1918, it had become a symbol of Paris and of France after Guillaume Apollinaire wrote a nationalist poem in the shape of the tower (a calligram) to express his feelings about the war against Germany.[15] Today, it is widely considered to be a remarkable piece of structural art, and is often featured in films and literature.

 

Construction

 

Foundations of the Eiffel Tower

Work on the foundations started on 28 January 1887.[16] Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[17] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.

 

Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed.[18] The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 1 mm (0.04 in) and angles worked out to one second of arc.[19] The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.[16]

 

At first, the legs were constructed as cantilevers, but about halfway to the first level construction was paused to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press.[20] At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888.[16] Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees,[16] due to Eiffel's safety precautions and the use of movable gangways, guardrails and screens, only one person died.[21]

  

18 July 1887:

The start of the erection of the metalwork

   

7 December 1887:

Construction of the legs with scaffolding

   

20 March 1888:

Completion of the first level

   

15 May 1888:

Start of construction on the second stage

   

21 August 1888:

Completion of the second level

   

26 December 1888:

Construction of the upper stage

   

15 March 1889:

Construction of the cupola

 

Lifts

 

The Roux, Combaluzier & Lepape lifts during construction. Note the drive sprockets and chain in the foreground.

Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.[22]

 

Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs.[23] Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.[23]

  

The Otis lifts originally fitted in the north and south legs

Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887.[24] Otis were confident they would eventually be given the contract and had already started creating designs.[citation needed]

 

The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.[citation needed]

 

The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.[25]

 

Inauguration and the 1889 exposition

 

View of the 1889 World's Fair

The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower.[13] Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.[26]

 

There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May.[27] Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays,[28] and by the end of the exhibition there had been 1,896,987 visitors.[3]

 

After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.[citation needed]

  

Illumination of the tower at night during the exposition

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.[citation needed]

 

At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse ("truly curious").[29]

 

Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, "Buffalo Bill" Cody (his Wild West show was an attraction at the exposition) and Thomas Edison.[27] Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition.[30] Edison signed the guestbook with this message:

To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

 

Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.[31]

 

Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.[32]

 

Subsequent events

File:Vue Lumière No 992 - Panorama pendant l'ascension de la Tour Eiffel (1898).ogv

Panoramic view during ascent of the Eiffel Tower by the Lumière brothers, 1898

File:Reichelt.ogv

Franz Reichelt's preparations and fatal jump from the Eiffel Tower

For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism to the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism.[24] At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.[citation needed]

 

On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.[33]

 

Many innovations took place at the Eiffel Tower in the early 20th century. In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays.[34] Just two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 m) to demonstrate his parachute design.[35] In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.[36] From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time.[37] In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.[38]

 

On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal.[39] A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station.[40] A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929.[41] In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed.[42] In 1938, the decorative arcade around the first level was removed.[43]

  

American soldiers watch the French flag flying on the Eiffel Tower, c. 25 August 1944

Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946.[44] In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge,[45] but the flag was so large it blew away just a few hours later, and was replaced by a smaller one.[46] When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order.[47] On 25 June, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.[44]

 

A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top.[48] In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux.[49] A year later, an additional lift system was installed in the north pillar.[50]

 

According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.[51]

  

Base of the Eiffel Tower

In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant.[citation needed] The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system.[50] A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.[citation needed]

 

Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984.[52] In 1987, A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police.[53] On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.[54]

  

The tower is the focal point of New Year's Eve and Bastille Day (14 July) celebrations in Paris.

For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. During the last three minutes of the year, the lights were turned on starting from the base of the tower and continuing to the top to welcome 2000 with a huge fireworks show. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.[55]

 

The lights sparkled blue for several nights to herald the new millennium on 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.[56]

 

The tower received its 200,000,000th guest on 28 November 2002.[57] The tower has operated at its maximum capacity of about 7 million visitors per year since 2003.[58] In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level.[59] A glass floor was installed on the first level during the 2014 refurbishment.[60]

 

In 2016, during Valentine's Day, the performance UN BATTEMENT [61] by French artist Milène Guermont unfolds among the Eiffel Tower, the Montparnasse Tower and the contemporary artwork PHARES installed on the Place de la Concorde. This interactive pyramid-shaped sculpture allows the public to transmit the beating of their hearts thanks to a cardiac sensor. The Eiffel Tower and the Montparnasse Tower also light up to the rhythm of PHARES. This is the first time that the Eiffel Tower has interacted with a work of art.[citation needed]

 

Design

Material

 

The Eiffel Tower from below

The puddled iron (wrought iron) of the Eiffel Tower weighs 7,300 tonnes,[62] and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tonnes.[63] As a demonstration of the economy of design, if the 7,300 tonnes of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tonnes per cubic metre.[64] Additionally, a cubic box surrounding the tower (324 m × 125 m × 125 m) would contain 6,200 tonnes of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.[65]

 

Wind considerations

When it was built, many were shocked by the tower's daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:

 

Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? … Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be … will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[66]

 

He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape.[67] All parts of the tower were overdesigned to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework.[68] In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.[67]

 

The Eiffel Tower sways by up to 9 cm (3.5 in) in the wind.[69]

 

Accommodation

 

Gustave Eiffel's apartment

When originally built, the first level contained three restaurants – one French, one Russian and one Flemish — and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. A promenade 2.6-metre (8 ft 6 in) wide ran around the outside of the first level. At the top, there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.[70]

 

In May 2016, an apartment was created on the first level to accommodate four competition winners during the UEFA Euro 2016 football tournament in Paris in June. The apartment has a kitchen, two bedrooms, a lounge, and views of Paris landmarks including the Seine, Sacré-Cœur, and the Arc de Triomphe.[71]

 

Passenger lifts

The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.[72]

 

Engraved names

Main article: List of the 72 names on the Eiffel Tower

 

Names engraved on the tower

Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.[73]

 

Aesthetics

The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky.[74] It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown".[75]

 

The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.[76]

 

A pop-culture movie cliché is that the view from a Parisian window always includes the tower.[77] In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.[78]

 

Maintenance

Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.[56][79]

  

Panorama of Paris from the Tour Eiffel

Panorama of Paris and its suburbs from the top of the Eiffel Tower

Tourism

Transport

The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel.[80] The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.

 

Popularity

 

Number of visitors per year between 1889 and 2004

More than 250 million people have visited the tower since it was completed in 1889.[3] In 2015, there were 6.91 million visitors.[81] The tower is the most-visited paid monument in the world.[82] An average of 25,000 people ascend the tower every day which can result in long queues.[83]

 

Restaurants

The tower has two restaurants: Le 58 Tour Eiffel on the first level, and Le Jules Verne, a gourmet restaurant with its own lift on the second level. This restaurant has one star in the Michelin Red Guide. It was run by the multi-Michelin star chef Alain Ducasse from 2007 to 2017.[84] Starting May 2019, it will be managed by three star chef Frédéric Anton.[85] It owes its name to the famous science-fiction writer Jules Verne. Additionally, there is a champagne bar at the top of the Eiffel Tower.

 

From 1937 until 1981, there was a restaurant near the top of the tower. It was removed due to structural considerations; engineers had determined it was too heavy and was causing the tower to sag.[86] This restaurant was sold to an American restaurateur and transported to New York and then New Orleans. It was rebuilt on the edge of New Orleans' Garden District as a restaurant and later event hall.[87]

 

Replicas

 

Replica at the Paris Las Vegas Hotel, Nevada, United States.

Main article: List of Eiffel Tower replicas

As one of the most iconic landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 m (518 ft) tall.[88] Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.[89]

 

There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, located in Mason, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.[90]

 

In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build.[91] This would be more than ten times the cost of the original (nearly 8 million in 1890 Francs; ~US$40 million in 2018 dollars).

 

Communications

 

Top of the Eiffel Tower

The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C..[92] Today, radio and digital television signals are transmitted from the Eiffel Tower.

 

FM radio

FrequencykWService

87.8 MHz10France Inter

89.0 MHz10RFI Paris

89.9 MHz6TSF Jazz

90.4 MHz10Nostalgie

90.9 MHz4Chante France

Digital television

A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61.4 ft). Work carried out in 2000 added a further 5.3 m (17.4 ft), giving the current height of 324 m (1,063 ft).[56] Analogue television signals from the Eiffel Tower ceased on 8 March 2011.

 

FrequencyVHFUHFkWService

182.25 MHz6—100Canal+

479.25 MHz—22500France 2

503.25 MHz—25500TF1

527.25 MHz—28500France 3

543.25 MHz—30100France 5

567.25 MHz—33100M6

Illumination copyright

Further information: Freedom of panorama § France

 

The Eiffel Tower illuminated in 2015

The tower and its image have been in the public domain since 1993, 70 years after Eiffel's death.[93] In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright. The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992.[94] The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright.[95] As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use.[96][97] For this reason, it is often rare to find images or videos of the lit tower at night on stock image sites,[98] and media outlets rarely broadcast images or videos of it.[99]

 

The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve".[100] SNTE made over €1 million from copyright fees in 2002.[101] However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.[102]

 

The copyright claim itself has never been tested in courts to date according to the 2014 article of the Art Law Journal, and there has never been an attempt to track down millions of netizens who have posted and shared their images of the illuminated tower on the Internet worldwide. It added, however, that permissive situation may arise on commercial use of such images, like in a magazine, on a film poster, or on product packaging.[103]

 

French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented,[104] a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.

 

Height changes

The pinnacle height of the Eiffel Tower has changed multiple times over the years as described in the chart below.[105]

 

FromToHeight mHeight ftType of additionRemarks

18891957312.271,025FlagpoleArchitectural height of 300 m 984 ft. Tallest freestanding structure in the world until surpassed by the Chrysler building in 1930. Tallest tower in the world until surpassed by the KCTV Broadcast Tower in 1956.

19571991320.751,052AntennaBroadcast antenna added in 1957 which made it the tallest tower in the world until the Tokyo Tower was completed the following year in 1958.

19911994317.961,043Antenna change

19942000318.71,046Antenna change

2000Current3241,063Antenna change

Taller structures

The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out.[106] The tower also lost its standing as the world's tallest tower to the Tokyo Tower in 1958 but retains its status as the tallest freestanding (non-guyed) structure in France.

 

Lattice towers taller than the Eiffel Tower

Further information: List of tallest towers in the world, Lattice tower, and Observation deck

NamePinnacle heightYearCountryTownRemarks

Tokyo Skytree634 m (2,080 ft)2011JapanTokyo

Kyiv TV Tower385 m (1,263 ft)1973UkraineKyiv

Dragon Tower336 m (1,102 ft)2000ChinaHarbin

Tokyo Tower333 m (1,093 ft)1958JapanTokyo

WITI TV Tower329.4 m (1,081 ft)1962United StatesShorewood, Wisconsin

St. Petersburg TV Tower326 m (1,070 ft)1962RussiaSaint Petersburg

Structures in France taller than the Eiffel Tower

Further information: List of tallest structures in France

NamePinnacle heightYearStructure typeTownRemarks

Longwave transmitter Allouis350 m (1,150 ft)1974Guyed mastAllouis

HWU transmitter350 m (1,150 ft)1971Guyed mastRosnayMilitary VLF transmitter; multiple masts

Viaduc de Millau343 m (1,125 ft)2004Bridge pillarMillau

TV Mast Niort-Maisonnay330 m (1,080 ft)1978Guyed mastNiort

Transmitter Le Mans-Mayet342 m (1,122 ft)1993Guyed mastMayet

La Regine transmitter330 m (1,080 ft)1973Guyed mastSaissacMilitary VLF transmitter

Transmitter Roumoules330 m (1,080 ft)1974Guyed mastRoumoulesSpare transmission mast for longwave; insulated against ground

See also

flagFrance portal

Eiffel Tower in popular culture

List of tallest buildings and structures in the Paris region

List of tallest buildings and structures in the world

List of tallest towers in the world

List of tallest freestanding structures in the world

List of tallest freestanding steel structures

List of transmission sites

Lattice tower

Eiffel Tower, 1909–1928 painting series by Robert Delaunay

References

Notes

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Eiffel Tower at Emporis

SETE. "The Eiffel Tower at a glance". Official Eiffel Tower website. Archived from the original on 14 April 2016. Retrieved 15 April 2016.

Engineering News and American Railway Journal. 22. G. H. Frost. 1889. p. 482.

Harvie, p. 78.

Loyrette, p. 116.

Loyrette, p. 121.

"Diagrams - SkyscraperPage.com". skyscraperpage.com.

Loyrette, p. 174.

Paul Souriau; Manon Souriau (1983). The Aesthetics of Movement. University of Massachusetts Press. p. 100. ISBN 0-87023-412-9.

Harvie, p. 99.

Loyrette, p. 176.

"The Eiffel Tower". News. The Times (32661). London. 1 April 1889. col B, p. 5.

Jill Jonnes (2009). Eiffel's Tower: And the World's Fair where Buffalo Bill Beguiled Paris, the Artists Quarreled, and Thomas Edison Became a Count. Viking. pp. 163–64. ISBN 978-0-670-02060-7.

Guillaume Apollinaire (1980). Anne Hyde Greet (ed.). Calligrammes: Poems of Peace and War (1913–1916). University of California Press. pp. 411–414. ISBN 978-0-520-01968-3.

SETE. "Origins and construction of the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 31 July 2015. Retrieved 1 January 2014.

Loyrette, p. 123.

Loyrette, p. 148.

Eiffel, G; The Eiffel TowerPlate X

Harvie, p. 110.

"Construction of the Eiffel Tower". wonders-of-the-world.net.

Vogel, pp. 20–21.

Vogel, p. 28.

Vogel, pp. 23–24.

Eiffel, Gustave (1900). La Tour de Trois Cents Mètres (in French). Paris: Société des imprimeries Lemercier. pp. 171–3.

Harvie, pp. 122–23.

SETE. "The Eiffel Tower during the 1889 Exposition Universelle". Official Eiffel Tower website. Archived from the original on 25 April 2016. Retrieved 16 April 2016.

Harvie, pp. 144–45.

Eiffel, Gustave (1900). La Tour de Trois Cents Mètres. Paris: Lemercier. p. 335.

Jill Jonnes (23 May 2009). "Thomas Edison at the Eiffel Tower". Wonders and Marvels. Retrieved 2 January 2014.

Michelin Paris: Tourist Guide (5 ed.). Michelin Tyre Public Limited. 1985. p. 52. ISBN 9782060135427.

Watson, p. 829.

"M. Santos Dumont's Balloon". News. The Times (36591). London. 21 October 1901. col A, p. 4.

Theodor Wulf. Physikalische Zeitschrift. Contains results of the four-day-long observation done by Theodor Wulf at the top of the Eiffel Tower in 1910.

"L'inventeur d'un parachute se lance de le tour Eiffel et s'écrase sur le sol". Le Petit Parisien (in French). 5 February 1912. p. 1. Retrieved 26 November 2009.

Barbara Wertheim Tuchman (1994). August 1914. Papermac. p. 236. ISBN 978-0-333-30516-4.

Smith, Oliver (31 March 2018). "40 fascinating facts about the Eiffel Tower". The Daily Telegraph. Retrieved 14 November 2019.

Stephen Herbert (2004). A History of Early Television. 2. Taylor & Francis. p. 40. ISBN 978-0-415-32667-4.

Piers Letcher (2003). Eccentric France: The Bradt Guide to Mad, Magical and Marvellous France. Bradt Travel Guides. p. 105. ISBN 978-1-84162-068-8.

"An air tragedy". The Sunday Times. Perth, WA. 28 February 1926. Retrieved 2 January 2012.

Harriss, p. 178.

Claudia Roth Pierpont (18 November 2002). "The Silver Spire: How two men's dreams changed the skyline of New York". The New Yorker. Archived from the original on 27 February 2012.

Harriss, p. 195.

Harriss, pp. 180–84.

"HD Stock Video Footage – The Germans unfurl Nazi flags at the captured Palace of Versailles and Eiffel Tower during the Battle of France". www.criticalpast.com.

Smith, Oliver (4 February 2016). "Eiffel Tower: 40 fascinating facts". The Telegraph – via www.telegraph.co.uk.

Carlo D'Este (2003). Eisenhower: A Soldier's Life. Henry Holt and Company. p. 574. ISBN 978-0-8050-5687-7.

SETE. "The major events". Official Eiffel Tower website. Archived from the original on 31 March 2015. Retrieved 13 March 2014.

Harriss, p. 215.

SETE. "The Eiffel Tower's lifts". Official Eiffel Tower website. Archived from the original on 7 April 2016. Retrieved 15 April 2016.

Nick Auf der Maur (15 September 1980). "How this city nearly got the Eiffel Tower". The Montreal Gazette. Retrieved 29 May 2013.

Robert J. Moriarty. "A Bonanza in Paris". Air & Space Magazine. Retrieved 4 April 2008.

Jano Gibson (27 February 2007). "Extreme bid to stretch bungy record". Sydney Morning Herald. Retrieved 24 May 2010.

"Tour Eiffel". Thierry Devaux (in French). Retrieved 19 March 2019.

SETE. "The Eiffel Tower's illuminations". Official Eiffel Tower website. Archived from the original on 22 August 2015. Retrieved 31 May 2014.

SETE. "All you need to know about the Eiffel Tower" (PDF). Official Eiffel Tower website. Retrieved 15 April 2016.

"The Eiffel Tower". France.com. 23 October 2003. Retrieved 16 April 2016.

Denis Cosnard (21 April 2014). "Eiffel Tower renovation work aims to take profits to new heights". The Guardian. Retrieved 14 April 2016.

Darwin Porter; Danforth Prince; G. McDonald; H. Mastrini; S. Marker; A. Princz; C. Bánfalvy; A. Kutor; N. Lakos; S. Rowan Kelleher (2006). Frommer's Europe (9th ed.). Wiley. p. 318. ISBN 978-0-471-92265-0.

"Eiffel Tower gets glass floor in refurbishment project". BBC News. 6 October 2014. Retrieved 6 October 2014.

User, Super. "PHARES (2015)". Milène GUERMONT.

David A. Hanser (2006). Architecture of France. Greenwood Publishing Group. p. 66. ISBN 978-0-313-31902-0.

DK Eyewitness Travel Guide: Europe. Dorling Kindersley. 2012. p. 163. ISBN 978-1-4093-8577-6.

Harriss, p. 60.

Harriss, p. 231.

SETE. "Debate and controversy surrounding the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 8 September 2015. Retrieved 2 January 2013.

"Elegant shape of Eiffel Tower solved mathematically by University of Colorado professor". Science Daily. 7 January 2005. Retrieved 24 May 2010.

Watson, p. 807.

SETE. "FAQ: History/Technical". Official Eiffel Tower website. Archived from the original on 8 April 2016. Retrieved 16 April 2016.

Caitlin Morton (31 May 2015). "There is a secret apartment at the top of the Eiffel Tower". Architectural Digest. Conde Nast. Retrieved 30 June 2015.

Mary Papenfuss (20 May 2016). "Tourists have the chance to get an Eiffel of the view by staying in the Tower for a night". International Business Times. Retrieved 21 May 2016.

Eiffel Tower, Paris, France hisour.com. Retrieved 29 August 2021

SETE (2010). "The Eiffel Tower Laboratory". Official Eiffel Tower website. Archived from the original on 12 February 2017. Retrieved 25 January 2017.

SETE. "The Eiffel Tower gets beautified" (PDF). Official Eiffel Tower website. Archived from the original (PDF) on 21 November 2015. Retrieved 8 November 2015.

SETE. "Painting the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 26 October 2016. Retrieved 25 January 2017.

"History: Development of clear span buildings – Exhibition buildings". Architectural Teaching Resource. Tata Steel Europe, Ltd. Archived from the original on 5 October 2013. Retrieved 4 January 2014.

"The Eiffel Tower". France.com. Retrieved 27 January 2018.

"Eiffel Tower (Paris ( 7 th ), 1889)". Structurae. Retrieved 27 February 2021.

Bavelier, Ariane (3 December 2013). "Coup de pinceau sur la tour Eiffel". Lefigaro. Retrieved 28 March 2009.

SETE. "Getting to the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 14 April 2016. Retrieved 16 April 2016.

"Number of Eiffel Tower visitors falls in wake of Paris attacks". France 24. 20 January 2016. Retrieved 15 April 2016.

Jean-Michel Normand (23 July 2007). "Tour Eiffel et souvenirs de Paris". Le Monde. France. Retrieved 24 May 2010.

"Eiffel Tower reopens to tourists after rare closure for 2-day strike". Fox News. Associated Press. 27 June 2013. Retrieved 16 April 2016.

Dali Wiederhoft. "Eiffel Tower: Sightseeing, restaurants, links, transit". Bonjour Paris. Archived from the original on 6 January 2014.

"Eiffel Tower in Paris". Paris Digest. 2018. Retrieved 14 September 2018.

Marcus, Frances Frank (10 December 1986). "New Orleans's 'Eiffel Tower'". The New York Times. Retrieved 22 November 2018.

Thomas, Jabari (15 September 2015). "Where you can find pieces of the Eiffel Tower in New Orleans". WGNO. Retrieved 22 November 2018.

"The Blackpool Tower". History Extra. Retrieved 6 March 2014.

"The red and white Eiffel Tower of Tokyo". KLM. Retrieved 16 April 2016.

Todd van Luling (19 August 2013). "The most legit Eiffel Tower replicas you didn't know existed". Huffpost Travel. Retrieved 16 April 2016.

"Eiffel Tower". Pricing the Priceless. Season 1. Episode 3. 9 May 2011. National Geographic Channel (Australia).

"Paris time by wireless". The New York Times. 22 November 1913. p. 1.

"Why it's actually illegal to take pictures of Eiffel Tower at night". The Jakarta Post. 9 December 2017.

"Cour de cassation 3 mars 1992, Jus Luminum n°J523975" (in French). Jus Luminum. Archived from the original on 16 November 2009.

Jimmy Wales (3 July 2015). "If you want to keep sharing photos for free, read this". The Guardian. Retrieved 15 April 2016.

"The Eiffel Tower image rights". Société d'Exploitation de la Tour Eiffel.

Hugh Morris (24 June 2015). "Freedom of panorama: EU proposal could mean holiday snaps breach copyright". The Telegraph. Retrieved 15 April 2016.

Nicholls, Will (14 October 2017). "Why Photos of the Eiffel Tower at Night are Illegal". PetaPixel. Retrieved 24 February 2021.

Cuttle, Jade (1 July 2019). "Why Photos of the Eiffel Tower at Night are Illegal". The Culture Trip. Retrieved 24 February 2021.

"Eiffel Tower: Repossessed". Fast Company. 2 February 2005. Retrieved 15 April 2016.

James Arnold (16 May 2003). "Are things looking up for the Eiffel Tower?". BBC News. Retrieved 16 April 2016.

Steve Schlackman (16 November 2014). "Do night photos of the Eiffel Tower violate copyright?". Artrepreneur Art Law Journal. Retrieved 13 July 2020.

Larsen, Stephanie (13 March 2017). "Is it Illegal to Take Photographs of the Eiffel Tower at Night?". Snopes. Retrieved 24 February 2021.

Notions Fondamentales Du Droit D'auteur (in French). World Intellectual Property Organization. 2002. p. 277. ISBN 978-92-805-1013-3. La représentation d'une œuvre située dans un lieu public n'est licite que lorsqu'elle est accessoire par rapport au sujet principal représenté ou traité

"Eiffel Tower, Paris - SkyscraperPage.com". skyscraperpage.com.

Chrysler (14 June 2004). "Chrysler Building – Piercing the Sky". CBS Forum. CBS Team. Retrieved 21 May 2017.

Bibliography

Chanson, Hubert (2009). "Hydraulic engineering legends Listed on the Eiffel Tower". In Jerry R. Rogers (ed.). Great Rivers History: Proceedings and Invited Papers for the EWRI Congress and Great Rivers History Symposium. American Society of Civil Engineers. ISBN 978-0-7844-1032-5.

Frémy, Dominique (1989). Quid de la tour Eiffel. R. Laffont. ISBN 978-2-221-06488-7.

The Engineer: The Paris Exhibition. XLVII. London: Office for Advertisements and Publication. 3 May 1889.

Harriss, Joseph (1975). The Eiffel Tower: Symbol of an Age. London: Paul Elek. ISBN 0236400363.

Harvie, David I. (2006). Eiffel: The Genius Who Reinvented Himself. Stroud, Gloucestershire: Sutton. ISBN 0-7509-3309-7.

Jonnes, Jill (2009). Eiffel's Tower: The Thrilling Story Behind Paris's Beloved Monument …. Penguin. ISBN 978-1-101-05251-8.

Loyrette, Henri (1985). Eiffel, un Ingenieur et Son Oeuvre. Rizzoli. ISBN 978-0-8478-0631-7.

Musée d'Orsay (1989). 1889: la Tour Eiffel et l'Exposition Universelle. Editions de la Réunion des Musées Nationaux, Ministère de la Culture, de la Communication, des Grands Travaux et du Bicentenaire. ISBN 978-2-7118-2244-7.

Vogel, Robert M. (1961). "Elevator Systems of the Eiffel Tower, 1889". United States National Museum Bulletin. Washington, D.C.: Smithsonian Institution. 228: 20–21.

Watson, William (1892). Paris Universal Exposition: Civil Engineering, Public Works, and Architecture. Washington, D.C.: Government Publishing Office.

External links

Eiffel Tower

at Wikipedia's sister projects

Definitions from Wiktionary

Media from Wikimedia Commons

Texts from Wikisource

Travel guides from Wikivoyage

Data from Wikidata

Official website Edit this at Wikidata

Eiffel Tower at Structurae

Records

Preceded by

Washington MonumentWorld's tallest structure

1889–1931

312 m (1,024 ft)[1]Succeeded by

Chrysler Building

World's tallest tower

1889–1956Succeeded by

KCTV Broadcast Tower

Preceded by

KCTV Broadcast TowerWorld's tallest tower

1957–1958Succeeded by

Tokyo Tower

 

en.wikipedia.org/wiki/Eiffel_Tower

 

Tightrope walking

From Wikipedia, the free encyclopedia

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"Tightrope" redirects here. For other uses, see Tightrope (disambiguation).

 

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

Find sources: "Tightrope walking" – news · newspapers · books · scholar · JSTOR (November 2007) (Learn how and when to remove this template message)

 

The feet of a tightrope walker

Tightrope walking, also called funambulism, is the skill of walking along a thin wire or rope. It has a long tradition in various countries and is commonly associated with the circus. Other skills similar to tightrope walking include slack rope walking and slacklining.

  

Contents

1Types

2Ropes

3Biomechanics

4Famous tightrope artists

5Metaphorical use

6See also

7References

Types

 

Tightrope walking, Armenian manuscript, 1688

Tightwire is the skill of maintaining balance while walking along a tensioned wire between two points. It can be done either using a balancing tool (umbrella, fan, balance pole, etc.) or "freehand", using only one's body to maintain balance. Typically, tightwire performances either include dance or object manipulation. Object manipulation acts include a variety of props in their acts, such as clubs, rings, hats, or canes. Tightwire performers have even used wheelbarrows with passengers, ladders, and animals in their act. The technique to maintain balance is to keep the performer's centre of mass above their support point—usually their feet.

 

Highwire is a form of tightwire walking but performed at much greater height. Although there is no official height when tightwire becomes highwire, generally a wire over 20 feet (6 m) high are regarded as a highwire act.

 

Skywalk is a form of highwire which is performed at great heights and length. A skywalk is performed outdoors between tall building, gorges, across waterfalls or other natural and man-made structures.

 

Ropes

If the "lay" of the rope (the orientation of the constituent strands, the "twist" of a rope) is in one direction, the rope can twist on itself as it stretches and relaxes. Underfoot, this could be hazardous to disastrous in a tightrope. One solution is for the rope core to be made of steel cable, laid in the opposite direction to the outer layers, so that twisting forces balance each other out.

 

Biomechanics

Acrobats maintain their balance by positioning their centre of mass directly over their base of support, i.e. shifting most of their weight over their legs, arms, or whatever part of their body they are using to hold them up. When they are on the ground with their feet side by side, the base of support is wide in the lateral direction but narrow in the sagittal (back-to-front) direction. In the case of highwire-walkers, their feet are parallel with each other, one foot positioned in front of the other while on the wire. Therefore, a tightwire walker's sway is side to side, their lateral support having been drastically reduced. In both cases, whether side by side or parallel, the ankle is the pivot point.

 

A wire-walker may use a pole for balance or may stretch out his arms perpendicular to his trunk in the manner of a pole. This technique provides several advantages. It distributes mass away from the pivot point, thereby increasing the moment of inertia. This reduces angular acceleration, so a greater torque is required to rotate the performer over the wire. The result is less tipping. In addition, the performer can also correct sway by rotating the pole. This will create an equal and opposite torque on the body.

 

Tightwire-walkers typically perform in very thin and flexible, leather-soled slippers with a full-length suede or leather sole to protect the feet from abrasions and bruises, while still allowing the foot to curve around the wire. Though very infrequent in performance, amateur, hobbyist, or inexperienced funambulists will often walk barefoot so that the wire can be grasped between the big and second toe. This is more often done when using a rope, as the softer and silkier fibres are less taxing on the bare foot than the harder and more abrasive braided wire.

 

Famous tightrope artists

 

Maria Spelterini crossing Niagara Falls on July 4, 1876

 

Jultagi, the Korean tradition of tightrope walking

Charles Blondin, a.k.a. Jean-François Gravelet, crossed the Niagara Falls many times

Robert Cadman, early 18th-century British highwire walker and ropeslider

Jay Cochrane, Canadian, set multiple records for skywalking, including The Great China Skywalk[1] in Qutang Gorge, China, 639-metre-long (2,098 ft), 410-metre-high (1,340 ft) from one cliff wall to the opposite side above the Yangtze River; the longest blindfolded skywalk, 800-foot-long (240 m), 300-foot-high (91 m) in 1998, between the towers of the Flamingo Hilton in Las Vegas, Nevada, and broadcast on FOX Network's "Guinness World Records: Primetime" on Tuesday, February 23, 1999; In 2001, he became the first person to perform a skywalk in Niagara Falls, Canada, in more than a hundred years. His final performances took place during Skywalk 2012[2] with a world record submission[3] of 11.81 miles (19.01 km) in cumulative distance skywalking from the Skylon Tower at a height of 520 feet (160 m) traversing the 1,300 feet (400 m) highwire to the pinnacle of the Hilton Fallsview Hotel at 581 feet (177 m).

Con Colleano, Australian, "the Wizard of the Wire"

David Dimitri, Swiss highwire walker

Pablo Fanque, 19th-century British tightrope walker and "rope dancer", among other talents, although best known as the first black circus owner in Britain, and for his mention in the Beatles song, Being for the Benefit of Mr. Kite!

The Great Farini, a.k.a. Willie Hunt, crossed the Niagara Falls many times

Farrell Hettig, American highwire walker, started as a Wallenda team member, once held record for stee

Un train de berlines chargées de charbon, arrive sur la boucle de déchargement d'une exploitation minière, vers Villaseca de Laciana en 1983.

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2640 (BD-471-KT)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

 

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE STADE EURO 2016

Voiture : 1816

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.

 

14/06/2016 18:46

Rue du Vergne ; F-33 BORDEAUX

Véhicule : HEULIEZ BUS GX 427 EEV

Identification : 1067 (BL-448-SY)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Dépôt de Lescure

 

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE STADE EURO 2016

Voiture : 1811

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.

 

14/06/2016 18:37

Rue du Vergne ; F-33 BORDEAUX

Las Salinas de Santa Pola es un parque natural de la provincia de Alicante, en la Comunidad Valenciana, España. Este paraje de 2.570 hectáreas fue declarado parque natural el 27 de diciembre de 1988. Se encuentra en la comarca del Bajo Vinalopó, al sur de la provincia de Alicante.

 

The Nature Reserve of Santa Pola Salt Lakes is located in the south of Alicante (España). It’s a wetland to exploit the extraction of salt.

Exploité par la société Farafina Tours qui dispose d'une flotte hétéroclite de cars de seconde main venus d'Europe (Setra S213RL, Renault Tracer...) ou d'Asie.

Ligne K4 du réseau Le Péribus en provenance de Coulouniex Bourg et à destination de Dojo Départemental au PEM.

 

Réseau exploité par la Régie Péribus.

"Harvest"

 

Rizière de la région de Shinano (JAPON 2008)

 

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

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2637 (BD-364-KT)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

 

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE STADE EURO 2016

Voiture : 1806

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 15:53

Rue du Vergne ; F-33 BORDEAUX

Véhicule : IRIZAR ie tram

Identification : _ ([E] 7078 LCJ)

Exploitant : Keolis Bordeaux Métropole

 

Cinquième bus électrique expérimenté sur une ligne régulière commerciale, du 3 au 14 Février 2020.

 

Réseau : TBM (Bordeaux Métropole)

Dépôt : Dépôt de Bastide-Niel

Ligne : Lianes 15

Voiture : n.c.

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), ALSTOM (Aptis), et MAN (Lion's City 12 E). 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".

 

11/02/2020 10:42

Avenue du Lac ; Bordeaux

en.wikipedia.org/wiki/Kavala

  

Kavala (Greek: Καβάλα) is a city in northern Greece, the principal seaport of eastern Macedonia and the capital of Kavala regional unit. It is situated on the Bay of Kavala, across from the island of Thasos. Kavala is located on the Egnatia motorway and is a one and a half-hour drive to Thessaloniki (160 kilometres (99 miles) west) and a forty-minute drive to Drama (37 km (23 miles) north) and Xanthi (56 km (35 miles) east). Its nickname is The cyan city (Η γαλάζια πόλη).

  

History

  

Antiquity

  

The city was founded at about the end of the 7th century BC by settlers from Thassos, who called it Neapolis (Νεάπολις; "new city" in Greek). It was one of the colonies that the Thassians founded along the coastline in order to take advantage of the rich gold and silver mines of the territory, especially those located in the nearby Pangaion mountain (which were eventually exploited by Phillip the Second of Macedonia).

 

The worship of "Parthenos", a female deity of Greek–Ionian origin, is archaeologically attested in the archaic period. At the end of the 6th century BC Neapolis claimed its independence from Thassos and cut its own silver coins with the head of Gorgo (γοργὀνειο) on the one side. At the beginning of the 5th century BC a large Ionic temple made from thassian marble replaced the archaic one. Parts of it can now be seen in the archaeological museum of Kavala.

 

In 411 BC, during the Peloponnesian War, Neapolis was besieged by the allied armies of the Spartans and the Thassians but remained faithful to Athens. Two Athenian honorary decrees in 410 and 407 BC rewarded Neapolis for its loyalty.

 

Neapolis was a town of Macedonia, located 14 km (9 mi) from the harbor of Philippi. Neapolis was a member of the Athenian League; a pillar found in Athens mentions the contribution of Neapolis to the alliance.

  

Roman Era

  

The military Roman road Via Egnatia passed through the city helped commerce to flourish. It became a Roman civitas in 168 BC, and was a base for Brutus and Cassius in 42 BC, before their defeat in the Battle of Philippi. (Appian, B.C. iv. 106; Dion Cass. xlvii. 35.). The Apostle Paul landed at Kavala on his first voyage to Europe (Acts, xvi. 11).

  

Byzantine Era

  

In the 6th century, Byzantine emperor Justinian I fortified the city in an effort to protect it from barbaric raids. In later Byzantine times the city was called Christoupolis (Χριστούπολις, "city of Christ") and belonged to the theme of Macedonia. The first mention of the new name is recorded in a taktikon of the early 9th century. The city is also mentioned in the "Life of St. Gregory of Dekapolis". In the 8th and 9th century, Bulgarian attacks forced the Byzantines to reorganize the defense of the area, giving great care to Christoupolis with fortifications and a notable garrison. In 926 the Byzantine general (strategos) Basil Klaudon reconstructed the fallen walls of the city, ("τα πριν φθαρέντα και πεπτωκότα τείχη") according to an inscription that is now in the archaeological museum of Kavala. Due to the location of Christoupolis, the city experienced an economic resurgence, securing the contact between Constantinople and Thessaloniki. During the Norman raid of Macedonia in 1185, the city was captured and burned. In 1302, the Catalans failed to capture the city. In order to prevent them from coming back, the Byzantine emperor Andronikos III Palaiologos built a new long defensive wall ("το παρά την Χριστούπολιν τείχισμα"). In the 13th century the Byzantine Greek historian George Akropolites writes that the city and the area around the city is highly populated with Bulgarians and this makes it more difficult to keep the city as a part of Bizantium.[2] In 1357 it is mentioned that the Byzantine officers and brothers Alexios and John controlled the city and its territory. Recent excavations have revealed the ruins of an early Byzantine basilica under an old Ottoman mosque in the old part of the city (Panagia peninsula). This Christian temple was used until the late Byzantine era, as the also recently revealed small cemetery around it shows. The Ottoman Turks first captured the city in 1387 and completely destroyed it in 1391, as a Mount Athos chronicle testifies.

  

Ottoman Era

  

Kavala was part of the Ottoman Empire from 1387 to 1912. In the middle of the 16th century, Ibrahim Pasha, Grand Vizier of Suleiman the Magnificent, contributed to the prosperity and growth of Kavala by the construction of an aqueduct.[3] The Ottomans also extended the Byzantine fortress on the hill of Panagia. Both landmarks are among the most recognizable symbols of the city today.

 

Mehmet Ali, the founder of a dynasty that ruled Egypt, was born in Kavala in 1769. His house has been preserved as a museum.

  

Modern Kavala

  

Kavala was briefly occupied by the Bulgarians during the first Balkan War in 1912, but was finally captured by Greece in 1913 during a successful landing operation by the Greek Navy that was commanded by the famous admiral Pavlos Kountouriotis. During World War I Kavala suffered from the Bulgarian military occupation with many victims among its Greek population.[citation needed] After the Greco-Turkish War of 1919–1922, the city entered a new era of prosperity because of the labour offered by the thousands of refugees that moved to the area from Asia Minor. The development was both industrial and agricultural. Kavala became greatly involved in the processing and trading of tobacco. Many buildings related to the storage and processing of tobacco from that era are preserved in the city.

 

During World War II and after the fall of Athens, the Nazis awarded Kavala to their Bulgarian allies in 1941, causing the city to suffer once again, but finally was liberated in 1944.

 

In the late 1950s Kavala expanded towards the sea by reclaiming land from the area west of the port.

 

In 1967, King Constantine II left Athens for Kavala in an unsuccessful attempt to launch a counter-coup against the military junta.

  

Etymology

  

In antiquity the name of the city was Neapolis. During the Middle Ages it was Christoupolis. The etymology of the modern name of the city is disputed. There are some explanations, either from the Italian cavallo (=horse), or from the Hebrew Kabbalah due to the large Jewish population of the city.

  

Climate

  

Kavala has a humid subtropical climate (Köppen climate classification "Cfa") that borders on an semi-arid climate (Köppen climate classification "BSk" or "BSh" depending on the system used) with annual average precipitation of 460 mm (18.1 in). Snowfalls are sporadic, but happen more or less every year. The humidity is always very high

 

The absolute maximum temperature ever recorded was 38.0 °C (100 °F), while the absolute minimum ever recorded was −5.8 °C (22 °F).

  

Education/Research

  

The Technological Educational Institute (panoramic view).TEI of Kavala: The Technological Educational Institute of Kavala (Greek: ΤΕΙ Καβάλας) is a public institute providing education at university level in the region of Eastern Macedonia and Thrace. The main campus of the institute located in St. Lukas, Kavala and is approximately 132,000 m2 with buildings covering an area of 36,000 m2.The campus is home for 2 faculties (Faculty of Engineering Sciences and Faculty of Business and Economics) with totally 9 departments.

 

Fisheries Research Institute:[5] Fisheries Research Institute (F.R.I) is one of the five specialized research institutes of N.AG.RE.F, being responsible to conduct research and to promote technological development in the fishery sector. The Institute is located 17 km (11 mi) away from Kavala, in Nea Peramos, at the centre of a marine area with rich fishery grounds and high biodiversity in the surrounding lagoons, lakes and rivers.

 

Institute of Mohamed Ali for the Research of the Eastern Tradition (I.M.A.R.E.T.):[6] I.M.A.R.E.T. is a registered NGO with the Hellenic Ministry of Foreign Affairs, which was established several months ago by concerned citizens in Kavala, Greece. Its aims include the study of the Egyptian influence in Greece and vice versa. The intra-cultural exchange and dialogue, as well as the promotion of art as a means of intra-cultural understanding. The first major co-operation partner is Cultnat of Bibliotheca Alaxandrina with the aim of documenting and digitizing the architectural heritage of the Mohamed Ali era in Egypt and Greece. Most important event that take place every year at the institute is the International Roman Law Moot Court Competition.

 

Historical & Literary Archives of Kavala:[7] It is purely a non-profiteering, public utility foundation. The foundation of the Historical & Literary Archives of Kavala is not subsidized by the Greek State, neither by any other enterprise of the private sector. Its operational cost is covered only by its founders and by infrequent aids of the local self-government.

 

Egnatia Aviation:[8] It is a private training college for pilots that started training in Greece in July 2006. The facilities of Egnatia Aviation mostly located in the former passenger’s terminal of the Kavala International Airport "Alexander the Great".

  

Culture

  

Festivals and events

  

Kavala hosts a wide array of cultural events, which mostly take place during the summer months. The top festival is the Festival of Philippi,[9] which lasts from July to September and includes theatrical performances and music concerts. Since 1957, it has been the city's most important cultural event and one of the most important of Greece.

 

Cosmopolis is an International Festival held in the Old Town of Kavala that offers an acquaintance with cultures around the world through dancing and musical groups, traditional national cuisines, cinema, and exhibits at the kiosks of the participant countries.

 

Giannis Papaioannou’s Festival includes concerts and music seminars.[10]

 

Ilios ke Petra (Sun and Stone)(July): a Festival held in “Akontisma” of Nea Karvali. The event is of folkloric character, with the participation of traditional dancing groups from all over the world.

 

Wood Water Wild Festival:[11] Wood Water Wild is an outdoor activities festival, inspired by nature. It includes live bands & DJ sets, body&mind activities, a book fair, outdoor theatre, ecology, camping, and debates.

 

Kavala AirSea Show:[12] An annual air show, which takes place during the last days of June

 

Besides, various cultural events are held in all municipalities of Kavala during the summer months.

  

Cuisine

  

Fish and sea food, as well as the products of the local livestock breeding and agricultural sectors are the prevailing elements of Kavala courses. In Kavala, the traditional local recipes have been influenced by the cuisine of the refugees from Pontos, Asia Minor and Kappadokia. Fresh fish and sea food, salted food, mackerel "gouna" (sun dried mackerel on the grill), sardine pantremeni, mussels with rice, herring saganaki, anchovies wrapped in grape leaves, Stuffed eggplant: these are some very renowned recipes in Kavala and the coastal settlements of the region. The grapes, wine and tsipouro produced in the area, as well as the kourabiedes (sugar-coated almond biscuits) from Nea Karvali are particularly famous.

  

Municipality

  

The municipality of Kavala was formed at the 2011 local government reform by the merger of the following 2 former municipalities, that became municipal units:[13]

  

Municipal units (former municipalities):

 

Kavala

 

Filippoi

  

Municipal unit

  

Kavala 58,790

Filippoi 11,711

  

The population of the new municipality is 70,501 and the area is 350,61 km2. The seat of the municipality is in Kavala. Some of the most important communities inside new municipality are:

  

Population

 

Kavala 56,371

Krinides 3,365

Amigdaleonas 2,724

Nea Karvali 2,225

Zygos 2,057

  

Subdivisions

  

Kavala is built amphitheatrically, with most residents enjoying superb views of the coast and sea. Some of the regions inside Kavala are:

 

Agia Varvara Agios Athanasios Agios Ioannis Agios Loukas Chilia

Dexameni Kalamitsa Kentro Neapolis Panagia

Perigiali Potamoudia Profitis Ilias Timios Stavros Vyronas

  

Province

  

The province of Kavala (Greek: Επαρχία Καβάλας) was one of the provinces of the Kavala Prefecture. Its territory corresponded with that of the current municipality Kavala, and part of the municipal unit Eleftheroupoli.[14] It was abolished in 2006.

  

Transport

  

Highway Network

  

European route E90 runs through the city and connects Kavala with the other cities. The Egnatia Motorway (A2) lies north of the city. One can enter the city from one of two Junctions; 'Kavala West' and 'Kavala East'.Kavala has regular connection with Interregional Bus Lines (KTEL) from and to Thessaloniki and Athens.

  

Airport

  

The Kavala International Airport "Alexander the Great" (27 km (17 mi) from Kavala) is connected with Athens by regularly scheduled flights and with many European cities by scheduled and charter flights.

  

Port

  

Kavala is connected with all the islands of the Northern Aegean Sea with frequent itineraries of various ferry lines.

  

Bus

  

The city is connected with all of the large Greek cities such as Thessaloniki and Athens. All of the local villages are also connected via bus lines. The cost of tickets is very cheap. There is also a shuttle bus in Kavala with these lines : 1. Vironas - Kallithea 2. Dexameni 3. Cemetery 4. Kipoupoli - Technological Institute 5. Agios Loukas 6. Profitis Ilias 7. Stadium 8. Kalamitsa - Batis ( only in summer ) 9. Agios Konstantinos 10. Neapoli 11. Hospital - Perigiali

  

Sports

  

Kavala F.C.: AO Kavala (Greek: Athlitikos Omilos Kavala, Αθλητικός Όμιλος Καβάλα), the Athletic Club Kavala, is a professional association football club based in the city of Kavala, Greece.The club plays in the Municipal Kavala Stadium "Anthi Karagianni".[15]

 

Kavala B.C.: Enosi Kalathosfairisis Kavalas (Greek: Ένωση Καλαθοσφαίρισης Καβάλας - Basketball Union of Kavala) is a Greek professional basketball club that is located in Kavala, Greece. The club is also known as E.K. Kavalas. The club's full Greek name is Ένωση Καλαθοσφαίρισης Καβάλας. Which means, Kavala Basketball Union or Kavala Basketball Association in English. The club competes in the Greek League.

 

Kavala '86: A women football club, founded in 1986, with panhellenic titles in Greek women football.

 

Kavala Chess Club:[16] Chess is very popular in Kavala and the local chess club ranks top in Greece, enjoying plenty of success both domestically and internationally. The highlight has to be the club's annual International Open, that takes place every August in Kavala and attracts the biggest names in chess from all over the globe

 

Nautical Club of Kavala (1945, Ναυτικός Ομιλος Καβάλας, ΝΟΚ). Sports of sea (swimming, yachting,water-polo,diving e.t.c.)

 

Kavala Titans (2009, Τιτάνες Καβάλας). Rugby Union

  

International relations

  

Twin towns – Sister cities

  

Kavala is twinned with:

 

Bulgaria Gabrovo, Bulgaria (1975)

Bosnia and Herzegovina Gradiška, Bosnia and Herzegovina (1994)

Germany Nuremberg, Germany (1998)

  

Partnerships

  

Morocco Agadir, Morocco (2001)

Armenia Martuni, Armenia (2001)

Turkey Tekirdağ, Turkey (2003)

Bulgaria Gotse Delchev, Bulgaria (2003)

Serbia Vranje, Serbia (2009)

  

Postage stamps

  

Austria opened a post office in Kavala before 1864.[18] Between 1893 and 1903, the French post office in the city issued its own postage stamps; at first stamps of France overprinted with "Cavalle" and a value in piasters, then in 1902 the French designs inscribed "CAVALLE".

  

Historical population

  

1961 44,517 44,978 -

1971 46,234 46,887 -

1981 56,375 56,705 -

1991 56,571 58,025 -

2001 58,663 63,293 -

2011 54,027 58,790 70,501

  

Notable figures

  

Muhammad Ali Pasha of Kavala, the Albanian Wali (governor) of Egypt between 1805–1848 and founder of the modern state of Egypt

 

Theodore Kavalliotis, Greek Orthodox priest, teacher and a figure of the Greek Enlightenment

 

Vassilis Vassilikos, Greek writer and diplomat

 

George Georgiadis, Greek footballer

 

Giorgos Heimonas (1938–2000), writer and translator

 

Nikos Karageorgiou, (born December 9, 1962) Manager of Greek football team Ergotelis, based in Heraklion, Crete

 

Anthi Karagianni, silver medalist in the Athens 2004 and Beijing 2008 Paralympic Games; the city's Municipal stadium is named after her

 

Vasilis Karas, Greek singer

 

Nikos Kourkoulis, Greek singer

 

Mitsos Partsalidis, first elected "red" (communist) mere in modern Greek history, back in 1.4.1934

 

Antigone Valakou, actress

 

Despina Vandi, a Top Greek singer

 

Thanasis Euthimiadis, a Greek actor

 

Anna Verouli, 1982 Gold Medalist, European Championship, javelin thrower

 

Zisis Vryzas (born November 9, 1973), former footballer, currently vicepresident of PAOK FC

 

Theodoros Zagorakis (born October 27, 1971), former footballer, captain of national team of Greece-European champion 2004, currently president of PAOK FC

 

Anna Gerasimou, a Greek tennis player

 

Kleon Krantonellis, Αrchitect

Mirit Ben-Nun uses lines and points as an expressive resource and does so by exploiting nuances and associations to their fullest. Some forms follow the same direction and others change constantly, even urgently. Its language is visual and independent of its expressiveness; it lies in the value and organization of its elements.

 

The 'things' of the visual world are unimportant, the point is the achievement of reproduction of the world and human nature. Constantly encouraging creativity. In this case pointillism conveys emotions by the effect of using color, points, lines and thus capturing the attention of the observer.

 

Dora Woda