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Ometeotl 2015
28-29 March, 2015 @ Tepotzlan, Morelos, Mexico
www.facebook.com/ometeotlfestival
2015: www.facebook.com/events/311494172360777
2016: www.facebook.com/events/665063653638677
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Photos by Kyle Rober
Kylerober7@gmail.com
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✸ MÚSICA ✸
ESCENARIO CENTEOTL -
✸THE PEAKING GODDESS COLLECTIVE ✸
✸ AJJA - Peak Records - Suiza
✸ ALWOODS - Altar Records - Grecia
✸ BARAK - Catalyst Records - México
✸ BLUE LUNAR MONKEY - Maia Records - México
✸ BOOM SHANKAR - BMSS Records - Alemania
✸ CABALLERO - Undergroove Music - México
✸ CABEIRI - Altar Records - Grecia
✸ DENDE - Catalyst Records - México
✸ DJ ZEN - Iono Music - Holanda
✸ DR. STRANGEFUNK - Zenon Records - Canada
✸ ECLIPTIC - Undergroove Music - Mexico
✸ FLOOTING GROOVES - Peak Records - Sudáfrica
✸ HYPNAGOG - Kinematic Records - Australia
✸ HYPOGEO - Zenon Records - Italia
✸ KALS - Altar Records - Ometeotl - México
✸ LAB'S CLOUD - Altar Records - España
✸ MUMUKSHU - Merkaba Music - US
✸ ODISEO - Blue Tunes Records - México
✸ PEPE WASH - Altar Records - Ometeotl - México
✸ POLLYFONIKA - Bom Shanka Music - Catalyst - México
✸ SEGGAE - Kupuri Music - México
✸ SHANE GOBI - Alchemy Records - Sudafrica
✸ SHOVE - Alchemy Records- UP - México
✸ SMOKE SIGN - Zenon Records - Guatemala
✸ SPACEY KOALA - Kinematic Records - Canada
✸ TERRAFRACTYL - Kinematic Records - Australia
✸ TOR.MA IN DUB feat JAH MY-T - Catalyst Records - México
✸ TRON vs BREATHEAD - Zero 1 Music / Mutagen Records - México
✸ VIMANA - Ovnimoon Records / Kupuri Music - México
ESCENARIO ALTERNATIVO
✸ CASA VERDE COLECTIVO - Natural Records - México
✸ LENGUALERTA - México
✸ MENTAL EXTENSIONS - Kinematic Records - Australia
✸ BLUE LUNAR MONKEY - Maia Records - México
✸ JOSSIE TELCH - Undergroove Music - México
✸ ISHDUB - Kupuri Music - Italia
✸ STEVE MENTA - Undergroove Music - Portugal
✸ ABSTRACKER - Digital Whomp - Francia
✸ THORAZIN - Looney Moon Experiment / Pleiadian Records - México
✸ ROBOTEK - Adapted Records - México
✸ GABRIEL KLEIMAN - Undergroove Music - México
✸ SAEG - Ometeotl - México
✸ INFAMOUS - Catalyst Records - México
✸ NEKRAK - Ibidelyc Recordings Ibiza
✸ RAP DE LUZ - México
✸ SHIVA JAM (GYPSY BAND)
✸ BUNGALO DUB - Seven Records - México
✸ THE SPARKY RIOT - Francia
✸ LUNAR SYMPHONY - México
✸ ZENTAL - Kupuri Music - México
✸ JETHRO CARBONELL - Catalyst Records - México
✸ BOLON BEN - México
✸ STOPLESS - Ibidelic Recordings - México
✸ VAN-T - México
✸ DJ UNDER - México
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✸ ESPÍRITU ✸
- Fuego Sagrado
- Ceremonias
- Temazcal
- Tipis y Yurts
- Altares y Ofrendas- Familia Wixarika
- Kalpulli Guerreros Danzantes
- Lectura Calendario Tzolkin
- Medicina Tradicional
- Yoga (Hatha, Kundalini, Acro, etc.)
- Conocimiento Ayurveda
- Astrología Galáctica
- Danzas Circulares
- Teatro, Relatos y Tradición Mexihka
- Alineaciones Energéticas
- Sanación y Masajes
- Talleres
✸ TIERRA ✸
- Sustentabilidad
- Permacultura
- Bioconstrucción
- Productos Orgánicos
- Super Alimentos
- Herbolaria
- Reciclaje
- Reforestación
- Eco-Vasos/Platos/Utensilios
- Baños Secos Ecológicos
- Separación de Basura
- Carpa Verde
- Talleres
✸ ARTE ✸
- Decoración
- Visuales
- Mapping
- Live Painting
- Performance
- Danza
- Circo
- Telas
- Malabarismo
- Acrobacias
- Magia
- Clowns
- Expo Arte
- Cuenta Cuentos
- Teatro para Niñ@s
- Arte Reciclaje
- Arte Terapia
- Arte Visionario
- Proyecciones y Documentales
- Instalaciones y Esculturas
- Tianguis Alternativo y Trueque
- Talleres
Photo by Juan Ocampo for Metro harvested from The Source:
thesource.metro.net/2014/11/10/long-wait-is-over-groundbr...
Leaders of the L.A. County Metropolitan Transportation Authority (Metro) today joined federal, state and local elected officials in the Mid-Wilshire District of Los Angeles to break ground on the long awaited Metro Purple Line Extension Project, the largest, most ambitious public works project in the Western United States.
In July, Metro’s Board of Directors approved a contract with Skanska, Traylor and Shea (STS), a Joint Venture, to construct the Purple Line Extension Project. Construction of the subway extension will connect West Los Angeles to the region’s growing rail network, making it possible to travel between Downtown Los Angeles and Westwood in 25 minutes. The first subway segment will extend the Purple Line 3.9 miles from the existing Wilshile/Western Purple Line terminus near Koreatown into Beverly Hills. Three new underground stations are planned at Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega, providing fast, frequent, high-capacity transit service farther west along busy Wilshire Boulevard.
“The Purple Line will ease traffic along the congested Wilshire corridor and will make traveling from the westside to downtown faster and greener.” said Eric Garcetti, Mayor of Los Angeles and Metro Board Chair. “When it comes to infrastructure, L.A. is on the move. We are right now investing 36 billion dollars in our transportation infrastructure to ease congestion and create thousands of jobs. All together, this is the largest public works project in the nation. In the car capital of the world, we are looking to reduce traffic and cut air pollution by giving people car-free options to get to work and play.”
The Purple Line Extension is a critically important rail project that is partially funded by the 2008 Measure R sales tax that was overwhelmingly approved by two-thirds of L.A. County voters. The first segment of the subway is expected to be completed in 2023 with a project budget of $2.821 billion. In addition to this local funding, Metro received a $1.25 billion Full Funding Grant Agreement (FFGA) from the Federal Transit Administration to help pay for the first segment. The U.S. Department of Transportation also granted Metro a low-interest loan of $856 million from a Transportation Infrastructure Finance and Innovation Act (TIFIA) to complete the funding package for the project’s first phase. Combined, these nearly $2 billion in project commitments represent the biggest federal transportation investment for a single construction segment in the history of Los Angeles County.
The remaining $821 million in project funding for the first segment includes Measure R, City of Los Angeles local funding, and other existing local and federal funds.
“Today we launch the construction of the first subway segment along the Wilshire corridor to West Los Angeles,” said Los Angeles County Supervisor and Metro Board Member Zev Yaroslavsky. “No transit corridor in our region is in greater need of mass rapid transit. The area to be served is one of the most dense employment centers in the county and is plagued by some of the worst traffic congestion in the country. This groundbreaking is long overdue and will be well received by people who work and live in the Westside.”
“Breaking ground on the Purple Line extension is an important step toward completing this key transit option for Angelenos, which will help relieve congestion and boost the local economy,” said U.S. Senator Diane Feinstein. “I applaud the efforts of everyone who helped us reach this point, but we have work left to do. The federal government is committed to providing $1.25 billion of the $2.8 billion cost for phase one, but future phases will require an estimated $3.5 billion. I will continue to strongly support federal funding to complete this important transit project.”
The project is planned to be built in three sections. Section 2, which will include Wilshire/Rodeo and Century City stations, is scheduled for completion in 2026. Section 3, which will include Westwood/UCLA and Westwood/VA Hospital stations, is planned to open in 2035. When all three project sectionss are complete, the Purple Line will extend westward from Wilshire/Western for nearly nine miles with a total of seven new stations.
Metro is currently seeking additional federal funding that could accelerate subway construction for Section 2 in the form of a $1.1 billion grant from the federal New Starts program, and a $307 million low-interest loan from the federal TIFIA program.
“Los Angeles has made enormous strides to expand transportation options and accelerate construction of projects that will create jobs, improve mobility, and spur economic growth,” said U.S. Senator Barbara Boxer. “The Purple Line Extension is another major accomplishment. I am proud that the TIFIA Program from MAP-21 provided key financing of $856 million that enabled this project to move forward.”
“The Purple Line extension puts Angelenos to work building a 21st century transit system for our city,” said U.S. Congressman Xavier Becerra. “Connecting the Westside to the greater Los Angeles area by subway will create over 25,000 jobs, increase ridership and result in a boon for our local economy. This project is the right investment that will keep Los Angeles on the move.”
The full nine-mile project is projected to generate about 62,000 daily weekday boardings at the seven new stations. Today, there are 39,000 daily boardings on the Purple Line between Union Station and Wilshire/Western. By 2040, 150,000 daily boardings are expected on the Purple Line between Union Station and Westwood/VA Hospital.
During peak periods, trains are expected to run every four minutes. During off-peak periods, they are expected to run every 10 minutes. It will also create tens of thousands of jobs and generate increased economic activity for the region.
Over 300,000 people travel into the Westside every day for work from throughout the region. More than 100,000 people leave the area for outside destinations. These numbers will increase over time. The Purple Line is expected to provide a much needed transit alternative for traveling to and from West Los Angeles, one of the county’s most densely populated, job-rich areas. The area is also home to major world-class destinations.
“I’m delighted that construction on the Purple line extension is beginning,” said U.S. Congressman Henry Waxman. “This rail link will fundamentally change how the people of L.A. get around and provide a direct route to some of the great sites in the Westside. After section one is finished, you’ll be able to hop on the subway downtown and visit the La Brea Tar Pits, the Los Angeles County Museum of Art, the Petersen Automotive Museum and Restaurant Row.”
The subway extension is expected to reduce reliance on automobiles, help reduce roadway congestion, reduce travel times and reduce greenhouse gases.
“The Purple Line Extension will continue to make Los Angeles a great place to work, live and play,” said U.S. Congresswoman Karen Bass. “This extension is an example of what can happen when federal, state and local leaders all work together—bringing billions of dollars into the Los Angeles economy and creating thousands of jobs over the next decade, while building on a vital rail line that will benefit Angelenos for generations.”
“The subway extension project is important not just for the Westside, but for the entire region,” said Pam O’Connor, Santa Monica Mayor and Metro Board member. “Whether you’re traveling to or from West L.A. making the trip will be easier by utilizing the Metro system that connects Angelenos through virtually every part of the county.”
The Purple Line extension also will offer improved connectivity to the entire Metro Bus and Rail network, as well as municipal bus lines and other regional transportation services. It is just one of several projects designed to improve transit options and mobility in the area. Other planned improvements include the Wilshire Bus Rapid Transit Project and Expo Phase II line to Santa Monica.
“This project’s groundbreaking is the culmination of many years of consensus-building on the Metro Board,” said Ara Najarian, Glendale City Council member and Metro Board member. “Our Board unanimously supported the design and construction of the Purple Line Extension, and we are very glad to see construction begin as we make Los Angeles County a world-class destination with rich transit amenities.”
A visit to the Museum of Somerset.
The museum tells the remarkable story of Somerset's history. Located at Taunton Castle, which was created from the 12th century onwards, and owned by the powerful bishops of Winchester.
The museum has deep roots. The successor to Somerset's County Museum, which was created by the Somerset Archaeological and Natural History Society. The society bought the castle in 1874. Since 1958 the museum has been managed and funded by Somerset County Council. A new gallery opened in 1974 called the Somerset Military Museum.
The Museum of Somerset is located in the 12th-century great hall of Taunton Castle, in Taunton in the county of Somerset, England. The museum is run by South West Heritage Trust, an independent charity, and includes objects initially collected by the Somerset Archaeological and Natural History Society who own the castle.
Until 2008 the museum was known as the Somerset County Museum. Heritage Lottery Fund support was obtained to improve the museum, and the new museum reopened at the end of September 2011.
Exhibits include the Frome Hoard, the Low Ham Roman Mosaic, the bronze-age South Cadbury shield and a range of other objects relating to the history of the county.
A look around Taunton Castle from the outside.
Grade I listed building (apart from the modern extensions).
Taunton Castle: Standing Buildings of the Inner Court
Summary
The standing buildings of the inner court at Taunton Castle (excluding the Wyndham Galleries, the Welcome Building, and the East and West Passages). Established by the Bishops of Winchester in the late Anglo-Saxon period, with successive periods of remodelling in the medieval and post-medieval periods. Later alterations, rebuilding and repairs in the late C18 by Sir Benjamin Hammet, and in the C19 and mid-C20. A museum since 1899 which underwent substantial refurbishment in early C21.
The ruins, earthwork and buried remains of the castle, including those of both the inner and outer baileys, are a scheduled monument.
Description
The standing buildings of the inner court at Taunton Castle (excluding the Wyndham Galleries, the Welcome Building and East and West Passages). Established by the Bishops of Winchester in the late Anglo-Saxon period, with successive periods of remodelling in the medieval and post-medieval periods. Later alterations, rebuilding and repairs in the late C18 by Sir Benjamin Hammet, and in the C19 and mid-C20. A museum since 1899 which underwent substantial refurbishment in early C21. The ruins, earthwork and buried remains of the castle, including those of both the inner and outer baileys, are a scheduled monument.
The history, evolution and a detailed description of Taunton Castle is beyond the scope of this document and is covered in Webster (2016) from which the following summary draws heavily.
MATERIALS
The buildings are constructed of random freestone rubble, Hamstone, chert and some brick under plain-tiled pitched and hipped roofs, with metal sheeting and glazing to the roofs of the early-C21 additions. The dressings are mostly Hamstone and there are tall stone and brick stacks to Castle House. The fenestration is of various styles and dates, and includes mullion and transom windows and timber sashes with glazing bars.
PLAN
The buildings form three sides of a roughly triangular-shaped courtyard. The north range contains the Great Hall; a shorter west range formerly housed the bishop’s chamber, while the south range contained a chapel and lodgings, and has a gatehouse at its centre. Castle House forms the east half of the south range.
DESCRIPTION
The NORTH RANGE/GREAT HALL appears to have originally been a C12/C13 first-floor hall with an undercroft which was altered to a ground-floor hall in the mid-C13. Alterations were also carried out in the C16/C17 when it was also extended to the east; with further alterations, including re-roofing, taking place in the C19 relating to its use as courts, and again in the mid-C20. The external (north) wall incorporates a length of C12 curtain wall and reduces in thickness at the eaves level of the medieval hall. It has a chamfered plinth to all but the west end, four shallow buttresses, all in Hamstone, and a further buttress towards the eastern end of different materials. The westernmost buttress overlies a blocked window, and to its left is the stone jamb of a medieval window. Set high in the wall are heavily-repaired, mullion and transom Hamstone windows of four and five lights under catslide dormers which appear to be C16 or C17, though two are C20 replacements. The eastern end of the range was rebuilt in the C16/C17, but the north-east corner appears to be original and retains a Hamstone clasping buttress. To the far left, in the set-back, upper part of the wall is an infilled oval window within a surround of brick headers. It is one of six that were added to this elevation in the C18; the others are no longer visible externally or not extant. The east elevation of the hall has a pair of timber mullion and transom windows of C16/C17 date which appear to have been re-sited here. The south elevation, facing onto the courtyard, has five oval windows set high in the wall, dating from around 1700 and repaired in the C20. A sixth window has been replaced by a doorway (infilled). Most of the hall elevation is obscured by the 1930s former museum entrance block and the flanking single-storey lean-to additions which were substantially rebuilt in the early C21, however, a number of former door and window openings of various dates are visible from within these buildings.
INTERIOR: the Great Hall is a single open space with an early-C21 steel-framed gallery at first-floor level. The roof dates principally to 1816, though the central truss may be mid-C19, and it consists of king post trusses with angled struts, strengthened by modern timbers.
The WEST RANGE is a rectangular, two-storey block, formerly comprising the Bishop’s apartment or Camera and an undercroft, which structurally forms part of the Great Hall. It has C12 origins and was extended to the south (the Gray Room) probably in the mid-C13, although on a slightly different alignment on its west side. It was raised in height in the C18 and underwent substantial refurbishment in the late C18. Its shorter, north elevation has a plinth which is a continuation of the plinth on the Great Hall, clasping corner buttresses, an inserted, late-C18 ground-floor window with wooden Y-tracery set within a round-arched brick surround and a crenellated parapet. At first-floor level are two lancets; one has been restored and the other rebuilt in the late C19. At the north-east corner is a square stair turret which breaks forwards slightly and has slit windows; its upper section was rebuilt in the mid-C20. The plinth continues along the west elevation which has been re-faced in chert and has two short buttresses; the southern one aligning with quoin stones and a vertical joint in the masonry which marks the earlier extent of the range. There is a tall round-headed opening which has a panelled door surmounted by a window with vertical glazing bars, all set within a brick surround, and accessed via stone steps with metal handrails. To the right is a pointed-arched sash window, previously a doorway, also approached from similar flight of steps. The first floor has four sash windows in Hamstone surrounds. The courtyard (north-east) elevation has a high parapet and C12 buttresses. The C19 entrance, which occupies the position of an earlier doorway, has paired wooden doors and strap hinges set within a recessed semi-circular surround with engaged columns and cushion capitals. The first floor was lit originally by four narrow windows with deep reveals; of which one window and the jamb of another are visible externally. A larger C18 window of four lights which contains fragments of earlier windows has been inserted in the position of one of the original windows. There is a drip mould and a relieving arch above. The original entrance located in the south-east wall is visible internally, but is not centrally placed relative to the structure and this may indicate the presence of an external stair to the first-floor room.
INTERIOR: the undercroft has an inserted barrel-vaulted ceiling and a mid-C20 concrete floor. Two fireplaces have previously been uncovered in the west wall; one is probably C17 and has Hamstone jambs with chamfer and roll stops, and the other is a late C18/early C19 insertion. A segmental-arched doorway in the south wall leads into the mid-C13 extension (the Gray Room) to the south. The room over the undercroft (the Somerset Room) has splayed stone reveals for three of the four original windows in its east wall; the larger fourth reveal is that of an inserted C18 window. The reveals of the two tall lancets in the north wall are also visible. The range has a flat, sheet-metal roof of early-C21 date.
The SOUTH RANGE/CHAPEL BLOCK to the west of the gatehouse is rectangular on plan and built on the line of the south curtain wall. It dates largely to around 1500, as evinced by the roof timbers, although it has earlier origins. It originally contained a first-floor chapel which was converted in the late C18 to a dining room for the judges (the Adam Library). To the south-west corner is a probable late-C13 circular tower which butts against the wall of the Gray Room to the north-east. Between the south range and the gatehouse is a narrow block of one bay which is for the most part later, probably post-medieval, infill. The south range was substantially remodelled in the late C18, at which time the tower was largely rebuilt. The outer (south) wall is faced in chert and has a battered plinth. The tower has late-C18, pointed-arched sash windows to both floors, and the conical roof was re-slated in the late C20. To the right (east) of the tower, the ground floor has a mullion window of two lights, three mullion windows with Caernarfon surrounds which were inserted in 1874 and 1910, and the remains of an earlier square-headed, two-light window (infilled). To the upper floor are a late-C18 quatrefoil window and a three late-C18 sashes. To the far right, at ground- and first-floor level are further blocked openings. The ground floor of the courtyard (north) elevation has two mullion windows of three lights which appear to be C16 and were reset here in the late C18. To the right is a blocked single window, an altered medieval doorway with modern timber doors and a relieving arch above, and a C13 lancet which may have been lowered. Four relieving arches are visible at first-floor level, and to the far right is a re-used Perpendicular window of four lights with a drip mould to the right-hand end. The narrow infill bay which is adjacent to the gatehouse has a pointed-arched doorway with chamfered jambs, traces of a window to the right of this, and a mullion window with leaded lights set in a square-headed surround of Hamstone to the upper floors.
INTERIOR: the interior of the south range is accessed from the altered medieval doorway at the east end of the range and also from the door in the narrow infill bay to the west. The main ground-floor room (the Coin Room) has a brick-built east wall which contains an infilled fireplace and a round-headed niche. At the west end of the range is a C18 open-string staircase which has slender, turned newels, a ramped handrail and metal balusters. The principal first-floor room (the Adam Library) is accessed from doorways at either end of the room. The door in the east wall dates probably to the C15 and has a stone surround with roll mouldings and a segmental pointed head. The room itself has late-C18 decorative scheme with an Adam-style fireplace at the east end, blind arcading of three arches carried on four wooden, fluted pillars to the west wall, and a barrel-vaulted ceiling with plasterwork panels and radial fluting to the tympanum at either end. The wagon roof dates to around 1500; it has been strengthened with additional timbers and a small section is exposed at the west end of the range. The first floor of the tower has a decorative plasterwork scheme, including a dentilled cornice, moulded dado with fluting, raised architrave and shutters to the windows and a fireplace with a decorative surround that has a frieze with foliate festoons and a central classical figure and a Greek key moulding and fluting to the mantel. The ground floor of the infill bay to the east has a short corridor containing an early-C20 cast-iron spiral staircase. A door in the corridor’s south wall leads into a brick-vaulted former strongroom that was inserted in 1910. The spiral staircase leads to the first floor, but not to the second floor, although a late-C19 plan shows a circular stair in the thickness of the south wall. It is now accessed from the gatehouse. The roof to the infill bay was previously hipped, but was replaced with a gabled roof prior to 1933.
The south elevation of the GATEHOUSE has a C13 or C14 plain chamfered, segmental-pointed archway with a portcullis slot. The upper part was rebuilt in 1495-1496 by Bishop Langton whose arms are displayed in a plaque above the arch. The first floor has an inserted, probably late C18, square-headed, two-light window with moulded jambs and a drip mould. Inset into the parapet is a further, repaired plaque containing a much-eroded relief carving of the arms of Henry VII. The passage has a blocked doorway in its east wall and a flat, plaster ceiling. The courtyard (north) elevation appears to be late C15 and of one build. There is a plaque over the archway and a blocked opening above this. The stair turret was rebuilt in blue lias in the 1880s. It has a chamfered plinth and lancet windows to each floor, rising to a string course and crenellated parapet. To the west wall of the turret is a doorway above which is a stone plaque that records the rebuilding.
INTERIOR: the room above the gateway is entered from the stair turret and also from the south range. It retains a boarded-over fireplace with moulded timber surround and mantel and a low, panelled wooden partition screen with a door at one end which divides the room.
CASTLE HOUSE is to the east of the gatehouse and lies along the inner face of the south curtain wall. It is a two-storey, four-and a half-bay range that was built as lodgings in the late C15, upgraded and converted to the single dwelling in the mid-C16, and remodelled around 1700. At the south end of the building is a cross wing that is considered to date from the second half of the C16 (Keystone, see SOURCES). It seems likely that it was originally two storeys, possibly a kitchen range with accommodation above, which was raised to three storeys around 1700. A two-storey extension (East Block) under a hipped roof was added in the C18. Castle House underwent sympathetic repairs and renovation in the early C21. The entrance front of the former lodgings faces onto the courtyard and was originally symmetrically fenestrated. It has a two-stage plinth to all except the left-hand bay and the scars of two buttresses. A third buttress is buried in the return wall of the cross wing. The entrance is to the right of centre and has a C18 door frame and C19 paired doors. The early mid-C18 shell canopy on carved brackets above the entrance does not align with the doorway. There is also evidence that the doorway been widened. To the left of the entrance is an inserted window of five lights under a concrete lintel and to the right are two, C20 two-light windows and a late-C19 mullion window of two lights. The stone jamb of an earlier window is visible to the right of the entrance. To the first floor, above and to either side of the door are three square-headed, Hamstone windows with arched lights and spandrel carving, which are probably late C15. The two other first-floor windows are post-1874 copies. The rear (south) elevation of the lodgings has two ground-floor timber mullion and transom windows of around 1700 with ogee moulding to the inner faces and a single timber window. To the far left, there is a 1930s two-light window in a Doutling stone frame. The parapet is crenellated. The cross wing breaks forwards of the former lodgings. It has windows of various styles and dates, including timber-framed mullion and transom windows of around 1700, as well as late-C19 and early-C20 copies and early-C19 sash windows. Most of the elevations of both the former lodgings range and the cross wing retain evidence of earlier openings that have been infilled or partially overlaid with inserted windows.
INTERIOR: the former lodgings has a good survival of fixtures and fittings which pre-date the refurbishment of around 1700, and its principal first-floor room (formerly two rooms) retains the best-surviving evidence of the building’s early history. It has a mid- to late-C16 fireplace with moulded surround, and to the left of this, set low in the wall, is a pointed-arched recess which has re-used C12 beakhead decoration to its north (inner) face. A fragment of a C16 wall painting is exposed in the west wall. A C15 doorway within this wall has a C20 door. Elsewhere, within the lodgings are C15 and C16 deeply-chamfered axial ceiling beams, some with stepped stops, though some have been re-used. A small closet on the ground floor contains oak small field panelling, some re-used, of early- to mid-C17 date. The lower two floors of the cross wing also retain some early fittings such as C16 chamfered ceiling beams and a large fireplace with timber lintel. Throughout the entire building there are fixtures and fittings dating from the refurbishment of about 1700. These include the main staircase located in the cross wing which has an open string, plain newels and a flat-moulded handrail; the balusters are turned except for the upper part which has stick balusters. In addition, there are bolection-moulded fireplace surrounds, one with a later C18 hob grate; timber bolection-moulded wall panelling; round-headed doorcases with panelled jambs, moulded imposts and keystones; moulded plaster cornices and two-panelled doors with H-hinges. There is also some C18 joinery such as fielded panelled doors and architrave. The roof timbers of the lodgings have been dated by dendrochronology to 1480 to 1482. They consist of three arch-braced trusses, with cranked collars to the outer trusses, a flat-topped collar to the central one which was formerly a closed truss and trenched purlins. The cross wing has late-C17/early-C18 collared trusses and a single row of purlins.
The former museum ENTRANCE BLOCK in front of the Great Hall was constructed in 1931-1932 on the site of the early-C19 Jury Room which had an open-colonnaded ground floor, but was found to have significant structural problems. The replacement building was designed by Stone and Francis and is a symmetrical composition in the neo-Georgian style, with a central entrance under a Hamstone triangular pediment, two timber mullion and transom casements both sides of this, and five matching first-floor windows. There is currently (2018) a café on the ground floor along with a rotative beam engine (museum exhibit), and the upper floor contains office accommodation.
Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 ('the Act'), it is declared that the late-C20 portrait bust of Baron Harding of Petherton, the mid-C20 Wyndham Galleries and the early-C21 Welcome Building and East and West Passages are not of special architectural or historic interest.
History
From the late Anglo-Saxon period Taunton was the administrative centre for one of the largest estates of the Bishops of Winchester. Although the early origins of Taunton Castle are unclear, it is probable (Webster, see SOURCES) that the site initially comprised a minster church and a fortified episcopal residence. The early defences of the site, probably a motte castle and inner and outer baileys, may have been built by William Giffard, who was Bishop of Winchester 1100-1129. The castle underwent various phases of remodelling and repairs, being strengthened by Bishop Henry de Blois during the civil war between King Stephen and the Empress Matilda in the mid-C12. The overall form of the castle appears to have been in place by the beginning of the C13. Although it maintained the title and appearance of a castle, it seems to have served more as a centre for the estate than as a power base. That said, it was besieged in the mid-C15 and was garrisoned in 1497 during the Warbeck Rebellion of 1491-1499.
The castle appears to have fallen out of use by the early C16, but remained sufficiently defensible to become a Parliamentarian stronghold during the Civil War, and was besieged unsuccessfully by the Royalists in 1644. In 1649, it was confiscated from the Bishop of Winchester and was slighted on the orders of Charles II in 1662. It was, however, subsequently used as a prison and court, with the assizes and quarter sessions held in the Great Hall. In 1685, the trials following the quelling of the Monmouth Rebellion were conducted there. In around 1700 the eastern half of the south range was updated to provide substantial accommodation for the castle’s bailiffs and was renamed Castle House. In 1786 Sir Benjamin Hammet, MP for Taunton, acquired the castle and carried out extensive alterations in the Gothic style. Many of the walls were re-faced with chert and pointed-arched windows were added. The Great Hall was reordered and the judges’ lodgings in the west and south ranges were refashioned. Castle House entered a period of decline after the late Georgian period, with a succession of owners and tenants; its ground floor being used by a variety of schools from 1782 to 1901, but when the assize courts moved to the new Shire Hall in 1858, the castle lost its main role. The buildings subsequently fell into disrepair and the site was sold to the Somerset Archaeological and Natural History Society in 1874 which developed the museum. Repairs were carried out in the early C20 and new purpose-built galleries were added in front of and to the east (Wyndham Galleries) of the Great Hall in the 1930s. A major programme of refurbishment was undertaken in 2009-2010, together with building recording, archaeological watching briefs and historical research.
More detail on the history and evolution of Taunton Castle can be found in Webster’s 2016 publication (see SOURCES).
Reasons for Listing
The buildings of the inner court of Taunton Castle are listed at Grade I for the following principal reasons:
Architectural interest:
* as a remarkably complete example of a high status residence combining domestic and military architecture of the medieval and post-medieval periods;
* a significant proportion of historic fabric survives, providing evidence of the form and layout of the inner court and illustrating significant phases in the castle’s development;
* for the extensive range of high quality fixtures and fittings, especially those within Castle House.
Historic interest:
* for the site’s long documented history as an episcopal residence and administrative centre of the bishops of Winchester;
* the history and evolution of these buildings is illuminated by historical documentation and recent scholarship, and together with the abundant surviving archaeological evidence, they form a resource of great significance.
Group value:
* the inner court buildings have strong group value with the scheduled elements of the castle site, and with a number of other listed buildings including the two bays of the almshouses (Grade II) within the inner court, the former Grammar School (Grade II*), Castle Hotel (Grade II), Castle Lodge (Grade II), the Winchester Arms (Grade II) and, to the north-east, Ina Cottage (Grade II).
Sign near the entrance.
Another "Harry Potter" photo, inspired by the "Fantastic Beasts and Where to Find Them" movie.
Speed edit video here: youtu.be/uEqf3cjPSmw
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Copyright (c) 2016 Rachael Martin Photography. All rights reserved.
So here's my first shot using my new extension tubes, this is a really tiny flower!!
I used my 50mm 1.8 @f/7.1, and all three of the tubes (36+20+12)
All my public photos are FREE for PERSONAL use
Westside Metro extension on Hagley Road in Edgbaston on Christmas Eve.
From 54 Hagley Road (at the end of the line) towards Five Ways.
Tracks are laid. But in early 2021 they need to build the road surface on the pavement, and probably with bricks, like on Broad Street.
This is actually an old x2 convertor that I no longer used.
I simply removed the glass elements and turned it into an extension tube!
Model household supported by Health Extension Workers from Gondar Zuria_ Woreda, Maksegnit town. Amhara. Shashe Beyeheye with her 2 year_ olds son at her house. UNICEFEthiopia2013Westerbeek.
: Luscious Hair Extensions offer a grade Jet Black Clip in hair extensions that will transform your hair in minutes. Luscious Hair extensions colors run the spectrum between Blonde to Black and vary in styles and lengths.
Current map of proposed Green Line Extension project. Map provided by MA Dept. of Transportation and the MBTA: greenlineextension.org/
Vents and tunnels added as part of the Jubilee line extension work allowed heat to escape from the station and up through this tall ventilation shaft.
"The Northern line Strand station was closed on 4 June 1973 to enable the construction of the new Jubilee line platforms. These platforms were constructed between the Bakerloo line and Northern line platforms together with the long-missing below-ground interchange between those two lines. In anticipation of the new interchange station, from 4 August 1974 Charing Cross was renamed Charing Cross Embankment. The Jubilee line platforms and the refurbished Northern line platforms opened on 1 May 1979 from which date the combined station including Trafalgar Square was given its current name; simultaneously Charing Cross Embankment reverted to the original BS&WR name of Embankment, ending 109 years of association with the name Charing Cross. The West End branch of the Northern line has been known as the Charing Cross branch since before the 1979 renaming, and this name has continued despite the change of station to which it refers.
"Although Charing Cross was constructed as the southern terminus of the Jubilee line, plans already existed to continue the line to the east towards Lewisham in south-east London. The tunnels were therefore constructed beyond the station beneath the Strand as far as 143 Strand, almost as far as Aldwych which would have been the next stop on the line. The subsequent regeneration of the Docklands in London's East End during the 1980s and 1990s required additional transport infrastructure and the eventual route of the extension took the new tunnels south from Green Park to provide new interchanges at Westminster, Waterloo and London Bridge stations and then on to the Greenwich Peninsula and Stratford.
"The new tunnels branch away from the original south of Green Park station and, on the opening of the final section of the line between Green Park and Waterloo stations on 20 November 1999, the Jubilee line platforms at Charing Cross were closed to the travelling public. For several years, the escalators continuing down to the closed platforms could still be seen through closed doors at the bottom of the escalators from the ticket hall; however, the windows have since been boarded up.
"The Jubilee line platforms are still used by Jubilee line trains as a sidings to reverse trains from south to north; to do so southbound trains terminate and detrain at Green Park Station and are worked empty to one of the Charing Cross platforms. The tunnels also extend beyond the platforms into the "Overrun". Each overrun has the capacity to stable a further two trains each.
"As the Jubilee line platforms and track are still maintained by TfL for operation reasons, they can can also be used by film and television makers requiring a modern Underground station location. While still open they were used in the 1987 film The Fourth Protocol, and after closure in numerous productions, including different episodes of the television series Spooks, the films Creep (2004), 28 Weeks Later (2007), The Deaths of Ian Stone (2007), Skyfall (2012) and the video for Alex Parks's single Cry.
"In 2006, it was proposed that an extension to the Docklands Light Railway from Bank station would take over the platforms. Intermediate stations at Aldwych and City Thameslink would be opened, mirroring the planned route of the old Fleet line.
"In 2010, the concourse serving the platforms was used for London Underground's licensed busking auditions."
Source: Wikipedia
My neighbor makes these things called Little Extensions where old outgrown baby's jumpsuits (or whatever they are called) can be re-used by adding on this little extension. I reckon it's a cool idea and offered to do a collage for her.
If you like more information, let me know and I'll forward you her email.
Since there is no signalbox at East Grinstead the Kingscote signalman can release a token by pressing the plunger. The galvanometer needle mooves to show that a token can be removed.
Nikon D5000
AF-S DX Nikkor 55-300mm f/4.5-5.6G ED VR
55mm
1/5th sec.
f/4.5
ISO 200
7mm Fotodiox macro extension tube
Lighting 3x overhead CF bulbs+ 1x LED headlamp overhead
Cropped to approximately 36% of the area of the original photograph.
Just received my extension tubes from DealExtreme. As I can't afford a true macro lens for a few hundred dollars, this is a steal at $9. Made a few test shots with all tubes and the 50 1.8, lookin' good.
This is a watchglass that fell and cracked on a stone floor.
further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am...