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402nd Civil Affairs Functional Specialty Team surgeon Col. David Hayes, assigned to Combined Joint Task Force – Horn of Africa (right), and members of the Rwanda Defense Force practice unloading litters Jan. 26, 2011, in Kigali.
Photo by Staff Sgt. Kathrine McDowell, Combined Joint Task Force-Horn of Africa Public Affairs Office
Two Soldier from the 402nd Civil Affairs Battalion Functional Specialty Team took on a traveling contact team mission to Kigali, Rwanda, recently to facilitate a flight medic operations seminar for Rwanda Defense Force (RDF) battalion medical officers.
The Soldiers and their Rwandan hosts studied and exchanged ideas on medical evacuation procedures in support of the Rwandans’ pre-deployment preparations for the United Nations - African Mission in Darfur (UNAMID).
“Everyone knows that the Rwanda Army is a very disciplined people,” said Capt. Gisanura Ngabo, Rwanda Air Force general physician. “We have a thirst to know; we want to improve ourselves all the time and are ready to serve.”
The seminar came about in response to a request last year from the Rwandans during a military-to-military event. Medical personnel expressed their desire to have additional information presented about U.S. military medical evacuation procedures in conjunction with using rotary aircraft.
As Rwanda becomes the primary troop-contributor to UNAMID peace support operations, the medical evacuation demonstrations and lectures should enhance the RDF’s growing search and rescue capabilities, said RDF general physician William Kanyakole.
“This type of seminar is especially good for our forces going to support the peacekeeping mission in Darfur, because that is really where we are focused,” said RDF general physician William Kanyakole. “The information presented here is very relevant because it really puts us on the ground with knowledge and understanding to help incorporate our procedures to the UN way of doing things.”
Kanyakole went on to explain that since Rwanda will be able to use search and rescue (SAR) equipped helicopters in Darfur, RDF medical personnel can be more effective in treating battlefield casualties through triage and improvements in patient treatment in transit.
“You couldn’t triage patients on the battlefield,” Kanyakole said. “Darfur is an open land where you can be viewed over long distances, your numbers and even your weapons. You must load casualties, disappear and do triage later.”
The contact team Soldiers focused on practical exercises in triage; loading and unloading patients; landing zone preparations; and the nine-line medical evacuation (MEDEVAC) request — a radio transmission using standardized information used by soldiers to request the extraction of casualties from a battlefield by vehicle or aircraft.
“The airlift operations practical was important,” Kanyakole said. “It’s what we lack. Now that we will use helicopters for MEDEVAC it is important to know how to load and unload patients, how to call the helicopter for assistance and prepare the landing zone for their arrival.”
In the course of the weeklong exchange, soldiers from both nations came to realize that the fundamental differences between the two militaries’ approaches were few.
“There are some differences,” said 402nd Civil Affairs Battalion surgeon, Col. David Hayes. “I think a lot of the differences that we have identified have to do with the environment the RDF normally functions in. They have developed their methods, procedures and policies to fit the kinds of missions that they have been presented with.”
The seminar highlighted the benefits to be gained from partnering up with a friendly, but distinct, military force, said Kanyakole.
“It’s a very good experience,” Ngabo said. “You compare what other people do with what you do and improve where necessary. You can learn other techniques that you don’t use here because the terrain is quite different, so you learn a lot.”
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Animal Skin Shoes
Treated skin with holes punched around the edge. Laced with a leather strap to hold the shoe in place around the foot.
Story: These replica shoes are based on some of the earliest shoes ever discovered. In cold countries shoes were made from animal skins to give better protection and keep the feet warm.
Find out more about the origin of shoes on our website.
Rights info: Non commercial use accepted. Please credit to "Northampton Museums & Art Gallery". Please contact Northampton Museums Service if you wish to use this image commercially.
Location of collection: Northampton Museum & Art Gallery www.northampton.gov.uk/museums
Part of: Northampton Shoe Collection
Reference number:
Caloric cost of exercising with a new functional training board measured through Fitmate PRO portable metabolic monitor. Source: www.facebook.com/Boardfitness
Functional clock sculpture in a gallery window in The Fan. Didn't really want to clean up the dust in this one, and I don't know why...
www.1001pallets.com/2017/05/build-stunning-sliding-pallet...
I wanted to make a set of sliding doors for the closet in this room because the bed is so far over that it gets in the way of opening the closet door. The perfect solution was to create a pair of Sliding Pallet Barn Doors! And with a Stanley Hardware Sliding Barn Door Hardware kit, it was easy.
Editor’s note: Please see our page on Workshop Safety whenever making any of your awesome pallet projects. ALWAYS wear all protective gear as recommended by the manufacturers, and ALWAYS wear eye protection!
These Sliding Pallet Barn Doors would look great in an office, in closets, or anywhere you have clearance issues with furniture.
This set of rustic barn doors features a diamond-shaped trim overlay and beautiful Stanley Hardware provided by Stanley Hardware, as well as a rich brown stain by PureColorInc.com. I installed the doors with a decorative interior sliding door kit that was very easy to use. These doors address clearance issues and make my hobby room more functional. Although I had a few learning curves, I’m very pleased with the design and outcome.
Supplies needed to build your own set of Sliding Pallet Barn Doors:
Two sets of this - N186-960 920 Decorative Interior Sliding Door Hardware Kit 72” Oil Rubbed Bronze
Two each – N187-010 V1000 Bar Pull 10” Handles Oil Rubbed Bronze
Screws (ok to use indoor, decorative screws on interior doors) – adjust to the thickness of the wood you’re using
Stain – any color(s) you like; I used stains by Pure Color Inc.
The sealant of your choice – polyurethane, varnish, etc.
4’ x 8’ ½” thick plywood sheet
3-4 pallets, dismantled, nails removed and sanded (or planned) to the smoothness you prefer.
Planning out your project: Don’t be afraid to revise your ideas! I had to adjust my Pallet Barn Doors!
The original closet door measured 24” wide, with 19” clearance on one wall and only 14” clearance on the other wall. I had to make two narrow doors because I couldn’t make the rail for the sliding rail system stick out past where the wall stopped. I made the doors the size of the opening, but the next set I’ll make about 3 – 4” wider than the opening for aesthetics. When removing the door frame, the opening will be much larger, so take that into consideration. I ended up revising my drawing and ideas a few times during this process and learned quite a bit from this project. Here is my drawing of my project:
[caption id="attachment_37740" align="aligncenter" width="561"]
Even though they're called Sliding Pallet Barn Doors, you can use them in any room - instead of an expensive (and sometimes difficult) pocket door. Close these easily to separate your rooms, in place of closet or bedroom doors, or as actual barn doors![/caption]
Removing the Original Door Frame: Prepping for your Pallet Barn Doors
This is what the door opening looks like with the original door frame removed. I attached some of the new trim already in this photo. I stained and applied varnish to the pallet trim boards in advance to reduce odors.
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A picture of the exposed door frame with some of the trim I was installing to cover it.[/caption]
Typical stick-framing uses 2”x4” boards (actually around 1.5” x 3.5” unless it is old timber), so that’s why 3-4” wider would be appropriate. You’ll also need to add a little height to the door for the same reason, and more if your door has a threshold.
Don’t Get Warped: Prepping the wood up for my Pallet Barn Doors project & handy tips I learned:
I selected my pallet wood and thoroughly removed all nails and staples. If you rush this step, you’ll be buying new planer blades if you use a power planer! If you don’t have a planer, just sand it instead.
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Picking out and prepping the pallet wood - I carefully removed all the nails and staples.[/caption]
Lesson learned: Store your plywood flat. I stacked the plywood vertically, and it WARPED! This caused some assembly issues later when I tried to straighten it all by screwing it in place. I hoped that this would straighten everything, but it actually began warping the pallet boards! Then I tried to hold the doors down flat with bricks and cinder blocks. It wasn’t a perfect fix on the first try. Don’t fight the warp – just put your plywood flat in the first place!
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Just a little warped![/caption]
Laying out your Sliding Pallet Barn Doors – Try it out first & adjust fit as necessary.
I measured the width of the nicest pallet wood I wanted to use as trim and then drew out a pattern on the plywood to start. Next, I cut the angles necessary and kept those pieces flat on the ground where they wouldn’t get disturbed (or used in error). Next, I laid out the rest of the wood on top of the plywood, installing them with screws after staggering the joints a bit. I didn’t screw on the trim yet. Be sure to check the length of your screws. Mine were too long, and I ended up having to grind off the excess with an electric angle grinder. It worked fine, but it’s extra work I could’ve avoided.
[caption id="attachment_37746" align="aligncenter" width="463"]
This is one of the doors, cut to the dimensions on my drawing. I found the two center points (both horizontal and vertical) and then figured out how big of a diamond-shape I wanted by playing around with a few pieces of wood at first. Once I decided approximately how big of a diamond-shape I wanted, I drew it out.[/caption]
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A close-up of the boards I selected for the trim. I loved the grain![/caption]
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After I had done my drawing for the pattern, I cut the trim pieces and set them aside, leaving them in the shape/orientation they needed to be in order to have tight-fitting joints. I stored them flat (haha), and began installing boards onto the doors.[/caption]
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My little OOPS moment. I used screws that were a bit too long, and they came out through the back. I used an electric angle grinder to cut them off flush.[/caption]
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The handy-dandy, fix-everything, problem-solving, electric angle grinder. It should be in every woman's arsenal.[/caption]
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I like the look of the joints being staggered a little bit, but wanted the smaller pieces towards the bottom.[/caption]
Add some color to your room décor – These Sliding Pallet Barn Doors feature two tones for interest
I put all the boards on the plywood, and stained it. The stain was a mixture of a bunch of small amounts of stain from Pure Color, Inc. that I custom-blended until I liked the tone. However, I found out I had only mixed enough for one door! I thought of several expletives (and probably said some too). So, I started mixing once again, and this time not only did I match it, but I made enough to do both doors on both sides, as well as the entire door trim. I used a silvery-gray stain on the decorative trim, and after it was dry, I attached it to the doors (after straightening the warp out).
[caption id="attachment_37754" align="aligncenter" width="600"]
A door with stain and varnish applied. Now I'm installing the handles.[/caption]
[caption id="attachment_37771" align="aligncenter" width="382"]
One finished door.[/caption]
What if you do encounter problems in your DIY Pallet Project? Adapt your project like I did on these warped Sliding Pallet Barn Doors!
I realized the doors were still really warped after I finished staining them. I had hoped the moisture from the stain would help allow the wood to relax a bit. First, I stacked the doors up on scrap pallet blocks, but they didn’t sag back down. Next, I tried using the bricks. I left them two days this way, and it was still warped, but not nearly as much as before. Maybe it will work itself out, right? Finally, I flipped the doors over the other direction, stacked them on spare bricks and weighted them down in the centers. It finally straightened the doors out. Just don’t give up! Finally, I attached the handles and varnished both doors with several coats of Minwax Satin Polyurethane Varnish.
[caption id="attachment_37745" align="aligncenter" width="540"]
My first attempt to straighten the doors. I'd stained the doors, but they were still curled like potato chips, so I put bricks on both ends to hold the doors flat. First, I left them like this for two days, but they still weren't flat. I had to take the next step . . .[/caption]
[caption id="attachment_37744" align="aligncenter" width="600"]
I finally resorted to flipping the doors over face-down and applying a bit of pressure - a stack of bricks. Then... I waited and checked them daily. Once they were bent back to approximately straight, I freed them from the brick-torture. :)[/caption]
Finishing out the door frame on my Sliding Pallet Barn Doors
I cut and fit the boards to the frame, stained them and allowed them to dry. When they were dry, I installed them into the door frame so I could begin installing the sliding door kit. To install the door slider floor guide, I had to think fast. I couldn’t screw in the wood because it is some kind of laminate floor on top of concrete. Instead, I used Power Grab Construction Adhesive and glued it down. There is a board within the door frame on the floor, and then in front of the door, I put another board. This is necessary because there has to be wood to screw in the floor guides for the doors. I made that piece the full width of the wall in that space.
[caption id="attachment_37755" align="aligncenter" width="600"]
Be willing to adapt-on-the-fly! I had to improvise when I realized I had to have a bottom board for the bottom guide rail. I used Power Grab Heavy Duty Construction Adhesive, and it worked like a charm.[/caption]
[caption id="attachment_37756" align="aligncenter" width="600"]
Trimming out my doorway.[/caption]
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I also had to add a header board for the top rail to install to.[/caption]
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This is a view looking down at the floor. These little guides keep the doors from just flopping front-to-back when you grab the handle. They're an important safety piece, so you don't accidentally pull too hard and pull the door entirely off of the top rail![/caption]
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The door guides are those small black things in the lower corner of the door. They are just little bumpers to keep the doors from swinging out or pushing in. They have enough clearance to let the doors slide side-to-side easily.[/caption]
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The doors are done. It is time to install the hardware and get them installed in my room![/caption]
Installing the hardware on my Sliding Pallet Doors – you may have to modify the kit to your door frame
Be sure to read the directions thoroughly, as you may need to modify installation for your needs. I read them about four times to figure out how to put up the rail. I had to modify it due to the short length/width of the wall there at the door. The area is 54”, gap and the rail is 72”. We cut the rail using a reciprocating saw, and sanded the sharp edges that were left. Also, that meant that the installation holes weren’t where I needed them. So, I clamped the steel rail in my drill press and drilled the holes for attaching it to the wall. Next, I sprayed it with flat black paint so there wouldn’t be silver showing where I drilled and sawed.
[caption id="attachment_37761" align="aligncenter" width="600"]
When you get all the hardware installed, here is what it should look like. :D[/caption]
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Close-up of the hardware stack-up. I set the hardware out in rows before I installed it to keep it in order.[/caption]
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Another view of the door hardware. I used nuts to fill some of the gaps.[/caption]
[caption id="attachment_37764" align="aligncenter" width="600"]
Here are the end bumpers on the top rail. The kit is actually pretty easy to assemble - but read the directions a couple of times first, so you have a good idea of the steps. Lay out your hardware clearly somewhere that you will not spill it. :)[/caption]
Installing the hardware on my Sliding Pallet Doors – part 2:
There are spacers that make room for the rollers between the rail and the wall. It is all in the directions, but take a moment to just lay out all the hardware to get an idea of what you’re doing. Be sure and use a level to get the rail straight. The rails have stops that go onto the rail before attaching above the door opening. Be sure you don’t open the door right off of the rail. Then I had to attach the hardware to the tops of the doors. Measure, drill, bolt up…..but I had to adjust to being perfect. Remember, I am working with pallet wood, on top of the fact that getting anything squared out is next to impossible for me. Install the floor guides and the roller hardware. Finally, heft the doors up in place (protect your back!), and you’ve got an amazing set of sliding barn doors!
[caption id="attachment_37770" align="aligncenter" width="600"]
My COMPLETED DOOR PROJECT! Woo-hoo! Here is what the doors look like when they are open.[/caption]
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Just a close-up so you can see the completed doors, with the beautiful Stanley Hardware, installed, and hanging in my room![/caption]
[caption id="attachment_37768" align="aligncenter" width="600"]
When have pallets ever looked better? I am very happy with this project. Also, I learned a few things, like adjusting the width, and how to adapt a "one-size-fits-all" kit to really fit all of my needs.[/caption]
[caption id="attachment_37769" align="aligncenter" width="600"]
I love this Stanley Hardware Sliding Barn Door Kit. It is rustic but still is neat and beautiful. The oil-rubbed bronze color goes great with the brown and silvery stains I had on hand, and against the color of the wall too.[/caption]
Artist/architect Adam Kalkin has transformed standard shipping containers into living quarters. His Quick House can be used for different circumstances, from disaster-relief housing to luxury dwellings and for promotional purposes. Italian espresso company Illy has used the Quick House at the 52nd Venice Biennale to provide visitors a space to relax and to enjoy their complimentary espresso.
With the push of a button, the Illy house opens in 90 seconds like a flower and transforms from a compact container into a fully furnished and functional space with a kitchen, dining room, bathroom, bedroom, living room and library. All materials used were recyclable or recycled. Between November 28 and December 29, 2007, New York holiday shoppers have a chance to sit down and relax in Kalkin’s creation as Illy will install the temporary Push Button cafe in the Time Warner Centre.
Country of origin: East-Russia (DRR)
Type: Light vehicle
Description: The Nomad High Mobility General-purpose Wheeled Vehicle (HMGWV) is the East-Russian military forces' primary light vehicle. This lightly armoured jeep is popular among many military forces in both Eastern Europe, the Middle East and Asia, and has been produced in numbers only matched by the Sitirian BJ-21 HMGWV.
Information courtesy of the Eurusian Military Intelligence - Research and Evaluation Department.
The Center for Functional Nanomaterials (CFN) at Brookhaven National Laboratory. The overarching scientific theme of the CFN is the development and understanding of nanoscale materials that address the Nations’ challenges in energy security, consistent with the Department of Energy mission.
The Center for Functional Nanomaterials (CFN) at Brookhaven National Laboratory provides state-of-the-art capabilities for the fabrication and study of nanoscale materials, with an emphasis on atomic-level tailoring to achieve desired properties and functions. The CFN is a science-based user facility, simultaneously developing strong scientific programs while offering broad access to its capabilities and collaboration through an active user program. The overarching scientific theme of the CFN is the development and understanding of nanoscale materials that address the Nation's challenges in energy security, consistent with the Department of Energy mission.
Karl Borgeson
email karl borgeson
Education
M.F.A, Ceramics, University of Minnesota, Minneapolis, 1970
B.A., Art, St. Cloud State College, St. Cloud, MN, 1965
Teaching Experience
2002-Present, Professor Emeritus, University of Wisconsin-Whitewater
1970-2002, Professor, University of Wisconsin-Whitewater
1969-1970, Assistant Professor, Humboldt State University, Arcata, CA
1968-1969, Teaching Assistant, University of Minnesota, Minneapolis
Visiting Artist Workshops
Appalachian Center for Craft, Smithville, TN
Arrowmont School of Arts and Crafts, Gatlinburg, TN (5 times)
Cambridge Potters’ Guild, Cambridge, WI (with Simon Levin)
Kirkwood Community College, Cedar Rapids, IA
Pennsylvania State University, Edinboro
Southern Illinois University, Edwardsville (2 times)
University of Missouri-Columbia
University of Wisconsin-Madison
University of Wisconsin-Milwaukee (2 times)
Wisconsin Lutheran College, Milwaukee, WI
Exhibitions
2005
Karl Borgeson: Clay, Wood, Salt, Andrews University, Berrien Springs, MI
Bowled Over, Harrison Gallery, The Clay Studio, Philadelphia
2004
Karl Borgeson–New Works, Schlueter Art Gallery, Wisconsin Lutheran College, Milwaukee, WI
30th Anniversary Auction, The Clay Studio, Philadelphia
MOVE, Rochester Art Center, Rochester, MN
A Night at the Oscars II, Wayne Center for the Arts, Wooster, OH
2002
Karl Borgeson and Friends, Crossman Gallery, University of Wisconsin-Whitewater
2001
9th Annual Strictly Functional Pottery National, Market House Craft Center at The Artworks, Ephrata, PA, Jurors Choice Award
2000
Karl Borgeson and Charlie Olson, Artspace Gallery, John Michael Kohler Art Center, Kohler, WI
1999
Art of the Pour, The Clay Studio, Philadelphia
20th Anniversary Teapot Exhibition, Ferrin Gallery, Northampton, MA
The End is Near: Artists Look at the 20th Century, Charles A. Wustum Museum of Fine Arts, Racine, WI
National Artists Exhibition and Auction, John Michael Kohler Art Center, Sheboygan, WI
1998
Teapot Show, Ariana Gallery, Royal Oak, MI
Put a Lid On It, Appalachian Center for Craft, Smithville, TN
28th Annual Whitewater Ceramics Invitational Woodfire, Crossman Gallery, University of Wisconsin
1997
Anything That Pours, Appalachian Center for Craft, Smithville, TN
Platter Show, Jessie Metcalf Gallery, University of Nevada, Las Vegas. In conjunction with NCECA.
Colorform: Teapots and Cups, Ferrin Gallery, Northampton, MA
1996
Contemporary Teapots at SOFA, Represented by Ferrin Gallery, Chicago
Birthday Exhibition, Rochester Art Center, Rochester, MN
Twisted Tea, Twist Gallery, Portland, OR
32 Years of Ceramics, Alumni of St. Cloud State, St. Cloud, MN
Coffee and Teapot Invitational, Lill Street Gallery, Chicago
Contemporary Teapots at SOFA, Represented by Ferrin Gallery, Miami
The Teapot Show, Art Resources Gallery, St. Paul, MN
Just Add Water: Artists and the Aqueous World, Charles A. Wustum Museum of Fine Arts, Racine, WI
Two Person Exhibition, Boulder Arts and Crafts Cooperative, Boulder, CO
Enhancing the Living Space, West Bend Art Museum, West Bend, WI
1995
Alumni Show, Katherine Nash Gallery, University of Minnesota, Minneapolis
Confluence, Continental Clay Company, Minneapolis
The Third Annual Teapot Exhibition, Craft Alliance Gallery, St. Louis
First Cup of the Day, Ariana Gallery, Royal Oak, MI
Collectors Show, Arkansas Art Center, Little Rock
50th Anniversary Faculty Show, Arrowmont School of Arts and Crafts, Gatlinburg, TN
Clay at the Caves, Northern Clay Center, St. Paul, MN
Contemporary Teapots at SOFA, Represented by Ferrin Gallery, Chicago
20th Anniversary Ceramics Invitational, Lill Street Gallery, Chicago
Teapots, Avanti Gallery, Cleveland
East of the Big Muddy: Clay Artists of Wisconsin, Phipps Center for the Arts, Hudson, WI
1994
A Discerning Passion, FOVA Gallery, Texas Tech University, Lubbock
Candlesticks, Craft Alliance Gallery, St. Louis
A Home for Joe, Baldwin-Wallace College, Berea, OH
Collectors Show, Arkansas Art Center, Little Rock
The Cup, The Works Gallery, Philadelphia
Warren MacKenzie: His Sphere of Influence, Southern Illinois University Gallery, Edwardsville
Contemporary Teapots, Ferrin Gallery at SOFA, Chicago
Goblet Show, Edgewood Orchard Gallery, Fish Creek, WI
Fifth Annual Invitational Teapot Show, Gallery Alexander, La Jolla, CA
Scents and Nonscents, Signature Gallery, Boston
Artists Boxes, Artspace Gallery, John Michael Kohler Art Center, Sheboygan, WI
Teapot Show, Craft Alliance, St. Louis
1993
Functional Ceramics, Wayne Center for the Arts, Wooster, OH
The Tea Party, American Craft Museum, New York
National Teapot Invitational, Craft Alliance, St. Louis
A Tea Party, National Museum of Ceramic Art, Baltimore
American Craft Expo, St. Paul, MN
1992
Midwest Potters, The Works Gallery, Philadelphia
Scents and Nonscents, Signature Gallery, Boston
Platters, Twist Gallery, Portland, OR
100 Cups, Pro Art Gallery, St. Louis
American Craft Expo, Minneapolis
Studio Potter 20th Anniversary Collection, Manchester, NH
Souper Bowls, Premier Gallery, Minneapolis
1991
Sphere of Influence, Pro Art Gallery, St. Louis
Karl Borgeson-Raku, Artspace Gallery, John Michael Kohler Art Center, Kohler, WI
Teapot Show 1991, Ariana Gallery, Royal Oak, MI
New Art Forms, Navy Pier, Chicago. Represented by Ferrin Gallery.
The Tea Party, American Craft Museum, New York
Vessels Real and Imaginary, David Adler Cultural Center, Libertyville, IL
High Tea, Moira James Gallery, Green Valley, NV
Artists in the American Yard, Charles A. Wustum Museum of Fine Arts, Racine, WI
Cups, Signature Gallery, Boston
American Craft Expo, Minneapolis
The MacKenzie Legacy, Manchester Craftsmen’s Guild, Pittsburgh
Karl Borgeson and Luc Le Bon, Forum Gallery, Minneapolis
Intentionally Regional, Northern Clay Works, St. Paul, MN
Major public and private collections
Arrowmont School of Arts and Crafts, Gatlinburg, TN
Byer Museum of the Arts, Chicago
Charles A. Wustum Museum of Fine Arts, Racine, WI
Columbia Pictures, Burbank, CA
Earl Millard Collection, St. Louis
First Bank System, Minneapolis
Kirkwood Community College, Cedar Rapids, IA
Milwaukee Art Museum
Regional Museum of Ontario, Toronto
Sanford M. Besser Collection, Little Rock, AK
Southern Illinois University, Edwardsville
St. Cloud State University, St. Cloud, MN
St. Louis Art Museum
University of Wisconsin
Wisconsin Telephone, Milwaukee
Gallery Affiliations
Terra Incognito Studios & Gallery, Oak Park, Ill
Murray Hill Pottery, Milwaukee, WI
Studio Works, Elizabeth, Ill
Published Reviews and Photos
Ceramics Monthly, November 1998 Milwaukee Sentinel, August 8, 1988
Ceramics Monthly, February 1994 Studio Potter, December 1987
NCECA Journal, Volume II 1990-91 Minneapolis Star Tribune, November 1986
American Craft, June/July 1990 Ceramics Monthly, January 1986
Milwaukee Journal, September 3, 1989 Ceramics Monthly, March 1985
American Craft, June/July 1989 Milwaukee Journal, January 20, 1985
American Craft, December/January 1989 Fine Tuning, Channel 10/36, January 1985
Samsung digital camera
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
All photos should be credited to Fairphone.
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