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The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
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All of My Reviews｜心得文：
Olympus MZD 17mm f/1.2 PRO Review
Olympus MZD 25mm f/1.2 PRO Review
Olympus MZD 45mm f/1.2 PRO Review
Panasonic LEICA DG 12mm f/1.4 Review
Panasonic LEICA DG 8-18mm f/2.8-4 Review
A Five-Year Photographic Journey with the M4/3 Series.
www.decorobra.com/como-organizar-la-sala-de-estudio.html
La sala de estudio es un ambiente muy importante de su casa que no sólo deben lucir bien... debe ser también funcional, tener la configuración correcta y el ambiente adecuado. Un cuarto de estudio debe ser un espacio amplio y elegante donde usted pueda pasar tiempo, hacer tareas o simplemente estudiar y reflexionar.
Si se propone crear una sala de estudio en el hogar, es recomendable que tenga en cuenta algunos puntos claves, como quién va a utilizar el espacio (adultos, jóvenes), qué tipo de actividades concretas usted va a realizar en la sala, que organización le dará a los muebles para que sea un espacio funcional, etc.
La puesta en marcha de una sala de estudio requiere de un buen tamaño de escritorio con un ordenador de sobremesa. Esto le será muy útil también si tu trabajo no requiere movilidad. Si está ejecutando un negocio desde casa, entonces debe prestar atención a las necesidades de almacenamiento y las herramientas de comunicaciones como máquinas de fax.
La sala de estudio es también el lugar perfecto para exhibir su colección de libros en estanterías diseñadas para lucir una biblioteca de estilo tradicional, siempre combinadas con el resto del mobiliario utilizado.
Además debe procurar que los colores y diseños de los muebles sean de su agrado. Hablando de colores, antes de escoger un color para su cuarto de estudio, es muy importante echar un vistazo a sus preferencias y sus toques personales. Por ejemplo, la combinación de blancos con algunos tonos azules será bastante neutra y agradable. Luego debe enfocarse en la decoración pensando en todo tipo de adornos y accesorios que vayan a ser de su utilidad. Respecto a los muebles básicos no olvide colocar un escritorio, silla cómoda, lámpara de mesa, tablero para escribir sus tareas, y hasta puede agregar una pizarra. La iluminación ideal sería una lámpara de escritorio que sea de luz blanca. No se recomiendan lámparas con luz de colores, ya que esto esfuerza la vista.
[gallery link="file"]
27 June 2014
Imago Anatopism
LEA10
Second Life
lindenarts.blogspot.com/2014/05/transitt-imago-anatopism....
Mimesis Monday
(Heidi Dahlsveen)
historieforteller.wordpress.com/tag/imago-anatopism/
Alpha Auer
(Elif Ayiter)
www.flickr.com/photos/alpha_auer/sets/72157644047392579
zikiquesti.blogspot.com/2014/05/transitt-imago-anatopism....
From the notecards:
“”
About Imago Anatopism:
The project tells the tale of Volund, a nordic, elf, a symbol following Joseph Campbell's "Hero with a Thousand Faces." Volund undergoes many persona changes during his travels in which he encounters several others that shape and transform him.
Stage 1: At the start of the tale Volund, a Norsk elf who is probably born on the edge of the world between Midgaard – the home of humans, and Utgaard – the home home of giants, is still a young boy who is taken by his father to a mountian where a tribe of dwarfs are to teach him the craft of blacksmithing.
At this early stage all Volund gets are the basics: Skin, shape, eyes and a pair of shoes.
Stage 2: This is the stage in which Volund is refuses the call to the adventure. He is still a timid boy who does not hear, or misinterprets the call or may even misuse the call since he is not yet mature enough to make his own decisions and only follows the decisions of others. All this leads to the murder of his father which makes Volund realise life's dangers and the magnitude of his task.
Symbolizing this blindness, at stage 2 Volund only gets a mask as an attachment.
Stage 3: Setting out on his adventure, Volund goes back to the mountain in order to learn further secrets of forging and the creation of magic tools from the dwarf. Such supernatural aids are both good and bad and once Volund puts on his magic belt and helmet he realizes that it is the dwarfs that killed his father. This makes them his enemy and he has a narrow escape as he leaves the mountain.
Thus, at stage 3 Volund gets a magic belt and helmet as two new attachments.
Stage 4: The idea of the entering another world is often symbolized by the belly of the whale. Volund is no different in this regard, and he throws himself into the ocean to float away to the unknown.
Thus, at stage 4 Volund gets a harpoon as a new attachment.
Stage 5: It is at this stage that Volund starts discovering his strength and power. He now has the ability to forge magic objects, such as life-like statues and wonderful weapons. It is at this stage that Volund meets a valkyrie (in this instance, a symbol for the concept of "goddess"), whom he first sees as a swan who is taking off her feathers in order to bathe in lake. Volund hides her feathers and makes her his first wife. However she leaves him at the end of 7 years when she finally finds her feathers and flees away.
"She is the mother, sister, mistress, bride," Campbell writes of the goddess. But she is also the death of of everything that dies. Campbell continues: "Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know."
At stage 5 Volund gets a big present that he gives to the goddess as an offering as a new attachment.
Stage 6: Volund gets 9 rings from the valkyrie, which is a symbol of union. However these ring are also things that he can measure his own forging up against.
Stage 7: Volund is now supposed to start his journey back home, with newly gained wisdom. However, he faces yet another obstacle through the king who tries to hinder Volund from leaving by crippling him.
Thus, unsurprisingly, at this stage Volund gets a cane. There are several versions of this with different poses.
Stage 8: Volund gets his revenge upon the king by raping his daughter.
To quote Campbell again: "And always, after the first thrills of getting under way, the adventure develops into a journey of darkness, horror, disgust and phantasmagoric fears."
And so, at this stage Volund gets a caged bird with which he can seduce the king's daughter.
Stage 9: Volund has now made the king's daughter pregnant. However, in order to ensure that his own son inherits the throne, Volund also takes the precaution of killing the king's two sons.
Thus, at this stage the new attachment that Volund gets is a sword.
Stage 10: We are now nearing the end of the story and Volund sits bird-like on a roof, and tells the king what has happend and what the future will be.
Stage 11: While Volund started his journey in the ocean his return home is through the sky. He forges himself a huge pair of wings with which he flies back home.
Stage 12: We have come to the end of the tale and Volund has finally returned home as a wiser, older man who now deserves to put on the shiled and mantle of the hero.
Campbell writes: ”The hero is the champion of things becoming, not of things become, because he is.” And later ”Having died to his personal ego, he arose again established in the Self”.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
Art for the Soul by Richard Lazzara
www.shankar-gallery.com/contact.html
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¿Cómo enamorar a una mujer? ¿Quieres hacer que la chica que te guste se enamore de ti? Aquí se te dará consejos efectivos para lograrlo.
Cómo enamorar a una mujer: 10 consejos para lograrlo
10 Consejos de cómo enamorar a una mujer
A muchos hombres se les hace difícil enamorar a una mujer, hablarles, invitarlas a salir y lograr que sean sus novias. Generalmente pasa por el desconocimiento de qué les gusta a las mujeres de un hombre. A continuación les enseñaremos cómo enamorar a una mujer.
#1 Hombre seguro
Despójate de los nervios y trata de estar seguro de ti mismo, demuestra tu carácter, sé un hombre que respeta y que se hace respetar. Tenlo por seguro que ellas preferirán mil veces un hombre con quien sentirse en confianza que tener al frente suyo unos músculos bien definidos.
#2 No mentir nunca
Para una mujer la sinceridad es la cualidad más valiosa que admiran de un hombre. Tampoco debes fingir algo que no eres realmente, muéstrate tal cual. Las mujeres tiene un agudizimo olfato para identificar cuándo un hombre les miente.
#3 Invítala a salir
Toda mujer quedará maravillada si la sorprendes invitándola a salir a un sitio que tú haz escogido, sobre todo si tu tomas el mando de la situación. Llévala a lugares especiales y diferentes así le demostraras con tu esfuerzo lo interesado que estas en ella.
#4 Limpio y bien vestido
Toda mujer se fija hasta en el más mínimo detalle, es importante vestir adecuadamente con una camisa y unos buenos zapatos, además del peinado y la limpieza corporal. Ellas se derriten cuando ven a un chico en camisa.
#5 Hombre de proyectos
Comparte con ella a qué te dedicas y sobre todo qué proyectos tienes para el futuro. Qué aspiraciones tienes tienes en la vida, ello la hará saber que no eres una persona sin metas mi ideales.
#6 No piropos
No caigas en las siempre repetidas frases de amor que se usan comúnmente. No caigas en lo vulgar, si vas a decirle palabras bonitas que salgan corazón, estas deben ser románticas y sutiles. ¡Las tendrás en tus manos!.
#7 Hazla reír
Evita los temas aburridos, hablen de cualquier cosa e identifica qué es lo que le hace reír. Si vez que ella no para de reír, vas por muy buen camino y aunque no lo crees estarás haciendo que ella se enamore de ti.
Cómo enamorar a una mujer: Hazla reír siempre.
#8 Detalles sorpresa
Debes saber que a las mujeres no esperan el regalo más costoso, esperan un detalle hecho por ti mismo en el que hayas invertido tu tiempo y tu cariño en hacerlo. Si es el caso que el presente no es hecho por ti, procura dé en el clavo con lo que a ella le guste, que recuerdes las cosas que le gustan y que dedique tiempo en buscar el adecuado bastará para conquistarla.
#9 Dile lo que sientes
A los hombres por lo general les cuesta decir lo que sienten un “te quiero”, “te amo” o “te extraño”. Dile lo que sientes por ella poco a poco, con tus propias palabras, si te apresuras mucho parecerás desesperado y no queremos eso.
#10 No sexo
Si hay algo que espanta a las mujeres es que en las primeras citas demuestres que quieres tener intimidad con ellas. Pensaran que sólo buscas sexo, las mujeres son muy sensibles respecto a ese tema y opinan que se da en una etapa más avanzada de la relación. ¡Ten mucho cuidado!
Con estos 10 consejos de cómo enamorar a una mujer estas más que preparado para conquistar a cualquier mujer ¡Suerte!
El post ¿Cómo enamorar a una mujer? 10 Consejos para enamorarlas aparece primero en Imágenes de Amor.
¿Cómo enamorar a una mujer? 10 Consejos para enamorarlas | Consejos de Amor, Enamorar
Link:
www.torontomasons.com/york_rite_freemason.htm
www.torontomasons.com/york_rite_freemason.htm
www.knightstemplar.ca/links.html
Ontario Districts.
Cookstown: Phoenix Chapter No. 34. District 9.
York Rite of Masonry - Oldest Freemason Branch
The symbolic degrees of Entered Apprentice, Fellowcraft, and Master Mason, as conferred in Canada, are degrees of the York Rite.
York Masonry is the oldest and best known of all Masonic Rites.
It takes its name from York, England, where the earliest known record of Masonry exists, dating from about A.D. 923.
Masonry´s first written record is centered around York, the seat of the Ancient York Grand Lodge. In 1813, this Grand Lodge merged with another group called the Modern Grand Lodge, to form the United Grand Lodge of England. This is the basis upon which our present system of Symbolic Lodge Masonry is built.
You, as a Master Mason, have received the first three degrees of the York Rite. Having begun your Masonic work in the York Rite, it is natural that you should want to continue with it.
According to Masonic legend, every man raised to the sublime degree of a Master Mason received “substitute secrets”, as the “true secrets” were lost. It may prove a surprise to the average man, believing his work is completed, to be told that the secrets pertaining to the ceremony will not be given to him! This is unfortunate, but the veil is lifted in the degree of the Royal Arch, and in that degree only. Hence, no man actually becomes a Master Mason until he is exalted to that holy order.
Some would have the newly raised Master Mason believe that he can receive the secrets and word in a degree other than the Royal Arch. This is not true, historically or otherwise. The mother Grand Lodge of England was so emphatic regarding the necessity of the Royal Arch degree that many years ago, it set forth this as Paragraph One (1) of its Laws and Regulations:
“By the solemn act of the union between the two Grand Lodges of Freemasons of England in December, 1813, it was declared and pronounced that Pure Ancient Masonry consists of three degrees and no more, viz: those of the Entered Apprentice, the Fellowcraft, and the Master Mason, INCLUDING THE SUPREME ORDER OF THE HOLY ROYAL ARCH.”
On the North American Continent, there are additional degrees in the system, supplementing the work of the Lodge, Chapter, and Council, and the Orders conferred in the Commandery have been arranged into a system or Rite referred to as the American, Canadian, or York Rite of Freemasonry. It is American in structure, as it is a democratic organization in which every member has a voice and a right to be heard.
2. ROYAL ARCH MASONRY
The various local Chapters operate under the jurisdiction of the “Grand Chapter” of Province - Royal Arch Masons of Canada in the Province of Ontario. There is also the General Grand Chapter of Royal Arch Masons International. The General Grand Chapter constitutes the largest Masonic Body in the world though it is not recognized by the Province.
The Chapter confers four degrees (Capitular Degrees), giving a complete story of Masonic symbolism, in the following order:
bullet
Mark Master
bullet
Past Master (Virtual) (International not Ontarian)
bullet
Most Excellent Master
bullet
Royal Arch
The Mark Master degree is perhaps the oldest Masonic degree, and is one of the most highly respected. It teaches practical lessons for everyday living. This degree supplements the Fellowcraft Degree.
The Past Master degree teaches the candidate the important duties and responsibilities of the Oriental Chair, and is qualification for advancement.
It is commonly known that the symbolism of Freemasonry surrounds the building of the Temple. In symbolic Free-Masonry, the Temple is never completed. In the Most Excellent Master degree, we are taught the lessons of the completion and dedication of the Temple.
In the degree of the Royal Arch, the epitome of Masonic symbolism is found. It has been said “the Royal Arch is the root, heart and marrow of Masonry, without knowledge of which the Masonic character cannot be complete”.
The Royal Arch degree is the completion of the whole system of Freemasonry. Having begun regular advancement through the Symbolic Lodge, it is the duty of each Master Mason to complete the degree series. He who has sought further Masonic education should return to the Symbolic Lodge, retrace his steps and advance through the Rite until he can receive the climax of Masonic symbolism, as taught in the Royal Arch.
Only those who have attained the Royal Arch may be said to have completed their Masonic Work.
3. CRYPTIC MASONRY
The Councils of Cryptic Masons operate under the jurisdiction of the Grand Council of Cryptic Masons of each state and most Grand Councils operate under the General Grand Council of the United States. They confer the following three degrees:
bullet
Royal Master
bullet
Select Master
bullet
Super Excellent Master
Without the Royal and Select Master degrees, neither the Master Mason degree nor the Royal Arch degree is complete. These two degrees account for the concealment and preservation of the treasures revealed in the Royal Arch.
The Super Excellent Master is an honorary degree, qualifications for which are fulfilled by virtue of being in good standing in a Council. This degree is the most dramatic and spectacular of all Masonic systems.
4. KNIGHT TEMPLAR MASONRY
Local Commanderies are governed by the Grand Commandery of each jurisdiction.
In the Commandery, the Chivalric Orders of Christian Knighthood are conferred as follows:
bullet
The Illustrious Order of the Red Cross
bullet
The Order of Knight of Malta
bullet
The Order of the Temple
The Illustrious Order of the Red Cross is founded upon Truth – a divine attribute, the foundation of every virtue.
Knights of Malta. First called Knights Hospitallers of St. John of Jerusalem are known to have been in existence as early as 1099 A.D. It was the first organized body whose avowed purpose was the aid and care of those injured on a battlefield. The teaching of Christian applications of Masonic precepts begins with this Order.
The Order of the Temple is the crowning glory of York Rite Masonry. It is widely regarded as the most solemn and impressive experience in Masonry. Here the aspirant progresses in the footsteps of Jesus of Nazareth. At the empty tomb grows a sprig of acacia, teaching that we shall dwell forever in the realms of life and light eternal.
Freemasonry demands only a belief in a monotheistic God, where Hindu, Muslim, Jew and Gentile may together worship around its alters. The Christian Freemason alone has at his disposal a branch of the fraternity where he is free to interpret the teachings of the Symbolic Lodge according to his religious belief. The Masonic Orders of Christian Knighthood are the logical outcome of the Christian Mason´s belief in Christ as the Lion of the Tribe of Judah. That Mason believes Christ´s hand will raise the dead to life, and in His Holy Name the True Word is found and restored at last. “In the beginning was the Word, and the Word was with God, and the Word was God”.
WHAT DOES YORK RITE MASONRY OFFER?
The noble heritage of York Masonry is yours to take. The regular meetings of the various grades are conducive to firmer relationships and a closer spirit of brotherly love. Being a York Rite Mason does not mean you are elevated to a “higher rank´. It is an educational tool to help you realize the Fatherhood of God and Brotherhood of Man in your own life. We trust the foregoing has increased your interest in the York Rite.
York Rite of Masonry - Oldest Freemason Branch
The symbolic degrees of Entered Apprentice, Fellowcraft, and Master Mason, as conferred in Canada, are degrees of the York Rite.
York Masonry is the oldest and best known of all Masonic Rites.
It takes its name from York, England, where the earliest known record of Masonry exists, dating from about A.D. 923.
Masonry´s first written record is centered around York, the seat of the Ancient York Grand Lodge. In 1813, this Grand Lodge merged with another group called the Modern Grand Lodge, to form the United Grand Lodge of England. This is the basis upon which our present system of Symbolic Lodge Masonry is built.
You, as a Master Mason, have received the first three degrees of the York Rite. Having begun your Masonic work in the York Rite, it is natural that you should want to continue with it.
According to Masonic legend, every man raised to the sublime degree of a Master Mason received “substitute secrets”, as the “true secrets” were lost. It may prove a surprise to the average man, believing his work is completed, to be told that the secrets pertaining to the ceremony will not be given to him! This is unfortunate, but the veil is lifted in the degree of the Royal Arch, and in that degree only. Hence, no man actually becomes a Master Mason until he is exalted to that holy order.
Some would have the newly raised Master Mason believe that he can receive the secrets and word in a degree other than the Royal Arch. This is not true, historically or otherwise. The mother Grand Lodge of England was so emphatic regarding the necessity of the Royal Arch degree that many years ago, it set forth this as Paragraph One (1) of its Laws and Regulations:
“By the solemn act of the union between the two Grand Lodges of Freemasons of England in December, 1813, it was declared and pronounced that Pure Ancient Masonry consists of three degrees and no more, viz: those of the Entered Apprentice, the Fellowcraft, and the Master Mason, INCLUDING THE SUPREME ORDER OF THE HOLY ROYAL ARCH.”
On the North American Continent, there are additional degrees in the system, supplementing the work of the Lodge, Chapter, and Council, and the Orders conferred in the Commandery have been arranged into a system or Rite referred to as the American, Canadian, or York Rite of Freemasonry. It is American in structure, as it is a democratic organization in which every member has a voice and a right to be heard.
Sanctioned by Grand Lodge
The Grand Lodge of York, in 1780, gave its sanction to the working of five separated degrees or orders:
bullet
The Entered Apprentice.
bullet
The Fellowcraft.
bullet
The Master Mason.
bullet
The Royal Arch.
bullet
The Knight Templar.
The United Grand Lodge of England, the Mother of regular and legitimate Freemasonry in the world, set forth at the time of the Union the following: "It is declared and pronounced that pure and Ancient Craft Masonry consists of three degrees and no more, namely, those of Entered Apprentice, Fellow Craft and Master Mason, including the Holy Royal Arch.
And that the Grand Lodge might not create any misconstruction of their declaration, it was added:
"This article is not intended to prevent any Lodge or Chapter from holding meetings in any of the degrees of Chivalry, according to the Constitution of said Order."
Thus, the Order of the Temple was given an official place and standing in the structure of Masonry.
During the early and unwritten history of the Masonic Fraternity, there was a strong tone of Christianity which ran throughout the Symbolic structure, but by the time Anderson published his Constitutions, Christianity was virtually taken out of the ritual and Constitutions, because of a great desire to make the fraternity such as might be acceptable to men of any religion who subscribe to a belief in a Supreme Being.
Removal of Christian Symbolism
This was truly unfortunate for those who interpreted the Lodge symbols as Christian doctrines. To deprive Freemasonry of the Ancient Craft of its Christian symbolism in an attempt to make it more universal, was, to them, unmasonic, and characterized as being compared to "removing a Masterpiece of Art from a gallery, or depriving a Crown of its Most Precious Jewel.
And the Christian Freemason sought out an Order which interpreted his Freemasonry in the Light of the New Dispensation.
He ended his search when he entered any asylum of Knights Templar.
It was Dr. William F. Kuhn, the great Masonic thinker, who said: "Freemasonry is not a series of degrees to give those who have the money to purchase them, certain titles and decorations, for even in Freemasonry 'a fool may be a belted Knight', and an Entered Apprentice may have a clearer conception of God and man's relation to Him, than he who wears the insignia of the highest rank. Moral conception does not exist merely in believing but in believing and doing. The Stoics of Rome persuaded themselves to believe that they were of Divine Essence and elaborated a finely spun system of philosophy, but they permitted the poor to lie starving at their doors."
Templars believe in practice; their charities may not be proclaimed from the house tops, but the records of the smallest preceptor of Knights Templar should prove that Charity and Hospitality are yet the grand characteristics of this great Christian Order. Templary realizes that it is hypocritical to profess and teach great platitudes without making an honest effort to practice what is professed. Our governing body (Sovereign Great Priory) administers a substantial fund known as The Knights Templar Charitable Foundation, contributed to by all members and administered without ostentation. This fund originally designed for orphans of deceased Knights Templar is also used for many deserving welfare cases and education of deserving students, including those for the ministry.
What are the Chivalric Orders?
We have referred to the Orders conferred by a Preceptory. In Canada the work of the Preceptory is divided into three parts:
bullet
The Order of the Red Cross.
bullet
The Orders of Mediterranean Pass and Malta.
bullet
The Orders of the Temple.
The Red Cross Order is not, strictly speaking, a Christian Order. Its value in the Templar system is its bridging of the gap between the Royal Arch degree and the Order of the Temple. It is a story founded upon an important period in Hebrew history and stresses Faith in God, the importance of Truth, and the value of Liberty and Justice.
The Order of Malta brings to the novitiate the story of another of the great Chivalric Orders, whose deeds of heroism fill the pages of history, and whose Christian character forms a bright page in religious history.
The most striking degree or Order in Masonry in the opinion of most expert ritualists is the Order of Consecration as set out in the Canadian Work. It is rightly described as the "ne plus ultra" of the Masonic system and is especially appreciated by all Christian Freemasons. We cannot describe its beauty or the impressions which are created in the mind of the Candidate. It must be seen to be appreciated.
Rise up, 0 Men of God
Have done with lesser things
Give Heart and Soul and Mind and Strength
To serve the King of Kings.
Lift high the Cross of Christ
Tread where His feet have trod
As brothers of the Son of Man
Rise up, O Men of God.
To Royal Arch Masonry has been given the WORD. To Knights Templar is given the INTERPRETATION.
www.flickr.com/photos/21728045@N08/7626879410/in/datepost...
More pictures taken by my older son, Antoine, pictures taken in July 07 during a one month humanitarian trip in Manvi, Karnataka, India. With a group of 14 students, they collected money and went to Manvi to help local architects / workers to start building a small "hospital" for Dalits and Adivasis.
More details can be found on the following site : http://www.manvi2007.org/Accueil.html
La suite des photos de notre fils ainé Antoine prise en Juillet 2004. Il a fait partie d'une équipe qui a collecté des fonds pour aider un projet humanitaire à Manvi, dans le Karantaka en Inde. Sur place, les fonds servent à payer les ouvriers et architectes locaux, les étudiants étant à disposition comme simple "coolies" pour aider à la construction d'un dispensaire pour les dalits (intouchables) et adivasis.
Vous pourrez trouver plus de détails sur : http://www.manvi2007.org/Accueil.html
This one is dedicated to Claude Renault ! Thx for all your great India pictures
как обшить сайдингом дом sotdel.ru/obshivka-doma-sajdingom.html Советы по строительству дома, #сайдинг #sotdel Обшивка дома сайдингом – ответственный и интересный процесс. С каждой новой панелью облик вашего дома будет быстро меняться. Обшивка дома сайдингом – ответственный и интересный процесс. С каждой новой панелью облик вашего дома будет быстро меняться. Впервые отправляясь в магазин, чтобы выбрать сайдинг для обшивки дома, многие покупатели теряются в выборе. Помимо богатой палитры цветов, их вниманию предлагаются и различные варианты фактур – здесь и «корабельный брус», и «ёлочка», и «блок хаус», и «вертикальный сайдинг». Как выбрать сайдинг? Сайдинг производится из компаунда, основу которого составляет виниловая масса с добавленными в нее пластификаторами, красителями, стабилизаторами цвета и прочими присадками. Рецептура компаунда для внешнего и внутреннего слоя сайдинговой панели различается, поскольку они решают разные задачи. Внешняя сторона панели противостоит выгоранию цвета, шелушению и короблению поверхности, внутренняя отвечает за жесткость материала, устойчивость к перепадам температуры и механическим воздействиям. Две массы компаунда, приготовленные по разным рецептурам, сплавляются методом коэкструзии, таким образом, формируется целостная панель с улучшенными качественными характеристиками внешнего и внутреннего слоя. Если же внутренняя сторона сайдинга светлее наружной – это значит, что производитель в состав компаунда для сайдинга добавил меньше пигмента. Такой сайдинг относится к категории более бюджетных, но при этом может обладать вполне приемлемыми эксплуатационными характеристиками. А вот если панель сайдинга окрашена неравномерно – есть разводы, пятна, отличия в оттенке панелей в рамках одной партии – это однозначно свидетельствует о не самом качественном материале. Чтобы выполнить монтаж блок хауса или других видов сайдинга своими руками, мы рекомендуем внимательно ознакомиться с инструкцией по монтажу, которую вы получите при покупке, а также с видео инструкцией. Следуйте показанным на видео принципам монтажа сайдинга любого вида, включая блок хаус. Если обшиваем сайдингом стены дома или только цоколь или фронтон, то в любом случае придерживаемся основных правил по монтажу этого строительного материала. Существуют различные виды сайдинга, и их монтаж также имеет свои отличия. как обшить сайдингом дом www.sotdel.ru/obshivka-doma-sajdingom.html www.facebook.com/110372909302943/photos/a.228565947483638...
Продажа стройматериалов для внешней и внутренней отделки. Прайс-листы. Возможность онлайн-заказа продукции. Сведения о скидках и акциях.
Сухие смеси для ремонта www.sotdel.ru/suhie-stroitelnye-smesi/
Кухонный фартук www.sotdel.ru/fartuk-dlya-kuhni.html
Пиломатериалы для дома www.sotdel.ru/fartuk-dlya-kuhni.html
Кровельные материалы www.sotdel.ru/krovelnye_materialy.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
Salkantay Trek to Machu Picchu
5 Days / 4 Nights
Is a trek that takes you through diverse landscapes and altitudes as we trek around the skirts of Mount Salkantay(6271m/20,568ft) and camp within clear sight of the snow capped peak. Ascending to reach the famous Apacheta Pass at 4,600m/15,088ft) and then descent into a more tropical area passing Andenes and Chaullay on the far side of the mountain. Train ride from Hydro Electric Dam and then spend the rest of the 4th evening relaxing in the town and hotsprings of Aguas Calientes. Early 5th morning you take the bus (or walk if desired) up to Machu Picchu your well deserved prize. Late afternoon train and bus back to Cusco in the evening.
This path is well-known as the Salkantay Trek. After the Inca Trail, the Salkantay Trek is the most beautiful and popular one. Indeed, the magazine National Geographic Adventure rated the Salkantay Trek as one of the best 25 treks all over the world.
Salkantay Trek Itinerary
Day 1: Cusco - Mollepata - Soraypampa
We will leave from Cusco approximately between 4:30a.m. and 5:00a.m. A local bus will take us to the town of Mollepata (2900 meters above sea level) where we will arrive approximately at 8:15 in the morning to have breakfast. During the trip we will have panoramic views of the majestic Salkantay, other mountains covered with snow, and the Valley of Apurimac River. We will meet with our support staff, and they will load the equipment on horses and mules. Around 9:00 a.m., we will begin our walk toward Sayllapata (3200 meters above sea level). About 1:00p.m., we will have a Peruvian lunch. After lunch, we will continue hiking toward the Soraypampa villages (3850 meters above sea level). Around 5:30 in the afternoon we will arrive to our camp where the tents will be ready for you as well as your dinner.
Day 2: Soraypampa - Salkantay Pass - Huayracpunku - Chaullay
Today, nature will change drastically from dry sceneries to snowy peaks and tropical areas. After a nutritious breakfast, we will start the most difficult part of the trek. We will start the hike around 7:00 in the morning. We will hike to a place called Pampas Salkantay, then go toward the left side of the snowy peaks of Umantay located next to the Apu Salkantay. At midday, we will be on the highest point ( 4600 meters above sea level). We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest point of the Cusco region. Around 1:00 p.m., we will have our lunch, in the area called Huayracmachay. After a trek of approximately 3 hours, we will arrive to our camp in Challway (2920 meters above sea level). Around 7:00p.m., we will recuperate from the trek and eat dinner.
Day 3: Chaullay - Collpapampa - La Playa - Santa Teresa
Around 7:00a.m., we will start our trek. We will walk for about 6 hours toward Playa Sahuayaco and during this period; we will observe a town called Collpabamba, also called the “Forest Cloudy Brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to observe the famous bird called the “Cock of the Rocks”. From Playa Sahuayaco, we will head to the campsite located at the hot springs of Santa Teresa (It is recommended to bring a bath suit.) Here you will eat dinner.
Day 4: Santa Teresa - Hidroelectryc - Aguas Calientes
After of our delicious breakfast we are going to walk for approximately around 8:30 a.m we begin our trek to the village Colpani, we follow this rising trail, from which we will see plantations of coffee, banana, passion fruit and a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (canopy brich) From here we have an option to hike to hidroelectrica or to catch a small car where will take us until Hidroelectrica (25 minutes), from this place we can observe the back of Machupicchu Sanctuary, where we have the last lunch with all staff. from here we will continuo walking until arrive to Aguas Calientes around 4:30 p.m then we will stay in a hostal the last night.
Day 5: Aguas Calientes - Machu Picchu Sanctuary - Aguas Calientes - Ollantaytambo - Cusco
Today, you will be able to choose between waking up at 4:30a.m. and walking up to Machu Picchu or taking a bus to Machu Picchu at 7:00a.m. In Machu Picchu, you will have a guided tour for about two hours and after that you will be free to explore the Citadel and take pictures, or if you desire, ascent toward the Huaynapicchu Mountain. At 2:26p.m. or 6:03p.m. (depending on availability), you will be taking a train to Ollantaytambo and from there; a bus will drive you to your hotel in Cusco.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone:(+51) (84) 974727031 / 958191179 / 958191179 (24 hours available)
Address in Cusco: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco :
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: www.salkantaytrekking.com,http://www.salkantaytrekking.com
Sprinkler Repair Colorado Springs CO.
www.lawnpros.biz/sprinkler-repair-colorado-springs.html
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719.963.6267
720.221.3606
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If you are in need of having your sprinklers repaired, Lawn Pros Sprinkler Services is the sprinkler company for you. Our expert irrigation technicians are trained to troubleshoot the oldest to newest sprinkler systems in the industry. Even if your sprinkler system consists of old brass and cooper parts we can take care of your system. Our irrigation technicians can repair anything including broken heads, valves, manifolds, backflows, leaks, timers and rain sensors.
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sociology.ucsc.edu/whorulesamerica/power/wealth.html
In the United States, wealth is highly concentrated in a relatively few hands. As of 2007, the top 1% of households (the upper class) owned 34.6% of all privately held wealth, and the next 19% (the managerial, professional, and small business stratum) had 50.5%, which means that just 20% of the people owned a remarkable 85%, leaving only 15% of the wealth for the bottom 80% (wage and salary workers).
en.wikipedia.org/wiki/Wealth_in_the_United_States
www.999ideas.com/redistribution-of-wealth.html
There's nothing wrong with being wealthy, but how you get there matters. In a fair and free society getting rich does not cause anyone's impoverishment. Historically, we have all benefited from an economy that rewards those who create the most value. . . . The danger of great wealth is that it buys great power, which can be used to take advantage of the poor and middle class. This is what has been happening more and more in recent years. Laws and regulations have been lobbied for and passed which allow the redistribution of wealth from the poor and middle class to the wealthy.
#112 in a series for one photo a day for a year
MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.
Da streetartattack.blogspot.it/2013/10/district-913-roma.html:
Nato nel 2012, al termine del cantiere cinematografico e d’arte “Space Metropoliz”, il MAAM è un progetto di Giorgio de Finis. Contro-dipositivo situazionista e relazionale, si pone accanto e in concorrenza con le grandi istituzioni museali italiane e della capitale (il MAXXI e il MACRO), facendo della sua perifericità, della sua totale assenza di fondi, della sua non asetticità (il MAAM è un museo abitato) il suo punto di forza. Avviando un nuovo virtuoso rapporto tra arte e città e tra arte e vita, il Metropoliz si sta dotando, grazie al MAAM, di una pelle preziosa e di una collezione che l’aiuteranno a proteggersi dalla minaccia sempre incombente dello sgombero coatto. Il MAAM si prefigge di trasformare l’intera fabbrica occupata in un oggetto e in un soggetto d’arte collettiva. Gli artisti sono invitati a dare il loro contributo gratuitamente, interagendo con lo spazio e con gli abitanti. E non si può dire che non lo stiano facendo.
Oltre i “relitti” di Space Metropoliz (il telescopio di Gian Maria Tosatti, i muri dipinti di Sten & Lex, Lucamaleonte, Mr. Klevra, Hogre, la bandiera di Paolo Assenza, l’orto lunare di Fabio Pennacchia, il grande razzo costruito dagli abitanti della fabbrica occupata con l’aiuto di Stalker), la Pinacoteca Domestica Diffusa, oltre venti opere di arte contemporanea collocate nelle case degli abitanti di Metropoliz e fotografata da Carlo Gianferro, la “Stanza dei Giochi” (intervento site specific per la ludoteca di Metropoliz ad opera di Veronica Montanino e Alice Pasquini), la “Cattedralehouse_room#2” (opere di Cristiano Petrucci, Gianni Asdrubali, Veronica Montanino), il 5 ottobre il MAAM presenterà le nuove acquisizioni e i lavori realizzati nel corso dell’estate.
Le due nuove stanze d’artista, “Windows M” di Maddalena Mauri e ”Where are the flowers gone” di Micaela Lattanzio. L’intervento murario, tutto in polvere di grafite, che Maddalena Mauri realizza per il nuovo spazio galleria di Metropoliz, moltiplica le finestre della grande stanza dove un tempo stagionavano i salami della Fiorucci, invitando il mondo ad entrare. Un auspicio, per la fabbrica occupata, che coincide con il programma di eventi settimanali del nuovo spazio espositivo, uno dei dispositivi che il MAAM ha deciso di attivare per aprire con regolarità il cancello del 913 al quartiere e alla città, riducendo l’effetto enclave che pregiudizio e necessità di difendersi dallo sgombero rischiano di innescare. La porta “a saloon” della galleria che propone un enorme cuore diviso in due è un’opera di Paolo Angelosanto. La stanza di Micaela Lattanzio è invece uno spazio intimo, un invito alla “meditazione”, un’oasi di pace per chi, come il Chaplin di “Tempi moderni”, si trova incastrato ogni giorno nei meccanismi della metropoli (i suoi fiori di carta, oltre seimila, si liberano dagli ingranaggi e volano via…). Un luogo, questa preziosa stanza “fiorita”, che sembra condividere lo spirito delle stanze de Les Nymphéas di Monet all’Orangerie.
“District 913” tira via il telo anche sulla nuova “piazza” realizzata da Massimo Di Giovanni con L.U.N.A. una enorme sfera di ferro e legno che l’artista incastra tra le travi di un tetto crollato, che lo stesso Di Giovanni ha restaurato e messo in sicurezza). L’opera ha voluto rendere un omaggio all’idea della migrazione esoplanetaria alla conquista della luna narrata dalla favola contemporanea “Space Metropoliz” e all’idea che, lavorando tutti insieme, l’Altrove lo si possa alla fine portare sulla Terra. Altre grandi sfere saranno disseminate nella fabbrica da EPVS, a rendere il percorso difficile e claustrofobico (EPVS_ Bubbling 4 you #913# by EPVS).
Molto rilevanti anche i nuovi interventi di street art realizzati a Metropoliz. Dal grande muro d’ingresso sulla via Prenstina, firmato Borondo, e realizzato in collaborazione con la 999 Contemporary, alla meridiana di Rub Kendy (.R.E.V.O.L.U.T.I.O.N.), allo stencil di Lucamaleonte che riproduce, sulla facciata dell’ex-salumificio che guarda ai recenti scavi archeologici del lotto di fronte, il bassorilievo dei Musei Capitolini raffigurante la caccia al cinghiale. E ancora Alice Pasquini, Solo (con “Plan D, last level”), Diamond (con la porta “Welcome to Metropoliz”), Opiemme (“Questo muro ha un nuovo messaggio”). E ancora Giulio Vesprini, Gio Pistone, Cancelletto, omino71.
Tra le nuove opere acquisite dal MAAM segnaliamo quelle di Pablo Echaurren (“Suburbano disumano”), a cura di ARIA [rivista d’artista], Massimo Attardi (“Lang”, un omaggio all’autore di “Metropolis” che strizza l’occhio anche al gioco “facce di luna” di “Space Metropoliz”), Guendalina Salini (che ripropone in collezione permanente l’installazione “Dove comincia il lontano”), gli interventi murari di Marco Tamburro, Seboo Migone, Paolo Assenza, l’opera di Germano Serafini ”Composizione M”, quella di Michela de Mattei “Metropolitz. Pianoterra / piano, Terra” (a cura di Silvia Litardi), il lightbox di Salvatore Mauro “Pianeta dei Naufraghi”, i nuovi interventi di Santino Drago (”Sangue versato in mostra” e “Asilo politico”).
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
www.andynoise.com/fallbtchalf08.html
Place Name Time Pace Div/Tot Sex/Tot Div
1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034
2 David Bacus 1:14:52 5:43 1/4 2/98 M2024
3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319
4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529
5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044
6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024
7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054
8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319
9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539
10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319
11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529
12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054
13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054
14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549
15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539
16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054
17 David Little 1:32:46 7:05 4/10 16/98 M1319
18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319
19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559
20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034
21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044
22 John Lee 1:35:55 7:20 5/18 21/98 M5054
23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549
24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044
25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559
26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034
27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319
28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054
29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034
30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539
31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559
32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319
33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319
34 Richard Black 1:40:35 7:41 7/18 31/98 M5054
35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539
36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559
37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529
38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539
39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034
40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549
41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044
42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044
43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549
44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539
45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539
46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549
47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034
48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034
49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539
50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054
52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054
53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064
54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044
55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064
56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044
57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559
58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044
59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024
60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529
61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054
62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044
63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549
64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044
65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319
66 John Wilson 1:55:22 8:49 2/3 57/98 M6064
67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044
68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539
69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319
70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044
71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529
72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549
73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064
74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549
75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569
76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549
77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559
78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054
79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054
80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034
81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549
82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549
83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024
84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054
85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044
86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064
87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559
88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569
89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044
90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054
91 craig smith 2:04:15 9:30 9/11 71/98 M4549
92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034
93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054
94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539
95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024
96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559
97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539
98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054
99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539
100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529
102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044
103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054
104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044
105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549
106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034
107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034
108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529
109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539
110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539
111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559
112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529
113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054
114 Susan James 2:10:43 9:59 4/11 34/73 F5054
115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054
116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549
117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054
118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529
119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044
120 Fred Little 2:15:29 10:21 16/18 82/98 M5054
121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034
122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559
123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099
124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539
125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529
126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539
127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054
128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529
129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054
130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559
131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559
132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559
133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549
134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044
135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054
136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549
137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319
138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529
139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529
140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044
141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054
142 carol montez 2:29:10 11:24 7/12 52/73 F4549
143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549
144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529
145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529
146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044
147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549
148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099
149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559
150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549
152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054
153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044
154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559
155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034
156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044
157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044
158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034
159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044
160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529
161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549
162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024
163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559
164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054
165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539
166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054
167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549
168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034
169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034
170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034
171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539
©2008 Bakersfield Track Club
willowgrovedaycamp.com/willows.html
The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.
Da streetartattack.blogspot.it/2013/10/district-913-roma.html:
Nato nel 2012, al termine del cantiere cinematografico e d’arte “Space Metropoliz”, il MAAM è un progetto di Giorgio de Finis. Contro-dipositivo situazionista e relazionale, si pone accanto e in concorrenza con le grandi istituzioni museali italiane e della capitale (il MAXXI e il MACRO), facendo della sua perifericità, della sua totale assenza di fondi, della sua non asetticità (il MAAM è un museo abitato) il suo punto di forza. Avviando un nuovo virtuoso rapporto tra arte e città e tra arte e vita, il Metropoliz si sta dotando, grazie al MAAM, di una pelle preziosa e di una collezione che l’aiuteranno a proteggersi dalla minaccia sempre incombente dello sgombero coatto. Il MAAM si prefigge di trasformare l’intera fabbrica occupata in un oggetto e in un soggetto d’arte collettiva. Gli artisti sono invitati a dare il loro contributo gratuitamente, interagendo con lo spazio e con gli abitanti. E non si può dire che non lo stiano facendo.
Oltre i “relitti” di Space Metropoliz (il telescopio di Gian Maria Tosatti, i muri dipinti di Sten & Lex, Lucamaleonte, Mr. Klevra, Hogre, la bandiera di Paolo Assenza, l’orto lunare di Fabio Pennacchia, il grande razzo costruito dagli abitanti della fabbrica occupata con l’aiuto di Stalker), la Pinacoteca Domestica Diffusa, oltre venti opere di arte contemporanea collocate nelle case degli abitanti di Metropoliz e fotografata da Carlo Gianferro, la “Stanza dei Giochi” (intervento site specific per la ludoteca di Metropoliz ad opera di Veronica Montanino e Alice Pasquini), la “Cattedralehouse_room#2” (opere di Cristiano Petrucci, Gianni Asdrubali, Veronica Montanino), il 5 ottobre il MAAM presenterà le nuove acquisizioni e i lavori realizzati nel corso dell’estate.
Le due nuove stanze d’artista, “Windows M” di Maddalena Mauri e ”Where are the flowers gone” di Micaela Lattanzio. L’intervento murario, tutto in polvere di grafite, che Maddalena Mauri realizza per il nuovo spazio galleria di Metropoliz, moltiplica le finestre della grande stanza dove un tempo stagionavano i salami della Fiorucci, invitando il mondo ad entrare. Un auspicio, per la fabbrica occupata, che coincide con il programma di eventi settimanali del nuovo spazio espositivo, uno dei dispositivi che il MAAM ha deciso di attivare per aprire con regolarità il cancello del 913 al quartiere e alla città, riducendo l’effetto enclave che pregiudizio e necessità di difendersi dallo sgombero rischiano di innescare. La porta “a saloon” della galleria che propone un enorme cuore diviso in due è un’opera di Paolo Angelosanto. La stanza di Micaela Lattanzio è invece uno spazio intimo, un invito alla “meditazione”, un’oasi di pace per chi, come il Chaplin di “Tempi moderni”, si trova incastrato ogni giorno nei meccanismi della metropoli (i suoi fiori di carta, oltre seimila, si liberano dagli ingranaggi e volano via…). Un luogo, questa preziosa stanza “fiorita”, che sembra condividere lo spirito delle stanze de Les Nymphéas di Monet all’Orangerie.
“District 913” tira via il telo anche sulla nuova “piazza” realizzata da Massimo Di Giovanni con L.U.N.A. una enorme sfera di ferro e legno che l’artista incastra tra le travi di un tetto crollato, che lo stesso Di Giovanni ha restaurato e messo in sicurezza). L’opera ha voluto rendere un omaggio all’idea della migrazione esoplanetaria alla conquista della luna narrata dalla favola contemporanea “Space Metropoliz” e all’idea che, lavorando tutti insieme, l’Altrove lo si possa alla fine portare sulla Terra. Altre grandi sfere saranno disseminate nella fabbrica da EPVS, a rendere il percorso difficile e claustrofobico (EPVS_ Bubbling 4 you #913# by EPVS).
Molto rilevanti anche i nuovi interventi di street art realizzati a Metropoliz. Dal grande muro d’ingresso sulla via Prenstina, firmato Borondo, e realizzato in collaborazione con la 999 Contemporary, alla meridiana di Rub Kendy (.R.E.V.O.L.U.T.I.O.N.), allo stencil di Lucamaleonte che riproduce, sulla facciata dell’ex-salumificio che guarda ai recenti scavi archeologici del lotto di fronte, il bassorilievo dei Musei Capitolini raffigurante la caccia al cinghiale. E ancora Alice Pasquini, Solo (con “Plan D, last level”), Diamond (con la porta “Welcome to Metropoliz”), Opiemme (“Questo muro ha un nuovo messaggio”). E ancora Giulio Vesprini, Gio Pistone, Cancelletto, omino71.
Tra le nuove opere acquisite dal MAAM segnaliamo quelle di Pablo Echaurren (“Suburbano disumano”), a cura di ARIA [rivista d’artista], Massimo Attardi (“Lang”, un omaggio all’autore di “Metropolis” che strizza l’occhio anche al gioco “facce di luna” di “Space Metropoliz”), Guendalina Salini (che ripropone in collezione permanente l’installazione “Dove comincia il lontano”), gli interventi murari di Marco Tamburro, Seboo Migone, Paolo Assenza, l’opera di Germano Serafini ”Composizione M”, quella di Michela de Mattei “Metropolitz. Pianoterra / piano, Terra” (a cura di Silvia Litardi), il lightbox di Salvatore Mauro “Pianeta dei Naufraghi”, i nuovi interventi di Santino Drago (”Sangue versato in mostra” e “Asilo politico”).
Deep Space - Hubble Photo
See more:
www.nasa.gov/mission_pages/hubble/science/xdf.html
FROM NASA:
Called the eXtreme Deep Field, or XDF, the photo was assembled by combining 10 years of NASA Hubble Space Telescope photographs taken of a patch of sky at the center of the original Hubble Ultra Deep Field. The XDF is a small fraction of the angular diameter of the full moon.
The Hubble Ultra Deep Field is an image of a small area of space in the constellation Fornax, created using Hubble Space Telescope data from 2003 and 2004. By collecting faint light over many hours of observation, it revealed thousands of galaxies, both nearby and very distant, making it the deepest image of the universe ever taken at that time.
The new full-color XDF image is even more sensitive, and contains about 5,500 galaxies even within its smaller field of view. The faintest galaxies are one ten-billionth the brightness of what the human eye can see.
This video zooms into the small areas of sky that the Hubble Space Telescope was aimed at to construct the eXtreme Deep Field, or XDF. The region is located in the southern sky, far away from the glare of the Milky Way, the bright plane of our galaxy. In terms of angular size, the field is a fraction the angular diameter of the full moon, yet it contains thousands of galaxies stretching back across time. (Credit: NASA; ESA; and G. Bacon and Z. Levay, STScI)
› Download video (13 MB mp4)
Magnificent spiral galaxies similar in shape to our Milky Way and the neighboring Andromeda galaxy appear in this image, as do the large, fuzzy red galaxies where the formation of new stars has ceased. These red galaxies are the remnants of dramatic collisions between galaxies and are in their declining years. Peppered across the field are tiny, faint, more distant galaxies that were like the seedlings from which today's magnificent galaxies grew. The history of galaxies -- from soon after the first galaxies were born to the great galaxies of today, like our Milky Way -- is laid out in this one remarkable image.
Hubble pointed at a tiny patch of southern sky in repeat visits (made over the past decade) for a total of 50 days, with a total exposure time of 2 million seconds. More than 2,000 images of the same field were taken with Hubble's two premier cameras: the Advanced Camera for Surveys and the Wide Field Camera 3, which extends Hubble's vision into near-infrared light.
image showing relative size of the moon compared to portion of the sky shown in Hubble XDF image
This illustration compares the angular size of the XDF field to the angular size of the full moon. A finger held at arm's length would appear to be about twice the width of the moon in this image. Note that this illustration does not show the actual observation of the XDF relative to the location of the moon. (Illustration Credit: NASA; ESA; and Z. Levay, STScI; Moon Image Credit: T. Rector; I. Dell'Antonio/NOAO/AURA/NSF)
› Larger image
"The XDF is the deepest image of the sky ever obtained and reveals the faintest and most distant galaxies ever seen. XDF allows us to explore further back in time than ever before", said Garth Illingworth of the University of California at Santa Cruz, principal investigator of the Hubble Ultra Deep Field 2009 (HUDF09) program.
2009 updated Hubble Ultra Deep Field image
This image from 2009 shows an updated version of the Hubble Ultra Deep Field. The new eXtreme Deep Field could be considered a more detailed view of a portion of this image. (Credit: NASA; ESA; G. Illingworth, UCO/Lick Observatory and the University of California, Santa Cruz; R. Bouwens, UCO/Lick Observatory and Leiden University; and the HUDF09 Team)
› Larger image
› More info from HubbleSite.org
The universe is 13.7 billion years old, and the XDF reveals galaxies that span back 13.2 billion years in time. Most of the galaxies in the XDF are seen when they were young, small, and growing, often violently as they collided and merged together. The early universe was a time of dramatic birth for galaxies containing brilliant blue stars extraordinarily brighter than our sun. The light from those past events is just arriving at Earth now, and so the XDF is a "time tunnel into the distant past." The youngest galaxy found in the XDF existed just 450 million years after the universe's birth in the big bang.
Before Hubble was launched in 1990, astronomers could barely see normal galaxies to 7 billion light-years away, about halfway across the universe. Observations with telescopes on the ground were not able to establish how galaxies formed and evolved in the early universe.
Hubble gave astronomers their first view of the actual forms and shapes of galaxies when they were young. This provided compelling, direct visual evidence that the universe is truly changing as it ages. Like watching individual frames of a motion picture, the Hubble deep surveys reveal the emergence of structure in the infant universe and the subsequent dynamic stages of galaxy evolution.
The infrared vision of NASA's planned James Webb Space Telescope will be aimed at the XDF. The Webb telescope will find even fainter galaxies that existed when the universe was just a few hundred million years old. Because of the expansion of the universe, light from the distant past is stretched into longer, infrared wavelengths. The Webb telescope's infrared vision is ideally suited to push the XDF even deeper, into a time when the first stars and galaxies formed and filled the early "dark ages" of the universe with light.
The Hubble Space Telescope is a project of international cooperation between NASA and the European Space Agency. NASA's Goddard Space Flight Center in Greenbelt, Md., manages the telescope. The Space Telescope Science Institute (STScI) in Baltimore, Md., conducts Hubble science operations. STScI is operated by the Association of Universities for Research in Astronomy, Inc., in Washington.
www.flickr.com/photos/iukokomo/6511994587/in/set-rel=
newsroom.iuk.edu/campus/17-campus-news/341-indiana-univer...
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
tackk.com/michaelharrischancellor
kokomoperspective.com/news/local_news/transformation-begi...
www.insideindianabusiness.com/newsitem.asp?id=54735
iufoundation.iu.edu/newsroom/archive/2012/cole-iuk-gift.html
newsroom.iuk.edu/campus/17-campus-news/310-trustees-appro...
newsroom.iuk.edu/campus/17-campus-news/191-milt-and-jean-...
newsroom.iuk.edu/campus/17-campus-news/191-milt-and-jean-...
foundationcenter.org/pnd/news/story.jhtml?id=367800013
iufoundation.iu.edu/newsroom/archive/2012/cole-iuk-gift.html
newsroom.iuk.edu/campus/17-campus-news/310-trustees-appro...
newsroom.iuk.edu/campus/17-campus-news/191-milt-and-jean-...
foundationcenter.org/pnd/news/story.jhtml?id=367800013
iufoundation.iu.edu/newsroom/archive/2012/cole-iuk-gift.html
newsroom.iuk.edu/campus/17-campus-news/310-trustees-appro...
newsroom.iuk.edu/campus/17-campus-news/191-milt-and-jean-...
indianaeconomicdigest.com/Main.asp?SectionID=31&SubSe...
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
www.universitiesnews.com.previewdns.com/2012/05/20/us-iuk...
www.facebook.com/IndianaUniversityKokomo/posts/1566467844...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/kids/kokomoans/a-childhood-story-fr...
m.kokomoperspective.com/news/local_news/kokomo-perspectiv...
m.kokomoperspective.com/sports/iuk/naia-approves-indiana-...
kokomoperspective.com/news/local_news/transformation-begi...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/news/local_news/mcrobbie-chancellor...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/community/education/iu-kokomo-chanc...
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
kokomoperspective.com/news/local_news/iu-kokomo-contribut...
kokomoperspective.com/news/iu-kokomo-recognized-for-tuiti...
kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/kp/lifestyles/more-students-choose-...
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
kokomoperspective.com/news/local_news/iu-kokomo-makes-his...
kokomoperspective.com/indiana-university-kokomo-achieves-...
kokomoperspective.com/kp/news/people-of-the-year/article_...
kokomoperspective.com/news/local_news/inaugural-nursing-m...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/xtra/education/u-s-news-world-repor...
kokomoperspective.com/news/local_news/freshman-increase-d...
kokomoperspective.com/former-vatican-employee-increases-d...
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
homepages.indiana.edu/web/page/normal/20760.html
homepages.indiana.edu/web/page/normal/22030.html
nciia.org/network/conference/2010/presenters/michael_harris
homepages.indiana.edu/web/page/normal/22373.html
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
--------
and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy
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www.alejandrovalenciat.com/alejandrovt/vampiros.html
Fotografía: Daniel Ronderos (www.danielronderos.com/) + Alejandro Valencia-Tobón
Bienvenido a este experimento público llamado ‘Vampiros’. Lo que ves acá es el resultado de un trabajo de muchas personas que salió al dominio público el pasado 31 de Octubre de 2013. Todos juntos construimos un escenario para reflexionar sobre qué es una enfermedad llamada dengue. Más que respuestas buscamos preguntas a través de un ejercicio sensorial.
Durante mi PhD busco desarrollar un estudio antropológico sobre la creación y negociación de diferentes formas de conocimiento alrededor del dengue.
Actualmente me encuentro en Medellín (Colombia) desarrollando la fase de campo de mi PhD. El objetivo central de mi proyecto es explorar cómo la antropología, en conjunto con ideas y prácticas derivadas del arte y la ciencia, puede transformar la comprensión pública del dengue.
Si querés ver el curso de mi trabajo de campo, por favor accedé a este link (www.anthropologyartscience.blogspot.com)
Este proyecto está siendo desarrollado independientemente a modo de red, donde hay una serie de nodos que se entrelazan en un sentido no jerárquico. Las personas, colectivos o grupos de trabajo que se han unido a él son:
Los participantes de mi etnografía: Juanita, Sara, Jhon, Gilma, Juan, Johana, Jorge.
Colaboradores: Hernán Marín, Maribel Flórez, Daniel Ronderos, Andrés Ramírez, Elva López, Felipe Villegas, Martha Vera, Carolina Quintero, Manuela Herrera, Jovany Barajas, Sergio Pulido, Susana Valencia, Lucía Tobón, Mike Bluett, Loveday King, Amanda Hunter.
Entidades vinculadas a este proyecto: 3B Espacio, Publicidad Ábaco, Bimana, InspiraLab, Cataviento, Horniman Museum, Royal Anthropological Institute of Great Britain and Ireland, Pedro Mau/KNEEL, The University of Manchester, Granada Centre for Visual Anthropology, Colciencias.
A ellos mi profundo agradecimiento por su apoyo y por creer en este proyecto.
Cualquier opinión, crítica o comentario es más que bienvenido. Podés escribirme a vampiros@alejandrovalenciat.com. Si querés hacer parte de este proyecto, sólo tenés que manifestarlo.
Alejandro Valencia-Tobón
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Sin 3B Espacio (Hernán Marín y Maribel Florez ) este trabajo no hubiese sido posible (www.facebook.com/3bEspacio).
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Más información:
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
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Public Domain. Suggested credit: Grabill/Library of Congress via pingnews. Additional information from source:
TITLE: "Hostile Indian camp"
CALL NUMBER: LOT 3076-2, no. 3636 [P&P]
Check for an online group record (may link to related items)
REPRODUCTION NUMBER: LC-DIG-ppmsc-02512 (digital file from original print)
LC-USZ62-532 (b&w film copy neg.)
No known restrictions on reproduction.
SUMMARY: Bird's-eye view of a large Lakota camp of tipis, horses, and wagons--probably on or near Pine Ridge Indian Reservation.
MEDIUM: 1 photographic print.
CREATED/PUBLISHED: 1891.
CREATOR:
Grabill, John C. H., photographer.
NOTES:
Copyright deposit.
Title transcribed from item.
Forms part of the John C. H. Grabill Collection.
SUBJECTS:
Indian encampments--South Dakota--1890-1900.
Tipis--South Dakota--1890-1900.
Plains--South Dakota--1890-1900.
Indians of North America--Structures--South Dakota--1890-1900.
Teton Indians--Structures--1890-1900.
Pine Ridge Indian Reservation (S.D.)--1890-1900.
FORMAT:
Photographic prints 1890-1900.
Aerial views 1890-1900.
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540
DIGITAL ID: (digital file from original print) ppmsc 02512 hdl.loc.gov/loc.pnp/ppmsc.02512
(scan of b&w film copy neg.) cph 3a04461 hdl.loc.gov/loc.pnp/cph.3a04461
CARD #: 99613796
Catedral de El Burgo de Osma
www.lafronteradelduero.com/Paginas/el_burgo_de_osma.html
La Catedral de El Burgo de Osma, bajo la advocación de Santa María de la Asunción, es el resultado de una sucesión secular de actuaciones constructivas que van desde los primeros años del siglo XII, cuando se levantó el primitivo templo románico, hasta la segunda mitad del siglo XVIII en que se dio remate a la torre barroca. Aunque conserva escasos elementos de la obra románica y luce añadidos renacentistas, barrocos y neoclásicos, lo que predomina en el conjunto catedralicio son las construcciones góticas llevadas a cabo en diversos periodos.
La Catedral burguense fue declarada Monumento Nacional el 3 de junio de 1931, y «entorno de protección» por Decreto 84/99, de 22 de abril, de la Comunidad de Castilla y León. Comparte la sede episcopal desde 1959 con la concatedral de San Pedro de Soria.
Apunte histórico
Osma es sede episcopal al menos desde 597, fecha en la que está documentado que su obispo, Juan, tomó parte en el Concilio doce de Recaredo. De esta época visigoda no se conserva vestigio arqueológico alguno referido al templo catedralicio que se ubicaría en la antigua Uxama. Tras el lapso de tres siglos de ocupación musulmana (s.VIII al X) y otro más de repoblación y consolidación del dominio cristiano, en 1101 se restauró la diócesis bajo los auspicios de la Sede Metropolitana de Toledo. En esa fecha tomó posesión de la silla episcopal el que fue su primer titular en esta segunda y definitiva era diocesana: Pedro de Bourges (San Pedro de Osma).
Por entonces, no sólo se había abandonado la antigua Úxama, emplazada ahora en el llano con el topónimo de Osma, sino que se estaba desarrollando un burgo o barrio al otro lado del río Ucero en el que existía una iglesia benedictina con culto a San Miguel. Ese fue el lugar elegido para levantar la nueva catedral en el estilo arquitectónico imperante en los albores del siglo XII: el románico. No hay noticia cierta de cuándo se comenzó la construcción de este templo pero es de presumir que fuese durante el episcopado de Pedro de Osma, es decir, entre los años 1101 y 1109. En todo caso, los rasgos estilísticos de lo poco que de él ha quedado no dejan lugar a duda de que proceden de principios de dicho siglo. Los obispos sucesores de Pedro que regirían la diócesis a lo largo de la primera mitad del siglo XII -Raimundo, Beltrán y Esteban- debieron ser los continuadores de la obra y quienes la llevaron a término, pues parece que quedó concluida a mediados de siglo.
Corta vida le esperaba a la flamante catedral. En 1231 accedió a la sede episcopal oxomense Juan Díaz de Medina (a quien se nombra con frecuencia como Juan Domínguez), Canciller de Fernando III el Santo. Este prelado, que provenía de la Colegiata de Santa María la Mayor de Valladolid de la que fue abad en los años anteriores (1219-1230) y que él mismo había reconstruido por entero, debió entender que la prematuramente obsoleta iglesia románica no poseía las dimensiones ni la funcionalidad que los nuevos tiempos demandaban y, experimentado como era en la construcción de grandes templos, decidió en 1232, y así lo puso en práctica, derribar la «vieja» catedral y erigir otra ajustada a los cánones góticos, al modo como se estaba haciendo en Burgos, en Cuenca o en Toledo. No obstante, la piqueta demoledora respetó el claustro y la sala capitular.
Las obras del templo gótico se prolongaron durante más de un siglo, siendo el obispo Bernabé quien a mediados del XIV logró darles fin. El resultado fue una iglesia de planta de cruz latina con tres naves de cinco tramos, transepto de cuatro tramos además del crucero, presbiterio de dos tramos, ábside principal y cuatro capillas absidales, dos a cada lado, sobre el muro oriental del transepto de forma parecida a las del monasterio cisterciense de Santa María de Huerta. El conjunto gótico se completó a principios del siglo XVI con la sustitución del claustro románico por el actual gótico tardío adosado al muro de la nave septentrional. El derribo del primero se llevó a cabo en 1505; de él se salvaron algunos capiteles y la arquería del frente de la sala capitular. Algunos años después, durante el mandato del obispo Pedro Álvarez de Acosta (1550-1554), se realizó el retablo mayor, obra de Juan de Juani y Juan Picardo.
El siglo XVIII fue pródigo en obras y reformas. En 1767 se finalizó la torre en su tercer intento, pues dos anteriores habían fracasado por derrumbe. La cabecera de la iglesia sufrió importantes alteraciones, primero por la construcción de la girola y de la capilla mayor, y luego por la incorporación de la sacristía y la capilla del venerable Palafox. La reforma de la capilla mayor se debió a Juan de Villanueva, lo mismo que la construcción de la sacristía (1770) y el proyecto de la capilla de Palafox (1772), si bien la ejecución de esta última obra le cupo a Sabatinni entre los años 1778 y 1783.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
I have not invited Katrina personally for Jackpot's premiere, says Kaizad Gustad! - www.bolegaindia.com/gossips/I_have_not_invited_Katrina_pe...
Well done reportage for the austrian TV where Thierry Geoffroy / Colonel present it s format Biennalist www.emergencyrooms.org/biennalist.html , the film show with his students , part of a critical run and a slow dance
at the Maldives pavilion : "Can we rank emergencies ? "
see the TV video
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial
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www.lapressegratuite.com/2014/02/expo-in-the-city-le-prem...
Expo in the City est le premier magazine gratuit dédié aux expositions parisiennes ; l’occasion nous a été donnée de poser quelques questions à Fleur Baudon, directrice de la publication et Arnaud Chedal-Anglay, fondateur et rédacteur en chef du magazine.
Bonjour à tous les deux, racontez-nous l’idée de départ, sa concrétisation et parlez-nous de l’équipe !
L’idée de départ : rendre un peu « sexy » les expos, dépoussiérer tout ça. Créer un magazine urbain, sympathique, résolument moderne, qui donne envie de sortir pour aller voir une expo avec ses amis, son amour, ses parents ou ses enfants.
Un magazine convivial, qui se partage, tout comme ses bons plans.
Un magazine pratique qui tient dans la poche.
Un magazine gratuit, pour une vraie promotion de l’Art à Paris, sans clivage.
Pour la première fois, un classement des expos en ligne avec les envies et les attentes des parisiens. Pas d’expo ‘’beaux arts’’ ou ‘’ sciences et techniques’’, mais les expos à faire le soir après le boulot, les expos gratuites, celles à faire en amoureux ou en famille. Les expos pour frimer le lundi matin au bureau, ou pour occuper les beaux parents qui débarquent !
Expo in the City souhaite faire de chaque sortie expo un vrai bon moment, sympa et inoubliable. Pour cela, nous avons créé les premiers « duos expos », de bonnes petites adresses parisiennes avec les meilleures expositions. Cela permet de prolonger le plaisir de la sortie avec un petit brunch, un resto, un apéro, ou un jardin caché, une boutique insolite…
La concrétisation de cette idée a mis 2 ans, 2 ans pendant lesquels nous avons fait et refait des maquettes de magazines, en interrogeant des parisiens pour vraiment comprendre leurs attentes et leurs envies, et leur offrir le meilleur des expos, dans une version colorée et joyeuse.
L’équipe : Fleur et Arnaud, aidés par nos proches, amis, et familles. Nous avons créé une association qui a pour but de promouvoir l’Art à Paris, de manière accessible et sympa. Nous sommes des indépendants, loin des grands groupes de presse. Des idéalistes ? Des ‘’fous’’ peut-être ? Des passionnés évidemment !
En octobre de cette année, vous avez rassemblé des fonds sur le site de financement participatif KissKissBankBank, comment cela s’est-il passé ?
La démarche nous a permis de récolter 5 000 euros ! Cela nous a permis de nous lancer, en finançant l’impression du premier numéro, et une partie du site web. C’était fou de voir comme ce projet a pu mobiliser des soutiens, nous appuyant dans cette démarche audacieuse.
Présentez-nous la ligne éditoriale de Expo in the City, le positionnement du mag.
Expo in the City est un magazine bimestriel, format poche extrêmement qualitatif, 100 pages en couleur, distribué gratuitement à 20 000 exemplaires dans le cœur de Paris, aux métros, entrées des cinémas, théâtres et musées.
Le ‘’petit livre’’ des expos toujours sur soi !
Nous souhaitons toucher tous les gens passionnés par l’art, mais pas seulement ! L’idée est vraiment d’ouvrir l’art à tous, en faisant re-découvrir les expos de Paris et la richesse culturelle de la capitale, par un classement inédit des expos, pour que chacun puisse trouver l’expo qui lui ressemble, ou l’expo qui convient à chaque occasion.
Nous avons voulu créer le 1er magazine qui ne se jette pas, avec sa sélection d’expos, ses bons plans, ses actus, son format poche ultra-pratique. Nous avons créé un magazine pour chacun et pour tous.
Où peut-on trouver le magazine aujourd’hui ? Peut-on s’abonner ?
Tous les 2 mois, Expo in the City est distribué pendant 2 semaines dans le centre de Paris et en région Parisienne. Aux stations de Métro, dans les files de musées, de cinés, de théâtre, en 20 000 exemplaires. Expo in the City est aussi accessible sur le web www.expointhecity.com/, avec des actus inédites et complémentaires, et des avis d’internautes. Pour ceux qui souhaitent recevoir leur magazine chez eux, nous proposons une formule d’abonnement à 24 euros par an (magazine gratuit + frais de gestion et d’envois), offrant en plus un pass pour Pompidou.
Vous êtes également présent sur le web, pourquoi éditer un magazine papier et un site web ?
Pour nous les deux supports sont complémentaires. L’un se consulte en se feuilletant, dans le métro, dans son salon, dans un café, il se lit. Nous étions très attachés au support papier car nous aimons personnellement lire, et garder nos livres et guides pour les reconsulter à l’envi.
Le site internet est un support complémentaire qui nous permet de suivre l’actualité à la semaine, voire chaque jour. Nous donnons la parole à nos internautes pour nous donner leur avis sur les expos et aider les autres internautes à faire leur choix d’expos. Internet est très vivant, évolue chaque jour. Le magazine est une valeur sûre qui se garde sur soi.
Des projets de développement ? L’envie de décliner le magazine dans une autre ville ?
Nous avons plein d’idées de développement !
Notre premier souhait est de faire grandir Expo in the City, en restant libres et indépendants, ce qui est assez difficile car nos moyens ne sont pas ceux des grands groupes. Nous souhaitons étendre les services que nous proposons à nos lecteurs, toujours dans un esprit de convivialité, par exemple en créant une carte Club permettant d’inviter gratuitement une personne avec soi dans les musées, en organisant des soirées vernissages, des discussions sur des sujets d’expos... Tout en restant sur Paris, peut-être étendrons nous le magazine à la rentrée, a une version sur l’Art en général (musique, théâtre, cinéma, écriture…).
Merci et longue vie à Expo in the City !
www.decorobra.com/techos-verdes-decorativos-y-ecologicos....
Los techos verdes son techos con vegetación, plantas que viven en ellos. Podemos encontrar dos tipos de techos verdes, los intensivos y los extensivos. Para los primeros se necesita una capa de tierra de aproximadamente 30 centímetros y es necesario que la construcción tenga elementos estructurales muy fuertes para soportar el peso de estos techos ecológicos. Los techos verdes intensivos pueden tener una gran variedad de plantas y son muy atractivos pero generalmente requieren de mucho mantenimiento. Debido a esto, son menos comunes que los techos verdes extensivos.
Para los techos verdes extensivos sólo se necesita 7un capa de entre 5 y 10 centímetros de espesor pero es más limitada la variedad de plantas que pueden alojar. En los últimos 50 años han sido muy usados y desarrollados en Europa, y en los últimos tiempos han empezado a implementarse en Latinoamérica.
Los techos verdes tienen muchas ventajas. Principalmente protegen los techos de los rayos solares, los cuales suelen causar grietas en los materiales. Además mantienen el techo más fresco lo cual reduce el efecto de calentamiento, contribuyendo a que las ciudades no estén cada año más calientes. Como consecuencia reduce el consumo energético, ya que no será tan necesaria la utilización de electrodomésticos tales como aires acondicionados, etc.
Los techos verdes extensivos tienen una capa de semillas generalmente de pasto. Poseen plantas de poca raíz y no muy tolerantes al exceso de agua. Al presenta una capa de tierra muy fina, permite la propagación de plantas silvestres, ya que no pueden vivir en ese medio, en cierta forma, árido. Debajo de la capa de tierra se encuentran varias capas más. La primera es una capa de drenaje, la cual permite que el agua se mueva libremente fuera del techo, y por último, una capa de barrera que impide el paso del agua hacia el techo.
Desde el punto de vista de la estética, los techos verdes poseen un aspecto por demás agradable y natural, que brinda a las construcciones un aire natural y fresco. Si usted está pensando en poner un techo en su casa, le recomendamos hacer las averiguaciones previas, para saber si la estructura de su vivienda lo resistirá.
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www.iti-worldwide.org/theatredaymessage.html
Author of the World Theatre Day Message 2009
Augusto Boal - Message 2009
"All human societies are “spectacular*” in their daily life and produce “spectacles” at special moments. They are “spectacular” as a form of social organization and produce “spectacles” like the one you have come to see.
Even if one is unaware of it, human relationships are structured in a theatrical way. The use of space, body language, choice of words and voice modulation, the confrontation of ideas and passions, everything that we demonstrate on the stage, we live in our lives. We are theatre!
Weddings and funerals are “spectacles”, but so, also, are daily rituals so familiar that we are not conscious of this. Occasions of pomp and circumstance, but also the morning coffee, the exchanged good-mornings, timid love and storms of passion, a senate session or a diplomatic meeting - all is theatre.
One of the main functions of our art is to make people sensitive to the “spectacles” of daily life in which the actors are their own spectators, performances in which the stage and the stalls coincide. We are all artists. By doing theatre, we learn to see what is obvious but what we usually can’t see because we are only used to looking at it. What is familiar to us becomes unseen: doing theatre throws light on the stage of daily life.
Last September, we were surprised by a theatrical revelation: we, who thought that we were living in a safe world, despite wars, genocide, slaughter and torture which certainly exist, but far from us in remote and wild places. We, who were living in security with our money invested in some respectable bank or in some honest trader’s hands in the stock exchange were told that this money did not exist, that it was virtual, a fictitious invention by some economists who were not fictitious at all and neither reliable nor respectable. Everything was just bad theatre, a dark plot in which a few people won a lot and many people lost all. Some politicians from rich countries held secret meetings in which they found some magic solutions. And we, the victims of their decisions, have remained spectators in the last row of the balcony.
Twenty years ago, I staged Racine’s Phèdre in Rio de Janeiro. The stage setting was poor: cow skins on the ground, bamboos around. Before each presentation, I used to say to my actors: “The fiction we created day by day is over. When you cross those bamboos, none of you will have the right to lie. Theatre is the Hidden Truth”.
When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.
Participate in the “spectacle” which is about to begin and once you are back home, with your friends act your own plays and look at what you were never able to see: that which is obvious. Theatre is not just an event; it is a way of life!
We are all actors: being a citizen is not living in society, it is changing it."
Augusto Boal
(Original Portuguese)
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
(they also call it a robot), is from the Robotics Institute. I used to work with a Professor Mark Fox from that department in the early 1980's on an Artificial Intelligence/Expert System developed at Westinghouse. The department is now run by William Red L. Whittaker. The team of folks demonstrating the robot, and also who were part of the Red Team competition, where this vehicle, called Sandstorm, took second place in the 2005 DARPA Grand Challenge, included:
Alex Gutierrez and Andrew Mellinger
The unofficial upshot I gleaned from other alumni (not from members of the Red Team) is as follows: the first place winners from Stanford included two individuals who were originally from CMU, and perhaps reused some of the 'know-how' from there.
As for the vehicle itself, it ran into a large rock. :o)
english.news.cn/20220808/270d026219534be08c65eaa2ecb5d7fd...
Pelosi's provocative Taiwan visit sparks sharp criticism
Videos from around the world criticizing Pelosi's taunting visit to Taiwan, destablizing the region..
thehill.com/homenews/administration/3592512-biden-says-he...
Biden says he’s ‘not worried’ about China’s response to Pelosi visit to Taiwan
President Biden on Monday said he’s “not worried” about China’s aggressive response to Speaker Nancy Pelosi’s (D-Calif.) trip last week to Taiwan, adding that he doesn’t think things will escalate any further between the U.S. and Beijing.
“I’m not worried, but I’m concerned that they’re moving as much as they are. But I don’t think they’re going to do anything more,” Biden told reporters.
When asked if Pelosi’s trip was a mistake, the president said, “That was her decision.”
The Biden administration has condemned Beijing’s live-fire drills in the waters surrounding Taiwan, which included multiple Chinese warships and aircraft crossing the median line of the Taiwan Strait, following Pelosi’s visit.
“They are provocative, irresponsible, and raise the risk of miscalculation, that’s what the president was referring to,” White House press secretary Karine Jean-Pierre said on Monday, referring to China’s response.
“They are also at odd with our longstanding goal of maintaining peace and stability across the Taiwan strait, which is what the world expects,” she added.
Pelosi’s visit to Taipei last week made her the highest-ranking U.S. official to visit the island in 25 years. The Chinese foreign ministry characterized her visit as having a “severe impact on the political foundation of China-U.S. relations.”
Since she landed, the White House has said it respects Pelosi’s decision to visit Taiwan and has pushed back on questions about any drama between the Speaker’s office and the White House surrounding her trip.
Biden told reporters last month that the military “thinks it’s not a good idea” for Pelosi to visit Taiwan amid already rising tensions over the island’s status and the administration urging China not to back Russia’s invasion of Ukraine.
Before landing, White House national security spokesman John Kirby warned China against using the moment to create a “crisis” and then said on Tuesday that Beijing’s actions in response to her visit were “consistent with the playbook we expected them to run.”
www.chinadaily.com.cn/a/202208/09/WS62f19835a310fd2b29e70...
One-China principle clearly violated by trip
It's natural for China to feel angry and oppose the recent visit to Taiwan by United States House Speaker Nancy Pelosi, because the trip openly violates the one-China principle and challenges China's territorial integrity and sovereignty, experts said while explaining China's reaction and the severe countermeasures it has taken.
It's clear that the two sides of the Taiwan Straits are the same country, and the Taiwan question, which is purely China's internal affair, brooks no interference by foreign forces, they said.
Traveling in a military aircraft, Pelosi－second in the line of succession to the US president－last week paid a high-profile "official visit to Taiwan", as her office described it in her arrival statement, and was given full protocol treatment by Taiwan's Democratic Progressive Party authorities, which make no secret of pursuing "independence" in their party platform.
Pelosi's two-day trip included meeting with the island's leader Tsai Ing-wen and some "human rights" advocates, as well as visiting the island's "legislative "authority.
Hundreds of millions of Chinese watched, discussed and were outraged by the provocative trip that was also followed by unprecedented countermeasures by the Chinese government, including canceling three cooperative dialogues or meetings with the defense authorities of the US, suspending climate talks, and conducting live-fire drills surrounding the Taiwan island.
Bao Chengke, assistant director at the Institute for East Asian Studies in Shanghai, said that the visit has trampled on the one-China principle and China's national sovereignty, and was a move that in nature promoted the concept of "one China, one Taiwan".
To the Chinese side, the one-China principle is a bottom line that cannot be crossed. It has been reiterated numerous times by the Chinese government, and is firmly believed by the Chinese people, that the island of Taiwan has been an inseparable part of China's territory for 1,800 years and it's crystal clear that the two sides of the Straits belong to one China.
It was even worse that Pelosi turned a deaf ear to repeated warnings from the Chinese government and still made the trip, Bao said, adding that when something like this happens, it's reasonable for any country to feel angry and take severe countermeasures.
Lin Kuan-ting, a young man from Taiwan who is studying on the mainland, said he opposes the visit and the US should not interfere in the Taiwan question as the island has always been a part of China. Another Taiwan student on main-land, Lin Pei-ying, said the visit seriously hurt the feelings of compatriots on both sides of the Straits, and the contradictions between the two sides are purely our family matters.
Root of the Taiwan question
As Xi Jinping, general secretary of the Communist Party of China Central Committee, has said, the Taiwan question arose out of the weakness and chaos of the nation and will be resolved as national rejuvenation becomes a reality.
In 1894, Japan launched the First Sino-Japanese War to invade China. In the following year, the government of the Qing Dynasty (1644-1911) was forced to cede Taiwan to Japan under the unequal Treaty of Shimonoseki.
In 1945, the Chinese people won the War of Resistance Against Japanese Aggression (1931-1945). Taiwan was thus recovered and returned to the motherland.
In 1943, the leaders of China, the US and Britain issued the Cairo Declaration, which clearly states that all territories Japan stole from the Chinese, including Taiwan, shall be restored to China. The Potsdam Declaration of 1945 affirmed that the terms of the Cairo Declaration would be carried out. Thus, Taiwan's legal status as a part of China was irrefutably confirmed.
It was not long, however, before the two sides of the Straits fell into a special state of protracted political confrontation due to civil war in China and the interference of foreign forces.
In 1949, the Central People's Government of the People's Republic of China was established, replacing the Republic of China government as the sole legal government representing the whole of China. It is logical for the government of the People's Republic of China to exercise sovereignty over China, which includes Taiwan.
In 1971, the United Nations General Assembly adopted Resolution 2758 with an overwhelming majority vote, restoring all rights of the PRC and recognizing the government of the PRC as the sole legitimate representative of China to the United Nations.
The one-China principle is a widely recognized basic norm of international relations. More than 180 countries have to date established diplomatic relations with China on the basis of their recognition of the one-China principle, according to official records.
When China and the US established diplomatic relations in 1979, the US recognized in the joint communique with China that the government of the PRC is the sole legal government of China. Since then, the US has long been committed to not developing official relations with Taiwan.
"The one-China principle is part of the postwar international order and has become a general international consensus. As a country that thinks of itself as a champion of the 'rules-based international order', the United States should naturally abide by the one-China principle," Chinese Ambassador to the US Qin Gang wrote in an article in The Washington Post on Thursday.
"President Biden has said many times that the United States will not change its one-China policy and does not support 'Taiwan independence'. But for the 'Taiwan independence' forces, Pelosi's visit represents an exceptionally strong signal that 'the US is on Taiwan's side'. This goes against the one-China principle, the three Sino-US joint communiques and America's own commitments," the article said.
Wu Yongping, director of the Institute of Taiwan Studies at Tsinghua University, said that US support for "Taiwan independence "separatists is a fundamental reason why the Taiwan question is so difficult to resolve.
The US has tried to obscure and hollow out the one-China principle, Wu said, adding that it has colluded with "Taiwan independence" forces on the island and elevated relations with the island in various ways, including arms sales.
After the DPP came to power in Taiwan, it refused to recognize the 1992 Consensus which embodies the one-China principle, creating an increasingly tense and confrontational atmosphere across the Straits, according to Bao from the Institute for East Asian Studies.
Common will
Despite the complex situation, experts believe that the two sides of the Straits must be reunified in the future, which is also the will of the entire Chinese nation.
The mainland has great patience in dealing with the Taiwan question, and it has been working to promote integrated development and cooperation between people across the Straits in order to gradually overcome the resentment and differences and find the path of future reunification, Bao said.
Wu said the mainland's ability to resolve the Taiwan question has been increasing as well, which could been seen in the recent countermeasures, and no other forces should underestimate such ability and China's determination to safeguard its sovereignty and unity.
My photo was used for the cover of this quarter's California Kayaker magazine!!
You can read (and download) the entire magazine online here: www.calkayakermag.com/magazine.html Even if you're not a kayaker, there's usually interesting articles on nature and wildlife, too.
willowgrovedaycamp.com/willows.html
The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
LINK to another version of this photo used in a Vancouver newspaper - 28 July 1908 - www.newspapers.com/article/the-province-new-westminster-l...
LINK to another version of this photo with all players identified - (Vancouver Province newspaper - 22 July 1908) - www.newspapers.com/article/the-province-the-minto-cup-cha...
LINK to another version of this photo (11 July 1908) - New Westminster Lacrosse Champions Leave for the Trip East - www.newspapers.com/article/the-province-new-westminster-l...
LINK to - Record of Players of the New Westminster Lacrosse Team - www.newspapers.com/article/the-victoria-daily-times-recor...
Postcard photograph of the 1908 Minto Cup champions, the New Westminster Salmonbellies Lacrosse Club. C. Spring, C. Galbraith, W. Turnbull, J. Bryson, T. Gifford (Captain), A Turnbull, L. Turnbull, J. Gifford, C.A. Welsh (Business manager), C.D. Peele (team manager), A.B. Gray, T. Rennie, C.P. Latham, J. Feeney, I Wintemute, G. Rennie.
Alexander / Alex Baird "Sandy" Gray, goal-keeper, 23 years, 148 pounds; born in New Westminster and commenced playing senior lacrosse in 1901. A stalwart wall in goal for the New Westminster Salmonbellies at the start of their Minto Cup championship run, Alex ‘Sandy’ Gray was the best goalie on the Coast during the four seasons (1908, 1909, 1910 and 1911) in which he played professional lacrosse for the Salmonbellies. LINK - oldschoollacrosse.wordpress.com/2014/01/25/alex-sandy-gray/
(b. 24 June 1884 in Wellington, Nanaimo Regional District, British Columbia or New Westminster, B.C. - d. 28 June 1966 at age 82 in New Westminster, B.C.) - Outside of lacrosse, ‘Sandy’ Gray worked for 34 years as the provincial government agent at the New Westminster courthouse until his retirement in 1949. LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/e3... - LINK to his Find a Grave site - www.findagrave.com/memorial/97005883/alexander-baird-gray LINK to his newspaper obituary - www.newspapers.com/article/nanaimo-daily-news-obituary-fo...
Charley Galbraith, point, 26 years, 170 pounds; came to New Westminster in youth and has been in senior company since 1905.
Charles "Charlie / Charley" Galbraith
(b. August 28, 1881 in Belledune, Gloucester County, New Brunswick, Canada – d. November 10, 1924 at age 43 in Langley, Greater Vancouver Regional District, British Columbia, Canada) - he played for the New Westminster Salmonbellies Lacrosse team (1905-1911). LINK to his life story - oldschoollacrosse.wordpress.com/2016/04/03/charlie-galbra... LINK to his Find a Grave site - www.findagrave.com/memorial/143533925/charles-galbraith
LINK to his newspaper obituary - Charles "Charlie" Galbraith Obituary - www.newspapers.com/article/the-vancouver-sun-charles-char...
Thomas "Tommy" Gifford, cover point (captain), 28 years, 188 pounds; has been playing senior since 1898; went east on both former trips made by team in 1900 and 1902. LINK to his life story - www.clhof.org/index.php/en/about/in-the-news/news/28-old-...
Thomas Stoddart Gifford
(b. 5 June 1880 in Lockerbie, Scotland - d. 4 May 1966 at age 85 in Seattle, Washington) - HOF lacrosse player - he played for the New Westminster Salmonbellies Lacrosse team (1898-1912). LINK to his newspaper obituary - www.newspapers.com/article/the-province-obituary-for-thom...
James "Jimmy" Stoddart Gifford, first defence, 21 years, 150 pounds; playing senior since 1905. By the time the professional game came along in 1909, Gifford had already earnt the reputation for being one of the hardest and toughest players to take to the field. During the professional era his heated rivalry with ‘Newsy’ Lalonde of the Vancouver Lacrosse Club was legendary, nasty, and relentless. Even in old age Gifford continued to hold a grudge and could not bear being in the presence of Lalonde – even refusing to attend his hall-of-fame induction because Lalonde would also be there receiving the same honour, over 50 years passing since their last bloody battles had been fought. LINK - laxhall.com/2023/09/jimmy-gifford/
James "Jimmy" Stoddart Gifford
(b. 26 September 1886 in Scotland or St. Paul, Minnesota - d. 9 November 1976 at age 90 in New Westminster, B.C.) - he played with the New Westminster Salmonbellies Lacrosse Club from 1905 to 1912. LINK to his life story - oldschoollacrosse.wordpress.com/2015/09/20/jimmy-gifford/ LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/b5...
LINK to - James "Jimmy" Stoddart Gifford - Field Lacrosse Great Dies in Royal City - www.newspapers.com/article/the-vancouver-sun-james-jimmy-... - and LINK to his newspaper obituary - www.newspapers.com/article/the-province-obituary-for-jame...
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George Rennie, second defence, 26 years, 160 pounds; playing senior since 1901; went east on one former trip made by team.
Biography - In 26 years as a lacrosse player with the New Westminster Salmonbellies, New Brunswick - born George Rennie won five national championships and was selected to help represent Canada at the 1908 Summer Olympics. There he earned a gold medal with his team after it won its only match against Great Britain 14-10. He served in World War I, which interrupted his tenure with the Salmonbellies that had begun in 1901, but returned to the club after the conflict. He later served as an officer with the Royal City Adanacs lacrosse club and was inducted into the Canadian Lacrosse Hall of Fame as a charter member in 1966. LINK - www.olympedia.org/athletes/17802
George Haddow Rennie
(b. 10 March 1882 in Newcastle, New Brunswick, Canada - d. 13 December 1966 at age 84 in New Westminster, British Columbia) LINK to his newspaper obituary - www.newspapers.com/article/the-vancouver-sun-obituary-for... - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/6b...
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Tom Rennie, third defence, 24 years, 160 pounds; commenced playing senior in 1902; went east with old lacrosse team as reserve man In 1902.
James (Pat) Feeney, centre, 22 years, 145 pounds; born in New Westminster and commenced playing senior in 1904.
W. Turnbull, third home, 22 years, 165 pounds; born in New Westminster and commenced playing senior in 1906.
Irving "Punk" Wintemute, second home, 22 years. 150 pounds; born in New Westminster and commenced playing senior in 1905.
(b. February 24, 1886 – d. March 28, 1937)
New Westminster Salmonbellies (1905-1915; 1919)
‘Punk’ Wintemute was a member of the 1908 Minto Cup team that went East to pry the silver mug from the Montréal Shamrocks. He would then go on to play eight seasons at the professional level for the New Westminster Salmonbellies. LINK to his complete life story - oldschoollacrosse.wordpress.com/2015/09/07/irving-punk-wi...
Alexander Turnbull, first home, age unknown, 160 pounds; got into the game about 44 (estimated) years ago; has been with New Westminster team since 1897.
Len Turnbull, outside home, 148 pounds, 19 years; born in New Westminster, and commenced playing senior in 1906.
Jack Bryson, inside home, 160 pounds, 21 years; born in New Westminster, and commenced playing senior in 1903.
C. P. Latham, spare man, 160 pounds, 24 years of age; commenced playing senior in 1902.
C. Spring, spare man, 166 pounds, 19 years; first played senior last year.
With the exception of Alex. Turnbull every man on the team learned the game in New Westminster.
John "Jack" Gifford - Team mascot - Jack Gifford, of Famous Lacrosse Family - Jack, who Is the youngest of the famous Gifford family of lacrosse players, has never taken the interest in the game that his elder brothers did in years past. He has played indifferently and the opportunity to get away from the moll and turmoil of coast lacrosse proved too much for him and he seized with avidity the opening offered.
John Jardine Gifford
(b. 25 November 1895 in New Westminster, B.C. – d. 5 August 1974 at age 80 in New Westminster, B.C.) LINK to his Find a Grave site - www.findagrave.com/memorial/159549161/john-jardine-gifford LINK to his newspaper obituary - www.newspapers.com/article/the-vancouver-sun-obituary-for...
LINK to his life story - oldschoollacrosse.wordpress.com/2024/02/27/jack-gifford/
LINK to - Jack Gifford in Munition Corps - www.newspapers.com/article/vancouver-daily-world-jack-gif... LINK to his WWI records - recherche-collection-search.bac-lac.gc.ca/eng/Home/Record...
C. D. "Biscuits" Peele, the team manager, who will have charge of the aggregation on the eastern tour, commenced in senior ranks and was one of the team which made the eastern tour In 1895. He also played with the 1900 and 1902 teams In the east. He was born here 34 years ago, and has been identified with the game since he was big enough to play. In fact, the Peele family were once known as "the lacrosse family," there being four Peele boys in lacrosse ranks at one time. C. D. Peele left the team in 1905.
Clarence Dale Peele
(b. 28 June 1874 in New Westminster, B.C. - d. 31 October 1933 at age 59 In New Westminster, British Columbia) - LINK to his newspaper obituary - www.newspapers.com/article/the-vancouver-sun-obituary-for...
Charles Almeron Welsh, the business manager who will 'accompany the team,' has never played lacrosse, but, during his residence in this city, has always followed and been closely associated with the sport. He was president of the club for two years.
Charles was a member of the Harbour Board, and the Royal Agricultural and Industrial Society, the Board of Trade, the City Council and the Police Commission. He was a staunch conservative who ran unsuccessfully against A. Wells Gray in 1927. Fraternally, he was a Mason, a member of King Solomon Lodge, and was a past potentate and honourary life delegate of the Shrine, Gizeh Temple. He was also a member of the local Kiwanis Club. Charles Welsh was a sportsman with membership in the Vancouver Golf and country Club. His main sporting interest was however in lacrosse, where he was on the Board of B.C. Lacrosse Association, was a trustee of the Minto Cup, and was involved with the New Westminster Salmonbellies for many years, with his highlight coming as manager in 1908 when his team won the Minto Cup.
The first Postmaster at New Westminster Sub Office No. 2 was Charles Almeron Welsh from the opening - 1 September 1912 to 9 April 1935. This Sub Office was located in his Grocery Store on 1117 Sixth Ave in New Westminster, B.C.
Charles Almeron Welsh
(b. 17 February 1866 in Midland City, Michigan, USA - d. 25 February 1938 at age 72 in New Westminster, B.C.) - LINK to his newspaper obituary - spokesman.newspapers.com/article/the-vancouver-sun/106049... LINK to his Find a Grave site - www.findagrave.com/memorial/77856566/charles-almeron-welsh
Rev. Dr. James Sutherland Henderson - President of the New Westminster Lacrosse team.
(b. 11 June 1858 in Newmarket, Ontario, Canada - d. 18 March 1940 at age 81 in Vancouver, British Columbia) - LINK to his newspaper obituary - www.newspapers.com/article/the-province-obituary-for-rev-...
In 1903, Rev. J.S. Henderson became minister of St. Andrew’s Church, in New Westminster, B.C. Ten years, rich in service rendered and full of abundant activities, were passed in the Royal City. In his youth, for two years he had been a member of the champion football team of Ontario. Now lacrosse stirred his blood. For several years he was a member of the executive of the New Westminster Lacrosse Club - familiarly known as “The Salmonbellies,” and in 1908 when this team won the World Championship he was its honored president. LINK to his complete life biography - freemasonry.bcy.ca/grand_masters/henderson_j/henderson_j....
Daniel Trowling McElroy - New Westminster Lacrosse Team Trainer
(b. 5 April 1871 in Belfast, County Antrim, Northern Ireland - d. 2 October 1941 (aged 70) in New Westminster, British Columbia, Canada) - LINK to his Find a Grave site - www.findagrave.com/memorial/143397451/daniel-trowling-mce... - LINK to his newspaper obituary - www.newspapers.com/article/the-province-obituary-for-dani...
LINK to a newspaper article - Pte. D.T. McElroy injury in France during WWI - www.newspapers.com/article/the-province-pte-dt-mcelroy-in...
Son of Daniel McElroy and Jane Geddes
Husband of Mary Ellen Nicholson - married in 1898 - LINK to their marriage certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/bb...
WW1 veteran, Private Daniel Trowling McElroy, Reg No. 790647. Enlisted with the 131st Overseas Battalion CEF in New Westminster, BC on 18 Feb 1916. Served in France with the Canadian Forestry Corps. Was discharged 8 Oct 1918 for being medically unfit for further service. LINK to his WWI records - recherche-collection-search.bac-lac.gc.ca/eng/Home/Record...
The team's average weight per man is 158 2/3 pounds.
New Westminster Salmonbellies travelled to Montreal for a challenge match. They beat the Montreal Shamrocks for its first Minto Cup (then given to the top senior team in Canada).
1908 was a pivotal year in the history of the Minto Cup when the New Westminster Salmonbellies defeated the Montréal Shamrocks 12 to 7 in their two-game, total-goals series. The first game of the series was a close 6-5 result before the Salmonbellies responded with a commanding 6-2 win in the rematch to clinch the silverware.
LINK to newspaper report - New Westminster Wins First Game of the Minto Cup Match - www.newspapers.com/article/the-province-new-westminster-w...
LINK to - New Westminster Wins Minto Cup - www.newspapers.com/article/the-province-new-westminster-w...
With the benefit of hindsight, the 1908 New Westminster-Montréal series signaled a changing of the guard and is probably the most historically significant event in the cup’s history until the juniors took over control of the mug. It saw the game’s first dynasty coming to an end with a brand-new one at the opposite end of the country ready to take its place. The victory for the Royal City was notable for two other important reasons: the New Westminster Salmonbellies were the last bonafide amateur team to challenge and win the professional trophy as well as the first club from the Pacific Coast to pry the silver mug from the hands of the Easterners. LINK to the complete article - oldschoollacrosse.wordpress.com/
- the photographer - Frederick Louis Hacking
(b. 2 July 1880 in Ontario, Canada - d. 20 February 1969 at age 88 in Monterey, California, USA)
He started as a photo printer with the Wadds Brothers, then purchased S.J. Thompson's former New Westminster studio and by 1908 was running his own Vancouver studio at 445 Granville St. in the Fairfield Block. His landscape photographs attacted notice at the 1899 New Westminster exhibition.
The Daily News-Advertiser described his Vancouver studio when it opened in the Fairfield Block (Building) in 1908. Hacking, who was the official representative from BC at the Photographers' Association of the Pacific Northwest 1910 conference in Vancouver, was also elected vice-president for BC that year.
He later immigrated to California and registered for the US World War Two draft in 1942.
VANCOUVER STUDIO (FAIRFIELD BUILDING) DESCRIPTION:
This description of F.L. Hacking's new photo studio was published by the (Vancouver) Daily News-Advertiser on 14 Aug 1908, p. 15. The article was illustrated with three photographs depicting the "Reception Room", the "Skylight Room" and "Another View of Reception Room."
"An Artistic Studio.
A member of the "News-Advertiser" staff visited the new photographic studio of Mr. F.L. Hacking in the Fairfield Building, Granville Street, where for weeks past contractors and decorators have been transforming several suites of rooms and offices into what is now recognized as the most complete and artistic studio in the Province.
On entering the reception room, one is immediately impressed by the beautiful and quaint appearance of the apartment, which is furnished in the early English style. Amongst the many special features one's attention is drawn to the beautiful panelled walls, enriched with copper nailing, the unique fire grate and the casement windows and doors, whilst four heavy clusters of drop lights, suspended from the beamed ceilings--all designed and made especially for this studio--give the room a pleasing and uncommon appearance.
The delightful color scheme, from the rich rug on the floor to the delicate harmony of walls and ceilings, tends to show to advantage the specimens of artistic portraiture displayed, and gives visitors that feeling of repose and satisfaction that assures them that their own work could not be entrusted to better hands.
Leading from the reception room through a massive archway are the dressing rooms, each fitted with long pier mirrors and furnished in the same good taste.
The skylight room, one of the most important features of Mr. Hacking's business, has been constructed to give lighting facilities which will enable photographs to be taken at all reasonable times and under all conditions. The room is large and not encumbered with a hetreogeneous [sic] mass of painfully artificial scenery and paraphernalia; instead you see instruments and accessories of the best lenses by Dallmeyer, of London, England, and Goerz, of Berlin; camera by Anthony, of New York, and the necessary backgrounds are a revelation of simplicity and rich value, all painted especially by Packard, of Boston.
Nearly every modern equipment known to photography may be found in this up-to-date studio. The developing and finishing rooms are complete in every detail, giving this studio advantages for promptly executing work, a desideratum of no small importance, and one that will be immediately appreciated.
As a capable photographer, Mr. Hacking needs but little introduction in Vancouver. He was apprenticed when a young man in a leading Eastern studio, where high ideals and careful workmanship were early acquired. Eleven years ago he came to Vancouver and after eight years connected with Wadds Brothers' studio purchased the studio in New Westminster formerly conducted by Mr. S.J. Thompson. His artistic work brought immediate success that has necessitated branching out into the broader fields of opportunity offered in Vancouver.
Not being satisfied with anything but the best location and equipment, he finally secured the present quarters in the Fairfield building, the heart of the best district, which our readers are heartily commended to visit and inspect.
Mr. Hacking aptly says that "the aim and purpose of this studio is to turn out only high grade photographs, and the best that experience, artistic training, perfect equipment and skilled workmanship can produce is offered to its patrons." LINK to the complete article - cameraworkers.davidmattison.com/getperson.php?personID=I1...
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
© Álbum 2487
By Catedrales e Iglesias
Arquidiócesis Primada de México
Parroquia de Nuestra Señora de Guadalupe
Sitio Oficial de la Parroquia
www.laguadalupita.org.mx/menu.html
Párroco: P. Ricardo Junius Sander
Vicaría: II Decanato; 3
Joaquín García No. 39
Col. San Rafael
Del. Cuauhtémoc
Tel. 5546-6974 y
Tel. 55359788
La Guadalupita,un templo que respira vida
Escrito por Mauricio Carmona R.
Parroquia de Nuestra Señora de Guadalupe
La Guadalupita, un templo que respira vida
La mancha urbana ocultó el templo, pero no el ánimo de los fieles.
El testimonio de los sacerdotes hace que la feligresía tenga “hambre de Dios”.
Mauricio Carmona R.
Entre las calles de la Colonia San Rafael, plagada de teatros y centros nocturnos, subsiste la iglesia de la “Guadalupita”, como lo llaman los vecinos. Y a pesar de que pareciera una zona cerrada a la Palabra de Dios, los sacerdotes y la comunidad han hecho ver lo contrario.
El templo
Image
Narra la historia que donde hoy se levanta el Palacio de Bellas Artes, vivió la familia Aguilar Reyes, católicos nobles y buenos, cuya vivienda desapareció luego de un terrible incendio. La madre había quedado atrapada en el interior de la casa, por lo que se encomendó a una imagen de la Guadalupana que se hallaba en la recámara; a cambio de salir con vida de esa catástrofe, le prometió a la Virgen un oratorio.
La Reina de los Cielos escuchó las súplicas, pues pronto un vecino tendió una escalera y otros más le ayudaron a descender hasta quedar a salvo. El fuego consumió todo, excepto el cuadro milagroso de la Santísima Virgen de Guadalupe.
Pasados algunos meses, la familia se dio a la tarea de construir una capilla a la Morenita en una propiedad de la naciente Colonia San Rafael. Viendo la devoción que los vecinos tenían a la imagen, pidieron permiso a la Sagrada Mitra para celebrar Misa todos los domingos en el pequeño recinto.
El Arzobispo de México, entonces Mons. Luis María Martínez, viendo la cantidad de fieles que acudían, decretó que la capilla fuera elevada a rango de parroquia, delegando el cuidado pastoral a los sacerdotes Misioneros Oblatos de María Inmaculada. Con grandes esfuerzos, el amplio y hermoso templo fue concluido y dedicado el 12 de octubre de 1954, con el nombre de “Iglesia de la Guadalupita”, convirtiéndose además en la casa madre de la orden.
La comunidad
A pesar del gran tamaño del templo, tanto en profundidad como en altura, la mancha urbana no cedió terreno y dejó casi invisible el recinto. Ni los enormes puentes del Circuito Interior ni los numerosos teatros y locales de la zona dejan ver con facilidad la iglesia.
Pese a ello, la comunidad no cede ante cualquier dificultad, y en verdad que las tiene. Las distintas calles que rodean el templo se han visto plagadas por centros nocturnos y pequeños “antros”, que han hecho de aquellos parajes una zona roja; incluso, parecía retador el hecho de que justo a las puertas de la parroquia se encontrara uno de estos bares. La comunión y solidaridad de los vecinos de la Guadalupita no se hizo esperar para resolver la situación y, después de largos acuerdos, se logró el cierre del establecimiento. El P. Ricardo Junius, párroco del lugar, nos comenta la satisfacción que siente por encontrarse en medio de una comunidad actuante.
“Pienso que somos una comunidad muy unida y con ganas de compartir nuestra fe”, explicó el sacerdote de origen estadounidense. “Estamos ansiosos de propagar con más devoción el Evangelio, sobre todo con los vecinos que llegan a los nuevos departamentos que han construido”. Y es que en los últimos años, la zona ha quedado repleta de condominios, generando con ello, más dificultades para transmitir el mensaje de Cristo.
La Pastoral
La iglesia de la Guadalupita ha quedado oculta por la mancha urbana, pero no ha sucedido lo mismo con el espíritu de trabajo de los fieles, el cual deja entrever el esfuerzo que han hecho los padres Oblatos en la actividad pastoral que se destaca.
“Muchas personas se han mudado a otras partes de la ciudad y algo que nos entusiasma es ver sus rostros cada domingo en Misa o en nuestros grupos parroquiales. Vienen desde lejos a su parroquia”, confesó el P. Ricardo.
El trabajo que han realizado los sacerdotes ha hecho eco en la comunidad. “Nos llena mucho ver a los padres trabajar desde muy temprano y hasta avanzada hora la noche”, comentó la señora Felicita, quien además explicó que “los sacerdotes nos han hecho sentir hambre de Dios y de Su Palabra ¿Y cómo no sentirlo al ver el testimonio y ejemplo de nuestros padres?”
Por ello, y a solicitud de la comunidad, iniciará un Curso de Evangelización a partir del 5 de febrero, fiesta de san Felipe de Jesús. “Será un curso muy completo donde se descubrirá a Cristo, paz y alegría permanente, y que logrará nuestro objetivo principal que es ser representantes vivos del Evangelio”.
Entre los proyectos de esta comunidad, cabe destacar también la creación de nuevos grupos parroquiales como son los ministros extraordinarios, equipo litúrgico, renovación carismática y un foro de debates sobre temas fuertes de interés para la Iglesia Católica”.
Finalmente, los fieles, como don Ramiro, no pierden la esperanza de que este hermoso templo pueda llegar a ser una basílica menor, puesto que el número de asistentes es grande y “tal vez a nuestra Madre le gustaría que esta casita suya también se considerara santuario de oración”
Our Lady & The English Martyrs, Cambridge
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Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.