View allAll Photos Tagged independant
Cannes le 24 05 15.
Le selfy ou le règne de son cinéma indépendant ...
Nous sommes un dimanche.
Nous avons la chance inouïe d'être invités et hébergés par des amis Australiens pour vivre la journée de clôture du festival de Cannes.
Nous aurons aussi le privilège d'être invité à monter les marches le lendemain pour découvrir au grand palais le film qui aura obtenu la Palme d'Or.
Je suis fébrile car je n'ai que quelques heures magiques à utiliser pour essayer de capter ces instant instables et Browniens.
Par où commencer.
L'instinct sera mon guide. Donc plutôt essayer de capter le Back Office, les "à cotés", les acteurs connus et inconnus de cette farce rutilante, des portraits croisés de "stars du moment" et d'uniformes en faction, d'êtres riant fort ou stressant, d'être insolites ou perdus, d'être ou de ne pas en être ...
Un tourbillon d'apparat et de fébrilité en tout sens ...
Nerveusement éprouvant !
Cannes 24 May 15.
The Selfy or the reign of his independent cinema.
We are a Sunday.
We have the good fortune to be invited and hosted by friends of Australians to live the closing day of the Cannes festival.
We will also have the privilege of being invited to climb the stairs the next day to discover the great movie palaces having obtained the Palme d'Or.
I am feverish because I only have a few magical hours in use to try to capture that magical moment s and Brownian.
Where to start.
The instinct will be my guide. So rather try to capture the Back Office, the "quoted in", known and unknown actors of this gleaming farce, cross portraits of "stars of the moment" and uniforms on duty, beings laughing loudly or stressful, d be unusual or lost, to be or not to be ...
A ceremonial whirl and excitement in every direction ...
Nervously experiencing !!!
Train marshalled, ready to go awaiting decisions… see what tomorrow brings and if we get out for a run.
Le pont de Wandre relie, en enjambant la Meuse et le canal Albert, Herstal à Liège. Conçu par le bureau d’études René Greisch, il remplace deux ponts indépendants – un sur chaque voie d’eau – devenus obsolètes suite à la mise au gabarit du canal Albert, dont la largeur est passée de 35 à 85 m. Cet ouvrage, inauguré en 1989, vaudra une distinction au bureau qui l’a imaginé, outre une indéniable reconnaissance internationale.
Long de 524 m, le pont est un ouvrage haubané à pylône central unique d’une hauteur de 102 m, réalisé en béton armé et précontraint. Les travées principales ont une portée de 168 m (Meuse) et 144 m (canal Albert) et sont suspendues au pylône en Y renversé par 19 haubans (entre 73 et 175 m de longueur espacés tous les 6 m au niveau du tablier). La travée d’approche de la rive gauche est désolidarisée du reste et courbe afin de palier d’éventuels tassements dus à la présence d’anciens puits de mine.
La mise en œuvre adoptée a maintenu l’utilisation continue des axes routiers et fluviaux, si bien qu’une grande partie du tablier a été réalisée sur la rive gauche et mise en position par poussage, une technique inédite pour les ponts haubanés. Cette première architecturale mondiale est adéquatement rehaussée par un éclairage de nuit mis en place dès la conception.
Depuis 1993, le pont de Wandre est classé monument du patrimoine historique majeur de Belgique.
The Wandre bridge links, by spanning the Meuse and the Albert canal, Herstal to Liège. Designed by the René Greisch design office, it replaces two independent bridges - one on each waterway - which had become obsolete following the upgrading of the Albert Canal, whose width was reduced from 35 to 85 m. This work, inaugurated in 1989, will be worth a distinction to the office which imagined it, in addition to an undeniable international recognition.
The 524 m long bridge is a cable-stayed structure with a single central pylon, 102 m high, made of reinforced and prestressed concrete. The main spans have a span of 168 m (Meuse) and 144 m (Albert canal) and are suspended from the Y pylon overturned by 19 stay cables (between 73 and 175 m in length spaced every 6 m at the level of the deck). The approach span to the left bank is separated from the rest and curved to compensate for any settlements due to the presence of old mine shafts.
The implementation adopted maintained the continuous use of the road and river axes, so much so that a large part of the deck was carried out on the left bank and put into position by pushing, a new technique for cable-stayed bridges. This world architectural first is adequately enhanced by night lighting implemented from the design stage.
Since 1993, the Wandre bridge has been classified as a major historical heritage monument in Belgium.
I can't help feeling I cheated when using an app on my phone. I have 4 or 5 old BW versions of this and this is the one I like most.
Some new and emerging Irish music you may not have heard before, at BLUEORANGE Saturday 23rd October 2021
ok so here's the story .. i was walking outside at night cause i was Bored to Death ! .. so while walking i saw My shadow on the wall o.O .. so i started making silly pauses =P .. and i guess u know the rest lol
==============
1. Peace ~
2. Rock On !!!!!!!!!
3. YEAH! Im the One XP
4. Just Chillin (H)
5. Faboulous *bling bling*
6. Outta Ma Way or u gon Get it !
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Model: ĵøĸəř Ĵґ
Taken By: ĵøĸəř Ĵґ
Edited By: ĵøĸəř Ĵґ, 3чŏυŋīĸ.Ðέήчітч..¬»[ ♥ ], 5o5a !
Hope u Like it ;P
Exposition de Photos du photographe Allemand international indépendant Stefan Meisel au Goethe-Institut Côte d'Ivoire. Stefan Meisel montre une sélection de ses photos des joueurs ivoiriens de l'équipe national de 2006 - 2010. L'exposition sera ouvert du 10 juin au 30 juillet 2010 du lundi au vendredi de 08h00 à 18h00.
L'evénement sur Facebook | La page de Goethe-Institut Côte d'Ivoire
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Fotos von Stefan Meisel im Goethe-Institut Côte d'Ivoire.
Eine Auswahl von Meisel's Fotos der ivorischen Nationalmannschaft 2006 - 2010.
Die Ausstellung wird am 9. Juni eröffnet (nur auf Einladung) und ist vom 10. Juni 2010 bis 30. Juli 2010 wochentags während der Öffnungszeiten des Instituts von 8.00 h - 18.00 h zu sehen.
Die Ausstellung auf Facebook | Die website vom Goethe-Institut Côte d'Ivoire
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Stefan Meisel, german photographer and designer who lives since several years in Abidjan, will exhibit a selection of his ivorian soccer photos in Goethe-Institut Côte d'Ivoire in Abidjan, June 10 til July 30, 2010.
The event on Facebook | The Goethe-Institut Côte d'Ivoire webpage
Danish built MZ III class locomotives 1428 and 1445 pass through Hawkesbury River Station with a northbound freight, bound for Sandgate (near Newcastle)
Poynters N22 POY, a Dennis Trident/East Lancs Lolyne, seen leaving the Weedon depot as it sets off on an afternoon school Contract on the 21st of October 2021. Hopefully the bus will soon be repainted, as unfortunately, it still wears the ghastly livery of previous operator Tyrers.
Top notch furnitures, luxury design and comfort , the Plaza Athenee is a wonderful place, ideal for a trip with your beloved. Discover the numerous "boudoirs" of the hotels.
More informations:
www.hoosta.com/france/hotel-plaza-athenee/?lang=en
Hoosta Style Hotels Collection : the coolest travel website for modern urban nomads. Dream and book directly with your independant hotelier !
Hoosta Style Hotels Collection : the coolest travel website for modern urban nomads. Dream and book directly with your independant hotelier !
Hunters R259 LHK. The ex-Dublin bus Volvo Olympian is seen descending Royal Oak Way, Daventry, having set off from the depot on afternoon school contract work.
26th September 2018.
Constantin Brancusi's sculpture Princesse X caused considerable controversy at the 1920 Salon des Indépendants in Paris. The work was removed from the exhibition after visitors complained that it was pornographic and shouted the title "the phallus" upon seeing it.
Brancusi's successive titles (Princesse Marie Bonaparte in 1917, Princesse X in 1920) contributed to the mystery surrounding the model. Princess Marie Bonaparte, a descendant of Napoleon, was a psychoanalyst and a close friend of Sigmund Freud, whose research focused, among other things, on female sexuality, which may explain the sexual form of the sculpture.
The work has become an iconic example of the controversies surrounding modern art and the limits of artistic expression.
H’ART Museum Amsterdam - Brancusi: The Birth of Modern Sculpture (from 20 September 2025 to 18 January 2026).
H’ART Museum Amsterdam presents this grand exhibition in collaboration with the collections from the Centre Pompidou. This landmark presentation brings an exceptional collection of works by Constantin Brancusi (1876–1957), who is widely regarded as the father of modern sculpture.
Constantin Brancusi was born in Romania, but at the age of 28 decided there was no future for him in his homeland. He set off on foot for Europe’s art capital: Paris. Within a few years, he developed a new, groundbreaking way of sculpting there.
By simplifying forms, Brancusi wanted to reveal something deeper – the essence of things.
Palais - Hôtel DuPeyrou
L'Hôtel DuPeyrou fut construit au XVIIIe siècle, de 1765 à 1770-71. Il porte le nom de son créateur, esprit indépendant qui se lia notamment avec Jean-Jacques Rousseau. C'est lui qui, après la mort de l'écrivain, publia à Genève, en 1788, la première édition complète de ses œuvres.
Pierre-Alexandre DuPeyrou, né le 7 mai 1729 et mort le 13 novembre 1794, est un notable de Neuchâtel, à la tête d'une énorme fortune et un esprit indépendant qui se lia notamment avec Jean-Jacques Rousseau. C'est lui qui, après la mort de l'écrivain, publia à Genève, en 1788, la première édition complète de ses œuvres. En 1790, il publia, encore à Neuchâtel, la deuxième partie des « Confessions »
Aujourd'hui c'est un restaurant de haut de gamme cité dans le guide Michelin.
Palace - Hotel DuPeyrou
The Hotel DuPeyrou was built in the 18th century, from 1765 to 1770-71. It bears the name of its creator, an independent spirit who notably bonded with Jean-Jacques Rousseau. It was he who, after the death of the writer, published in Geneva, in 1788, the first complete edition of his works.
Pierre-Alexandre DuPeyrou, born May 7, 1729 and died November 13, 1794, is a notable of Neuchâtel, at the head of an enormous fortune and an independent spirit which was linked in particular with Jean-Jacques Rousseau. It was he who, after the death of the writer, published in Geneva, in 1788, the first complete edition of his works. In 1790, he published, still in Neuchâtel, the second part of the "Confessions"
Today it is an upscale restaurant cited in the Michelin guide.
Hunters PXI 1319 heads along Royal Oak Way, Daventry, having left the depot for afternoon school duties. I popped here for G801 TBD, which has recently been repainted. Of course, it was the only bus that passed me when the sun was hiding behind a cloud...............
Erik Witsoe | BLOG | Facebook | Medium | 500px | Twitter | Instagram | Flickr
Warsaw, Poland
Autumn
NIKON FM2 and a roll of Fuji Superia X-Tra 400
Just got back the scans of film from my recently repaired NIKON FM2 and a roll of Fuji. This was on ef the last shots on the roll as I hurried to get to the developer and drop it off. Fun working with film again and reminding myself how to wrok in the Sunny 16 mindset.
Tiger in a Tropical Storm or Surprised! is an 1891 oil-on-canvas painting by Henri Rousseau. It was the first of the jungle paintings for which the artist is chiefly known. It shows a tiger, illuminated by a flash of lightning, preparing to pounce on its prey in the midst of a raging gale.
Unable to have a painting accepted by the jury of the Académie de peinture et de sculpture, or the Academy of Painting and Sculpture, Rousseau exhibited Tiger in a Tropical Storm in 1891 under the title Surpris!, at the Salon des Indépendants, which was unjuried and open to all artists. The painting received mixed reviews. Rousseau had been a late developer: his first known work, Landscape with a Windmill, was not produced until he was 35, and his work is marked by a naïveté of composition that belies its technical complexity. Most critics mocked Rousseau's work as childish, but Félix Vallotton, a young Swiss painter who was later to be an important figure in the development of the modern woodcut, said of it:
His tiger surprising its prey is a 'must-see'; it's the alpha and omega of painting and so disconcerting that, before so much competency and childish naïveté, the most deeply rooted convictions are held up and questioned.
He (Rousseau's tiger) is derived from a motif found in the drawings and paintings of Eugène Delacroix. It was claimed, either by Rousseau himself or by his friends and admirers, that he had experienced life in the jungle during his time in Mexico in 1860, where he had served as a regimental bandsman. In fact he never left France, and it is thought that his inspiration came from the botanical gardens of Paris, such as the Jardin des Plantes (which included zoological galleries with taxidermy specimens of exotic animals), and from prints and books. The fin de siècle French populace was captivated by exotic and dangerous subjects, such as the perceived savagery of animals and peoples of distant lands. Tigers on the prowl had been the subject of an exhibition at the 1885 École des Beaux-Arts. Emmanuel Frémiet's famous sculpture of 1887 depicting a gorilla carrying a woman exuded more savagery than anything in Rousseau's canvases, yet was found acceptable as art; Rosseau's poor immediate reception therefore seems the result of his style and not his subject matter.
The tiger's prey is beyond the edge of the canvas, so it is left to the imagination of the viewer to decide what the outcome will be, although Rousseau's original title Surprised! suggests the tiger has the upper hand. Rousseau later stated that the tiger was about to pounce on a group of explorers. Despite their apparent simplicity, Rousseau's jungle paintings were built up meticulously in layers, using a large number of green shades to capture the lush exuberance of the jungle. He also devised his own method for depicting the lashing rain by trailing strands of silver paint diagonally across the canvas, a technique inspired by the satin-like finishes of the paintings of William-Adolphe Bouguereau.
Although Tiger in a Tropical Storm brought him his first recognition, and he continued to exhibit his work annually at the Salon des Indépendants, Rousseau did not return to the jungle theme for another seven years, with the exhibition of Struggle for Life (now lost) at the 1898 Salon. Responses to his work were little changed; following this exhibition, one critic wrote, "Rousseau continued to express his visions on canvas in implausible jungles... grown from the depths of a lake of absinthe, he shows us the bloody battles of animals escaped from the wooden-horse-maker". Another five years passed before the next jungle scene, Scouts Attacked by a Tiger (1904). The tiger appears in at least three more of his paintings: Tiger Hunt (c. 1895), in which humans are the predators; Jungle with Buffalo Attacked by a Tiger (1908); and Fight Between a Tiger and a Buffalo (1908).
His work continued to be derided by the critics up to and after his death in 1910, but he won a following among his contemporaries: Picasso, Matisse, and Toulouse-Lautrec were all admirers of his work. Around 1908, the art dealer Ambroise Vollard purchased Surprised! and two other works from Rousseau, who had offered them at a rate considerably higher than the 190 francs he finally received. The painting was later purchased by the National Gallery, London in 1972 with a contribution from the billionaire philanthropist Walter H. Annenberg.
Le pont de Wandre relie, en enjambant la Meuse et le canal Albert, Herstal à Liège. Conçu par le bureau d’études René Greisch, il remplace deux ponts indépendants – un sur chaque voie d’eau – devenus obsolètes suite à la mise au gabarit du canal Albert, dont la largeur est passée de 35 à 85 m. Cet ouvrage, inauguré en 1989, vaudra une distinction au bureau qui l’a imaginé, outre une indéniable reconnaissance internationale.
Long de 524 m, le pont est un ouvrage haubané à pylône central unique d’une hauteur de 102 m, réalisé en béton armé et précontraint. Les travées principales ont une portée de 168 m (Meuse) et 144 m (canal Albert) et sont suspendues au pylône en Y renversé par 19 haubans (entre 73 et 175 m de longueur espacés tous les 6 m au niveau du tablier). La travée d’approche de la rive gauche est désolidarisée du reste et courbe afin de palier d’éventuels tassements dus à la présence d’anciens puits de mine.
La mise en œuvre adoptée a maintenu l’utilisation continue des axes routiers et fluviaux, si bien qu’une grande partie du tablier a été réalisée sur la rive gauche et mise en position par poussage, une technique inédite pour les ponts haubanés. Cette première architecturale mondiale est adéquatement rehaussée par un éclairage de nuit mis en place dès la conception.
Depuis 1993, le pont de Wandre est classé monument du patrimoine historique majeur de Belgique.
The Wandre bridge links, by spanning the Meuse and the Albert canal, Herstal to Liège. Designed by the René Greisch design office, it replaces two independent bridges - one on each waterway - which had become obsolete following the upgrading of the Albert Canal, whose width was reduced from 35 to 85 m. This work, inaugurated in 1989, will be worth a distinction to the office which imagined it, in addition to an undeniable international recognition.
The 524 m long bridge is a cable-stayed structure with a single central pylon, 102 m high, made of reinforced and prestressed concrete. The main spans have a span of 168 m (Meuse) and 144 m (Albert canal) and are suspended from the Y pylon overturned by 19 stay cables (between 73 and 175 m in length spaced every 6 m at the level of the deck). The approach span to the left bank is separated from the rest and curved to compensate for any settlements due to the presence of old mine shafts.
The implementation adopted maintained the continuous use of the road and river axes, so much so that a large part of the deck was carried out on the left bank and put into position by pushing, a new technique for cable-stayed bridges. This world architectural first is adequately enhanced by night lighting implemented from the design stage.
Since 1993, the Wandre bridge has been classified as a major historical heritage monument in Belgium.
Located in the city of Barcelona Spain. Beautiful place ! One of my grand fathers supported the grand duke in Catalonia's bid to maintain its independence from Spain way back when. All I was ever told is he left rather hastily with a few belongings and the shirt on his back ! His name was anglicized when he got here and no one ever told me what his real name was. The point is moot now because anyone who might have known has passed on.
Taken at Elysion's fetish club
Credits:
~MR~Shiny Queen~ Gold
DOUX - Kathleen hairstyle
Bauhaus - Alisha Coat / Lipstick
:::ChicChica::: Lonely evening (wine glass)
Blog - harleypi.wixsite.com/serendipity/post/miss-independent
Facebook - www.facebook.com/serendipityphotographysl/
Together,
except poors, foreigners, communists, homosexuals, independant journalists, Black people, Arabic people, and the guy who stole my wife,
everything is possible
(sorry for this bad translation!)
♫ Of Monsters And Men youtu.be/68UPqsVhQAg?si=20oHQfqm_D0TkWv9
Genre : rock indépendant, Indie folk
Origine : Garðabær, Islande
Membres : Nanna Bryndís Hilmarsdóttir, Ragnar Þórhallsson, Brynjar Leifsson, Arnar Rósenkranz Hilmarsson et Kristján Páll Kristjánsson
« (en fait si con que s’il devait travailler en indépendant, il n’arriverait même pas à vendre des glaces en enfer !) » (A.S.)
new website : this, random, RSS | random Flickr | © David Farreny.
……Went to an independant garden centre yesterday and there was a great Antique section - the phone really came into its own here and I made use of the wide angle lens - this is straight out of camera apart from a plus 25 on the shadows in Lightroom. I remember having a Tri-ang trike like this only mine was Blue & Yellow as I recall - wish I still had my peddle car - an Austin Somerset in Red, I was the Bees knees in that I can tell you!! There was lots to see & i struggled to get Jill out!!! Alan:-)…….
For the interested I’m growing my Shutterstock catalogue regularly here, now sold 106 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...
©Alan Foster.
©Alan Foster. All rights reserved. Do not use without permission.……
Depuis l’annonce du décès d’Alysson, les témoignages d’affection inondent les réseaux sociaux. Amis, confrères barbiers et coiffeurs, indépendants, inconnus, et même politiques, se joignent pour rendre hommage à la jeune barbière. En août dernier, en pleine crise sanitaire, cette Liégeoise de 24 ans avait ouvert son barber shop, le Hooterscitting, dans la rue Saint-Gilles. Un rêve pour elle qui devenait réalité. Mais quelques mois plus tard, elle ne s’en sortait plus et a mis fin à ses jours.
Début de semaine, une fresque à l’image d’Alysson est apparue à Liège. Le portrait, qui a été réalisé dans le bâtiment abandonné du Forem, rue Bois d’Avroy, a beaucoup tourné sur les réseaux sociaux. Son père a longtemps essayé de trouver qui en était l’auteur afin de le remercier. Il s’agit du graffeur liégeois Hyer, un ancien client du salon où travaillait Alysson avant de devenir barbière.
Le jeune homme a confié à nos confrères de la RTBF qu’il détestait aller chez le coiffeur, mais que la jeune femme l’avait très vite mis à l’aise. “On avait de bonnes discussions et je sentais que c’était une bonne personne”, a-t-il ajouté.
Le jour où est né le portrait d’Alysson, le jeune homme avait prévu de peindre. “Et ça coulait de source, il fallait que ce soit Alysson”, commente-t-il.
À travers sa fresque, le graffeur a voulu rendre hommage la barbière, mais pas seulement. Son œuvre est empreinte d’une certaine colère. La colère de voir que, selon lui, le gouvernement abandonne les indépendants: “Alysson a eu le courage de faire ce que beaucoup de gens de ma génération n’ont pas fait: entreprendre. En Belgique, c’est très dur.”
Since the news of Alysson’s death, expressions of affection have flooded social media. Friends, fellow barbers and hairdressers, independent, unknown, and even politicians, join in to pay tribute to the young barber. Last August, in the midst of a health crisis, this 24-year-old woman from Liège opened her barber shop, the Hooterscitting, in rue Saint-Gilles. A dream for her that was coming true. But a few months later, she couldn't get over it and ended her life.
At the start of the week, a fresco in the image of Alysson appeared in Liège. The portrait, which was taken in the abandoned building of Le Forem, rue Bois d´Avroy, has turned a lot on social networks. His father had long tried to find out who the author was in order to thank him. This is the Liege graffiti artist Hyer, a former client of the salon where Alysson worked before becoming a barber.
The young man told our colleagues at RTBF that he hated going to the hairdresser, but that the young woman quickly put him at ease. “We had good discussions and I felt he was a good person,” he added.
On the day the portrait of Alysson was born, the young man planned to paint. “And it was obvious, it had to be Alysson,” he comments.
Through his fresco, the graffiti artist wanted to pay homage to the barbière, but not only. There is a certain anger in his work. The anger to see that, according to him, the government is abandoning the independents: “Alysson had the courage to do what a lot of people of my generation did not do: undertake. In Belgium, it's very hard. "
Heading for Scotland after reversal in Kingmoor Up loop, passing under the M74 with a set of ISPs Eastriggs - Shettleston.
A country Lion coach, an Iveco with registration plate YNH 1W, which I know is now used on another vehicle, so I assume they no longer own this coach? Photographed leaving Rhosili Road on the Brackmills estate, Northampton, having left the depot to perform afternoon school duties on the 9th of February 2016.
Three Sisters Production of 'Bronte' by Polly Teale. Playing at the Metro Arts Theatre in Brisbane Australia September 2008.
'Bronte' is a play based on the lives of the Bronte sisters.
Rehearsal Photos.
Comments are appreciated!
Le palais de l'Aljaferia (en arabe : قصر الجعفرية, Qasr Aljafariya ; en espagnol : Palacio de la Aljafería) est un palais fortifié construit durant la seconde moitié du XIe siècle, à l'époque d'Al-Muqtadir, à Saragosse, en tant que résidence des rois Banu Hud. Il reflète la splendeur de la taïfa de Saragosse au moment de son apogée politique et culturel.
Son importance réside en ce qu'il est l'unique témoignage conservé d'un grand édifice de l'architecture islamique en Espagne à l'époque des Taïfas. Avec la mosquée de Cordoue (Xe siècle) et le chant du cygne de la culture islamique que fut l'Alhambra de Grenade (XIVe siècle), nous devons inclure dans la triade de l'architecture hispano-musulmane l'Aljaferia de Saragosse comme parfait exemple de réalisation de l'art taïfa de la période intermédiaire des royaumes indépendants antérieurs à l'avènement des Almoravides.
Après la reconquête de Saragosse en 1118 par Alphonse Ier le Batailleur, le palais servit de résidence aux rois catholiques d'Aragon, dont l'Aljaferia devint le principal élément de diffusion de l'art mudéjar aragonais. Il devint la résidence royale de Pierre IV le Cérémonieux. Postérieurement, en 1492 fut menée la reconversion des appartements de l'étage principal en palais des rois catholiques.
En 1593 fut mise en chantier une autre reconversion qui en fit une forteresse militaire, dans un style Renaissance (que l'on peut observer dans l'environnement, les fossés et les jardins), et plus tard encore, une caserne. Le palais eut encore à subir d'autres transformations et déprédations, en particulier durant le siège de Saragosse de la guerre d'Indépendance, jusqu'à sa restauration dans la seconde moitié du XXe siècle. Le palais est actuellement le siège des Cortes d'Aragon.
La Aljafería es un palacio fortificado construido en Zaragoza en la segunda mitad del siglo XI por iniciativa de Al-Muqtadir como residencia de los reyes hudíes de Saraqusta. Este palacio de recreo (llamado entonces «Qasr al-Surur» o Palacio de la Alegría) refleja el esplendor alcanzado por el reino taifa en el periodo de su máximo apogeo político y cultural.
Su importancia radica en que es el único testimonio conservado de un gran edificio de la arquitectura islámica hispana de la época de las Taifas. De modo que, si se conserva un magnífico ejemplo del Califato de Córdoba, su Mezquita (siglo X), y otro del canto de cisne de la cultura islámica en Al-Ándalus, del siglo XIV, La Alhambra de Granada, se debe incluir en la tríada de la arquitectura hispano-musulmana La Aljafería de Zaragoza (siglo XI) como muestra de las realizaciones del arte taifa, época intermedia de reinos independientes anterior a la llegada de los almorávides. Los restos mudéjares del palacio de la Aljafería fueron declarados Patrimonio de la Humanidad por la Unesco en 2001 como parte del conjunto «Arquitectura mudéjar de Aragón».1
Las soluciones adoptadas en la ornamentación de la Aljafería, como la utilización de arcos mixtilíneos y de los salmeres en «S», la extensión del ataurique calado en grandes superficies o la esquematización y abstracción progresiva de las yeserías de carácter vegetal, influyeron decisivamente en el arte almorávide y almohade tanto del Magreb como de la península ibérica. Asimismo, la transición de la decoración hacia motivos más geométricos está en la base del arte nazarí.
Tras la reconquista de Zaragoza en 1118 por Alfonso I el Batallador pasó a ser residencia de los reyes cristianos de Aragón, con lo que la Aljafería se convirtió en el principal foco difusor del mudéjar aragonés. Fue utilizada como residencia regia por Pedro IV el Ceremonioso y posteriormente, en la planta principal, se llevó a cabo la reforma que convirtió estas estancias en palacio de los Reyes Católicos en 1492. En 1593 experimentó otra reforma que la convertiría en fortaleza militar, primero según diseños renacentistas (que hoy se pueden observar en su entorno, foso y jardines) y más tarde como acuartelamiento de regimientos militares. Sufrió reformas continuas y grandes desperfectos, sobre todo con los Sitios de Zaragoza de la Guerra de la Independencia hasta que finalmente fue restaurada en la segunda mitad del siglo XX y actualmente acoge las Cortes de Aragón.
The Aljafería Palace (Spanish: Palacio de la Aljafería; Arabic: قصر الجعفرية, tr. Qasr al-Jaʿfariya) is a fortified medieval Islamic palace built during the second half of the 11th century in the Taifa of Zaragoza of Al-Andalus, present day Zaragoza, Spain. It was the residence of the Banu Hud dynasty during the era of Abu Jaffar Al-Muqtadir after abolishing Banu Tujibi of Kindah dynasty. The palace reflects the splendor attained by the kingdom of the taifa of Zaragoza at the height of its grandeur. The palace currently contains the Cortes (regional parliament) of the autonomous community of Aragon.
The structure holds unique importance in that it is the only conserved testimony of a large building of Spanish Islamic architecture of the era of the Taifas (independent kingdoms).
Wikipedia
Del Boy's three wheeled van is a 1967 Reliant Regal Supervan III [not a Reliant Robin as shown here], with the registration DHV 938D. Quoted from the 'Only Fools and Horses' Fandom website
Coatbridge... is a town in North Lanarkshire, Scotland, about 8 1⁄2 miles (13.5 kilometres) east of Glasgow city centre, set in the central Lowlands. The town, with neighbouring Airdrie, is part of the Greater Glasgow urban area. While the earliest known settlement of the area dates back to the Stone Age era, the founding of the town can be traced to the 12th century, when a Royal Charter was granted to the monks of Newbattle Abbey by King Malcolm IV. Coatbridge, along with its neighbour Airdrie, forms the area known as the Monklands (population approximately 90,000 including outlying settlements). Quoted from Wikipedia
StarDust is a YY-Wing model that could fit in the near future of the Star Wars universe as a rebel ship or an independant bounty hunter's It has one front pilot cokpit and another one for weaponry on thee top of the ship. The ship has a back deck door allowing a land speeder to get in.
Get it at: www.repubrick.com/index.php?option=com_virtuemart&vie...
More models by Talebuilder: www.repubrick.com/index.php?option=com_vmvendor&view=...
Am 14.04.2021 kommt die pinkfarbene G2000 mit der Nummer 2104, vom niederländischen EVU Independant Rail Partner, mit einem Gaskesselwagenzug durch die Gütergleise am Kölner Westbahnhof daher gefahren😁
Can fit two minifigs, a driver and a gunner. The two cannons are independant and can work in linked mode with the same target or have each their own target.
Needed a small vehicle for another project...
A trois kilomètres du centre historique, aux abords du Paseo Maritimo et de la plage de Las Arenas se tient un quartier historique et peu banal. Jadis indépendant, El Cabanyal était un village de pêcheurs assez désordonné mais il changea radicalement d'aspect à la fin du XIXe siècle tout en gardant son authenticité. Avec ses rues parallèles à la mer et son plan quadrillé, c'est un véritable plaisir de le parcourir. Et ce dernier doit tout aux couleurs des maisons qui bordent ces rues. Recouvertes de carreaux colorés, décorées avec soin, elles font de ce quartier une véritable merveille.
Véritables exemples du modernisme de Valence, elles tranchent avec les bâtiments plus sobres du centre ville. C'est ce modernisme populaire qui fait l'attrait de ces jolis pâtés de maisons et qui va être développé dans cet article. Loin d'être exhaustive, la liste des façades proposée permet toutefois de se faire une idée et de se régaler les pupilles ! Quelques heures suffisent pour visiter El Cabanyal mais certains restaurants ou autres bars à tapas permettront de rallonger la visite, sans oublier la mer, située à deux pas.
Three kilometers from the historic center, near the Paseo Maritimo and the beach of Las Arenas stands a historic and unusual district. Formerly independent, El Cabanyal was a rather messy fishing village but it radically changed its appearance at the end of the 19th century while retaining its authenticity. With its streets parallel to the sea and its grid plan, it is a real pleasure to walk through it. And the latter owes everything to the colors of the houses that line these streets. Covered with colorful tiles, decorated with care, they make this district a real marvel.
True examples of modernism in Valence, they contrast with the more sober buildings in the city centre. It is this popular modernism which makes these attractive blocks of houses attractive and which will be developed in this article. Far from being exhaustive, the list of facades proposed nevertheless allows you to get an idea and to feast your eyes! A few hours are enough to visit El Cabanyal but some restaurants or other tapas bars will make it possible to lengthen the visit, without forgetting the sea, located a stone's throw away.