There has been a church on this site since Saxon times. The original building was probably built of wood, but this was succeeded by one of stone by the time of the Domesday survey in 1086 AD. It was probably built of ragstone and tufa both of which occur locally, some of the stone being reused for the construction of the present building dating from the 13th & 14th centuries. Much work was carried out during the 19th century, the north aisle being added in 1824, the south aisle in 1856, and the east wall of the chancel being rebuilt in 1883/4. The porch dates from the 15th century, and was moved to its present position after the addition of the south aisle.

 

Much of the north wall of the chancel beyond the choir seating is taken up by the Style monument, which was erected by Sir Thomas Style in 1626 in memory of his parents Oliver and Susan Style. Oliver Style was the son-in-law of John Bull. Oliver Style (1542 – 1622) purchased Wateringbury Place and lived there until his death at the age of 80 in 1622. He was the son of Humphrey Style, Charles Stuart’s cupbearer, whose memorial brass remains in Beckenham parish church. The figures on the monument have some of their old colour still left; that of Oliver Style is in a scarlet and ermine robe, Sir Thomas being dressed in armour. An extraordinary figure on this tomb is that of a partly cloaked skeleton with an angel, under an arch and among coloured flowers and cherubs, with the words: “death to me is an advantage; all men must die”, a good enough philosophy for skeletons! A ledger stone in memory of Sir Thomas Style has been moved from the chancel to the floor of the tower, and may be seen on request.

 

The vestry, which is entered from the north side of the chancel by a Tudor door, was built in 1838 at the expense of Alderman Matthias Prime Lucas of the City of London, who succeeded the Style family at Wateringbury Place, and whose portrait by Sir David Wilkie RA is in the Guildhall Art Gallery. The vestry is thought to be the largest of any in a Kent parish church.

 

Members of the Lucas family occupy the vault beneath the vestry, and theirs are the memorial hatchments displayed on the walls of the nave. The vestry also contains a memorial tablet to that well known and much loved priest Canon Livett. Fixed to the tablet is a piece of carved Norman stone, and the inscription reads: “This stone from the Norman east front of Rochester Cathedral is placed here in memory of Canon G.M. Livett BA, FSA, vicar of Wateringbury 1895 – 1922”. It was presented to him on completion of the restoration of the west front of Rochester Cathedral, during which he discovered the foundation of the east end of the Saxon Cathedral. Canon Livett was the first President of the Kent Archaeological Society.

 

A memorial board has now been affixed to the wall above the fire place in the vestry. It was once sited in the old school building on Red Hill before the school moved in 1976 to new premises in Bow Road, and was unable to house the memorial. It is unique in recording the names of all the former pupils of the school who served in the Great War of 1914 – 1918, as well as of those who were killed in the two Great Wars. It is included on the national list of war memorials which is held at the Imperial War Museum in London.

 

The east end of the north aisle of the nave is occupied by the Chapel of St. George, and contains memorials to those from the village who served and died in the two world wars of 1914 – 1918 and 1939 – 1945.

 

The organ is placed on the gallery at the west end of the nave. It was acquired from a Methodist church in Nottinghamshire and erected here in 1893, the munificent gift of Mr RH Fremlin & Mr W Jude, Churchwardens at the time. The organ was built by the renowned firm of Norman & Beard of Norwich, and was originally pumped by hand. It is a two-manual instrument, the great and swell organs, with a fine selection of stops ranging from trumpet to oboe. The largest pipe is 16 feet long. The organ was renovated in 2010.

 

The gallery replaces an earlier one, which was known as ‘the singing gallery’. It was much lower and extended further east than the present one which was constructed out of the older one. The old gallery had been used to house the church band, which accompanied on various instruments the singing in the church.

 

A feature of the nave is the millennium banners, which hang on and under the gallery. These were made to commemorate the millennium year by the many organisations in the village and exemplify the richness of village life. Descriptions of the various designs are given in an explanatory booklet which is kept in the church.

 

The light wood screen built at the west end of the north aisle of the nave conceals a kitchen and servery from which delicious refreshments are served after many services, social functions, and entertainments. Behind the kitchen, there is a choir vestry and lavatory. These were all built in the millenium year.

 

The lofty tower was built in the 13th century, and is therefore the oldest part of the present church. It contains a peal of six bells. These consist of five trebles tuned to G,F, Eb,D & C. The tenor bell is tuned to Bb. The bells were rehung with ball bearings in 1950. The present spire which is clad in cedar shingles, was restored in 1886, after having been struck by lightning and destroyed by fire on 28th February in that year.

 

The weather vane is dated 1832, and has the initials of the two Churchwardens of the time: JW & RH. These stand for James Woodbridge JP who lived at The Lodge (at that time Wateringbury Lodge), and Richard Harris.

 

The church possesses a fine light of Victorian stained glass installed behind the altar, in what is thought to be a 14th century stone window. It is a memorial to Henry Stevens who was Vicar of Wateringbury for 57 years, and who died in 1877. Unfortunately the inscription is carried across the three lights that make up the window, the right hand one of which reads: “this parish died on 22nd October 1877”, which is certainly not true! The oak eagle lectern was also given in memory of Henry Stevens, and by his widow.

The windows at the east and west ends of the south aisle, and at the west end of the north aisle of the nave were moved from the nave when the aisles were built and the church extended in the 19th century. Much of the ancient glass was destroyed in the great storm of 19th August 1763, and apart from those mentioned, the rest were destroyed or seriously damaged in the blast from a Doodle Bug (V1 rocket) which landed in the grounds of Wateringbury Place at 7.25 pm on 24th August 1944. Fortunately this did not damage irreparably the very beautiful window of St. Francis on the north side of the nave. This window is a memorial to Adele Violet Crofton, whose face at the age of 8 is that of the angel in the window. Behind the angel is the Adele Crofton Rose, grown by George Dickson of Ulster in 1928, and awarded a Gold Medal at the Royal Rose Society’s Show.

 

Mrs Crofton was known as Robin by her friends, and one sits on the hand of St. Francis. The window features seven robins, seven fishes, and seven rays of light coming down from the Holy Dove. There are seven birds about the Saint, six swallows and the Holy Dove. This is because Adele was the seventh child of a seventh child. Adele Crofton’s ashes are buried in the grave of her parents which is in the top left hand corner of the churchyard, adjacent to the gateway from Wateringbury Place.

 

The font at one time stood at the west end of the nave, in the centre beneath the gallery. Its removal to the present position necessitated the removal of a number of pews, and the careful tiling of the area to match the existing tiling by the south door. The font itself is of ancient stone cut to an intricate shape. At one time it was decoratively painted, traces of the paint being visible until recent times. It is thought that the colour was removed at the time of Cromwell.

 

On 1st June 1915 the font was used for the Christening of Godfrey William Style, son of Colonel Rodney Charles Style of Wierton Grange, Kent, and of the family with long connections with Wateringbury. Col. Style gave a cheque in gratitude to the Vicar, the Revd. CM Livett, who was able to commission the making of the font cover. This was beautifully made by Cecil French to the Vicar’s design described as ‘unpretentious but suitable’. The cover was refurbished in 1997 by Ron Buchanan.

 

The ornate four-branch chandelier over the font was the gift of the Rolfe family of Danns Lane. It was restored in December 2001 by Ted Vincent.

 

The porch is the only part of the church to be roofed with tiles, the church itself being roofed in slate. These are Kentish peg tiles. The porch was rebuilt in its present position after the construction of the south aisle to the nave in 1856, the old material being reused for the purpose. The old square headed windows of the porch date from the 15th century. A plaque records the receipt of a grant of £30 in 1883 by The Incorporated Society for Buildings & Churches, for “enlarging and restoring this church”; and adds that “all the seats are for the free use of the parishioners according to law”.

 

The church is set in a churchyard, which is bordered to the west, north and east, by the grounds of Wateringbury Place, and to the south by the A26 road to Tonbridge. The churchyard now incorporates the site of the village pound, in which at one time stray animals were impounded. The village war memorial now occupies the approximate site of the pound, and was moved there from the Wateringbury crossroads in 1978. Though the churchyard is full it has not been closed for burials, and is used for the burial of ashes.

 

The churchyard contains a number of interesting memorials, five of which are listed as being of historic interest. That of Sir Oliver Style which is placed just outside the south door of the church, is listed Grade IIa. It was restored in 2002 at the expense of the English Heritage and a number of other Conservation Charities. It is a memorial to the Sir Oliver Style who died on 12th February 1703, and who was the British Consul in Smyrna (present day Izmir) at the time of a great earthquake in which over 4,000 people died. He was at dinner at the time, and survived by throwing himself under the table.

 

Not far from this memorial stands a sundial which was made in Wateringbury in the 18th century by Thomas Crow, the inventor of the octant. The octant was the navigational instrument which preceded the sextant. The sundial originally had a brass face with four dials showing the local time for noon in many cities of the world, the month, hours, and Greenwich Mean Time. Unfortunately the face was stolen some years ago, but a new one, though with less information, has recently been made by Mike Allen of Larkfield. The Crow family tomb is sited near the east boundary of the churchyard.

 

t is known that the yew tree on the west side of the porch, was planted in 1597, and is therefore over 400 years old. Its age was the theme for many events held by the church in 1997, when members of the congregation wore sweatshirts embroidered with a yew tree motif. In that year the Wateringbury Local History Society gave and planted another yew tree in the churchyard, which it is hoped will still be flourishing 400 years from now.

 

wateringburychurch.org.uk/history/

Inspired by puffer fish, cartilaginous sharks, and armadillo penises, all of which show exhibit remarkable stress/strain curves versus hard materials. The inventor Saul Griffith (with beard) shows it off to a gaggle of Googlers.

 

Each arm weighs only 1 pound and so it moves and changes direction at remarkable speeds (our minds presume something that big would have more inertia). But the high-speed control algorithms are not perfected yet. I was sitting next to Rodney Brooks, and had to suggest that they are “fast, cheap and out of control.”

 

His robots are sewn. They deflate to a pile of fabric. No gears. No rigid structures inside. (Name suggestion from audience: "Sewbots")

 

With four people on a walking robot, “it has a strength-to-weight ratio 10-100x better than hard robots.”

 

A key insight from nature: “compliance can substitute for mass” Trees survive a storm better than telephone poles.

 

Now working on soft wrap-around prosthesis for arm and leg. Others: “We now know that the heart is a linear sheet of muscle wrapped in a knot.” He also showed a design sketch of a muscular-looking submarine. Then, add fluidic computation and soft sensors…

 

“We have SolidWorks, but there is no CAD tool yet for SoftWorks.”

 

Otherlab: “we have too much fun.”

 

Why do this? “To delight my 6-year old niece who asked me if she could ride a toy elephant to school, we should do this.”

 

Here is a short video I took of it in action. It gives a good handshake.

 

Fangruida, male, Han nationality, 195o was born on May 13, Shanghai (other biography considered 195o April, in fact repeated the baseless assertion, should be May 13, the other is not accurate, this shall prevail. Fangruida(1950, born in Shanghai on May 13, physicists, astronomers, cosmologists, geologists, biologists, aerospace scientist, physician, philosopher, thinker, religion, anthropologists, sociologists, composers, painters, writers, economists, inventors, educators). Fang Rui Da, also known as Fang Rui, Fang Rui, Fangruida, ruida-Fang, male, Han nationality, was born in Shanghai 1950,4-, formerly known as wood south , Ye Hao, luxuriantly, Fonda, deer of Yu, Xu opened tanghaijing, etc., physicists, philosophers, astronomers, writers, economists, cosmologists, who study at universities abroad, Ph.D. Foundation, vistor, senior Seminar, Australia University, Cornell University, Moscow State University, the University of Geneva, University of Technology, National People's Congress, Hunan University, College of agriculture, etc., vistingscholar, once Chinese and foreign universities, research institutes, laboratories, laboratory, and foreign commercial enterprises, technology companies, etc. the work and research, he served in various roles. senior researchers, professors, and now Switzerland, Belgium, and other consulting and technical advisers, technical experts, business director, professor, design experts. including discovery research : Central Park divects Theorem (in 1985, in Rome, Paris, Belgium, super spin vector field, super spin Theorem): in lathepoential "field" theorems times tribal spin spinvector initial steering state, the ground state spin differential and integral calculus , (1965-1988, Europe, France, the Netherlands, fill fields Theorem (1976-1986 years in Argentina, Japan, Germany, China research); from the center of Jupiter theory (1986-1993-2000, UK, USA, France) : space and time simple shear model (1965-1986, Norway, Sweden, Russia, Canada, andsantiago, etc.): hole seismic wave field (1982-1997, Australia, China): large cross-border activities (1986-1996, in the United States, South Africa, Switzerland, Chile, New Zealand): rotary mechanism of gene derived TE superconductivity neurons (from 1973 to 1990, in Copenhagen, Stockholm, Bern, etc.), cancer of the nervous reflex arc gene . superconducting effect, seismic sanrosoy instruments, etc. natural and hybrid orbital trajectory language (in Europe 1992-1999 abroad, study neurophysiology, brain research .- the main invention: medicine treator aid earthquake sanrosoy instrument etc., research papers and inventions, works, works. Nature and Natural <> <>, <>, <>, <> had been a number of international awards nominees or candidates. Scientific discoveries and technological inventions and other writings, and other works. Chinese and foreign celebrity biographies, biographies of Cambridge, the world scientists, the world famous encyclopedia, IBC / AbI celebrities such as dictionaries and the world's main site collection. The main site in the world, international websites have relevant information.

Works, books, poetry and so on. (Electronic version of the main books, papers, studies, work, etc., online, e-books, etc.)

Natural Sciences Proceedings. Natural essence and principle (Research Monographs

Study of spin in the world economic system and ultra-spin particles in the universe

On the large-cell fusion

Criticism of the nature of world criticism 500000000000000000000000 years / nature

A new interpretation of literary theory

Poetry series, Amazon River campfire

Niaofei mangroves

Mars lander / cheat death

Flowery field

Universal ECONOMY through Jesus Christ

5,4,3,2,1 theoretical academic monograph in the world game

Selected famous Fangruida classic / classical poetry 30 square Investor / Fangruida natural philosophical works featured interpretations

Legend Qinhuai

Moonlight night

In the Rose Garden / Fangruida classic quotations Featured

Moving to Mars, vast beautiful paradise awaits you (31 high-tech cutting-edge technology

rainbow. cloud. fog. summer. Rain, and other works, or works.

  

fangruida life especially beloved of Nature and Science, as a natural scientist a matter of course, his famous "discovery is a natural father, the invention is Mother Nature," "no superman in the world, the only permanent hard work in the vast world of farming Cardiff only "" moving to Mars, vast beautiful kingdom of heaven awaits you. "known all over the world of mankind.

  

Fangruida, mâle, de nationalité Han, 195o est né le 13 mai, Shanghai (autre biographie considéré 195o Avril, en fait répété l'affirmation sans fondement, devrait être le 13 mai, l'autre est pas exact, ce qui prévaut. Fangruida (1950, né en Shanghai le 13 mai, les physiciens, les astronomes, les cosmologistes, géologues, biologistes, aérospatiale scientifique, médecin, philosophe, penseur, religion, anthropologues, sociologues, compositeurs, peintres, écrivains, économistes, inventeurs, éducateurs). Fang Rui Da, également connu sous le nom Fang Rui, Fang Rui, Fangruida, Ruida-Fang, mâle, de nationalité Han, est né à Shanghai 1950,4-, anciennement connu sous le nom de bois sud, Ye Hao, luxuriance, Fonda, cerfs de Yu, Xu a ouvert tanghaijing, etc., physiciens, philosophes, astronomes, écrivains, économistes, cosmologues, qui étudient dans des universités à l'étranger, Fondation Ph.D., vistor, Séminaire supérieur, Université Australie, Cornell University, Université d'Etat de Moscou, l'Université de Genève, Université de technologie, populaire nationale Congrès, Université du Hunan, Collège de l'agriculture, etc., vistingscholar, une fois les universités chinoises et étrangères, des instituts de recherche, des laboratoires, des laboratoires et des entreprises commerciales étrangères, les sociétés technologiques, etc. le travail et la recherche, il a occupé divers rôles. chercheurs chevronnés, professeurs, et maintenant la Suisse, la Belgique, et d'autres conseillers de conseil et techniques, experts techniques, directeur d'affaires, professeur, experts de conception. y compris la recherche de découverte: Central Park divects Théorème (en 1985, à Rome, Paris, Belgique, super champ de vecteurs de spin, super essorage Théorème): dans lathepoential "terrain" théorèmes fois de spin tribal spinvector état de direction initiale, l'état de spin différentiel de masse et intégrales calcul, (1965-1988, Europe, France, Pays-Bas, remplir les champs Théorème (1976-1986 ans en Argentine, le Japon, l'Allemagne, la recherche de la Chine), du centre de la théorie de Jupiter (1986-1993-2000, Royaume-Uni, États-Unis, France): l'espace et le temps modèle de cisaillement simple (1965-1986, Norvège, Suède, Russie, Canada, andsantiago, etc.): champ d'ondes sismiques de trou (1982-1997, Australie, Chine): grandes activités transfrontalières (1986- 1996, aux États-Unis, Afrique du Sud, Suisse, Chili, Nouvelle-Zélande): mécanisme de rotation du gène dérivé de neurones supraconductivité TE (de 1973 à 1990, à Copenhague, Stockholm, Berne, etc.), le cancer du gène arc réflexe nerveux . effet, les instruments de sanrosoy sismiques, etc. langue de la trajectoire orbitale naturelle et hybride (supraconducteurs en Europe 1992-1999 à l'étranger, l'étude neurophysiologie, recherche sur le cerveau .- l'invention principale: œuvres aide treator instrument séisme sanrosoy médecine, etc., documents de recherche et les inventions, , travaux. Nature et naturel <> <>, <>, <>, <> avait été un certain nombre de candidats ou candidats de bourses internationales. Les découvertes scientifiques et les inventions technologiques et autres écrits, et d'autres œuvres. Chinois et étrangers biographies de célébrités, des biographies de Cambridge, les scientifiques du monde entier, l'encyclopédie de renommée mondiale, des célébrités IBC / abi tels que les dictionnaires et la collecte de site principal du monde. Le site principal dans le monde, les sites Web internationaux ont des informations pertinentes.

Works, des livres, la poésie et ainsi de suite. (Version électronique des principaux livres, papiers, études, travail, etc., en ligne, e-livres, etc.)

Délibérations Sciences naturelles. essence et le principe naturel (Monographies de recherche

particules d'étude de spin dans le système économique mondial et ultra-spin dans l'univers

Sur la fusion à grandes cellules

La critique de la nature de la critique du monde 500000000000000000000000 ans / nature

Une nouvelle interprétation de la théorie littéraire

série Poésie, Amazon River feu

mangroves Niaofei

Mars lander / mort triche

champ fleuri

ÉCONOMIE universelle par Jésus-Christ

5,4,3,2,1 monographie universitaire théorique dans le jeu mondial

Sélectionné célèbre Fangruida classique / poésie classique 30 interprétations carrés Investisseur / Fangruida œuvres philosophiques naturelles en vedette

Légende Qinhuai

nuit de lune

Dans les citations classiques Rose Garden / Fangruida vedette

Moving to Mars, vaste beau paradis vous attend (technologie de pointe 31 high-tech

arc en ciel. nuage. brouillard. été. La pluie, et d'autres ouvrages ou travaux.

  

vie fangruida particulièrement aimé de la nature et de la science, en tant que scientifique naturel une question de cours, sa fameuse «découverte est un père naturel, l'invention est Mère Nature", "pas superman dans le monde, le seul travail permanent dans le vaste monde de l'agriculture Cardiff ne "" déplacer vers Mars, vaste beau royaume des cieux vous attend. "connu dans le monde de l'humanité.

  

Fangruida, мужчина, Хан национальности, 195o родился 13 мая, Шанхай (другая биография считается 195o апреля фактически повторил необоснованные утверждения, должно быть 13 мая другой не является точным, это будет иметь преимущественную силу. Fangruida (1950 года рождения Шанхай 13 мая, физики, астрономы, космологи, геологи, биологи, авиакосмической ученый, врач, философ, мыслитель, религия, антропологи, социологи, композиторы, художники, писатели, экономисты, изобретатели, преподаватели). Fang Rui Da, также известный как Fang Rui, Fang Rui, Fangruida, Ruida-Fang, мужчина, Хан национальности, родился в Шанхае 1950,4-, ранее известный как дерево на юг, Е. Хао, пышно, Fonda, олени Ю., Сюй открыл tanghaijing и т.д., физики, философы, астрономы, писатели, экономисты, космологи, которые учатся в университетах за рубежом, доктор философии Фонда, vistor, старший семинар, Австралия университет, Корнельский университет, Московский государственный университет, Женевский университет, технологический университет, Национальный Народный Конгресс, Хунань университет, колледж сельского хозяйства и т.д., vistingscholar после того, как китайские и зарубежные университеты, научно-исследовательские институты, лаборатории, лаборатории и иностранных коммерческих предприятий, технологических компаний и т.д. работы и научных исследований, он служил в различных ролях. старшие научные сотрудники, преподаватели, а теперь Швейцарии, Бельгии и других консультационных и технических консультантов, технических экспертов, бизнес-директор, профессор, проектные эксперты. в том числе исследования открытие: Центральный парк divects теорема (в 1985 году в Риме, Париже, Бельгии, супер поле вектора спина, супер спина теорема): в lathepoential "полевых" Теоремы времен Племенные спина spinvector начальное состояние рулевого управления, основное состояние спин дифференциальных и интегральных исчисление, (1965-1988, Европа, Франция, Нидерланды, заполнить поля теорема (1976-1986 годы в Аргентине, Японии, Германии, Китая исследований), от центра теории Юпитера (1986-1993-2000, Великобритания, США, Франция): пространство и время простая модель сдвига (1965-1986, Норвегия, Швеция, Россия, Канада, andsantiago и т.д.): отверстие поле сейсмических волн (1982-1997, Австралия, Китай): крупные трансграничные мероприятия (1986- 1996, в Соединенных Штатах Америки, Южной Африки, Швейцарии, Чили, Новая Зеландия): поворотный механизм гена происходит сверхпроводимость нейроны ТЕ (с 1973 по 1990 г. в Копенгагене, Стокгольме, Берне и т.д.), рак нервной рефлекторной дуги гена . сверхпроводящие эффект, сейсмические sanrosoy инструменты и т.д. естественный и гибридную орбитальную язык траектории (в Европе 1992-1999 за рубежом, исследование нейрофизиологии, исследования мозга .- основное изобретение: медицина treator помощь землетрясения sanrosoy инструментов и т.д., научно-исследовательских работ и изобретений, работ , работает. Природа и природные <> <>, <>, <>, <> был проведен целый ряд международных наград кандидатов или кандидатов. Научные открытия и технические изобретения и другие произведения, а также другие произведения. Китайские и зарубежные знаменитости биографии, биографии Кембриджа, мировых ученых, всемирно известной энциклопедии, IBC / ABI знаменитости, такие как словари и основного семейства сайтов в мире. Основным местом в мире, международные веб-сайты имеют соответствующую информацию.

Работы, книги, поэзия и так далее. (Электронная версия основных книг, бумаги, исследований, работы и т.д., он-лайн, электронные книги и т.д.)

Естественные науки Труды. Естественная сущность и принцип (Исследования Монографии

Изучение спина в мировой экономической системе и ультра-частицы со спином во Вселенной

На слиянии крупных клеток

Критика природы мировой критики 500000000000000000000000 лет / природы

Новая интерпретация литературной теории

Поэзия серии, реки Амазонки костра

Niaofei мангровые

Mars Lander / Обман смерти

Флауэри поле

Универсальный ЭКОНОМ через Иисуса Христа

5,4,3,2,1 теоретическая академическая монография в мировой игре

Выбранный знаменитый Fangruida классический / классическая поэзия 30 квадратных Инвестор / Fangruida природные философские произведения признакам интерпретации

Легенда Qinhuai

Лунная ночь

В Rose Garden / Fangruida классических цитат Рекомендуемые

Переезд на Марс, обширный красивый рай ждет вас (31 высокотехнологичную передовые технологии

радуги. облако. туман. лето. Дождь, и другие работы, или работы.

  

fangruida жизнь особенно любимой природы и науки, как естествоиспытатель вопрос, конечно, его знаменитая "открытие является естественным отец, изобретение мать-природа", "нет сверхчеловек в мире, единственный постоянный упорный труд в огромном мире фермерства Кардифф только "" движется на Марс, огромное красивое царство небесное ждет вас. "известны во всем мире человечества.Fangruida, männlich, Han-Nationalität, 195o wurde am 13. Mai geboren, Shanghai (andere Biographie betrachtet 195o April, in der Tat die unbegründete Behauptung wiederholt, sollten 13. Mai sein, das andere ist nicht korrekt, diese maßgebend. Fangruida (1950, geboren in Shanghai am 13. Mai, Physiker, Astronomen, Kosmologen, Geologen, Biologen, Luft- und Raumfahrt Wissenschaftler, Arzt, Philosoph, Denker, der Religion, Anthropologen, Soziologen, Komponisten, Maler, Schriftsteller, Ökonomen, Erfinder, Lehrer). Fang Rui da, auch bekannt als Fang Rui, Fang Rui, Fangruida, ruida-Fang, männlich, Han-Nationalität, nach Süden in Shanghai 1950,4-, früher bekannt als Holz geboren wurde, Ye Hao, üppig, Fonda, Hirsch von Yu, Xu geöffnet tanghaijing usw. Physiker, Philosophen, Astronomen, Schriftsteller, Ökonomen, Kosmologen, die im Ausland an Universitäten Studie, Ph.D.-Stiftung, vistor, Senior Seminar, Australien University, Cornell University, der Staatlichen Universität Moskau, der Universität Genf, University of Technology, nationalen Volks Kongress, Hunan University, College of Landwirtschaft usw., vistingscholar, einmal chinesischen und ausländischen Universitäten, Forschungseinrichtungen, Laboratorien, Labor-und ausländischen Handelsunternehmen, Technologieunternehmen, usw. die Arbeit und Forschung diente er in verschiedenen Rollen. Senior Forscher, Professoren und jetzt die Schweiz, Belgien und andere Beratung und technische Berater, technischen Experten, Business-Direktor, Professor, Design-Experten. Entdeckungsforschung einschließlich: Central Park divects Satz (1985 in Rom, Paris, Belgien, super Spin Vektorfeld, super Spin Satz): in lathepoential "Feld" Theoreme mal Stammes-Spin spinvector anfänglichen Lenkzustand, der Grundzustand Spin Differential- und Integral Kalkül, (1965-1988, Europa, Frankreich, den Niederlanden, füllen Felder Satz (1976-1986 Jahre in Argentinien, Japan, Deutschland, China Forschung) vom Zentrum von Jupiter Theorie (1986-1993-2000, UK, USA, Frankreich): Raum und Zeit einfach Scher Modell (1965-1986, Norwegen, Schweden, Russland, Kanada, andsantiago usw.): Loch seismische Wellenfeld (1982-1997, Australien, China): große grenzüberschreitende Aktivitäten (1986- 1996 in den Vereinigten Staaten, Südafrika, Schweiz, Chile, Neuseeland): Drehmechanismus von Gen abgeleitet Supraleitung Neuronen TE (1973 bis 1990, in Kopenhagen, Stockholm, Bern, etc.), Krebs des Nervenreflexbogen-Gen . supraleitende Effekt, seismische sanrosoy Instrumente usw. natürliche und Hybrid Sprache Umlaufbahn (in Europa 1992-1999 im Ausland, Studium der Neurophysiologie, Hirnforschung .- die Haupterfindung: Medizin treator Hilfe Erdbeben sanrosoy Instrument usw., Forschungsarbeiten und Erfindungen, Werke arbeitet. Natur und der natürlichen <> <>, <>, <>, <> hatte eine Reihe von internationalen Auszeichnungen Kandidaten oder Kandidaten gewesen. Wissenschaftliche Entdeckungen und technische Erfindungen und andere Schriften, und andere Werke. Chinesische und ausländische Berühmtheit Biographien, Biographien der Cambridge, die Welt Wissenschaftler, der weltberühmten Enzyklopädie, IBC / AbI Berühmtheiten wie Wörterbücher und die Haupt-Website-Sammlung der Welt. Der Hauptstandort der Welt, haben internationale Websites relevante Informationen.

Werke, Bücher, Poesie und so weiter. (Elektronische Version der wichtigsten Bücher, Papiere, Studium, Arbeit, usw., online, e-Bücher, etc.)

Naturwissenschaften Proceedings. Natürliche Wesen und Prinzip (Research Monographien

Studium der Spin in das Weltwirtschaftssystem und ultra Spin-Teilchen im Universum

Auf der großen Zellfusion

Die Kritik an der Natur der Welt Kritik 500000000000000000000000 Jahre / Natur

Eine neue Interpretation der Literaturtheorie

Poetry-Serie, Lagerfeuer Amazonas

Niaofei Mangroven

Mars Lander / Schippe

Blumige Feld

Universal-Wirtschaft durch Jesus Christus

5,4,3,2,1 theoretische wissenschaftliche Monographie in der Welt Spiel

Ausgewählte berühmte Fangruida klassisch / klassische Dichtung 30 Quadrat Investor / Fangruida naturphilosophischen Werke vorsehen Interpretationen

Legend Qinhuai

Moonlight Nacht

Im Rosengarten / Fangruida klassischen Zitaten Hervorgehoben

Der Umzug in Mars, große schöne Paradies erwartet Sie (31 High-Tech-Spitzentechnologie

Regenbogen. Wolke. Nebel. Sommer. Regen und andere Arbeiten oder Arbeiten.

  

fangruida Leben besonders geliebt von Natur und Wissenschaft, als Naturwissenschaftler selbstverständlich, seine berühmte "Entdeckung ein natürlicher Vater ist, ist die Erfindung von Mutter Natur", "kein Übermensch in der Welt, die einzige dauerhafte harte Arbeit in der weiten Welt der Landwirtschaft Cardiff "nur" auf dem Mars, große schöne Himmelreich bewegen wartet auf Sie. "auf der ganzen Welt der Menschheit bekannt.

  

Fangruida、男性は、漢族が、195oが5月13日に生まれた、上海195o 4月と考え（他の伝記が、実際には根拠のない主張を繰り返し、5月13日でなければならない、他​​のは正確ではない、これが優先するものとします。で生まれFangruida（1950、上海5月13日に、物理学者、天文学者、宇宙論、地質学者、生物学者、航空宇宙科学者、医師、哲学者、思想家、宗教、人類学者、社会学者、作曲家、画家、作家、経済学者、発明者、教育関係者）。牙ルイダ、としても知られています牙ルイ、牙ルイ、Fangruida、ruida-牙、男性は、漢族は、以前は南木材として知られ、上海1950,4-で生まれた、イェジンハオは、豊かに、フォンダ、ゆうの鹿は、徐は、などをtanghaijingを開設し、物理学者、海外の大学で学び、哲学者、天文学者、作家、経済学者、宇宙論、博士財団、vistor、シニアセミナー、オーストラリア大学、コーネル大学、モスクワ大学、ジュネーブ大学、技術大学、全国人民代表中国と外国の大学、研究機関、研究室、実験室、等外国の商業企業、技術企業、仕事や研究一旦議会、湖南大学、農業の大学など、vistingscholarは、彼は様々な役割で提供しています。今の上級研究員、教授、スイス、ベルギー、およびその他のコンサルティングおよび技術顧問、技術専門家、ビジネスのディレクター、教授、デザインの専門家。 （ローマ、パリ、ベルギー、スーパースピンベクトル場、スーパースピン定理で1985年、）セントラルパークdivects定理：lathepoential「フィールド」の定理回部族スピンspinvector初期操舵状態、基底状態のスピン微分・積分における創薬研究など、ヨーロッパ、フランス、オランダ、フィールド定理（アルゼンチン、日本、ドイツ、中国の研究で1976から1986年の年を）埋める微積分、（1965から1988;木星理論（1986-1993-2000、イギリス、アメリカ、の中心からフランス）：空間と時間単純せん断モデル（1965から1986、ノルウェー、スウェーデン、ロシア、カナダ、andsantiago、など）：ホールの地震波動場（1982年から1997年、オーストラリア、中国）：大型クロスボーダー活動（1986- 1996年、米国、南アフリカ、スイス、チリ、ニュージーランド）に：遺伝子の回転機構は、コペンハーゲン、ストックホルム、ベルン、など）、神経反射弓遺伝子の癌で、1973年から1990年まで（TE超伝導ニューロンを導出しました。ヨーロッパ1992-1999に効果、地震sanrosoy機器など自然と混成軌道軌道言語を（超伝導海外で、研究神経生理学、脳研究.-主な発明：医学treator援助地震sanrosoy機器など、研究論文や発明、作品、動作します。自然と自然<> <>、<>変化し、<>で5000000000000、 <>国際的な賞の候補者または候補者の数でした。科学的発見や技術的発明やその他の記述、および他の作品。中国と外国の有名人の伝記、ケンブリッジの伝記、世界の科学者、世界的に有名な百科事典、辞書などのIBC /のAblセレブや世界の主要なサイトコレクション。世界の主要なサイトは、国際的なウェブサイトは、関連する情報を持っています。

ように作品、書籍、詩と。 （主な書籍、論文、研究、仕事、など、オンライン、電子書籍の電子版など）

自然科学文集。ナチュラルエッセンスと原則（研究叢書

世界経済システムと宇宙の超スピン粒子のスピンの研究

大細胞融合上

世界の批判500000000000000000000000年/自然の性質を批判

文学理論の新解釈

詩シリーズ、アマゾン川のキャンプファイヤー

Niaofeiのマングローブ

火星着陸船/死をごまかします

花のフィールド

イエス・キリストを通してユニバーサルECONOMY

世界のゲームで5,4,3,2,1理論的学術研究論文

選択された有名なFangruidaクラシック/古典詩30平方投資家/ Fangruida自然哲学的な作品特集解釈

伝説秦

月夜

注目のローズガーデン/ Fangruida古典的な引用で

火星への移行、広大な美しい楽園はあなたに（31ハイテク最先端技術を待ちます

虹。雲。霧。夏。雨、および他の作品、または作品。

  

自然科学者としての自然科学、特に最愛fangruida生活、当然のことながら、彼の有名な世界では「ノースーパーマン、広大な世界で唯一の永久的なハードワーク "発見は、自然の父である、本発明は、母なる自然、です」 「唯一のカーディフ農業の「火星への移動、天の広大な美しい王国はあなたをお待ちしております。」全人類の世界に知られています。

Fangruida, varón, nacionalidad Han, 195o nació el 13 de mayo, Shanghai (otra biografía considera 195o de abril, de hecho, repitió la afirmación sin fundamento, debe ser de 13 de mayo, el otro no es exacta, esta prevalecerá. Fangruida (1950, nació en Shanghai el 13 de mayo, físicos, astrónomos, cosmólogos, geólogos, biólogos, científico aeroespacial, médico, filósofo, pensador, religión, antropólogos, sociólogos, compositores, pintores, escritores, economistas, inventores, educadores). Colmillo Rui Da, también conocido como Colmillo Rui, fang Rui, Fangruida, ruida-fang, varón, nacionalidad Han, nació en Shanghai 1950,4-, conocida anteriormente como la madera al sur, Ye Hao, exuberante, Fonda, venados de Yu, Xu abrió tanghaijing, etc., físicos, filósofos, astrónomos, escritores, economistas, cosmólogos, que estudian en universidades extranjeras, Ph.D. Fundación, vistor, Seminario de alto nivel, Australia, la Universidad de Cornell, la Universidad Estatal de Moscú, la Universidad de Ginebra, Universidad de Tecnología, Nacional de Personas congreso, la Universidad de Hunan, la universidad de la agricultura, etc., vistingscholar, una vez que las universidades chinas y extranjeras, institutos de investigación, laboratorios, laboratorio, y las empresas comerciales extranjeras, empresas de tecnología, etc. los trabajos e investigaciones, se desempeñó en diversas funciones. investigadores de alto nivel, profesores y ahora Suiza, Bélgica, y otros asesores de consultoría y técnicos, expertos técnicos, el director de negocios, profesor, expertos en diseño. incluyendo la investigación de descubrimiento: Central Park divects Teorema (en 1985, en Roma, París, Bélgica, campo vectorial giro súper, súper teorema espín): en lathepoential "campo" teoremas tiempos de giro tribal SpinVector estatales de dirección inicial, la diferencia de giro estado fundamental e integral cálculo, (1965-1988, Europa, Francia, los Países Bajos, rellene los campos Teorema (1976-1986 años en Argentina, Japón, Alemania, la investigación de china); desde el centro de la teoría de Júpiter (1986-1993-2000, Reino Unido, EE.UU., Francia): el espacio y el modelo de corte simple de tiempo (1965-1986, Noruega, Suecia, Rusia, Canadá, andsantiago, etc.): campo de ondas sísmicas orificio (1982-1997, Australia, china): grandes actividades transfronterizas (1986- 1996, en los Estados Unidos, Sudáfrica, Suiza, Chile, Nueva Zelanda): mecanismo giratorio del gen deriva neuronas superconductividad TE (Desde 1973 a 1990, en Copenhague, Estocolmo, Berna, etc.), el cáncer del gen arco reflejo nervioso efecto., instrumentos sanrosoy sísmicos, etc. lengua trayectoria orbital híbrido natural y (superconductores en Europa desde 1992 hasta 1999 en el extranjero, la neurofisiología estudio, la investigación del cerebro .- la invención principal: la medicina ayuda Treator terremoto sanrosoy del instrumento, etc., documentos de investigación y las invenciones, las obras , trabajos. Naturaleza y natural <> <>, <>, <>, <> habían sido una serie de premios de los candidatos o candidatos internacionales. Los descubrimientos científicos y los inventos tecnológicos y otros escritos, y otras obras. biografías de celebridades chinas y extranjeras, biografías de Cambridge, los científicos del mundo, la enciclopedia famoso, celebridades IBC / ABI, como diccionarios y colección de sitios principal del mundo. El sitio principal en el mundo, sitios web internacionales tienen información relevante.

Las obras, libros, poesía y así sucesivamente. (Versión electrónica de los principales libros, documentos, estudios, trabajo, etc., en línea, libros electrónicos, etc.)

Ciencias Naturales Proceedings. esencia natural y el principio (monografías de la investigación

Estudio de giro en el sistema económico mundial y ultra-espín partículas en el universo

En la fusión de células grandes

Las críticas a la naturaleza de las críticas mundiales 500000000000000000000000 años / naturaleza

Una nueva interpretación de la teoría literaria

serie poesía, fogata río Amazonas

manglares Niaofei

Mars Lander / la muerte del tramposo

campo florido

ECONOMÍA universal por medio de Jesucristo

5,4,3,2,1 monografía académica teórica en el juego mundo

Seleccionado famoso clásico Fangruida / poesía clásica 30 interpretaciones obras filosóficas naturales Inversor / Fangruida cuadrados destacados

Leyenda de Qinhui

noche de luna

En las citas clásicas Rose Garden / Fangruida destacados

Pasando a Marte, vasta hermoso paraíso le espera (tecnología de vanguardia 31 de alta tecnología

arco iris. nube. niebla. verano. Lluvia, y otras obras o trabajos.

  

fangruida vida de predilección de la Naturaleza y la Ciencia, como un investigador de la naturaleza una cuestión de rutina, su famoso "descubrimiento es un padre natural, la invención es la madre naturaleza", "no superman en el mundo, el único trabajo permanente en el vasto mundo de la agricultura Cardiff única "" mover a Marte, vasta hermoso reino de los cielos le espera. "conocida en todo el mundo de la humanidad.

  

Fangruida изображения

  

Fangruida изображения

Famous composer Igor Stravinsky (1882-1971) by Italian sculptor Marino Marini (1901-1980). Seen at an exhibition of Marini at Museum De Fundatie Zwolle, the Netherlands.

 

More Marino Marini at

johanphoto.blogspot.nl/2013/10/marino-marini.html

Old egyptian hieroglyphic painting showing an early instance of a domesticated animal (cow being milked).

 

[Rights free image - source: commons.wikimedia.org/wiki/Image:Egyptian_Domesticated_An...]

 

St Margaret,

Horsmonden,

Kent.

 

I get to visit all sorts of place in the persuit of orchids and churches, and on occasion, your breath gets taken away by arriving at the most perfect of place.

 

Horsmonden is such a place.

 

Sitting in the shadow of the hill on which Goudhurst sits, but the high road passes far enough away so not to be heard.

 

The church is some distance from the village it serves, and can be found down a dead end lane, ending with a farm and two fine cottages that shre covered in Kentish pantiles..

  

We had been searching for churches based on the symbols on our country A-Z, finding two churches not there.

 

Oh well.

 

Good to report that not only was St Margaret there, it was open.

 

More shots in due course.

 

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What a delightful and fascinating church! West tower, nave with aisles and long chancel make this building sound so commonplace. Yet its atmosphere and furnishings make this stand out as one of the most easily recognisable churches in the county. Set in a farmyard some distance from its village, St Margaret's church holds much of note. The chancel has been stripped of its limewash making it an interesting (though historically incorrect) contrast with the clerestoried nave. Firstly it has two Rood Loft Staircases - an obvious sign that over the course of the late middle ages the screen changed its position, or access. On the south wall is a memorial bust to an extraordinary inventor, John Read. This nineteenth century genius invented the round oast-house, the stomach pump and a tobacco enema! Nearby is an early eighteenth century `spider` chandelier. A huge brass is situated in the centre of the chancel (with a rubbing nearby). This is to Henry Grofhurst and dates from the mid fourteenth century. There are two very colourful windows by Rosemary Everett dating from the 1940s.

 

www.kentchurches.info/church.asp?p=Horsmonden+1

 

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HORSEMONDEN

IS the next parish northward from Lamberhurst, a small part of it is within the borough of Rugmerhill, which lies at the western side of it adjoining to that of Brenchley, and is as such within the antient demesne of the manor of Aylesford, and consequently exempt from the jurisdiction of this hundred.

 

A small part of this parish is said to be within the hundred of Larkfield.

 

THE PARISH OF HORSEMONDEN is situated much like that of Lamberhurst last described. being a surface of continued hill and dale. It is bounded towards the north-east and south by different streams of the river Medway, which flow from hence, and join the main river at Yalding, besides which it is watered by two other smaller rivulets, and several lesser springs interspersed over it, all which join the larger stream on the southern side of the parish. It is full four miles in length from north to south, but its breadth is but small, in some places not more than one, and in its broadest part not more than two miles. The high road from Maidstone through Yalding to Lamberhurst and Sussex, runs through the whole length of the parish; that from Watringbury over Brandt bridge through Brenchley towards Goudhurst crosses this parish and the other road, at a small green called Horsemonden-heath, which is built round with houses, forming the only village in the parish, the rest of the houses being dispersed singly over different parts of it. The soil, near the high road, is in general a sand intermixed with the rock or sand stone, the remainder is a deep stiff clay, exceeding miry in wet weather. It is much interspersed with coppice woods of oak, especially on the west and north sides of it, where the soil abounds with iron ore; the whole is much covered with fine spreading oak trees, which here from the soil being very kindly to their nourishment grow to a large size, and become sometimes nearly equal in value to the freehold of the estates.

 

The church stands, with the parsonage, about a quarter of a mile distant from it, very near the southeast boundary of the parish. In the upper part of itnear the river is a seat called Baynden, late belonging to Sir Charles Booth, of Stede-hill, deceased.

 

A fair is held here on St. Swithin's day, now by the alteration of the style on July 26, for cattle, pedlery and toys.

 

THE MANOR of Horsemonden was part of the antient possessions of the archbishopric of Canterbury, the archbishop holding it of the king in capite as one knight's fee, of whom it was again held by the noble family of Clare, earls of Gloucester and Hertford.

 

It appears by the inquisitions returned into the exchequer in the 13th and 14th years of king John, of the knights fees and other services held in capite, that this place was then in the possession of the family of Albrincis, (fn. 1) one of whom, William de Albrincis, or Averenches, dying s. p. Maud, his sister, at length became her brother's heir, and entitled her husband, Hamo de Crevequer, to the possession of it. He died in the 47th year of king Henry the IIId.'s reign, before which however, this manor seems to have passed in marriage with one of his daughters, Elene, to Bertram de Criol.

 

In the 42d year of king Henry III. there was a composition entered into between archbishop Boniface and Richard de Clare, earl of Gloucester, in relation to the customs and services which the archbishop claimed on account of the lands, which the earl held of him in Tunbridge, Horsemonden, and other places in this county, by which it was agreed that the earl should do homage, and the service of one knight's see for the manor of Horsemonden, and suit at the court of the archbishop and his successors at Canterbury.

 

In the 8th year of king Edward II. this manor was part of the possessions of the family of Rokesle, the heirs of Roger de Rokesle then holding it of the honor of Clare; one of these was Sir Richard de Rokesle, who died without male issue, leaving by his wife Joane, sister and heir of John de Criol, son of Bertram above-mentioned, two daughters his coheirs; of whom Agnes, the eldest, married Thomas de Poynings; and Joane, the youngest, first Hugh de Pateshull, and secondly Sir William le Baud, each of whom in her right became possessed of this manor, and the latter of them died possessed of it in the 4th year of king Edward III. His widow, in the 20th year of that reign, paid aid for it, being then held of the earl of Gloucester.

 

After which, although their son, Sir William Baud, seems to have had some interest in this estate, at his death in the 50th year of that reign, yet on hers, the manor itself came to her nephew Michael, son of Thomas de Poynings above mentioned, by Joane de Rokesle her sister, in whose descendants it continued down to his grandson Robert de Poynings, who died in the 25th year of king Henry VI. leaving Alianore, the wife of Sir Henry Percy, lord Percy, eldest son of Henry, earl of Northumberland, daughter of Richard de Poynings, his eldest son, who died in his life-time, his next heir; upon which the lord Percy, in her right, became entitled to this manor, and from him it continued down to Henry, earl of Northumberland, who died without issue in the 29th year of Henry the VIIIth.'s reign. The year before which, he by deed, granted to the king, all his manors, castles and estates, (fn. 2) although the year before this, an act had passed for assuming to the king all his lands and possessions, in case of failure of heirs of his body.

 

This manor thus coming to the crown, stayed not many years there, for the king in his 36th year, granted it to Stephen Darell, esq. and Agnes his wife, to hold in capite. He died in the 2d year of queen Elizabeth, after which his two sons, Henry and George successively, possessed it, the latter of whom in the 10th year of that reign, alienated this manor to Richard Payne, who anno 17 queen Elizabeth, levied a fine of it, and some time afterwards alienated it to William Beswicke, esq. of Spelmonden, in this parish, sheriff in the year 1616. He was son of William Beswicke, alias Berwicke, alderman and lord-mayor of London, the son of Roger Beswicke, of Cheshire. They bore for their arms, Gules, three bezants, a chief or. His son, Arthur Beswicke, was of Spelmonden, and married Martha, daughter of Laurence Washington, esq. of Maidstone, by whom he left an only daughter Mary his heir, who in her life-time settled this manor on Mr. Haughton, descended from those of Haughton Tower, in Lancashire. He left two daughters his coheirs, the eldest of whom Anne, carried it in marriage to James Marriott, esq. of Hampton, in Middlesex, who bore for his arms, Barry of six, or, and sable. His son, of the same name, died s p. in 1741, and gave it by will to his sister Anne, for her life, and then to his second cousin, Hugh Marriott, esq. who died in 1753, leaving by Lydia, his wife, widow of Dr. Hutton, two sons, James; and Thomas, slain at the siege of Madras in 1765, and one daughter Anne. James the eldest son is in holy orders, and LL. D. He married in 1767, Miss Bosworth, and is the present possessor of this manor, and other estates in this parish.

 

There is no court held for this manor.

 

SPELMONDEN is an antient seat at the southern boundary of this parish, which was once possessed by a family which took its surname from it. John de Spelmonden, one of the proprietors of it, is frequently mentioned in the deeds and evidences belonging to this estate; after they were become extinct here, this seat became part of the possessions of the eminent family of Poynings, one of whom Michael, son of Thomas de Poynings, by Joane de Rokesle, possessed it at his death in the 43d year of king Edward III.

 

He left two sons, Thomas, who died s. p. and Richard, who became his brother's heir, and died possessed of this estate in the 11th year of Richard II. He was succeeded in it by Robert de Poynings his only son, at whose death in the 25th year of king Henry VI. Robert, his younger son, seems to have inherited Spelmonden, and died in the 9th year of king Edward IV. His son and heir, Sir Edward Poynings, in the 14th year of that reign, alienated it to John Sampson, whose son, Christopher Sampson, in the 37th year of king Henry VIII. passed it away by sale to Stephen Davell, who afterwards resided here, and his son, George Darell, in the 10th year of queen Elizabeth, conveyed it to Richard Payne, of Twyford, in Middlesex, who in the 28th year of it sold this estate to William Nutbrown, and he next year alienated it to George Cure, esq. of Surry, from whom it immediately after was sold to Arthur Langworth, and from him again as quickly to William Beswicke, esq. who afterwards resided here, and was sheriff in 1616. Since which this seat has passed in like man ner as the manor of Horsemonden down to the Rev. Dr. Marriott, who is the present possessor of it.

 

LEWIS-HEATH is a manor situated in the centre of this parish, which was antiently part of the possessions of the family of Groveherst, or Grotherst, one of whom, John de Grotherst, rector of this church, as his epitaph still remaining in it informs us, gave this manor of Leueshothe to the abbot and convent of Begeham, to find one perpetual chaplain to celebrate in the church of Horsemonden and chapel of Leueshothe; and it continued part of the possessions of that abbey till the dissolution of it in the 17th year of king Henry VIII. who that year granted it with all its possessions, among which was this manor, to cardinal Wolsey, for the better endowment of Cardinal's college, in Oxford; but on his being cast in a præmunire, about four years afterwards, all the estates of that college, which, for want of time, had not been firmly settled on it, came into the king's hands, where this manor lay till queen Elizabeth, in the beginning of her reign, granted it to Anthony Brown, viscount Montague, who, as appears by the inquisition taken after his death, died possessed of it in 1593. He was succeeded in it by his eldest son and heir, who not long afterwards alienated it to William Beswicke, esq. of Spelmonden, in this parish, since which it has passed in like manner as that seat, and the rest of his estates in this parish, to the Rev. Dr. Marriott, the present possessor of it.

 

SPRIVERS is a manor situated on the western side of this parish, which had antiently owners of that surname, one of whom, Robert Sprivers, died possessed of it in 1447, anno 26 Henry VI. and by his will devised it to his son of the same name. After this family was become extinct here, the Vanes became proprietors of it, from whom it passed into the name of Bathurst.

 

Robert Bathurst possessed this manor and resided here in the reign of queen Elizabeth. He was second son of Laurence Bathurst, of Staplehurst, whole eldest son Edward was ancestor of the Bathursts, of Franks, in this county, under which more may be seen of them. Robert Bathurst, above-mentioned, was ancestor by his first wife to those of Letchlade, in Gloucestershire, and of Finchcocks and Wilmington, in this county, and by his second wife of those of Richmond, in Yorkshire; soon after this it was alienated to Malbert, and from thence again, after no long intermission, to Morgan, in which name it remained till it was sold to Holman, whose descendant Anne Holman, in 1704, passed it away by sale to Mr. Courthope, who bore for his arms, Or, a fess azure between three estoils sable. Some account of the different branches of whose family has already been given before under Brenchley. That branch of it, from which the Courthopes of Danny, in Sussex, and those of Horsemonden were descended, was seated at Goddards-green, in Cranbrook, in the reign of king Henry VIII. one of whom, Alexander Courthope, of Cranbrook, possessed lands there, in Biddenden, and Maidstone, as appears by his will in the Prerogativeoffice, Canterbury, as early as the year 1525.

 

Mr. Courthope, the purchaser of this estate, left by his wife, one of the sisters of Edward Maplesden, of Cheveney, in Marden, a son, Alexander, and five daughters, who all died unmarried, except Barbara, who married Mr. Cole, of Marden, and died in 1783, by whom she had two surviving sons, Peter and John. Alexander Courthope, esq. the son, rebuilt the mantion house of Sprivers at some distance from the antient one, and afterwards resided in it with true old English hospitality, and with a reputation of the highest integrity. He died unmarried in 1779, and by his will gave this manor, with the estate belonging to it, to his nephew, John Cole, esq. the present possessor, who resides in it.

 

A court baron is regularly holden for this manor.

 

Grovehurst is a manor which lies on the eastern side of this parish, and was in very early times part of the possessions of a family who took their surname from it. William Grovhurst died possessed of it, with Puleyns in this parish, (now the property of the Rev. Richard Bathurst, late of Finchcocks in Goudhurst) in the 7th year of king Edward III; his descendant Richard Groveherst left three daughters his coheirs, one of whom, Anne, carried this manor in marriage, about the latter end of the reign of king Richard II. to Richard Hextall, of Hextalls-court in East Peckham. His eldest son William, in the beginning of king Henry VI.'s reign, increased his property in this parish by the purchase of four estates here, called Hothe, Smeeths, Capell, and Augustpitts. He left Margaret his sole daughter and heir, who carried them in marriage to William Whetenhall, esq commonly called Whetnall, whose descendant of the same name, was sheriff in the 18th year of king. Henry VIII.'s reign, and in the 31st year of it procured his lands to be disgavelled by the act passed that year.

 

His descendant, Henry Whetenhall, in the reign of king James I. passed away the manors of Grovehurst, Hoathe, Smeethe, and Capell, (for that of Augustpitts had been before sold off, being now the property of Mr. John Osborne, who resides at it,) together with a seat in this parish, called Broadford, situated near the bridge of that name over the river here, to Francis Austen, the fifth son of Mr. John Austen, of this parish, who dying in 1620, was buried in this church, where his arms still remain, viz. Or, on a chevron sable three plates, between three lions paws erect and erased, sable. He afterwards resided at Grovehurst, of which he died possessed in 1687, and was buried here. He left a son, John Austen, who was likewise of Grovehurst, where he died in 1705, and was buried here. His son; John Austen, esq. resided at Broadford, and died the year before him, leaving six sons and one daughter, of whom John, the eldest, became his grandfather's heir to his estates in this parish, and Francis, the second son, was father of Francis Motley Austen, esq. now of Sevenoke in this county.

 

John Austen, esq. the eldest son, was of Broadford, and married Mary, daughter and coheir of Stephen Stringer, esq. of Goudhurst, by whom he had John Austen, esq. now of Broadford, who married Miss Joanna Weekes, of Sevenoke, by whom he has one daughter Mary, and he is the present possessor of these manors and estates.

 

There is a court baron regularly held for the manors of Grovehurst, Hoathe, and Smeethe.

 

BADMONDEN is a reputed manor in this parish, in which there was formerly a cell, but not conventual, belonging to the priory of Beaulieu, in Normandy; in which situation it continued till the general suppression of the alien priories throughout England, in the 2d year of king Henry V. anno 1414, when their houses and possessions were in parliament given to the king and his heirs, who the next year gave it to the priory of St. Andrew, in Rochester, where it remained till the dissolution of that society in 1540; when all the rents and revenues of it were surrendered into the king's hands, who by his dotation charter in his 33d year, settled it on his new-founded dean and chapter of Rochester, with whom the inheritance of it remains at this time.

 

The manor of East Farleigh and East Peckham claims over this part of Horsemonden; the freeholders in Badmonden holding their lands of it in free socage tenure.

 

BRAMBLES is a small manor in this parish, which was heretofore the property of Mr. John Barnes, and now belongs to Mr. Usherwood.

 

A court baron is held for this manor.

 

The manor of Gillingham claims over the tithing or hamlet of Baveden, in this parish, being one of the four denns in the Weald holden of that manor, the freeholders holding their lands of it in free socage tenure.

 

Charities.

WILLIAM WYKES gave by will in 1682, for the maintenance of the poor in land, vested in trustees, the yearly produce of 14l. 6s. 6½d.

 

LADY ABERGAVENNY gave by will for the like purpose, in money and jewels, which were recovered by a decree in chancery in 1618, and laid out in the purchase of two farms, one in Tunbridge, of the clear annual produce of 19l. 16s. 5d. the other in Ticehurst, of 7l. 8s.

 

The number of poor constantly relieved here is yearly about fifty, those casually twenty.

 

HORSEMONDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.

 

The church is dedicated to St. Margaret; it is a handsome building; in it are memorials of Groshurst, Browne, Austen, Courthope and Campion, and in the chancel, on the south side, a fair altar tomb, without the appearance of having ever had any inscription on it. Over the west door are the arms of Poynings and Fitzpaine; one of the former might very probably be the builder, or at least a considerable benefactor to the building of it.

 

It is valued in the king's books at 26l. 3s. 9d. and the yearly tenths at 2l. 12s. 4½d.

 

The patronage of this church was, from the earliest time, an appendage to the manor of Horsemonden, and consequently has had the same proprietors. There are two small manors annexed to it, called the manors of Hasellets alias Radmanden, and Cossington alias Heyden, for which there are court barons held—These, with the rectory, are now part of the possessions of the Rev. Dr. Marriot, lord of the manor of Horsemonden.

 

¶Robert de Grosshurst, of Horsemonden, in 1338, founded a perpetual chantry in this church, in the chapel of the Blessed Virgin Mary, built in honor of her annunciation in the north part of it, to the praise of God, and for the souls of himself, his wife, &c. And he ordained, that after the first vacancy, the parishioners should nominate the priest of it, to be presented to the bishop of Rochester, to be instituted and inducted into the said chantry. The priest to reside constantly, and to celebrate daily in it, according to the rules therein mentioned. And he ordained, that Sir William Langford, the first priest, and his successors, perpetual chaplains of it, should receive yearly for their maintenance, and the burthens incumbent on it, from the abbot and convent of Boxley, six marcs sterling yearly rent, which he had purchased of them for the endowment of it. Anno 1445, the bishop directed his official, &c. to enquire by inquisition, among other matters, concerning the dotation and endowment of this chantry, when it was returned that it consisted in six marcs annual rent from the abbot of Boxlay, of forty shillings annual rent from lands in the parish of Merden, granted to the chaplain for a term of years, and in one messuage and gardens of the value of twelve-pence, and in rent in Horsemonden of six shillings per annum; and that the house of the chantry was so much out of repair, that six marcs would scarce be sufficient to put it in good repair; and that thus the true value of this chantry, the burthens belonging to the chaplain of it being borne by him, amounted according to their estimation to eight marcs per annum.

 

Sir Edward Poynings gave twenty-four acres of land to the maintenance of lights in this church; from whence they obtained their present name of Torchfield. (fn. 3)

 

In the year 1701, this church was repaired by the aid of a brief collected for that purpose.

 

www.british-history.ac.uk/survey-kent/vol5/pp311-322

Inventor Tim Jenison attempted to solve one of the greatest mysteries in all art: How did 17th century Dutch Master Johannes Vermeer (“Girl with a Pearl Earring”) manage to paint so photo-realistically.

Tim’s Vermeer: Tim Jenison Close-Up is an exhibition of Mr. Jenison’s process work on display at Kennedy Library.

A section view of a casting in Autodesk Inventor 2012

www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur 50ans.apur.org/#intro @ Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - dailymotion.com/video/xxi0ae?playlist=x34ije … Trente ans d’histoire de l’habitat : de la

Reconstruction à l’urbanisation intensive, puis raisonnée. La région parisienne connaît alors un développement

exceptionnel façonnant le paysage de l’Îlede-France actuelle.

Réalisée à l’initiative de la DRAC Île-deFrance, une exposition regroupant une quarantaine de photographies d’ensembles de logements édifiés en Île-de-France entre 1945 et 1975 et sélectionnés pour la qualité de leur forme urbaine, leur valeur d’usage ou leurs spécificités techniques, a été présentée, du 5 juillet au 15 septembre 2011, à La Maison de l’architecture en Île-de-France. Cette exposition a fait l’objet d’une publication dans la revue Beaux Arts Editions. @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire. Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.Le thème du logement. « Il s’agit du premier label Patrimoine XXe siècle attribué en Île-de-France. La DRAC, qui l’a mise en œuvre, a choisi de s’intéresser en tout premier lieu à cette production de

logements de masse d’une ampleur inégalée construits dans notre région après la guerre. Ce sont des créations emblématiques d’une architecture contemporaine dépréciée ; à ce titre, elles sont au premier chef concernées par les recommandations du Conseil de l’Europe. De plus, par l’ampleur des programmes, les étendues qu’ils recouvrent, ces ensembles sont sont plus éloignés du champ

traditionnel des monuments historiques. L’outil label a semblé approprié. Le choix de labelliser les ensembles de logements est donc audacieux : nous espérons que le regard porté sur ces immeubles Change. » Valérie Gaudard, Conservation régionale des monuments historiques, DRAC-Île-de-France.

(extrait d’un entretien publié dans Beaux Arts éditions « 1945-1975, Une histoire de l’habitat – 40 ensembles « patrimoine du XXe siècle »). Créé en 1999 par le ministère de la Culture et de la Communication, le label Patrimoine du XXe siècle

vise à signaler au public, aux décideurs et aux aménageurs, "les édifices et ensembles urbains qui sont autant de témoins matériels de l’évolution technique économique, sociale, politique et culturelle de notre société". Liens Le label patrimoine XXe - www.culturecommunication.gouv.fr/Regions/DRAC-Ile-de-Fran... La Maison de l'architecture - www.maisonarchitecture-idf.org/spip.php

www.twitter.com/Memoire2cite www.beauxarts.com/produit/une-histoire-de-lhabitat/ @ LES GRANDS ENSEMBLES @ L EXEMPLE DE DIJON «LE BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE»Sylvain TABOURY, sociologue, enseignant à l’école d’architecture de Versailles. Co-auteur avec Karine Gougerot, photographe, de Billardon, histoire d’un grand ensemble, paru aux éditions Créaphis en 2004. Texte communiqué à partir de la rencontre-débat du 20 mai 2005 Organisée par le Centre de Ressources Politique de la Ville en Essonne en partenariat avec Maison de Banlieue et de l’Architecture, le CAUE 91 et CINEAM dans le cadre de l’exposition «Des ensembles assez grands: mémoire et projets en Essonne». Cet ouvrage retrace l’histoire de la cité Jean-Billardon, barre de 14 étages et de 250 logements, à Dijon, premier grand ensemble de la ville, construit entre 1953 et 1955, démoli en 2003. Sélectionné parmi les immeubles significatifs de l’architecture du XXe siècle par la direction de l’Architecture et du Patrimoine (DAPA) du ministère de la Culture, Billardon était un symbole incontournable de l’histoire du quartier des Grésilles et de l’agglomération dijonnaise, ainsi qu’un formidable témoin de l’architecture novatrice de l’après-guerre. Sollicités par le service Inventaire de la Direction régionale des affaires culturelles de Bourgogne (Drac) et par l’Office public d’aménagement et de construction de Dijon (Opac), dans le cadre de l’opération de renouvellement urbain (ORU) du quartier des Grésilles, nous avons collecté et rassemblé, de janvier à juillet 2003, les traces de cette histoire, les archives, mais aussi les témoignages, recomposant des trajectoires familiales, professionnelles, des documents iconographiques et sonores. La restitution auprès des habitants et des partenaires du projet en octobre 2004, accompagnée d’une table ronde avec différents intervenants et acteurs du quartier, a été un moment fort, inscrit dans le processus de transformation engagé sur le quartier des Grésilles. Une exposition, intitulée «Mémoires de Billardon, fragments de vies», a également été présentée dans les locaux prestigieux du musée de la Vie bourguignonne de Dijon, du 14 octobre 2004 au 31 janvier 2005.Garder une trac De fait, la démolition de la Cité Billardon, le 4 juillet 2003, restera sans aucun doute un événement sensible dans la mémoire de nombre d’habitants de l’agglomération dijonnaise. Cette barre fut la première construction d’un tout nouveau quartier – le quartier des Grésilles –, à Dijon, où près de 4000 logements ont été construits Centre de Ressources Politique de la Ville en Essonne entre 1953 et 1966 – 14970 habitants en 1968, 8263 en 2003 – sur un terrain agricole demeuré nu, à l’est du territoire communal. Les 14 étages et 250 logements de l’immeuble, élevés au milieu des champs et des jardins familiaux, où un écriteau «Chasse interdite» était encore visible quelques années auparavant, faisaient alors l’admiration des très nombreux badauds venus visiter cette toute nouvelle Cité radieuse, construite tel un

Meccano de béton et d’acier. « Immeuble révolutionnaire», «Meccano géant à l’échelle du monde moderne», les titres de la presse de l’époque donnent un aperçu de l’impact national et international de l’événement. «Des visiteurs étaient venus de toute la France et même de l’étranger, jeter un coup d’œil au chantier», rappelait un article de la presse locale le jour de la démolition. Cette « barre » de 14 étages et de 250 logements, desservis par des coursives placées tous les trois niveaux, était une déclinaison appauvrie du modèle de la Cité radieuse du Corbusier, inaugurée le 14 octobre 1952. Les appartements étaient de deux types: les uns de deux et trois pièces, situés dans les ailes, de disposition traditionnelle, orientés au sud et pourvus de loggias; les autres, de cinq pièces, situés au centre du bâtiment, du type « duplex ». Huit espaces commerciaux avaient été aménagés en rez-dechaussée. Cependant, en dépit des ressemblances et de la qualité architecturale de l’édifice, l’immeuble n’était pas une unité d’habitation au sens où Le Corbusier l’entendait. L’originalité de la Cité Billardon tient en réalité au procédé constructif qui fut utilisé lors de son édification. Elle fut la toute première à expérimenter en France le procédé de préfabrication Estiot, réutilisé par la suite pour la construction de plusieurs grands ensembles, comme le Noyer-Renard à AthisMons, la Cité des 4000 à la Courneuve, la Grâce-de-Dieu à Caen, la Croixdes-Oiseaux et Champ-Fleury à Avignon, le Gros Buisson à Épinay, SainteBarbe à Metz, le Haut-du-Lièvre à Nancy, les tours du Lancy à Genève ou encore des bâtiments d’habitation à Alger. Le mode constructif, repris sur celui des gratte-ciel américains, associait l’acier en ossature et le béton en pré-enrobage avec une majeure partie réalisée en atelier. Le procédé donnait des résultats évidents: précision remarquable, rapidité d’exécution, peu ou pas d’installations de chantier – suppression des coffrages, des étayages, des échafaudages – et surtout économie considérable de main-d’œuvre. Il s’agissait des prémices d’industrialisation dite lourde du bâtiment. Forte de cette première expérience, la commune avait ensuite réalisé deux autres cités de même type, Épirey, puis Lochères. Mais le modèle de Billardon fut perverti: dans une logique de réduction des coûts de production et de rapidité d’exécution, tous les espaces peu productifs comme les logements en duplex, les cellules commerciales, ou les très grands halls, ont été supprimés. Les deux cités comprennent 348 logements, relativement mal desservis et sans attrait, des petits logements sur un seul niveau La démolition de Billardon n’a donc évidemment pas la même signification, Centre de Ressources Politique de la Ville en Essonne « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne ni les mêmes conséquences que celles d’Épirey ou des Lochères, déjà démolies en 1992 et 2000. Cet immeuble possédait une fonction symbolique incontestable, une place à part dans la vie des résidents qui s’y sont succédé, comme dans la mémoire des habitants du quartier. Les récits que nous avons pu recueillir auprès d’une trentaine d’anciens résidents de l’immeuble nous offrent différentes représentations de l’histoire de

Billardon, et des personnes qui y ont vécu ou travaillé d’avril 1955 à décembre 2002. Les témoignages des plus anciens, arrivés parmi les premiers, en 1955, répondent aux histoires des plus jeunes, derniers occupants du rafiot, aujourd’hui démoli. Ils sont venus d’horizons divers, de Côte-d’Or, de Bretagne, d’Alsace, de la région parisienne, du Maroc, d’Algérie, du Portugal, du Cambodge ou d’ailleurs et leurs paroles traduisent l’enracinement profond de leurs souvenirs de Billardon, que certains n’auraient jamais voulu quitter. Bien sûr, la mémoire n’est pas «objective». Le discours s’élabore toujours à partir d’un présent et la disparition engendre certainement une nostalgie conduisant à magnifier les bons moments et à tempérer les plus pénibles. Mais en faisant imploser Billardon, c’est bien tout un pan de leur vie que l’on a réduit en poussière. Chaque témoin traduit avec ses mots ces petits faits de la vie quotidienne, souvent jugés sans importance, petits riens ou traumatismes, anecdotes ou événements tragiques, qui ont marqué leur sensibilité.« Une verrue dans le quartier»C’est pour ces différentes raisons esthétiques, historico-culturelles – témoignage de l’histoire des villes – et socio-symboliques – mémoire des hommes – que la Direction de l’Architecture et du Patrimoine (DAPA) du ministère de la

Culture avait décidé de répertorier la Cité Billardon parmi les immeubles représentatifs de l’architecture du XXe siècle. L’immeuble avait reçu le label «Patrimoine du XXe siècle» à la fin des années 1990. Or, ce processus de «patrimonialisation» était inconcevable pour de nombreuses personnalités locales, voire de nombreux habitants du quartier. Stigmatisé comme une «verrue» dans le quartier, l’immeuble était devenu un véritable cauchemar: dégradations, violence, difficultés et «mal-vivre» constituaient le quotidien de locataires excédés, souvent «assignés à résidence». Bagarres, agressions, cambriolages, drogue, vitres brisées, ascenseurs en panne, alimentaient manchettes de journaux et témoignages, décrivant le naufrage d’un immeuble à la dérive, devenu symbole de tous les maux. La démolition paraissait donc inéluctable, comme une délivrance, la promesse d’un avenir meilleur. Les partenaires institutionnels se devaient de mettre en scène leur capacité à changer la vie des habitants du quartier, réparer les erreurs d’une période de l’urbanisation contemporaine, dont Billardon était l’un des symboles les plus représentatifs. L’idée d’une enquête ethnographique sur l’édifice et ses locataires avait donc « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne du mal à passer dans la réflexion de certains décideurs. La mise en œuvre du projet, initié par le service Inventaire de la Direction régionale des affaires culturelles (Drac) de Bourgogne, sur les budgets de l’opération de renouvellement urbain du quartier, fut bloquée administrativement pendant plusieurs mois. Entre-temps, tous les locataires de l’immeuble avaient été relogés… (la dernière famille quitte son logement le 23 décembre 2002).

Une histoire des grands ensembles? Le travail de recherche historique sur les grands ensembles est rendu aujourd’hui d’autant plus difficile à faire comprendre que la ville issue des Trente Glorieuses est souvent considérée, avec la politique publique qui l’a programmée, comme une vaste erreur collective (A. Fourcaut). L’architecture des «tours» et des «barres», du «chem« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne. Photographie, histoire et sociologie, de monographies locales – Saint-Étienne, Villeurbanne, etc. – publiés ces dernières années sur ce thème en témoigne clairement.Cependant, on est encore loin du compte. Si plusieurs urbanistes, historiens, géographes ou sociologues1 ont récemment contribué à une meilleure connaissance du sujet au niveau national et international, l’histoire de ces quartiers d’habitat collectif reste un terrain largement méconnu, à peine exploré par les historiens locaux. En Essonne, à quelques exceptions près – Draveil, Viry-Châtillon, les Ulis, Athis-Mons ou Grigny –, rares sont les monographies ou les études locales à accorder une place de choix à l’analyse et à la présentation de ces bouleversements. Les mauvaises volontés, auxquelles nous avons parfois été confrontés dans le cadre de nos recherches dans le département témoignent des réticences que continue de susciter toute démarche d’enquête et d’analyse sur la mémoire et le devenir des grands ensembles.

La transformation en cours ou à venir d’une vingtaine de sites en Essonne dans le cadre du Programme national de rénovation urbaine, institué par la loi Borloo du 1er août 2003, et la priorité donnée à la démolition-reconstruction,

sur fond de crise du logement social, devraient pourtant poser avec plus d’acuité la question de l’appréciation de ce patrimoine départemental. De nombreuses communes mobilisées dans des programmes d’intervention n’ont qu’une vision très partielle de l’histoire de ces quartiers, de leurs évolutions, dont les conséquences ne sont envisagées le plus souvent qu’à travers le prisme d’une crise sociale impossible à juguler. Or, n’est-il pas singulier, voire dangereux, d’entreprendre des opérations de transformation urbaine aussi radicales, sans même commencer par chercher à comprendre comment, par qui et pour quelles raisons ces espaces ont été construits ou transformés, sans évaluer dans certains cas l’impact des politiques précédemment engagées?Richesse patrimoniale ou héritage encombrant, définir une nouvelle vision de la ville exige un travail d’enquête, d’expertise, une capitalisation des expériences, rarement mis en œuvre.Et c’est sans doute là le talon d’Achille d’une politique de transformation

urbaine menée dans l’urgence, qui ne peut se nourrir de capitalisation critique, et occulte le rôle crucial de l’accompagnement qualitatif et de la sensibilisation et/ou de la formation des élus, des services de l’État et des collectivités, des opérateurs et des aménageurs, des bailleurs.Ces images devenues presque ordinaires de parpaings, pans de bétons fracassés, vitres brisées laissent songeur: quel regard les résidents – et notamment

les plus jeunes – pourront-ils bien porter à l’avenir sur un environnement si violemment rejeté? Pourquoi respecter ce qui n’est bon qu’à être démoli?

Pour n’en citer que quelques-uns : FORTIN J-P., Grands ensembles. L’espace et ses raisons, Plan Urbanisme Construction Architecture (PUCA), 1997 ; PEILLON P., Utopie et désordre urbains. Essai sur les grands ensembles d’habitation, La Tour d’Aigues, Editions de l’Aube, 2001 ; DUFAUX F., FOURCAUT A., SKOUTELSKY R., Faire l’histoire des grands ensembles. Bibliographie 1950-1980, ENS éditions, 2003 ; TOMAS F., BLANC J-N., BONILLA M., Les grands ensembles, une histoire qui continue…, Publications de l’université de Saint-Etienne, 2003 ; DUFAUX F., FOURCAUT A. (dir.), Le monde des grands

ensembles, Créaphis, 2004.« Pour une histoire des grands ensembles en Essonne », Les Cahiers de la Maison de Banlieue et de l’Architecture, n° 11, mai 2005« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »

Centre de Ressources Politique de la Ville en Essonne

Les enjeux du projet

À Dijon, le projet a mis de long mois à se concrétiser. L’enjeu de ce travail était double:

■ Un enjeu de connaissance et d’analyse de l’histoire et des différentes étapes de l’évolution urbaine et sociale de l’immeuble et du quartier, des vécus, trajectoires résidentielles et familiales des habitants de la cité. Il a été réalisé à travers:

– une recherche historique dans les archives du bailleur, de la commune, des journaux locaux, de l’agence d’urbanisme, etc., replaçant l’étude dans le contexte général de l’histoire de la France de la Reconstruction et des quarante dernières années;– une écoute, dévoilant les différentes représentations de ce quartier, non plus

à partir de critères ou de théories de spécialistes, mais en suivant pas à pas(mot à mot) les trajets, les images qu’y déposent les habitants et les acteursdu quartier. Le travail artistique – photographies, textes – ayant alors pour fonction de réintroduire ces regards croisés dans la circulation de la ville,d’en faire des éléments de partage, de réflexio« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »Centre de Ressources Politique de la Ville en EssonneCes recherches ont permis de retracer les différentes étapes de construction et de transformation de cet immeuble dans son territoire, ainsi que l’évolution d sa composition socio-démographique. Une iconographie importante a pu être collectée et répertoriée sur CD-Rom. Une présence longue – deux à trois jours par semaine pendant cinq mois – a été assurée sur le terrain, favorisant notre immersion et l’observation du quotidien des habitants du quartier, le recueil d’une parole informelle, permettant d’expliciter notre démarche, ses objectifs, son intérêt, l’instauration d’une quotidienneté, de relations de confiance. Pour cela, une présence régulière aux différentes manifestations, aux réunions et aux événements publics liés au quartier et une fréquentation de lieux de rencontre et d’échanges préalablement identifiés ont été nécessaires.Des rencontres collectives et individuelles ont été organisées avec les partenaires – associations, structures et personnes-relais sur le quartier – nous permettant d’être rapidement identifiés et de baliser précisément notre rôle – le rôle de chacun – dans le projet, de recueillir leur connaissance du terrain, leurs représentations et leurs réflexions sur le projet. Les ateliers avec les techniciens, les élus et les associations concernées devaient définir précisément: ● les objectifs à court, moyen et, le cas échéant, long terme;

● les actions à court, moyen et long terme;

● les modalités de leur déroulement.

Ces rencontres avaient également pour objectif de faire fonctionner le«bouche-à-oreille», qui demeure bien souvent le principal vecteur d’information pour ce type de démarche. Elles nous permettaient également de nouer des premiers contacts avec les habitants et les personnes-relais impliqués dans la vie du quartier. Ont été mis en œuvre:

● un moment de rencontre-discussion avec les habitants sous la forme d’une soirée projection-débat: présentation du travail de recueil de mémoire, personnes et structures porteuses, méthodes, finalités; définition en commundes modalités de leur participation au projet.

● sollicitation et information de la presse locale (journaux, radio, télévision), des bulletins associatifs, de la communication institutionnelle (ville, communauté

d’agglomération, bailleur, etc.) pour relayer et présenter le plus précisément possible la démarche entreprise et les personnes en charge de ce travail;

● des entretiens compréhensifs, individuels, en couple ou en petits groupes sous la forme d’entretiens semi-directifs de type «récits de vie(s)», recueillisauprès d’habitants ou d’anciens habitants du quartier, de professionnels travaillant ou ayant exercé leur activité dans le quartier, d’élus ou de responsables associatifs.

« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »

Centre de Ressources Politique de la Ville en Essonne

Les entretiens ont été enregistrés et traités sur support numérique – mini-disc –, et les documents et les objets soigneusement inventoriés et/ou scannés.Ces entretiens avaient pour objectifs d’enregistrer non pas l’histoire de ce quartier, mais la manière qu’avaient nos interlocuteurs de dire leur propre histoire, cequi faisait mémoire pour ces personnes en contact étroit avec le quartier, natifs ou de passage, enracinés ou nouveaux venus. Il s’agissait de souvenirs, d’impressions d’enfance, de petits faits de la vie quotidienne parfois jugés sans importance, d’événements heureux ou tragiques, qui ont marqué leur sensibilité. Cela supposait donc que l’on prenne le temps, précisément de parler et d’écouter. Les entretiens se sont déroulés de préférence au domicile des personnes, pas dans la rue ou une salle impersonnelle, mais dans la sphère privée plus à même de laisser subvenir ces épopées de l’intime. L’objectif n’était pas de faire une archéologie du quartier, ni même d’enfermer nos interlocuteurs dans la norme de la personne-type qui habite un grand ensemble, mais bien de montrer que cet immeuble était composé de fragmentsde vies, de destins d’hommes et de femmes singuliers. Il s’agissait de montrer

comment, à un moment donné, ces personnes, venues parfois d’horizons lointains, se sont arrêtées là et ont enrichi ce lieu de leurs histoires et de leurs trajectoires particulières.

Nous avons donc insisté sur les trajectoires familiales et professionnelles de chacun: origines, parcours résidentiels, étapes et ruptures de vies – mariage, naissances, emplois successifs, divorces, décès, etc. –, points de repères autour desquels chacun construit «son temps», étapes qui organisent la durée, le vécu familial, domestique, les faits d’une vie et les événements de l’histoire. Le souvenir trouve également un support concret dans l’espace et les multiplesbouleversements du bâti et du cadre de vie. Démolitions, reconstructions,aménagements, suscitent une perte de repères, et invitent d’autant plus à faireun travail de mémoire. Dans cette perspective, ont été évoqués les souvenirs attachés plus précisément au quartier des Grésilles et à l’immeuble Billardon.Les personnes interrogées ont été invitées à s’appuyer le plus largement possible sur des descriptions détaillées (déménagement, logements successifs, accessibilité au travail ou aux équipements et services, nombre et identité des commerces, relations de voisinage, espaces collectifs), leurs pratiques (loisirs, vie scolaire, pratiques commerciales, etc.), les événements (fêtes, accidents, etc.) ou personnes marquantes; leurs perceptions du quartier et de son évolution – qu’ils y habitent toujours ou pas –, leurs projections éventuelles dans l’avenir (liste de thèmes non exhaustive).De février à juin 2003, une quinzaine d’entretiens ont pu être réalisés auprès d’une trentaine d’anciens locataires de l’immeuble, des premiers résidents de

Billardon dans les années 1950 aux derniers occupants, récemment relogés. « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne Des outils pour l’action: la restitution Tout au long de l’étude, nous avons rencontré et consulté régulièrement l’ensemble des institutions et des partenaires concernés par la démarche, afin de leur soumettre les premiers éléments de notre travail, recueillir leurs commentaires, leurs suggestions et critiques. Ces rencontres ont été l’occasion de partager une réflexion, d’élaborer des propositions de restitution aux différents publics.Malgré nos craintes initiales, une restitution de qualité a pu être proposée aux habitants, grâce à l’implication très forte de l’Opac de Dijon, véritable porteur du projet, et dans une moindre mesure du service Inventaire de la Direction régionale des affaires culturelles de Bourgogne. Leur implication a permis de trouver différents partenaires financiers, comme la Caisse des Dépôts et Consignations ou la communauté d’agglomération.

De notre côté, sur la base du rapport et du reportage photographique que nous avions remis à nos commanditaires, nous avons pu convaincre les éditions

Créaphis, reconnues pour la qualité de leurs publications de documents d’histoire, de sciences sociales et de photographie, de formuler une proposition éditoriale de qualité. Sur la base de nos recommandations, deux pistes de restitution ont été privilégiées:

● une exposition, événement fort et fédérateur, pouvant susciter des échanges,des moments de rencontre entre habitants du quartier et résidents extérieurs,

dans une optique d’ouverture du quartier au reste de la ville, les productions de certains groupes d’habitants pouvant être également valorisées, ainsi que les objets ou films recueillis dans le cadre du projet;

● une publication, associant textes et documents d’archives sur l’histoire du quartier, une sélection de témoignages et de photographies professionnelles

et amateurs, et accompagnant cette exposition, pour une diffusion plus large des résultats de l’opération, et une appropriation durable du projet par les habitants du quartier et les autres résidents de l’agglomération.Cette restitution avait également pour objectif de mettre en lumière les différentes préoccupations des habitants, permettant aux acteurs de terrain de disposer d’une base de connaissances pour définir et programmer leurs interventions, à court, moyen et long terme. Un tel travail fait émerger des représentations collectives, des divergences, des tensions qu’il faut savoir analyser et traiter pour améliorer les rapports sociaux et les conditions de vie des habitants.Encore faut-il que ces paroles soient prises en compte pour permettre aux institutions de redéfinir leurs modes d’intervention sur la ville: vaste chantier… Sylvain TABOURY,sociologue, enseignant à l’école d’architecture de Versailles Les 30 Glorieuses . com et la carte postale.. 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. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... - - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).

Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon

Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.

En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture. son site simonpaysage.free.fr/

file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.

www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,

A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses

En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.

Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.

La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.

- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.

- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France13.

Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)

14Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.

- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.

 

The Hotel Sacher is located in the first District of Vienna after the Vienna State Opera. Famous specialty of the house is the original Sachertorte. The hotel is a member of the Leading Hotels of the World.

History

Anna Maria Sacher

On the grounds of the demolished Kärntnertortheatre, directly opposite the newly opened imperial Court Opera, was built a Maison meuble. The restaurateur Eduard Sacher bought the house modeled on a Renaissance palace and opened in 1876, Hotel de l' Opera with the restaurant. The son of Franz Sacher, the inventor of the Sachertorte, had however already made ​​a name for himself as a restaurateur, and named the house quickly to Hotel Sacher .

He married 1880 the 21- year-old Anna Fuchs, who henceforth cooperated in the hotel and quickly took over the business because of her husband's deteriorating health . Edward died in 1892, and Anna Sacher now ran the hotel as so-called widow operation. Which at that time was an extremely emancipated woman with cigar and her beloved French Bulldog (in Vienna: " Sacher-Bully" ) was always to be found, continued the business with rigor, but also with kindness. So they talked back then a company health insurance for their employees.

From the beginning, the Sacher was one of the best addresses in the city and in 1871 for the wine and delicatessen for kuk Appointed purveyor. This privilege his widow Anna was once again awarded after the death of Eduard Sacher. Before the opera you enjoyed the exquisite cuisine, they met in the legendary private rooms, and high-ranking representatives from politics always used the house for discreet meetings. The exclusive hotel was already a social institution . But then the economically difficult years after the First World War left its mark on the house.

Shortly before her death in 1930, Anna Sacher withdrew from the guide. Only after her death was announced that the hotel was heavily in debt and assets of the former was not much left. In 1934, finally came to bankruptcy.

The lawyer Hans Gürtler, his wife Poldi and the hotelier couple Joseph and Anna Siller acquired the now dilapidated house and renovated it extensively: from the heating system, electrics, running hot and cold water in all rooms has been adapted all the modern needs. From now on, the earned money should always flow back into the house. First time, the Sachertorte not only in their own premises were offered for consumption, but also sold on the street.

The house was again the meeting place for the growing company. But the annexation of Austria by Nazi Germany in 1938 brought this to an abrupt end. Swastika flags flying in front of the hotel now. During the Second World War but the house remained largely spared from damage. Immediately after the liberation of Vienna it was occupied by Soviet troops, the Vienna first district around the hotel but was soon jointly managed by the Allies and thus it came six years into British hands.

1951 got the Siller family and Gürtler their property back. Josef Siller had died in 1949. Again, the hotel had to be extensively renovated. As well as new dining venues emerged at the Sacher. Hans Gürtler also laid the foundation for the art collection of the 19th Century. Anna Siller died in 1962, and the hotel was entirely in the possession of the Gürtler family. In 1967 the company received the National Award and since then the federal coat of arms may be used in commercial transactions. The son Rolf Gürtler took over the business in 1970, but shortly thereafter, in an accident, after which he succeeded his son Peter Gürtler. This took over in 1989, the Austrian Court Hotel in Salzburg. This was later renamed the Hotel Sacher Salzburg. Since his death in 1990 his 1983 divorced woman Elisabeth Gürtler-Mauthner leads the family with their daughter Alexandra.

In 2006 the building, which is composed in its buildings of six town houses, refurbished thermally under the direction of architects Frank & Partners, and the loft conversion, in which a spa area was accommodated, provided while preserving the monument idea with a striking bright aluminum roof.

Offer

The Hotel Sacher at night

As a member of the Hospitality Association of The Leading Hotels of the World, which ensures quality control in five star hospitality sector, the Hotel Sacher is one of the best addresses in Austria. Since the expansion of 2006 also meets the criteria of a Leading Spa.

In the House, the Anna Sacher restaurant, the Red Bar, the Blue Bar, Confiserie, Café Sacher are and the Sacher Eck (coin). The cafe was founded in 2004 awarded the Golden Coffee Bean Jacobs.

Also in the building, but not as a part of the hotel, is the former imperial Court and chamber Supplier Wilhelm Jungmann & Neffe.

Since 1999, the Original Sacher-Torte is produced in a production office in Vienna Simmering, from where it is exported to the whole world. After a decades-long legal battle with the Imperial Sugar Bakery Demel only the dessert made ​​by Sacher may adorn with the title "original". The Sachertorte is imitated by many coffee houses, bakeries and pastry shops.

Rooms of the Hotel Sacher

The Sacher shop in the Hotel Sacher

The famous Sacher Torte

Famous guests

Main entrance of the hotel in the evening

Many prominent guests had the house in the Philharmonikerstraße. Anna Sacher had a photo gallery of her guests in her boudoir. The signatures of all she embroidered herself on a table cloth. Located in the middle of it Emperor Franz Joseph.

Crowned heads, statesmen, diplomats and politicians lodged at the Sacher: Edward VIII, Wallis Simpson, Elizabeth II, Prince Philip, Prince Rainier, Princess Grace, John F. Kennedy, Kofi Annan and many more.

Because of the close proximity to the Opera House of course many artists were under the guests: Herbert von Karajan, Leonard Bernstein, Leo Slezak, Plácido Domingo, José Carreras and Rudolf Nureyev. Music critic Marcel Prawy lived until his death in 2003, even as a permanent guest at the Sacher.

Graham Greene had here the idea for the screenplay of the film The Third Man. A British officer told him about the underground passages of Vienna, whereupon Greene in the bar wrote down the first ideas immediately.

Her role in the Sissi films Romy Schneider owed ​​their similarity with the bust of the Empress, who is at the hotel and was the director Ernst Marischka noticed. During filming, she lived with her mother Magda Schneider at the Sacher.

Invited to an unusual press conference in April 1969, John Lennon and Yoko Ono to the Sacher. They held one of her legendary "Bagism" actions in their hotel rooms to media representatives (including André Heller, who reported for the Ö3 jukebox), in order to express their ideas of world peace.

Traditionally, all suites are named for operas and composers (eg, La Traviata, Carmen, Idomeneo, The Magic Flute, Madame Butterfly, Nabucco, Rigoletto, Leonard Bernstein, etc.). The new suites on the top floor of the house bearing the names of contemporary operas, such as Lulu and Billy Budd named.

Hotel Sacher in film and on stage

The Hotel Sacher has been immortalized in numerous films and stage plays .

Hotel Sacher, 1939

In the German-speaking area, the hotel was also supported by the TV series Hello - Hotel Sacher ... Portier! popular with Fritz Eckhardt .

Literature

Ernst Hagen: Hotel Sacher. Austria slept in your beds. Zsolnay , Vienna , 1976, ISBN 3-552-02827-7

Ingrid Haslinger: customer - Emperor. The history of the former imperial purveyors. Schroll, Vienna 1996 , ISBN 3-85202-129-4 .

János Kalmár , Mella Waldstein: K.u.K. Purveyors of Vienna. Stocker , Graz 2001, ISBN 3-7020-0935-3 . Pp. 10-15 .

Monika Kellermann : The great Sacher-back book. Pastries, cakes and pastries. Seehamer -Verlag, Weyarn 1994, ISBN 3-929626-28-4

Franz Maier- Bruck : The great Sacher Cookbook. The Austrian cuisine. Seehamer -Verlag, Weyarn 1994, ISBN 3-929626-27-6

Leo Mazakarini : The Hotel Sacher in Vienna. Grafe and Unzer, Munich, 1977, ISBN 3-7742-5018-9

Emil Seeliger: Hotel Sacher. World history at supper. Publisher Schaffer, Berlin 1942

William Fraenkel: Establishment Eduard Sacher in Vienna: General Construction Journal, Volume 1877 (online at ANNO)

de.wikipedia.org/wiki/Hotel_Sacher

There has been a church on this site since Saxon times. The original building was probably built of wood, but this was succeeded by one of stone by the time of the Domesday survey in 1086 AD. It was probably built of ragstone and tufa both of which occur locally, some of the stone being reused for the construction of the present building dating from the 13th & 14th centuries. Much work was carried out during the 19th century, the north aisle being added in 1824, the south aisle in 1856, and the east wall of the chancel being rebuilt in 1883/4. The porch dates from the 15th century, and was moved to its present position after the addition of the south aisle.

 

Much of the north wall of the chancel beyond the choir seating is taken up by the Style monument, which was erected by Sir Thomas Style in 1626 in memory of his parents Oliver and Susan Style. Oliver Style was the son-in-law of John Bull. Oliver Style (1542 – 1622) purchased Wateringbury Place and lived there until his death at the age of 80 in 1622. He was the son of Humphrey Style, Charles Stuart’s cupbearer, whose memorial brass remains in Beckenham parish church. The figures on the monument have some of their old colour still left; that of Oliver Style is in a scarlet and ermine robe, Sir Thomas being dressed in armour. An extraordinary figure on this tomb is that of a partly cloaked skeleton with an angel, under an arch and among coloured flowers and cherubs, with the words: “death to me is an advantage; all men must die”, a good enough philosophy for skeletons! A ledger stone in memory of Sir Thomas Style has been moved from the chancel to the floor of the tower, and may be seen on request.

 

The vestry, which is entered from the north side of the chancel by a Tudor door, was built in 1838 at the expense of Alderman Matthias Prime Lucas of the City of London, who succeeded the Style family at Wateringbury Place, and whose portrait by Sir David Wilkie RA is in the Guildhall Art Gallery. The vestry is thought to be the largest of any in a Kent parish church.

 

Members of the Lucas family occupy the vault beneath the vestry, and theirs are the memorial hatchments displayed on the walls of the nave. The vestry also contains a memorial tablet to that well known and much loved priest Canon Livett. Fixed to the tablet is a piece of carved Norman stone, and the inscription reads: “This stone from the Norman east front of Rochester Cathedral is placed here in memory of Canon G.M. Livett BA, FSA, vicar of Wateringbury 1895 – 1922”. It was presented to him on completion of the restoration of the west front of Rochester Cathedral, during which he discovered the foundation of the east end of the Saxon Cathedral. Canon Livett was the first President of the Kent Archaeological Society.

 

A memorial board has now been affixed to the wall above the fire place in the vestry. It was once sited in the old school building on Red Hill before the school moved in 1976 to new premises in Bow Road, and was unable to house the memorial. It is unique in recording the names of all the former pupils of the school who served in the Great War of 1914 – 1918, as well as of those who were killed in the two Great Wars. It is included on the national list of war memorials which is held at the Imperial War Museum in London.

 

The east end of the north aisle of the nave is occupied by the Chapel of St. George, and contains memorials to those from the village who served and died in the two world wars of 1914 – 1918 and 1939 – 1945.

 

The organ is placed on the gallery at the west end of the nave. It was acquired from a Methodist church in Nottinghamshire and erected here in 1893, the munificent gift of Mr RH Fremlin & Mr W Jude, Churchwardens at the time. The organ was built by the renowned firm of Norman & Beard of Norwich, and was originally pumped by hand. It is a two-manual instrument, the great and swell organs, with a fine selection of stops ranging from trumpet to oboe. The largest pipe is 16 feet long. The organ was renovated in 2010.

 

The gallery replaces an earlier one, which was known as ‘the singing gallery’. It was much lower and extended further east than the present one which was constructed out of the older one. The old gallery had been used to house the church band, which accompanied on various instruments the singing in the church.

 

A feature of the nave is the millennium banners, which hang on and under the gallery. These were made to commemorate the millennium year by the many organisations in the village and exemplify the richness of village life. Descriptions of the various designs are given in an explanatory booklet which is kept in the church.

 

The light wood screen built at the west end of the north aisle of the nave conceals a kitchen and servery from which delicious refreshments are served after many services, social functions, and entertainments. Behind the kitchen, there is a choir vestry and lavatory. These were all built in the millenium year.

 

The lofty tower was built in the 13th century, and is therefore the oldest part of the present church. It contains a peal of six bells. These consist of five trebles tuned to G,F, Eb,D & C. The tenor bell is tuned to Bb. The bells were rehung with ball bearings in 1950. The present spire which is clad in cedar shingles, was restored in 1886, after having been struck by lightning and destroyed by fire on 28th February in that year.

 

The weather vane is dated 1832, and has the initials of the two Churchwardens of the time: JW & RH. These stand for James Woodbridge JP who lived at The Lodge (at that time Wateringbury Lodge), and Richard Harris.

 

The church possesses a fine light of Victorian stained glass installed behind the altar, in what is thought to be a 14th century stone window. It is a memorial to Henry Stevens who was Vicar of Wateringbury for 57 years, and who died in 1877. Unfortunately the inscription is carried across the three lights that make up the window, the right hand one of which reads: “this parish died on 22nd October 1877”, which is certainly not true! The oak eagle lectern was also given in memory of Henry Stevens, and by his widow.

The windows at the east and west ends of the south aisle, and at the west end of the north aisle of the nave were moved from the nave when the aisles were built and the church extended in the 19th century. Much of the ancient glass was destroyed in the great storm of 19th August 1763, and apart from those mentioned, the rest were destroyed or seriously damaged in the blast from a Doodle Bug (V1 rocket) which landed in the grounds of Wateringbury Place at 7.25 pm on 24th August 1944. Fortunately this did not damage irreparably the very beautiful window of St. Francis on the north side of the nave. This window is a memorial to Adele Violet Crofton, whose face at the age of 8 is that of the angel in the window. Behind the angel is the Adele Crofton Rose, grown by George Dickson of Ulster in 1928, and awarded a Gold Medal at the Royal Rose Society’s Show.

 

Mrs Crofton was known as Robin by her friends, and one sits on the hand of St. Francis. The window features seven robins, seven fishes, and seven rays of light coming down from the Holy Dove. There are seven birds about the Saint, six swallows and the Holy Dove. This is because Adele was the seventh child of a seventh child. Adele Crofton’s ashes are buried in the grave of her parents which is in the top left hand corner of the churchyard, adjacent to the gateway from Wateringbury Place.

 

The font at one time stood at the west end of the nave, in the centre beneath the gallery. Its removal to the present position necessitated the removal of a number of pews, and the careful tiling of the area to match the existing tiling by the south door. The font itself is of ancient stone cut to an intricate shape. At one time it was decoratively painted, traces of the paint being visible until recent times. It is thought that the colour was removed at the time of Cromwell.

 

On 1st June 1915 the font was used for the Christening of Godfrey William Style, son of Colonel Rodney Charles Style of Wierton Grange, Kent, and of the family with long connections with Wateringbury. Col. Style gave a cheque in gratitude to the Vicar, the Revd. CM Livett, who was able to commission the making of the font cover. This was beautifully made by Cecil French to the Vicar’s design described as ‘unpretentious but suitable’. The cover was refurbished in 1997 by Ron Buchanan.

 

The ornate four-branch chandelier over the font was the gift of the Rolfe family of Danns Lane. It was restored in December 2001 by Ted Vincent.

 

The porch is the only part of the church to be roofed with tiles, the church itself being roofed in slate. These are Kentish peg tiles. The porch was rebuilt in its present position after the construction of the south aisle to the nave in 1856, the old material being reused for the purpose. The old square headed windows of the porch date from the 15th century. A plaque records the receipt of a grant of £30 in 1883 by The Incorporated Society for Buildings & Churches, for “enlarging and restoring this church”; and adds that “all the seats are for the free use of the parishioners according to law”.

 

The church is set in a churchyard, which is bordered to the west, north and east, by the grounds of Wateringbury Place, and to the south by the A26 road to Tonbridge. The churchyard now incorporates the site of the village pound, in which at one time stray animals were impounded. The village war memorial now occupies the approximate site of the pound, and was moved there from the Wateringbury crossroads in 1978. Though the churchyard is full it has not been closed for burials, and is used for the burial of ashes.

 

The churchyard contains a number of interesting memorials, five of which are listed as being of historic interest. That of Sir Oliver Style which is placed just outside the south door of the church, is listed Grade IIa. It was restored in 2002 at the expense of the English Heritage and a number of other Conservation Charities. It is a memorial to the Sir Oliver Style who died on 12th February 1703, and who was the British Consul in Smyrna (present day Izmir) at the time of a great earthquake in which over 4,000 people died. He was at dinner at the time, and survived by throwing himself under the table.

 

Not far from this memorial stands a sundial which was made in Wateringbury in the 18th century by Thomas Crow, the inventor of the octant. The octant was the navigational instrument which preceded the sextant. The sundial originally had a brass face with four dials showing the local time for noon in many cities of the world, the month, hours, and Greenwich Mean Time. Unfortunately the face was stolen some years ago, but a new one, though with less information, has recently been made by Mike Allen of Larkfield. The Crow family tomb is sited near the east boundary of the churchyard.

 

t is known that the yew tree on the west side of the porch, was planted in 1597, and is therefore over 400 years old. Its age was the theme for many events held by the church in 1997, when members of the congregation wore sweatshirts embroidered with a yew tree motif. In that year the Wateringbury Local History Society gave and planted another yew tree in the churchyard, which it is hoped will still be flourishing 400 years from now.

 

wateringburychurch.org.uk/history/

Thomas Parker

 

Inventor

 

Dates of interest in Thomas Parker’s life include:-

 

1881 (Age 38) Responsible for the first electric tramway in the world at Portrush, Northern Ireland. Powered by the first hydro electric generator.

 

1882 Shared the invention of the Plante Battery

 

1882 Founded the first company in The Midlands to manufacture electrical equipment in Commercial Road, Wolverhampton - in parnership with Mr Paul Bedford Elwell

 

1884 Designed electric powered transmission system for collieries

 

1884/86 Designed equipment for refining copper by electricity

 

1887 Invented the method of producing phosphorus and chlorate of soda by electricity

 

1889 Invented the sparking plug

 

1889 Designed the first electric locomotive for the Birmingham Tramways

 

1891 Made the first electric omnibus to run in London, from Charing Cross to Victoria, at 7mph

 

1892 Designed the high voltage direct current system for the City of Oxford

 

1893 The firm of Elwell and Parker was reconstituted as The Electric Construction Company.

 

1893 Responsible for the electrification of the South Staffordshire Tramway

 

1893 Responsible for the electrification of the Liverpool Overhead Railway for which he was awarded the Stephenson Medal and the Telford Premium by The Institute of Civil Engineers.

 

1894 Founded the firm of Thomas Parker (Ltd) in Wolverhampton

 

1896 Produced a prototype 'electric dog-cart'

 

1898 Contested Kingswinford seat of Parliament for the Liberal Party

 

1899 Responsible for the electrification of the first underground railway in Great Britain, a section of the London Metropolitan Railway, as a result he was invited to join the Board of Directors of this company.1904 Awarded two gold medals by the smoke abatement society for his work against air pollution. One for his invention of the Kyrle Fire Grate and one for his invention of the distillation of coal by low temperature method to produce a smokeless fuel.

 

1905 He urged the necessity of decimalisation of the English weights, measures and currency and did much to promote a decimal system of his own creation.

 

1907 Bought Severn House and the Court Works in Madeley

 

1910 Patented the forerunner of the jeep

  

Courtesy of The History of the Valley Hotel, Coalbrookdale

  

Born: 1843

Died: 1915

Fan Ng, inventor

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An exhibition showing the intellectual property (IP) behind Steve Jobs’ innovations opened to the public at WIPO on March 30, 2012 and will run through to World Intellectual Property Day on April 26, 2012. The exhibition ties in with this year’s World Intellectual Property Day theme – Visionary Innovators.

 

The Patents and Trademarks of Steve Jobs: Art and Technology that Changed the World is located in the atrium of the new WIPO building and is open to the public from 9.00am through 6pm. It features over 300 of the patents that bear Steve Jobs name along with many of Apple’s trademarks. The exhibition is co-organized by WIPO and the United States Patent and Trademark Office (USPTO) and supported by the U.S. Mission to the United Nations in Geneva.

 

The exhibit was created and designed by Invent Now, Inc., a non-profit organization dedicated to fostering invention and creativity through its many programs and which runs the National Inventors Hall of Fame and Museum on the USPTO campus in Alexandria, Virginia.

 

Opening the exhibition, WIPO Director General Francis Gurry hailed Jobs as "one of the most influential technology thinkers and actors of his generation.”

 

Ambassador Betty E. King, U.S. Representative to the United Nations in Geneva, said the exhibit was an "opportunity to see how Steve Jobs, at the helm of Apple, acted upon his vision, and in doing so shaped the means by which our world functions and communicates on a daily basis.”

 

The exhibit, with its iconic panels in the form of iPhones, was first shown in the lobby of the U.S. PTO Office shortly after Job's death, recalled Teresa Stanek Rea, Deputy Under Secretary of Commerce for Intellectual Property and Deputy Director United States Patent and Trademark Office.

 

Leaving the PTO office late at night, Stanek Rea said she would often find the PTO lobby full of people gazing at the patents. Steve Job's brilliance was in the marriage of design to function, she said, citing the innovator's famous words: “Design is not just what it looks like and feels like. Design is how it works.”

 

U.S. Mission Photo by Eric Bridiers

American artist, designer and inventor L. R. Emerson II may be considered the Thomas Edison of art yet is equally considered among the world’s most unusual artists. L. R. Emerson II may also be one of the most prolific artists the world has ever witnessed. Since 1983, has been personally compelled to develop and express through multi-directional art.

L. R. Emerson II is best known as the leading artist of the Upside-Down Art Movement or Masg Art movement.

Emerson never intended to become a household name in artmaking and the evidence of his effort to avoid selling out is firstly, his diligent efforts to make art that was intentionally against the common trends and secondly to keep his style secret from the world at large for two decades.

Recently, however after Emerson decidedly released some of his work after keeping it suppressed since the 1980’s renowned artist Georg Baselitz called L. R. Emerson's art"...inspiring." Baselitz’ own art has sold for in excess of $4.2 million dollars at recent auction.

In tribute, paying homage to neo-expressionist painter Georg Baselitz, Emerson recently exhibited at Saatchi an work Upside-Down Artwork or also known as Masg art called "Ode to Baselitz". Featured at Saatchionine.com Emerson has presented a work which has garnered the attention of Charles Saatchi himself who personally flagged L. R. Emerson ‘s work as “Liked”. "Ode to Baselitz" is part of L. R. Emerson II's "Heavy Ink" series.

The medium of “Ode to Baselitz” is called Digigraph or Digiography (both phrases termed and documented in 2009 in The Purple Tree; Art in a Boundless Age) is a combination of both traditional and tech media. The Digigraph featured at Saatchi is part of L. R. Emerson’s 50+ documented, pioneering inventions for making art - each calling for combinations of traditional and digital technology mediums.

“Ode to Baselitz” is a culmination of pen and ink, and computer aided design. Emerson’s goal with “Ode to Baselitz” is not only to bring attention to the already known upside-down work of Baselitz but moreover for the fact that like Emerson, Baselitz has ridden the critical seas of the public’s reaction to upside down work.

Baselitz, according to Emerson has paved a way for artists, even ones who are not working neo-expressively to express themselves through multi-directional composition – though Baselitz does not intend his upside-down works be hung in two or more directions as Emerson intentionally does.

As Emerson puts it “Baselitz broke the water and I am simply delivering the baby” speaking metaphorically to the aspect of L. A. times featured article from 1984 showing Baselitz’ then Upside-Down painting. By comparison, Emerson’s 1984 series was removed from exhibition during the same time period (’85) as Emerson feared critical rejection and stylistic copying. Thus L. R. Emerson II’s art was selectively hidden from the world for the next two decades.

In 2005 Emerson II exhibited nearly 800 works sharing several signed prints with major museums and galleries in 11 countries, yet he determined it necessary to continue to hold other selections from the public eye. What is seen today in exhibition by Emerson are mere artistic fragments of what he actually creates. With his current work never shown and by only releasing work that is about two years old, Emerson keeps ahead of those who would choose to mimic his style.

With over 100 awards to date and currently working in his third decade, L. R. Emerson II has proven himself worthy of critical appraisal. Nicholas Forrest, contributing writer to Art & Antiques Magazine wrote about L. R. Emerson II stating "An amazing artist, Amazing art!" 2006. L. R. has been actively researching, developing, and inventing methods of making art and specifically Upside-Down art known as Masg Art, from Gaelic meaning to mix; or infuse for 30 years.

To date, Emerson has delivered on his 1983 promises to make “Upside-Down Art” a household name in the very near future. In the aftermath we find now major artists effecting and or following the Upside-Down Art movement which is crossing international lines with artists such as Germany's Georg Baselitz and British Sculptor Anish Kapoor, giving significantly strong visual support.

Emerson's own efforts in leading the Upside-Down Art Movement has thus far have encompassed the following:

•Created Upside-Down Art for nearly thirty years having begun in 1983 and has made more upside-down, multi-directional, ambigram, Masg styled art than any person in history.

•Exhibited at age 18, and worked as a commissioned artist beginning at age of 19 with work appearing in newspaper and magazines by age 19 and for major celebrities by age 23

•First artist ever to offer their art for free; up to $1 million dollars of L. R. Emerson II’s artwork was literally offered for free to anyone in the world. The offer was advertised to the general public in numerous places and stood from 2005 until 2009

•Created in excess of 100,000 works within over 1,000 series

•Engaged 30 years of innovative, experimentation and invention driven research on Upside-Down Art or Multidirectional Art Composition, process and art methodology

•Created Upside-Down, multi-directional Masg Art in the following mediums: airbrush, collography, clayography, etching, lino-cut, oil on linen and canvas, acrylic on canvas, acrylic on board, emulsion transfer, mixed media, photography, digiography, emulsion transfer on metal, pen & ink with watercolor, pencil and ink on paper, oil pastel, collage, digital imaging, vector-based CGI, acetone transfer

•Has been awarded for being considered one of America’s Leading Art Educators, frequently serving as a Lead Art Educator on a variety of curriculum writing and Art Education textbook adoption committees or chairperson capacities. Emerson’s curriculum writing experiences have included practicum, research and committee collaboration to develop Art Education practices and standards for Art Foundation teaching and Cornerstone Assessments which serve as standards or benchmarks to assess a practicing artist’s skills and ability(2008 to 2012)

•Secured exhibition opportunities for student artists - having exhibited several academic thousand works.

•Invented in excess of 50 documented new methods for making Upside-Down Art or Masg Art

•Established a world record in the “Most Digital Works Created in One Hour” with the record set at 86 in 2007 and succeeded to a new record of 87 in 2008, both held by Emerson

•Published The Purple Tree; Art in a Boundless Age, 2009

•2012 Charles Saatchi personally flags Emerson’s online Saatchi Gallery as a “Liked User”

•Among the world’s most accomplished airbrush artists, having been placed in magazines the age of 19 and still today advancing the power of airbrush through invention and exhibition.

•Serving among the world’s most influential 21st Century Artists and Designers

•Created work for numerous patron including Grammy Winning musician/songwriter Leon Russell – who wrote “Superstar” the number one hit song for the late Karen Carpenter , March 2, 1950 – February 4, 1983 (also a Grammy Winner) and living legend Barbara Streisand, born April 24, 1942.

•Donated by Deed the printing, publishing and rights to sale of over $1 million dollars in art.

•Created the first Upside-Down Art/Masg art Portraiture featuring a living person

•Established new art movement named “Pop Not” – genuine Pop Art styled social criticism with Pop styled, collages and punchy graphics but far removed from the kitschy, pseudo Pop Art existing today. L. R. Emerson II documented in the Purple Tree; Art in A Boundless Age the mission of Pop Not artists and the socially critical work they produce.

•Produced 14 Art Education videos highlighting the earmarks of Upside-Down Art

•Achieved in excess of 100 awards including awards for advertising design and photography

•Received critical acclaim from Nicholas Forrest, contributing writer to Art and Antiques Magazine. Forrest wrote about L. R. Emerson II’s Upside-Down Art or Masg Art stating “Amazing art by an amazing artist!” 2006

•Written and published Art History and or Criticism articles about Upside-Down Art

•Exhibited Upside-Down Art or Masg Art at prominent museums such The Museum of Contemporary Art

•Works held in both private estate and public art collections

•Developed, termed and published research about the "Digigraph" art process and art medium - a unique new art medium using traditional art media and technology

•2005, Established e4 Fine Art and an accompanying website e4fineart.com to serve as the exclusive representative for L.R.’s work and the web site to host functional space to not only electronically exhibit my work but moreover to share understanding about the art history related to Upside-Down Art.

•To date www.e4fineart.com.com and its’ counterpart gallery, www.upside-down-art.com has had over 600.000 visitors from across the planet and exists as “The World’s Largest Solo Artist Site” TM

•First artist to call for a change in the current Art Education texts and practices as L. R. Emerson II’s 30 years of pioneering research has proved the merits and validity of Upside-Down Art, or Masg Art as being a worthy alternative to the three common forms of compositional balance.

Because of the work of L. R. Emerson II and other supporting Upside-Down artists the old texts and teaching foundations known as The Principles of Art/Design are outdated and need revision. Museums, Art Critics, Educators, conservators and Historians can no longer ignore the relevance and merit of multi-directional composition or Upside-Down Art.

•In 2005, after having been kept secret for over two decades, Masg or Upside-Down Art was introduced to more than 500 galleries and in excess of 50 renowned museums worldwide including:

National Gallery

Tate Museum, London

Smithsonian American Art Museum

Musée du Louvre, Paris

The Museum of Modern Art, NYC

Solomon R. Guggenheim Foundation

San Francisco Museum of Modern Art

The J. Paul Getty Museum, Los Angeles

 

Additionally, several videos were produced in the past three years and subsequently presented to the global community including the following:

Art is Art is Art by L R Emerson II

www.youtube.com/watch?v=ftwMV0kxeuo

L R Emerson II Art

www.youtube.com/watch?v=gyekoiK5N4c

Art is Upside-Down by L R Emerson II

www.youtube.com/watch?v=f7R5nuZ-2So

Art 21 L. R. Emerson II: Masg A New Art Movement

www.youtube.com/watch?v=xIYCTL-cnPs

Art History by L. R. Emerson II

www.youtube.com/watch?v=rjlw6iFfnvQ

Math and Art - Music and Art

www.youtube.com/watch?v=Ks1RKmUodbA

The Purple Tree: Art in a Boundless Age

www.youtube.com/watch?v=OjZwNnWZNLA

 

“Currently as I continue my research and documentation I look toward an Upside-Down Art group exhibition including myself, Georg Baselitz, and Anish Kapoor. London’s Tate Museum, NYC Guggenheim, MOMA and the Los Angeles County Museum of Art are fine venues for this warranted proposal. The considerably unusual exhibition will likely be presented as the world’s most unusual art of the 20th and 21st Century.

We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.

The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).” Excerpt: L. R. Emerson II, 2012

Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.

 

An exhibition showing the intellectual property (IP) behind Steve Jobs’ innovations opened to the public at WIPO on March 30, 2012 and will run through to World Intellectual Property Day on April 26, 2012. The exhibition ties in with this year’s World Intellectual Property Day theme – Visionary Innovators.

 

The Patents and Trademarks of Steve Jobs: Art and Technology that Changed the World is located in the atrium of the new WIPO building and is open to the public from 9.00am through 6pm. It features over 300 of the patents that bear Steve Jobs name along with many of Apple’s trademarks. The exhibition is co-organized by WIPO and the United States Patent and Trademark Office (USPTO) and supported by the U.S. Mission to the United Nations in Geneva.

 

The exhibit was created and designed by Invent Now, Inc., a non-profit organization dedicated to fostering invention and creativity through its many programs and which runs the National Inventors Hall of Fame and Museum on the USPTO campus in Alexandria, Virginia.

 

Opening the exhibition, WIPO Director General Francis Gurry hailed Jobs as "one of the most influential technology thinkers and actors of his generation.”

 

Ambassador Betty E. King, U.S. Representative to the United Nations in Geneva, said the exhibit was an "opportunity to see how Steve Jobs, at the helm of Apple, acted upon his vision, and in doing so shaped the means by which our world functions and communicates on a daily basis.”

 

The exhibit, with its iconic panels in the form of iPhones, was first shown in the lobby of the U.S. PTO Office shortly after Job's death, recalled Teresa Stanek Rea, Deputy Under Secretary of Commerce for Intellectual Property and Deputy Director United States Patent and Trademark Office.

 

Leaving the PTO office late at night, Stanek Rea said she would often find the PTO lobby full of people gazing at the patents. Steve Job's brilliance was in the marriage of design to function, she said, citing the innovator's famous words: “Design is not just what it looks like and feels like. Design is how it works.”

 

U.S. Mission Photo by Eric Bridiers

The tweens and teens invented interesting things in this Inventors Laboratory program.

American artist, designer and inventor L. R. Emerson II may be considered the Thomas Edison of art yet is equally considered among the world’s most unusual artists. L. R. Emerson II is best known as the leading artist of the Upside-Down Art Movement or Masg Art movement.

 

L. R. Emerson II may also be one of the most prolific artists the world has ever witnessed. Since 1983, has been personally compelled to develop and express through multi-directional art.

 

Emerson never intended to become a household name in artmaking and the evidence of his effort to avoid selling out is firstly, his diligent efforts to make art that was intentionally against the common trends and secondly to keep his style secret from the world at large for two decades.

 

Recently, however after Emerson decidedly released some of his work after keeping it suppressed since the 1980’s renowned artist Georg Baselitz called L. R. Emerson's art"...inspiring." Baselitz’ own art has sold for in excess of $4.2 million dollars at recent auction.

 

Baselitz, according to Emerson has paved a way for artists, even ones who are not working neo-expressively to express themselves through multi-directional composition – though Baselitz does not intend his upside-down works be hung in two or more directions as Emerson intentionally does.

As Emerson puts it “Baselitz broke the water and I am simply delivering the baby” speaking metaphorically to the aspect of L. A. times featured article from 1984 showing Baselitz’ then Upside-Down painting.

 

By comparison, Emerson’s 1984 series was removed from exhibition during the same time period (’85) as Emerson feared critical rejection and stylistic copying. Thus L. R. Emerson II’s art was selectively hidden from the world for the next two decades.

 

In 2005 L. R. Emerson II exhibited nearly 800 works sharing several signed prints with major museums and galleries in 11 countries, yet he determined it necessary to continue to hold other selections from the public eye. What is seen today in exhibition by Emerson are mere artistic fragments of what he actually creates. With his current work never shown and by only releasing work that is about two years old, Emerson keeps ahead of those who would choose to mimic his style.

 

With over 100 awards to date and currently working in his third decade, L. R. Emerson II has proven himself worthy of critical appraisal. Nicholas Forrest, contributing writer to Art & Antiques Magazine wrote about L. R. Emerson II stating "An amazing artist, Amazing art!" 2006. L. R. has been actively researching, developing, and inventing methods of making art and specifically Upside-Down art known as Masg Art, from Gaelic meaning to mix; or infuse for 30 years.

 

To date, Emerson has delivered on his 1983 promises to make “Upside-Down Art” a household name in the very near future. In the aftermath we find now major artists effecting and or following the Upside-Down Art movement which is crossing international lines with artists such as Germany's Georg Baselitz and British Sculptor Anish Kapoor, giving significantly strong visual support.

 

“We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.

 

The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).

 

"Many artists are now heading to where I am at artistically - and this is both rewarding and flattering but when they arrive they see I am no longer there; for I only exhibit mostly past works thus keeping my latest upside-down inventions for another day." L. R. Emerson II, 2012

 

Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.

 

For informations or inquiry contact representatives of L. R. Emerson II at info@e4fineart.com.

    

l. R. Emerson II, anish kapoor, Abc, cbs, MSNBC, fox news, art in america, american artist, famous artist, art collector, collectors, kempt, gustave verbeek, peter newell, ambigram, topsy turvy, miles davis, Elton john, art techniques, skill, design, designer, sales, space, nasa, jpl, gallery, media, videos, vrial, art education, top ten artists, celebrity artist, thames, regis, idol, american eagle, apostle, school art, classroom, art ed, big ben, rolling stones, live at leads, dean martin, grand ole oprey, Tulsa, Nashville, nick cage, universal studers, walt disney, america’s got talent, prince, beatles, moby, the motels, gary neuman, the cars, suburbs, movie industrie, Goodyear blimp, Tahoe, reno, new mexico, Baja, big surr, surfing, nike, keds, vans, o.p. ocean pacific, u.s. 101, Malibu, montery, quebec, montreal, ton onto, actors, actress, capitol records, squeeze, adam ant, nobel prize, france, germany, Scotland, australia, aussie, giant birthday card, leon russell, Ohio, Nebraska, keith harring, los angeles, upside-down drawing, art, tina turner, the voice, ansel adams, sally mann, cy twombly, masg, whitney american art museum, California, Trafalgar square, toys, k-tel, dick clark, steve jobs, google, yahoo, e-news, entertainment, walk of fame, Hollywood, frame, framing, canva, giclee, print, news, newspaper, publishing, advertisting, paris, rome, spain, NYC, berlin, London, Sweden, Warhol, paul klee, magazine, 21st century art magazine, art news, airbursh, art news, Salvador dali, art today, da vinci, art and antiques magazine, Nicholas forrest, art critic, art collector, charles Saatchi, Donald trump, celebrity artist, upside-down artist, drawing, printmaking, youtube, Guggenheim, etching, collography, fashion design, vogue, ellen degeneres, hoda and Kathy lee, steve martin, brady theatre, whiskey a go go, L.A., urban, texas, dallas, Utah, san fransciso, san diego, Saturday night live, boston museum of art, LACMA, lourve, national gallery, Smithsonian, tate modern, baselitz, mtv, l. r. emerson ii digital art, airbrush digital art, upside-down drawing digital art, photography digital art, pen and ink digital art, l. r. canvas prints, upside-down drawing canvas prints, photography canvas prints, pen and ink canvas prints

  

Inventor

Early aviation inventor with U.S. Patent dated 1870. Tintype picture of his invention.

(L-R) Muhammad Kazmi, Stefan Parkvall

A test rig engineered in Autodesk Inventor and visualised in real-time using Autodesk Showcase.

© All rights are reserved, please do not use my photos without my permission

 

Name: Maersk Inventor

IMO: 9753935

MMSI: 232013110

Call Sign: MCJD5

Flag: United Kingdom

Type: Offshore Supply

Gross Tonnage: 14908

Deadweight: 9734

Length:137.6mts

Breadth:27mts

Year Built: 2018

Builder:: COSCO (DALIAN) SHIPYARD CO LTD

 

An old character. She may be making an appearance in The Otherwalls, so I thought I'd sketch her. I've ended up experimenting with colours on her too, trying out a new technique.

 

Painter X over a sketch.

Created For~ <a href="MII Challenge #3

 

With Kind Thanks To~

 

Original Source~Goldencrotalo

 

 

Premade Background~My Own

 

Texture~My Own

A test rig engineered in Autodesk Inventor and visualised in real-time using Autodesk Showcase.

I received a few Disney Inventor Awards last year for my work on Disney Infinity. I've been meaning to photograph them for a while but I put it off because they are a pain in the butt to shoot;) It doesn't get much worse than combining high index glass with partial sand blasting, engraved lettering, black marble backing and base, and a magnified glass top. It made for a frustrating shoot.

parque forestal

Santiago_Chile.

hoy,

de paseo con el amigo Calquín.

 

© Smides

Chiesa protestante di Confessione Helvetica, iglesia de las confesiones helvéticas, eglise des Confessions helvétiques, Church of Helvetic Confessions (Evangelische Kirche nach Helvetischem Bekenntnis H.B.).

Evangelische Kirche nach Augustinischem Bekenntnis A.B., la chiesa protestante di Confessione augustana, la iglesia de las Confesiones de Augsburgo, l'église de la confession d'Augsbourg, the church of The Augsburg Confession

 

Protestant Cemetery Matzleinsdorf

Evang. A.B. parish church, Christ Church

The Protestant Cemetery Matzleinsdorf is a denominational cemetery in the 10th Vienna's district Favoriten. It is located at the beginning of this street up to No. 1 in Matzleinsdorf space (Matzleinsdorfer Platz) and is bounded on the north by the Gudrunstraße .

History

After the deaths of the two Protestant confessions A.B. and H.B. had been buried in Catholic cemeteries in Vienna until 1856, it was decided to create a separate Protestant cemetery. It was purchased a plot of land lying in front of the wall line at the edge of the former suburban Matzleinsdorf for this purpose. On 7 April 1858 the new cemetery was opened. The cemetery chapel was built by the famous architect Theophil Hansen, it was consecrated September 27nd 1860. Originally belonging to Wieden cemetery came to the division in 1861 as the new district Margarethen. Since 1874, the area is one of FavorIten (10th district). Since there were discussions about the further fate of the cemetery again, subsequently, a Protestant cemetery was established in the Vienna Central Cemetery also. But the Protestant cemetery Matzleinsdorf has survived to this day, so both cemeteries are occupied. During World War II the cemetery was badly damaged in the course of the bombings of the Southern Railway, near which it is located.

Christ Church on the Protestant cemetery in Vienna Matzleinsdorf

Interior of Christ Church

The former cemetery chapel was in 1899 a sermon station and branch church where services were held regularly. Since 1924 it is the seat of its own Protestant community AB (Lutheran), the parish church of the Evangelical Christ superintendency AB of Favoriten Vienna.

The church itself was built in the years 1858-1860 according to the plans of Theophil Hansen. Its striking appearance is reminiscent of an Orthodox church. Hansen had been based to the then at the time prevailing of historicism Byzantine style. A large dome rises above the crossing. The exterior is characterized by exposed brick and is divided by profiles and cornices. Strong cornerstones are crowned by pinnacles. Originally above the entrance was located a fresco by Carl Rahl, which showed the angel at the tomb of Christ. This image was at the beginning of the 20th Century replaced by a mosaic on a gold ground, representing the Christ with a banner.

Inside there are a total of 35 angels, mainly on the column capitals, but including under the organ loft four large, carved angel prayer, worship, teaching and preaching symbolize and remember figureheads on ships. At the spandrels beneath the dome frescoes are the symbols of the Evangelists. In 1968, Günther Baszel glass window in the chancel, showing the birth, crucifixion and resurrection of Christ. 1971 was followed by the right and left of the altar room with four other glass window depicting the Resurrection of Lazarus, the young man of Nain, the daughter of Jairus, and the story of the rich man and Lazarus. After the death Baszels 1989, the remaining four windows were added after designs by E. Bauernfeind .

Tombs of important personalities

Grave of Friedrich Hebbel

Grave of Baron Karl

The Protestant Cemetery Matzleinsdorf has a large number of celebrity graves. Many celebrities are of local importance for Vienna, and some nationally important. One can find the graves of :

Heinrich Anschütz, actor

Friedrich Ludwig Arnsburg, actor (grave abandoned)

Rudolf von Arthaber, Austrian industrialist and patron

Baron Karl, Vienna original

Günther Baszel, glass artist

Karl Isidor Beck, poet

Friedrich Beckmann, actor

O. F. Berg, writer

Friedrich Ferdinand von Beust, the Austrian Foreign Minister

Carl Binder, composer and conductor (grave abandoned)

Henry Bornstein, theater director (grave 1941 eliminated)

Adam Noble Brandner of wolf tooth (Wolfszahn) , kuk Feldmarschallleutnant, Division Commander and military commander of Cracow

Karl Ludwig von Bruck, Austrian Finance Minister

Hans Canon, Austrian painter

Ada Christians, Austrian poet

Hugo Darnaut, Austrian painter

Karl Diener, Austrian geologist and paleontologist

Friedrich Dittes, educator

Christine Enghaus, actress, wife of Friedrich Hebbel

Emil Ertl, writer and librarian

Philipp Fahrbach, Austrian composer

Carl Faulmann, Stenographer

Charles Fichtner, actor

Alfred Formey, Protestant pastor in Favoriten

Gottfried Franz, Superintendent H. B.

August Förster, actor and director

Ludwig Gabillon, actor

Zerlina Gabillon, Actress

Andreas von Gunesch, Superintendent of Vienna, Lower Austria and Central Austria

Adolf Konrad Stein Hall, Burgtheater actor

John Hardy, inventor and entrepreneur

Justus porter, superintendent and chaplain advice

Friedrich Hebbel, German writer

Fritz Hellmuth, writer

Konrad Wilhelm Hellwag, civil engineer

Christian Heyser, Superintendent

Karl Wilhelm Hilchenbach, Consistory and superintendent HB

Theodor von Hornbostel, Austrian Minister of Commerce

Bela Jenbach Operettenlibrettist (light opera librettist)

Carl Karlweis, dramatist and storyteller

Oskar Karl Weis, Austrian actor

Johann Heinrich Knoell, District Director

Elizabeth Koberwein, Austrian actress (grave already abandoned)

Rudolf Koppitz, Austrian Photographer

Fritz L' Allemand, painter

Carl von La Roche, actors

Heinrich Laube, German writer and director of the Burgtheater

Edward Leisching, art historian

Gustav Leonhardt, secretary general of the Austro-Hungarian Bank and founder of the Compass Publishing

Julius Lott, builder of the Arlberg railway

Johann Mithlinger, resistance fighter

Robert Müller, essayist

Hermann Nothnagel, Surgeon

Ernst Pauer, superintendent and director of the Protestant theologicial educational establishment

Hermann Präuscher, animal trainer and showmen

Julie Rettich, Actress

Karl Rettich, actor and theater director

Adele Sandrock, Actress

Moritz Saphir, Austrian writer

Alexander Schoeller, German industrialist and big entrepreneur in Austria

Karl Julius Schroer, literary historian

Georg Julius Schultz , Baltic German physician and writer

Lorenz von Stein, economist

Hans Thirring, Physicist

Johann Wächter, k. and k. Konsistorialrat (councillor of the consistory) and superintendent

Charles Weinberger, operetta composer

Otto Weininger, Austrian philosopher

Erich Wilhelm, Superintendent

Friedrich Wilhelmi, actor

Gottlieb August Wimmer, Pastor

Max Winter, Austrian journalist and Socialdemocrat

 

de.wikipedia.org/wiki/Evangelischer_Friedhof_Matzleinsdorf

Jueves 22 de setiembre. Alumnos de 1er grado de primaria presentan los productos de su proyecto "Somos inventores".

I finally got round to updating my boys wooden fork lift truck toy in Autodesk Inventor 2012.

 

These screenshots are taken with the Ray Tracing option turned on.

Early aviation inventor with U.S. Patent dated 1870. Tintype picture of his invention.

Inventor of computer mouse and pioneer of human computer interaction.

 

©Robert Holmgren, all rights reserved. bobholmgren@gmail.com

 

Dr. Douglas C. Engelbart is an American inventor and early computer pioneert. He is best known for inventing the computer mouse, as a pioneer of human-computer interaction whose team developed hypertext, networked computers, and precursors to GUIs; and as a committed and vocal proponent of the development and use of computers and networks to help cope with the world’s increasingly urgent and complex problems.

His lab at SRI was responsible for more breakthrough innovation than possibly any other lab before or since. Engelbart had embedded in his lab a set of organizing principles, which he termed his "bootstrapping strategy", which he specifically designed to bootstrap and accelerate the rate of innovation achievable.

 

A water treatmet skid for a large retail outlet designed using Autodesk Inventor and shared with Autodesk Revit to use within the Building Information Model

About Dr.Mihir Kumar Panda, Ph.D,D.Litt,, innovator

World’s only achiever of large number of World Record for 10,000 Teaching Aids & innovations

Founder & Co-ordinator General, ‘SROSTI’ (Social Development research Organisation for Science, technology & Implementation)

Collaborator Vijnana Bana Ashram

Bahanaga, Baleshwar, Odisha, India-756042

Website : simpleinnovationproject.com

E-Mail- : mihirpandasrosti@gmail.com

 

Face Book link:https://www.facebook.com/mihirpandasrosti

WIKIMAPIA

wikimapia.org/#lang=en&lat=-6.174348&lon=106.8293...

Contact No. : +91 7008406650

Whatsapp: +91 9438354515

 

Dr.Mihir Kumar Panda, an Educational, Societal and Scientific Innovator has established an NGO 'SROSTI' at Bahanaga, Balasore,Odisha,India

 

Dr. panda has innovated/invented more than 10,000 (ten thousand) teaching aids and different innovations and he has more than 30,000 (Thirty thousand) ideas to make scientific and mathematical models.

 

His creations are very essential guide for school and college science exhibitions, innovative learning and play way method for the teachers and students, science activists, innovators, craftsmen, farmers, masons, physically challenged persons, common men, entrepreneurs and industrialists.

 

He is popularizing science through song, innovative demonstrations and motivational speech since 1990 in different parts of Odisha state without taking any fees.

 

Dr. Panda is an extreme motivational speaker in science and possess magical scientific demonstration and a crowd puller.

 

Innovator Mihir Kumar Panda loves nature and in his agricultural farm he does not uses the chemicals , fertilizers and pesticides. In his farm even the smallest creatures like snakes, caterpillar, white ants, worms ,vermies are in peace and are managed successfully not to do harm.

 

Dr. Panda is an Educationist, an environmentalist, a poet for science popularization, a good orator, a best resource person to train others in specific field of science and engineering.

 

The uniqueness of Simple Innovation and scientific activities and achievements ofDr. Panda can not be assessed without visiting his laboratory which is a living wonder in the realm of science.

 

From a small cake cutter to mechanical scissor, from a play pump to rickshaw operated food grain spreader and from a village refrigerator to a multi-purpose machine, thousands of such inventions and innovations are proof of Dr. Panda's brilliance.

 

From a tube well operated washing machine to weight sensitive food grain separator, from a password protected wardrobe to automatic screen, from a Dual face fan to electricity producing fan are example of few thousands of innovations and inventions of Mihir Kumar Panda.

 

Dr.Mihir Kumar Panda though bestowed to a popular name as Einstein of Odisha is obliviously treated as Thomas Alva Edison of India.

 

Dr. Panda's residential house also resembles a museum with scientific innovations of different shapes and sizes stacked in every nook and cranny which proves his scientific involvement in personal life.

 

Innovator Panda believes that , the best thing a child can do with a toy to break it. he also believes that by Educating child in his/her choice subject/ passion a progressive nation can be built.

 

The shelf made scientist Dr. Panda believes that Education is a life long process whose scope is far greater than school curriculum. The moulding of models/ innovations done by hand always better than the things heard and the facts incorporated in the books.

 

With no agricultural background, Dr. Panda has developed unique natural bonsai in his Vijnana Bana Ashram which also shows path for earning just by uprooting and nurturing the plants which are found to be small and thumb in nature.

 

Dr. Panda's Scientific Endeavour and research is no doubt praise worthy. One cannot but believe his dedicated effort in simple innovation laboratory.

 

Social service, innovation/ inventions, writing, free technology to students for preparation of science exhibition projects, free technology to common men for their sustainability, preparation of big natural bonsai, technology for entrepreneurs and industrialists for innovative item are few works of Mihir Kumar Panda after his Government service.

 

. To overcome the difficulties of science and math, explanation in classes, innovator Panda has created few thousands of educational, societal and scientific innovations which helps teachers and students of the country and abroad.

 

Dr. Panda believes that though inventions/innovation has reached under thousands and thousands deep in the sea and high up in the space. It has reached on moon and mars, but unfortunately the sustainable inventions/innovation has not properly gone to the tiny tots and common people.

 

Dr. Panda is amazing and wizard of innovations and works with a principle the real scientist is he, who sees the things simply and works high.

 

Dr.Mihir Kumar Panda's work can be explained in short

 

Sports with Science from Dawn to Dusk

Struggle some life- science in words and action

Triumphs of Science - Science at foot path

Hilarious dream in midst scarcity

  

A life of innovator de-avoided of Advertisement.

  

FELICITATIONS, AWARDS, HONOURS & RECORDS

* 200+ Felicitation and Awards from different NGOs, Schools & Colleges within the State of Odisha and National level.

* 10 Nos Gold, Silver & Bronze medal from different National & International level.

*Awarded for 10,000 innovations & 30,000 ideas by Indian Science Congress Association, Govt. of India.

* Honorary Ph.D From Nelson Mandela University, United States of America

* Honorary Ph.D From Global Peace University, United States of America& India

* Honorary D.Litt From Global Peace University, United States of America& India

* Title ‘Einstein of Odisha’ by Assam Book of Records, Assam

* Title ‘Thomas Alva Edison of India’ by Anandashree Organisation, Mumbai

* Title ‘ Einstein of Odisha & Thomas Alva Edison of India’ from Bengal Book of World record.

*World Record from OMG Book of Records

*World Record from Assam Book of Records,

* World Record from World Genius Records, Nigeria

* World Record from BengalBook of Records

* National Record from Diamond Book of Records

* World Record from Asian World Records

* World Record from Champians Book of World Records

* World Record from The British World Records

* World Record from Gems Book of World Records

* World Record from India Star World Record

* World Record from Geniuses World Records

* World Record from Royal Success International Book of Records

*World Record from Supreme World Records

* World Record from Uttarpradesh World Records

*World Record from Exclusive World Records

*World Record from international Book of Records

*World Record from Incredible Book of records

* World Record from Cholan Book of World Record

* World Record from Bravo International Book of World Record

* World Record from High Range Book of World Record

* World Record from Kalam’s World Record

* World Record from Hope international World Record

* International Honours from Nigeria

* Indian icon Award from Global Records & Research Foundation (G.R.R.F.)

* International Award from USA for the year’2019 as INNOVATOR OF THE YEAR-2019

* National level Excellence Leadership Award-2020 from Anandashree Organisation, Mumbai

* Best Practical Demonstrator & Theory instructor from Collector & District Magistrate,

Balasore.

* Best Innovator Award by Bengal Book.

* Popular Indian Award by Bengal Book.

* Great man Award by Bengal Book.

* Best Indian Award by Bengal Book.

* The Man of the Era by Bengal Book.

IMPORTANT LINK FILES TO KNOW THE WORK OF

Dr. MIHIR KUMAR PANDA

Dr.Mihir Ku panda awarded at indian science congress Association, Govt. of India for 10000 innovations & 30,000 ideas

youtu.be/MFIh2AoEy_g

Hindi Media report- Simple innovation science show for popularisation of science in free of cost by Dr.Mihir Ku Panda

youtu.be/gPbJyB8aE2s

Simple innovation science show for popularisation of science in free of cost in different parts of India By Dr.Mihirku Panda

www.youtube.com/user/mihirkumarpanda/videos?view=0&so...

Simple innovation laboratory at a Glance

youtu.be/yNIIJHdNo6M

youtu.be/oPBdJpwYINI

youtu.be/XBR-e-tFVyE

youtu.be/3JjCnF7gqKA

youtu.be/raq_ZtllYRg

MORE LINK FILES OF Dr MIHIR KUMAR PANDA

 

www.youtube.com/watch?v=MFIh2AoEy_g

www.youtube.com/channel/UCIksem1pJdDvK87ctJOlN1g

www.youtube.com/watch?v=AHEAPp8V5MI

www.youtube.com/watch?v=W43tAYO7wpQ

www.youtube.com/watch?v=me43aso--Xg

www.youtube.com/watch?v=6XEeZjBDnu4

www.youtube.com/watch?v=gPbJyB8aE2s

www.youtube.com/watch?v=yNIIJHdNo6M

www.youtube.com/watch?v=oPBdJpwYINI

www.youtube.com/watch?v=XBR-e-tFVyE

www.youtube.com/watch?v=3JjCnF7gqKA

www.youtube.com/watch?v=raq_ZtllYRg

cholanbookofworldrecords.com/dr-mihir-kumar-pandaph-d-lit...

www.linkedin.com/in/dr-mihir-kumar-panda-ph-d-d-litt-inno...

www.bhubaneswarbuzz.com/updates/education/inspiring-odish...

www.millenniumpost.in/features/kiit-hosts-isca-national-s...

www.youtube.com/watch?v=hFE6c-XZoh0

www.youtube.com/watch?v=WzZ0XaZpJqQ

www.dailymotion.com/video/x2no10i

www.exclusiveworldrecords.com/description.aspx?id=320

omgbooksofrecords.com/

royalsuccessinternationalbookofrecords.com/home.php

british-world-records.business.site/posts/236093666996870...

www.tes.com/lessons/QKpLNO0seGI8Zg/experiments-in-science

dadasahebphalkefilmfoundation.com/2020/02/17/excellent-le...

www.facebook.com/…/a.102622791195…/103547424435915/… yearsP0-IR6tvlSw70ddBY_ySrBDerjoHhG0izBJwIBlqfh7QH9Qdo74EnhihXw35Iz8u-VUEmY&__tn__=EHH-R

wwwchampions-book-of-world-records.business.site/?fbclid=...

www.videomuzik.biz/video/motivational-science-show-ortalk...

lb.vlip.lv/channel/ST3PYAvIAou1RcZ/tTEq34EKxoToRqOK.html

imglade.com/tag/grassrootsinventions

picnano.com/tags/UnstoppableINDIAN

www.viveos.net/rev/mihirs%2Btrue%2Bnature

m.facebook.com/story.php…

www.facebook.com/worldgeniusrec…/…/2631029263841682…

 

www.upbr.in/record-galle…/upcoming-genius-innovator/…

 

www.geniusesworldrecordsandaward.com/

www.upbr.in/record-galle…/upcoming-genius-innovator/…

m.facebook.com/story.php?story_fbid=699422677473920&i...

www.facebook.com/internationalbookofrecords/

www.youtube.com/channel/UCBFJGiEx1Noba0x-NCWbwSg

www.youtube.com/watch?v=nL60GRF6avk

www.facebook.com/bengal.book.16/posts/122025902616062

www.facebook.com/bengal.book.16/posts/122877319197587

www.facebook.com/bengal.book.16/posts/119840549501264

supremebookofworldrecords.blogspot.com/…/welcome-to…

www.bravoworldrecords.com/

incrediblebookofrecords.in/index.php

www.highrangeworldrecords.com/

Red velvet cake, but I used pink instead of red. I am an innovative baker. *curtseys*

I finally got round to updating my boys wooden fork lift truck toy in Autodesk Inventor 2012.

 

These screenshots are taken with the Ray Tracing option turned on.

New equipment: took delivery of the new fractal filters from inventor Nikk Wong -- brand new and just delivered after a long journey initially funded through Kickstarter.

Two photos explored.

Tremendous month of learning by doing a month of still lifes in addition to playing every day with the wacky Hereios.

 

1. Last Thing the Spiders See, 2. ¡Huevos!, 3. Jump for Joy (and for the ball), 4. Amelia Woke Up with a Bad Case of Armadillo Head, 5. Wise Guys, 6. Old Order Conspiracy Theorist, 7. Game of Thrones, 8. Happy Birthday Evaxebra!, 9. Rear View and Fractal Filter, 10. Slow (Shutter Speed), 11. The Traveling Camel Spin Was Harder Than it Looked, 12. Deep Thoughts, 13. Crab Domino, 14. Dad on Flag 1914, 15. Snack Time, 16. Bridge of Pies, 17. Oh Balls!, 18. Federal Election Tomorrow, 19. Twist, 20. Velma Had Always Wanted to be a Star, 21. Zombeh!, 22. Lunch Chez Michel, 23. The Day Dr. Helga Led the Bigfoot Research Team, 24. First Expedition from the Swan Nebula, 25. An Unappetizing Colour of Frosting, 26. Still Life with Ganesha, Remover of Obstacles, 27. Dressing for Success in the Bathtub, 28. Poking James K. Polk While Listening to Polk Salad Annie, 29. Still Life Con Huevos, 30. Throwing the Scott Paper During the Wrong Scene, 31. Photographer From The Other Side Makes a Visit

I finally got round to updating my boys wooden fork lift truck toy in Autodesk Inventor 2012.

 

These screenshots are taken with the Ray Tracing option turned on.

I took a picture of our 6 year olds desk in his bedroom and then added it as a background in Autodesk Inventor to show the forklift toy in it's true environment

 

The above is a screenshot of the Autodesk Inventor window - it is not a rendered image.