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Consumers Energy employees before the February 4, 2012 Walk for Warmth in Mt. Pleasant, Michigan coordinated by EightCAP, Inc.
Jasmine Griggley (left) speaks with Harnsar Wongsapan during the UIS Spring Involvement Expo. Griggley was there representing the Spirit Team and Wongsapan was representing the Japanime group. The Involvement Expo provides an opportunity for students to learn how they can get involved on campus.
NRC volunteers judge projects for a special NRC award at the 2009 Montgomery County area science fair held at the University of Maryland.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Photos by Zachary Hartzell
Sept. 8, 2015
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Los Angeles Firefighters responded to a three vehicle collision involving a Los Angeles Metro Bus in North Hollywood on November 25, 2011. The collision sent three of six injured persons to the hospital, including a pair of motorists who were critically injured. © Photo by Mike Meadows
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
Title / Titre :
Camp etiquette involves shaving daily and putting on a tie when cleaning up after work at Eldorado Mining and Refining Ltd. /
Au camp de l’Eldorado Mining and Refining Ltd, il est de mise de se raser quotidiennement et de porter la cravate après le travail
Creator(s) / Créateur(s) : Eldorado Mining & Refining Ltd.
Date(s) : circa / vers 1930
Reference No. / Numéro de référence : ITEM 3375959
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3375...
Location / Lieu : Port Radium, Northwest Territories, Canada / Port Radium, Territoires-du-Nord-Ouest, Canada
Credit / Mention de source :
Eldorado Mining & Refining Ltd. Eldorado Nuclear Limited fonds. Library and Archives Canada, C-023984 /
Eldorado Mining & Refining Ltd. Fonds Eldorado Nuclear Limited. Bibliothèque et Archives Canada, C-023984
Bravery involves acting on conviction even if unpopular, not shrinking from fear, and speaking up for what is right even if there is opposition. Bravery has been called corrective because, in some ways, it is used to counteract difficulties everyone faces. We typically think of bravery as physical, such as the bravery demonstrated by soldiers on a battlefield. Bravery is also psychological, such as when we face our problems in a direct way, when we admit our vulnerabilities, and when we seek help. Bravery is moral when we stand up for those who are less fortunate or cannot defend themselves or when we speak up in a group advocating for the rights of others. Bravery is not equivalent to fearlessness because fear is certainly experienced. Rather, bravery is the ability to do what needs to be done in spite of fear. This strength is evident when choosing to do the unpopular but correct thing, or facing a terminal illness with equanimity, or resisting peer pressure regarding a morally questionable shortcut. As a signature strength, bravery emerges regularly, not only in exceptional circumstances.
“The meaning of life is to find your gift. The purpose of life is to give it away.”
- Pablo Picasso
Don't sell yourself short, maximise your presence in life by making use of your top strengths. But first, you need to know what they are. To take the only free scientifically backed personality test available today visit www.revisedperception.com/
David Luddy
Revised Perception
David Novosad (left) & Mark Stamps
Nomination: During fall 2003, the children s department of La Porte Community Library brainstormed ways to promote the upcoming 2004 Summer Reading Program (SRP). Due to problems with a large number of latchkey kids in the library after school, Children's Librarian Jerald Stamps and his assistant, David Novosad, searched for a way to promote summer reading and involve some of the latchkey children in a project to challenge their imaginations and foster their latent talents. Stamps and Novosad decided to found the La Porte Community Library Film Committee to create a film to promote the SRP.
Stamps selected some of the most behaviorally challenged children to work on the film. This unique and innovative plan for encouraging reluctant youngsters to spend time reading in the summer was unprecedented. The children's excitement prompted Stamps and Novosad to approach Branch Manager Myra Wilson for permission to undertake the project. They also asked the Friends of the La Porte Community Library to provide funding. All agreed to launch the project and the entire budget proved to be less than $200, a modest sum by any estimation.
By spring 2004, the film committee had completed its final draft of the script and began filming a short promotional film entitled Kool Ride s Library Drive. Final editing of the stop-action sequences was completed in late April 2004 and the film was screened at the monthly Children s Librarian Meeting in May 2004. Children's Specialist for Materials Selection Stephanie Borgman agreed to provide enough funds for each branch to receive a DVD copy of the film for use in the county-wide SRP promotional effort. The film was also attached to HCPL s Kids in the Know website during the summer months and was viewed by children across the country.
This project allowed film committee members to be part of a team and worked to increase the self-esteem of every committee member. Film committee membership became a much-coveted position among La Porte Library s youngster customers.
In May 2004 La Porte Elementary School honored the film committee members at a special initial screening of the film. The children were feted by their peers and school staff. La Porte Independent School District Superintendent Dr. Molly Helmlinger sent a commendation letter to Stamps praising him for the project's innovation and offered her support and whole-hearted cooperation for any like endeavors in the future. According to reports from the parents of the film committee members, more than half of the children have since entered the Odyssey of the Mind Program, a program for gifted students at La Porte Elementary School.
Christine McNew, Youth Services Consultant, Library Development Division of the Texas State Library and Archives Commission, was also supportive of the film committee's effort. She felt that by producing this promotional film, HCPL was on the cutting edge of Texas libraries using technology to foster improved reading skills and student participation in the annual state summer reading programs. She inquired about the possibility of the La Porte Library's film committee producing a 30-second public service announcement for television broadcast to promote summer reading programs across the state. Although the children's department's resources do not allow time for such a production at this time, the film committee has indicated its willingness to consider future possibilities.
A second film, tentatively titled The Lex Files, is currently in production to promote the 2005 summer reading program. This year the children were required to audition for acting roles or to assist in the various tasks needed to complete the film. The 2005 film will contain both live action and digital scenes. The script was created by Stamps, Novosad and film committee members and was completed in January, 2005. Digital photographs of the ongoing production are available upon request.
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
de.wikipedia.org/wiki/Hundertwasserhaus_(Wien)
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
In 1997, the town of Brighton and its neighbouring town Hove were joined to form the unitary authority of Brighton and Hove, which was granted city status by Queen Elizabeth II as part of the millennium celebrations in 2000.
————————————————————————————————
The Royal Pavilion, Brighton
Grade I listed
List Entry Number: 1380680
Statutory Address: THE ROYAL PAVILION, OLD STEINE
Statutory Address: THE ROYAL PAVILION, PAVILION BUILDINGS
Detail
TQ 3104 SW, 577-1/40/4
BRIGHTON, OLD STEINE, The Royal Pavilion
13.10.52
I
Includes: The Royal Pavilion PAVILION BUILDINGS. Royal Pavilion, formerly farmhouse. Built for the Prince of Wales (1762-1830). 4 distinct building campaigns: a double-fronted farmhouse from the 1770s which the Prince's architect, Henry Holland, added to in 1787-88, refacing it in cream-coloured mathematical tile; third phase, involving primarily interior works, of 1801-08, when William Porden assumed control of the works; fabric largely untouched during this period, Porden's work consisting of additions to the subsidiary buildings, the Stables and Riding School, now the Corn Exchange and Dome Theatre, Church Street (qv). The final phase began in February of 1811 under the architect James Wyatt. Between 1814 and 1823, Nash gave the building the appearance which it has today. Periodic restorations from the mid C19 to the late C20.
MATERIALS: stucco, scored to imitate ashlar; Bath stone and Portland stone dressings, recently renewed; the tent roofs and onion domes were originally surfaced with a patent mastic and painted to resemble Bath stone; the mastic failed in 1827 and was replaced by copper sheathing; various other roofs of slate.
EXTERIOR: East Front: composed of 5 distinct parts, symmetrically arranged around the 7-bay colonnade of the rotunda; 3 French doors, each with pointed, trilobed heads and glazing bars of original design, open into the saloon; these window heads, inspired by Mughal architecture, are repeated throughout the fabric; columns in Bath stone have an octagonal socle, leafy base, octagonal shaft, and flaring, leaf capitals which terminate above the diamond crenellated parapet in octagonal pinnacles. The design of these columns repeated throughout the fabric, applied in many instances to pilasters. Between the tops of each pair of the rotunda columns is a screen of pierced quatrefoils arranged in intersecting S-curves which are formed from the lines of the horseshoe arches; above the centre bay of the colonnade in the parapet are the arms of the King and an inscription: "HRH George IV MDCCLXXXIV". The domed superstructure over the saloon is supported by an internal cast- and wrought-iron frame designed by Nash. Transition to the dome by a convex, feathered ring, topped by a fluted ring, in turn topped by a parapet; ribbed onion dome above, with reticulated lights, culminating in a high finial. On each corner of the dome is a minaret, supported by an octagonal leaf column as below, and rising from square, crenellated turrets. The range of decorative elements found in this centre section are repeated on all elevations. At the far ends of the east elevation are cubic pavilions with high tent roofs: the Music Room to the north and the Banqueting Room to the south; in front of each is a 6-bay colonnade, identical in design to the saloon colonnade; French doors with Mughal-styled heads; clerestory below roof in each face is a horizontal strip window with lattice glazing bars; broad bracketed eaves below a crenellated parapet which encircles the base of the tent roof; at each corner of these pavilions stands a minaret on an octagonal leaf column. The ranges between the central saloon and the end pavilions have a 7-window range each and 2 storeys; on the ground floor the area between the pair of full-height bays is incorporated within a stone projection of 5 French doors; one octagonal pilaster between each pair of doors, at corner and returns; above each pilaster a panelled pier topped by an obelisk; the balustrade pierced by Gothic quatrefoil panels. Lotus-leaf parapet continuous across the elevation; there is an onion dome above each bay. To the north, the elevation returns briefly before stopping at a 2-and-a-half-storey corner pavilion, square in plan, similar to those found on the King's Apartments. Nash's exotic overlay comes to an abrupt end to the south: at join with kitchen wing a single-storey porch in a Mughal style abutting a purely Greek Revival elevation. The latter has a 7-window range; 2 sections of the original tripartite temple facade remain: the former centre with 8 paired, giant Tuscan pilasters forming 3 broad bays topped by a pediment; single pilasters mark 4 left-hand bays; roof parapeted, stacks to rear and right of pediment; over door in centre of pediment, sculpted Royal Arms; sashes of an original design; the cast-iron railings attached to this elevation enclose the south border of the east lawn; similar railings to area at the foot of the north return. West Front: entrance under a porte-cochere, square in plan, topped by an onion dome and supported at each corner by 3 octagonal leaf columns; bulbous finials and minarets above eaves. Behind, a single-storey octagonal porch with semicircular projection; all French doors and windows on the ground floor have flattened horseshoe arches. The centre range rises to 3 storeys, with a bracketed eaves roof below a horizontal strip window with lattice glazing bars; minarets at corners of clerestory and clustered flue to returns; another stack to rear of saloon dome with S-curved flying buttresses; oval, crenellated Gothic turrets flank the dome. Single-storey crenellated wings run from centre axis to returns of wings, setting back to form a first-floor balcony reached by flat-arched French doors; the bays in the single-storey ranges marked by attached leaf columns; 5-window range. Each 2-and-a-half-storey courtyard wing topped by an onion dome; wings with full-height, octagonal leaf pilasters, continuing above parapet to minarets of stone; the top storeys of the wings lit by horizontal strip window with lattice glazing bars. To the right of the courtyard, the Mughal-inspired design ends abruptly; the kitchen wing has 2 storeys, and a 2-window range with flat-arched windows and cornice to guttered eaves. To the north, or left of the courtyard are the King's Apartments, which run between the north pavilion of the courtyard to an identical pavilion on the north corner; 9-window range, with a 7-window range recessed behind the front walls of the pavilions; stone verandah fills this section, 8 leaf columns, the roof forming a balcony. The first-floor windows in the corner pavilions are each set in an elaborate stone aedicule. The north return has a 7-window range, with end pavilions similar to those already described, but flush with the intermediate range wall; 5-bay stone verandah projects from this wall and spans basement area. There are stacks with gathered flues symmetrically disposed across the roof; each flue is topped by a minaret-like chimney pot. At the time of writing (May 1992), an extensive programme of exterior restoration had just been completed; much of the stonework had been renewed and the stucco repainted to resemble Bath stone.
INTERIOR: for the most part the interior decoration was carried out by Frederick Crace and his collaborator, Robert Jones. The Outer Entrance Hall has a shallow saucer dome supported by broad, ribbed coving. The transition to the Inner Entrance Hall through an apse-like recess opening onto the Entrance Hall which is square in plan; clerestory with painted glass fills above recess, the lintel below supported by a pair of octagonal leaf columns; scalloped drip moulding decorated with palm leaves forms a continuous cornice to the walls; marble chimneypiece is the only one to survive in situ and was carved by Richard Westmacott. To the east, the Chinese Gallery, of 7 bays, connecting all rooms along the ground floor and dating to 1815; at either end a cast-iron, U-plan stair designed and painted to resemble bamboo. Cast-iron skylights to centre bay and above each stair. Bays 3 and 5 open onto rectangular recesses which form baffle entrances to the North and South Drawing Rooms. Access to the Banqueting Room and Music Room through flat-arched opening in the centre of each flight of stairs in the Chinese Gallery. Banqueting and Music Rooms have identical plans: square, with rectangular recesses to north and south, the ceiling between the recess and the entablature (which forms the base to flattened basket arches supporting the saucer dome) are convex coves, imitating hung fabric and bamboo. Banqueting Room: great chandelier lit by gas in 1821, suspended by a Chinese dragon carved in wood, above which are plantain leaves, which hid the original gas registers. The decoration of the lower walls with "orientalising" scenes and motifs carried out by Robert Jones. Concave canopy over each door. Each French door to the east verandah set in a recess. Stone chimneypieces of mid C19 in the north and south walls. Cornice around the room consists of trilobed valence and acanthus parapet. Tympanum of each basket arch filled with clerestory window of painted glass. Rectangular serving room to the south with marble chimneypiece is lit by an oval skylight; cupboard room to the west. Further to the south is the kitchen, with 4 iron columns cast to resemble bamboo shafts topped by palm leaves; original kitchen features in situ; interior completed in 1816. The South Drawing Room reached through a door in the north-east corner of the Banqueting Room: rectangular in plan, with bay to east, the latter having quadrant corners. This room marks the extent of the entire ground floor of the original house on the site; on the line of its outer wall, removed for the broad bay with French doors, are 2 palm tree columns. This single room formed in 1801; a Crace decorative scheme of 1815 replaced by the current scheme in 1821. The only features to survive from 1815 are the white marble chimneypieces in the west wall, flanking a shallow, flat-arched recess. Flat-arched door leads to Holland's saloon, entered by semicircular pilastered niches to the north and south; shallow saucer dome; scheme dates to 1821-23. The North Drawing Room is identical in plan to the South Drawing Room, and was formed in 1802 as the Eating Room and Library; current scheme dates to 1821. The Music Room: painted organ case in north recess; painted canvas stretched on walls, completed 1817-1822/3 by Jones. To the west are the King's Apartments, a suite of 3 rooms connected by wide double doors and completed in 1821-22; all rooms rectangular in plan, with recess for State Bed, coved recesses and round-arched niches. North Gallery on the first floor created in 1815, toplit, once gave access to the principal bedrooms and was decorated in the Chinese style; now plain, it is called the North Lobby. Queen Victoria's bedroom and related apartments above the entrance range are under restoration. Between 1825 and his death George IV visited the Pavilion only once. Queen Victoria stayed often between 1837 and 1845. She announced the sale of the Pavilion to pay for works to Buckingham Palace in 1846. A local committee was formed to purchase the Pavilion for the Borough, which transfer was approved in 1850. The Royal Chapel and buildings to the south were then demolished and the land sold. Put to various municipal uses. As early as 1863 there were attempts to acquire furniture sold by the Queen in the late 1840s. All of main rooms now open to the public with the exception of the Red Drawing Room. For a complete description and history of the fabric, see Dinkel, 1983.
HISTORICAL NOTE: the Prince of Wales first came to Brighton in 1783, staying with his uncle, the Duke of Cumberland in Grove House, a brick building which stood on the site of the present Music Room. In 1786, one year after his secret marriage to Mrs Fitzherbert, the Prince took the lease on a farmhouse built in the 1770s and owned by Thomas Kemp; this structure -- a double-fronted building of 2 storeys and 3-window range, with 2 full-height canted bays to Old Steine -- can still be seen through later alterations, in the south range of the present east front. The second phase of the building began in the summer of 1787, when the Prince instructed Henry Holland, his architect for the grand works at Carlton House, to enlarge the premises. Holland duplicated the 2-bayed farmhouse to the north, connecting the 2 sections by the Saloon, a domed rotunda with a circular colonnade; at the rear he constructed a long corridor, which would later form the basis for the current Chinese Gallery of 1815 and 1822. The saloon, with shallow domed ceiling, is extant, though overlaid by Nash's Mughal-inspired decoration. Holland also converted the canted bays of the farmhouse into segmental ones. To the rear, or west elevation Holland built 2 projecting wings, each pedimented; on axis with the rotunda he constructed a tetrastyle portico in the Ionic order with a pediment above. The rough outline of this U-shaped courtyard can still be seen under Nash's additions. The Prince and Holland planned to erect a wing to the south, similar to that on the north and containing the King's apartments; this was never completed. At the end of Holland's works in 1788, the structure was named the "Marine Pavilion". Absent from Brighton between 1796 and 1800, the Prince commissioned no new works until July of 1801, when Holland proposed to sheath his earlier works in Chinese ornament; only interior decorations in this manner were carried out, being completed in 1804. Between 1801 and 1804 the firm of Crace was first employed on the interior decoration. There are no architectural remains of the first "oriental" phase. Holland also added 2 new wings to the east elevation; these projecting at obtuse angles towards the Steine; although replaced by the Music and Banqueting rooms, these rooms would mark the furthest extent of the east elevation. In 1803 Porden replaced Holland and made plans to continue the "exoticisation" of the exterior. In 1805 Humphry Repton was called in to landscape the grounds. The idea for redesigning the Marine Pavilion as an Indian palace can be dated to the years 1803-05, during the Porden-Repton collaboration. The final phase of the building commenced when the Prince was made Regent in February of 1811. Nothing is known of the plans made by James Wyatt, nor does any trace of Nash's work between 1813-15 survive. The first work of what would prove to be the final scheme was the expansion of Holland's west corridor into the long Chinese Gallery, beginning in January of 1815 and completed before the end of the year along with the Inner Entrance Hall. The 2 bedroom storeys above the Entrance Hall were added before 1819. In the years between 1815 and 1820, the west courtyard was partly filled in with service rooms and stairs. The kitchen wing to the south was completed next, between 1816 and 1818. In 1817, Holland's angled bays were replaced by the box-like pavilions containing the Music and Banqueting Rooms. During the following summer Nash erected the great onion dome which dominates the east elevation and is flanked, to the west, by a pair of crenellated, oval towers. In 1819 the Bath stone window tracery and leaf columns were added, and by the end of the year, the east front assumed the appearance which it has today. In the same year, Holland's portico on the west elevation was replaced by the domed porte-cochere with octagonal vestibule, or Outer Entrance Hall, behind. Nash then constructed the pavilioned King's Apartments, incorporating Holland's north courtyard wing; this and the stone verandah on the west elevation were completed by the close of 1820. When the newly crowned George IV took up residence in the now Royal Pavilion on 2 January of 1821, only the decoration of his apartments and the Red Drawing Room (not open for inspection at the time of writing) remained to be done. All was completed by the summer of 1823. (The Royal Pavilion - Brighton: Dinkel J: LONDON: 1983-).
Listing NGR: TQ3127304188
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
The Jackson Walk for Warmth took place in downtown Jackson, where the Consumers Energy Headquarters is located. Pictured, Patti Poppe, Vice President of Customer Experience and Operations (right), carries a Consumers Energy banner with other employees.
~ 24.11.15 - 26.11.14 ~
#creative365_michmutters_2014
"Historical Sense Involves Perception" (version: heavy edit)
"The historical sense involves a perception, not only of the pastness of the past, but of its presence” ― T.S. Eliot
Procamera 8
Snapseed
Distressed fx
Blur fx
Image Blender
Stackables App
Camera Awesome
Photofx Ultra
VSCO cam
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
By the time of American involvement in Southeast Asia, the USAF had gone to an almost all-nuclear capable force. None of the aircraft in first-line units were capable of counterinsurgency (COIN) roles; pilots and crews were not trained for it either. As a result, the USAF had to fall back on World War II-era aircraft taken out of storage and reconditioned for a war the country had never meant to fight.
By Vietnam, the Douglas A-26 Invader had been redesignated B-26 (this had happened during the Korean War, but it was generally referred to by its former designation). RB-26Cs were among the first USAF aircraft deployed to the area, in 1960, first seeing service under Operation Farm Gate, supporting Royal Laotian Army forces against Pathet Lao guerillas. Later, Farm Gate was expanded to South Vietnam as well and B-26C bombers were deployed for service as well—despite their age, the Invaders were liked for their easy handling and long loiter times, both valuable and necessary in counterinsurgency warfare. (The USAF was not the first nation to use Invaders in Vietnam—the French had used them during the siege of Dien Bien Phu in 1954.)
Age caught up to the force by 1965, and after a number of fatal crashes caused by metal fatigue, the B-26 force was grounded. They were then modified to A-26K Counter-Invaders, with new engines, reinforced structure, and wingtip fuel tanks (and further confusing the matter by readopting the attack designation). Returning to Vietnam in 1966, A-26Ks would remain in service until 1970, gradually replaced by gunship AC-130s, and turned in an excellent performance in the counterinsurgency role. The last A-26 did not leave USAF service until 1972.
A good number of A-26s were sold as surplus after the Vietnam War and were subsequently converted to firefighting aircraft. Though most of these have been retired in recent years, it ensured that there would be significant numbers of flyable Invaders left. Today, 96 aircraft remain in museums and in private collections.
Built as 41-39596, one of the first A-26Bs to be delivered, this aircraft was in storage in Arizona when it was returned to service as an A-26K and renumbered 64-17676. It served during the Vietnam War with the 1st Special Operations Wing, based out of Nakhon Phanom, Thailand. After the war, it was retired once more, but this time was bought by the state of Georgia and converted to a firefighting aircraft. It would then go through several owners, mostly Canadian, as a firebomber until 1978, when it was bought by a collector, restored to its A-26K appearance, and flown in airshows. In 1981, it was donated to the National Museum of the USAF, where it remains today.
64-17676 wears standard USAF Southeast Asia camouflage, with black undersides for night operations. This view shows the A-26K's impressive "business end" of eight .50 caliber machine guns; in addition to the guns, it carries two 20mm gunpods, two Mk 82 bombs with "Daisy Cutter" fuse extenders, and two rocket pods.
Student Involvement Fair at Crossley Softball Field, 19 September, 2020. Photography by Glenn Minshall.
Over 255 Consumers Energy employees, friends and family volunteered and donated to the Jackson, Michigan Walk for Warmth.
naturally involves much sorting and packing up.
The kitchen table needs to be cleared , and we're taking the range , of course.
But of course this is my wife's 1/12 scale doll's house. Further pictures may be found at www.flickr.com/photos/52118066@N02/
The Student Involvement Fair will was held on January 23, 2019. This event is designed to give students the opportunity to learn more about clubs and organizations at Ramapo College, while each club has an opportunity to advertise and enroll new members. Learn more about student clubs: www.ramapo.edu/clubs/
Fire involving three storey public house. Two hydraulic platforms in use as water towers, water support unit, 12 BA. Six hose reel's and thermal image in use. Building destroyed by fire, now under going demolition.
Kop Hill Climb 2025
The climb was established in 1910 and continued until 1925 when, due to a minor accident involving a spectator, the RAC stewards stopped the meeting and, within a week, declined to grant any further permits for high-speed contests on public roads in the UK.
The last competitive event on public roads was held on 28 March 1925, making the Kop Hill Climb the last competitive race run on a public highway in the UK.
The event was revived in 2009 at Kop Hill as a non-competitive charity event celebrating the history of cars and motorcycles.
Throughout the day, exhibitors climb the hill with cars and motorcycles to entertain the spectators in the grandstand and on the viewing platforms.
The climb is 903 yards (826 m) long.
The event takes place on a public road. The gradient is 1:6, leading to 1:5, with a short 1:4 at its steepest at the top of the climb.
en.wikipedia.org/wiki/Kop_Hill_Climb
Hill Climb Start
MG
Magnette Za
Registration Number:
206 UXF
Year of Manufacture:
1958
Specification:
3000cc
Saloon
Rear Wheel Drive
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
I hate making blanket statements involving anything like the words 'Forever' or 'Never' but right now it feels like these are the core girls I'll have with me always.
1. Cookie-my most recent creation and very first tan girl. I just adore dressing her up!
2. Birdie!! Probably the sweestest sad girl ever and I'm a complete sucker for sad pouty girls! Marlon (dolls-kingdom) is an incredible artist, I just want to take Birdie everywhere with me. Plus my son named her so I could never part with her.
3. Starla,my darling Starla. Also one of my customs, I tend to fall too deeply and hard for my creations and this is a good example, but she's just so sweet and pretty and fun to photograph!
4. Bowie- I can't imagine ever giving up my punk rock girl because she's so freaking fun to photograph and make clothes for, but also because my dear friend Maggi created her especially for me. I hold Maggi so close to my heart and therefore Bowie gets to be a forever girl. <3
5. Fiametta-This girl is amazing made by the ever-so-talented Kris from Pink Anemone. She's so grumpy and fun to photograph, and the Unicornmine skinny scalp she's wearing is probably one of the most gorgeous skinnies i've seen.
6.Gertie!! stays because she makes me smile and she's my very first Blythe who I later customized myself.
7.Ursula-My husband got her base doll for me for our anniversary this year and I redid her and my friend Minda made her amazing mohair reroot and she's probably one of the more photographed of my dolls.
8.Cordelia- she's a forever girl because she's my vixen, she's been through many changes but she's so pretty and dark I have to keep her!
9.Oiseau-because she's so ethereal and soft. Her reroot by Blytheinwonderland is the softest hair i've ever felt.
10. This is the one I'm not totally sure about, right now I can't imagine selling her because I just finished customizing her, but I'm still pretty in love with her and she's a culmination of two of my favorite things to collect: Blythe and Tim Burton toys!