The redness in the sky to the west was now alarming, although I knew the reason, it felt like something supernatural.

 

Palgrave was just a few miles from Hepworth, and one I hoped to find open, and at just after four in the afternoon, but nearly dar, it was.

 

It was really very gloomy inside the church, even with the lights on, shots were difficult to take. I was on a mission to snap all I could as soon as possible before the light failed altogether.

 

Church features a splendid Norman font, modern glass, and the remains of a spiral staircase leading to a room over the south porch, the floor of which has long since vanished. The stairs now a broom cupboard.

 

Wonderful painted roof, I thought maybe done in the last century, but might be much, much older than that.

 

-----------------------------------------

 

2015: I've visited Palgrave church several times since this account first appeared, most recently to take the photographs here. However, I hope I will be forgiven for retaining the original text from 2003, if only for its freshness, and perhaps also for what may be viewed at this distance as its charm.

2003: I arrived at Diss railway station in that gentle sunshine for which we’ll remember the Spring of 2003. Diss is in Norfolk; I had just crossed the border on my train journey from Ipswich, but I was bound for Diss's southern suburb, the Suffolk village of Palgrave. I cycled off from the station. I headed under the railway line, and over the infant Waveney. At this point, I entered Suffolk again, but there were no county signs in either direction. To be honest, it didn’t feel that different, apart from the way that the road surface improved, the schools came off special measures, the police force became efficient, and so on.

 

The countryside opened out into golden oilseed rape fields under a wide sky. It was good to be home. Soon, I was coming into Palgrave village, which seemed very pleasant indeed.

 

In medieval times, Palgrave was actually two parishes; the westerly one, Palgrave St John, has been subsumed into this one, and that church has completely disappeared. However, this pretty church is walled neatly into its graveyard at the heart of the village, which spreads neatly around it. As this was my first church of the day, I hoped it would be open; it always puts a crimp in a trip if the first one is a lock-out. I was not disappointed; St Peter is a friendly parish that knows that part of its Christian mission is to welcome strangers and pilgrims.

 

I stepped through the elaborate arch of the late 15th Century south doorway. An angel and a dragon contended in the spandrels, and there were characterful heads carved in the entrance arch. Inside, a very nice lady was busy with the flowers, and took time out to show me around. All the while, I was conscious that above my head the lovely painted roof of Palgrave. Marian monograms and symbols punctuate the whitewash; once, many small Suffolk churches must have been like this. Perhaps someone can explain to me why this one hasn’t faded like many of the others; I don’t think it has been redone.

 

The other famous treasure here is the font. It is unlike anything else in Suffolk. Clearly Norman, but much more elaborate than most, its most outstanding features are the faces in each corner. Again, this is a more intimate experience of the faces we normally see as corbels; but Palgrave has these too, stunning medieval characters along the lines of the arcades.

 

While we are on the subject of treasure, there were two modern features that were obviously loved by the locals. Firstly, Surinder Warboys has her studio nearby at Mellis, and here is one of her windows in the south aisle. The light flooded through it. The lady told me that everybody liked it, but that it was very hard to do a flower arrangement in front of it! I thought that they had done very well. Secondly, up in the chancel is the benefice millennium banner – people from all the parishes came together and produced this amazing patchwork cross. On the back, there are panels depicting the mission of the Church. Apparently, it is shared around the benefice churches for display for a few weeks at a time.

 

In the place where many churches now display the coat of arms, Palgrave has part of a suit of armour. I have seen an explanation in several books that it was from the parish armoury, which was once stored in the upper room of the porch, as at Mendlesham. This upper room has now gone, and the armoury has, as in most churches, been dispersed. However, I could find no evidence for this story, and it seems to be based on one of Arthur Mee’s fancies. I don't think it is even real armour; rather, it is similar to the mock plate armour behind the Bacon memorial at nearby Redgrave. It seems likely to me that this is also part of an old set of armour associated with a memorial of some kind, which the Victorians swept away. I don’t suppose we’ll ever know.

 

Back outside again, I took time out to photograph the famous grave of carter John Catchpole, with its relief of a wagon and horses – you can see it in the left-hand column. It seems a modern fashion to decorate headstones with symbols associated with the deceased; nice to know it was happening in the mid-18th century.

I turned, and looked back at the neat tower, the splendid porch with its dramatic niches. You can see that there was once an upper room, but it has now gone.

 

And it was time for me to be gone, too. Waving cheerily, I headed off in the direction of Thrandeston, all the road back to Ipswich open in front of me in the sunshine.

   

Simon Knott, August 2003, updated July 2015

 

www.suffolkchurches.co.uk/palgrave.htm

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble Djúpalónssandur Beach. In Stykkishólmur fishing village, the 19th-century wood-frame Norwegian House is a regional museum with a craft shop.

The Rathskeller in the Seelbach Hotel, Louisville, Kentucky

The 1907 addition to The Seelbach in Louisville, Kentucky, included a German rathskeller made of Rookwood Pottery created in nearby Cincinnati, Ohio, by workers hired from the Art Academy. Rookwood Pottery was founded by Maria Longworth Nichols (later Mrs. Bellamy Storer Jr.) in 1880.

 

According to "The Seelbach Hotel, A History of Louisville Tradition" by J. Theriot in August, 1988, "In making this expensive type of pottery, decorations were drawn by hand on the clay before firing, making the design part of the ware. After baking, various glazes were added in subsequent firings. The floors, columns and walls of the eighty-foot square room were made of the pottery. The ceiling is fine-tooled leather."

 

To complement the room, The Seelbach Realty Company's president, Charles C. Vogt, presented the hotel with a $10,000 gift, a Rookwood-faced clock. Such a collection of Rookwood was very rare and, today, The Rathskeller is one of only two surviving ensembles of this art form.

 

The Rathskeller (ratskellar, a German word meaning restaurant in the town-hall cellar) was built in Bavarian tradition. The Seelbach's Rathskeller menu offers this description: "As a matter of fact the Rathskeller in every essential, artistic detail, is a reproduction of the underground drinking and council hall of one of the famous castles on the Rhine."

 

The graceful arches supported by noble columns give a cathedral-like effect. The archway pillars are encircled with Rookwood pelican frescoes, a symbol of good luck, and the ceiling above the bar is covered with hand-painted 24K gold leaf leather detailing the signs of the zodiac.

 

The Rathskeller achieved immediate popularity. The July 1912 edition of Hotel Monthly describes it as having a "seating capacity from 300 to 400." Not only was it a beautiful nightspot, conveniently located for the after-theater crowds, but it was also one of the first air-conditioned rooms ever built. The Seelbachs vowed to keep the room at least 10 degrees cooler than the outside summer temperatures. To do so required 40 tons of steam-produced refrigeration every 24 hours.

 

When the hotel was sold to Abraham Liebling, one of the first improvements was for the managers to lease a corner of the first floor to Walgreen Drugs. The Seelbach welcomed this renovation. Since prohibition and the nationwide ban on alcohol sales, the first floor bar had closed and The Rathskeller was little more than an extension of a restaurant. With the drug store on the main floor, the restaurant simply found a home downstairs in the basement. Several years later after prohibition ended, management moved the restaurant back up to the renovated first floor and closed The Rathskeller for extensive changes. In April 1934, it re-opened with a 56-foot bar staffed by six bartenders. With these renovations, the basement bar moved into a new era. Instead of simply providing a stopping place for late-night theater patrons, The Rathskeller would now offer its own musical and dramatic entertainment featuring local bands and occasional first-run theater.

 

When Walgreen's lease expired in 1941, management opted to open a new nightclub, tentatively called The Seelbach Café-Bar. The club took away from The Rathskeller and in 1945, when the Legionaries offered to rent the basement, including The Rathskeller, for a members-only club, the managers agreed. Today, The Seelbach's most treasured heirloom, The Rathskeller, with its dramatic design, lighting, and hand-carved architectural details, is again operated by The Seelbach and is available for private events.

  

The RathskellerThe Rathskeller is the only surviving room in the world completely encrusted in Rookwood pottery. Rookwood pelicans pervade the area, and although the Hotel’s tourist information likes to cheerfully note that the pelicans are there “for good luck,” it’s also true that the pelican is regarded in some occult mythologies as a symbol of resurrecting one’s children after having killed them oneself, by anointing them with one’s own blood. The pelican has also long been synonymous with the Phoenix (the mythological bird of occult initiation, wherein one is reborn into a new awareness or gnosis) and with Henet (a pelican goddess from pyramid-era Egypt, who appears on walls of ancient tombs and in royal funerary texts).

 

The Seelbach Hotel was the dream of two German immigrants, and over the past century it has gained the reputation of one of the finest hotels in the area.

 

"They opened the doors in 1905, the original cost was approximately $990,000 dollars," says Larry Johnson, who is now the lobby concierge at Louisville's Seelbach Hotel.

 

"The poker room had the distinction of being where Al Capone came to play poker," Johnson says. "He probably would have stopped here on his way back to Chicago from being in eastern Kentucky, where he picked up his moonshine." It was the era of Prohibition and Al Capone played it safe at the hotel, always facing a mirror in the poker room to keep an eye on his competition ... and on his back. And Johnson says there were "lookouts" throughout the hotel. "Whenever the police came into the lobby, somebody would step on the button and the doors going into the poker room would automatically close and he would know to get out."

 

And secret passageways -- now sealed up -- allowed just that. "One of the doors went out and down to the street, and the other door went downstairs to the tunnels underneath the hotel. They would go down into the tunnels and he could go anywhere from a block to a mile away form the hotel without being seen."

 

Louisville police never caught up with Capone, whether he was escaping a card game or from another room he favored: the Rathskeller. Now a backdrop for corporate events and other parties, Johnson says the Rathskeller was a "big night club back in the 20s and 30s, it was a USO in World War I and World War II. During Prohibition, it was a dinner club."

 

Capone wasn't the only well-known character to frequent the Seelbach. An Army captain stationed at Camp Taylor also gained quite a reputation at the hotel. F. Scott Fitzgerald, he frequented the bar and supposedly he was kicked out on several occasions for being a booze hound and being a little rowdy," Johnson says. Despite his brushes with the law, Fitzgerald loved the opulent hotel. So much so he wrote about it years later in the Great Gatsby.

 

REFORD GARDENS | LES JARDINS DE METIS

 

MECONOPSIS BETONICIFOLIA

 

Himalayan flower imported by Elsie Reford in the early 1930s that has since become the floral emblem of the Gardens.

  

Visit : www.refordgardens.com/

 

From Wikipedia:

 

Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.

 

Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.

  

Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.

 

She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.

 

In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.

 

During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.

 

In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.

 

Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.

 

To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.

 

Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.

 

In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)

 

Visit : en.wikipedia.org/wiki/Elsie_Reford

 

Visit : www.refordgardens.com

 

LES JARDINS DE MÉTIS

 

Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.

 

Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.

 

Commission des lieux et monuments historiques du Canada

Historic Sites and Monuments Board of Canada.

Gouvernement du Canada – Government of Canada

 

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Scotland baked in the sun today 25/5/2018, with the sun beating down it felt like a day to get out and about, I decided to revisit one of my favourite sites

Dunnottar Castle as it is located

40 minutes drive from my home in Aberdeen,a piper played as visitors and tourists arrived , what a magnificent sight.

 

I wandered along the base of the castle and enjoyed the bay with its calm waters and great views, after an hour or so it was time to leave and climb the numerous stairs back up the hill to the car park.

 

Castles History.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

Day Two.

Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.

"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.

 

Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.

First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.

 

Back on the road and Route One we headed down and into the bit of coast called Big Sur.

"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"

 

It certainly lived up to the description! Amazing place to ride through/along!

Stopped at so many various vista points for pictures and posing etc!

We stopped for lunch at a place called Ragged Point -

"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"

Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..

 

Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.

 

Back on the road and continued down to San Luis Obispo to find our motel..

Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.

We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!

 

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble Djúpalónssandur Beach. In Stykkishólmur fishing village, the 19th-century wood-frame Norwegian House is a regional museum with a craft shop.

Upper West Side, Manhattan, New York City, New York, United States

 

The William J. Syms Operating Theater, built 1890-1892, was the most advanced operating theater in the world when it opened and one of the first equipped for aseptic surgery. The result of a collaboration of the architect William Wheeler Smith and the prominent American surgeon Charles McBurney, the building represented the attempt in the 19th century to reconcile architecture with technological advances.

 

The appearance of the building, subtle and simple in detail but striking in its massing, especially in the form of its semi-conical roof, is expressive of the unusual functional demands of the building, an effort to harmonize the design with the other Roosevelt Hospital buildings, and the well-developed personal style of the architect for medical buildings.

 

Syms was the fourth of several major pavilions (see below) built as part of the pavilion plan 'of Roosevelt Hospital begun in 18 69, and as such is both part of one of the earliest pavilion plan hospitals in America, and a rare early survivor of a once highly influential approach to hospital design. Syms was the center of medical education in New York City in its early years, and it was the site of numerous advances in surgical practice at a time when modern surgery was taking shape.

 

Roosevelt Hospital

 

The Syms Operating Theater was one of a series of pavilions built according to the original pavilion plan of Roosevelt Hospital. The pavilion plan was an important early step, proposed by the French Academy of Sciences in 1788 but not executed until much later, in applying scientific knowledge to the design of hospitals. At first it called for small parallel two-story buildings, called pavilions, set in a symmetrical plan oriented for access to light and air.

 

Disease and infections were believed to be carried in vapors, odors, dirt, and other "miasms" which were dispelled by light and goo d ventilation. Later, improved lighting and mechanical ventilation systems led to the acceptance of larger pavilion buildings. Syms' location, siting, massing, and exterior detail as well as its institutional history all relate to the original plan for Roosevelt Hospital and to the architecture of its early buildings.

 

Roosevelt Hospital was established by the bequest of James Henry Roosevelt (1800-1863) who left about $1,000,000 to build a hospital "for the reception and relief of sick and diseased persons."2 Roosevelt Hospital occupies the full block bounded by 58th and 59th Streets and Ninth and Tenth Avenues. Although the land was part of the 1811 Commissioners Plan of Streets, 59th Street was only opened in 1851, and in 1866 when Roosevelt Hospital bought its site the area was still mostly scattered houses and small farms. The trustees of the hospital adopted the pavilion plan in 1866. This was among the earliest in the United States and, as far as is known, the first in New York City.

 

Although no early plan of the hospital survives, the original intention was to build a series of four parallel pavilions. In the first building campaign (1869-72), the prominent New York architect, Carl Pfeiffer, designed all the major buildings, three pavilions along 59th Street. They were built in the High Victorian Gothic Style with red brick walls and light colored "Ohio Stone" trim, and had lively roof lines. The one-story Surgical Pavilion next to the future site of the Syms Operating Theater was the smallest and most simply detailed of the group. The pavilion plan was largely adhered to in several expansions of the hospital, including a group of buildings designed by W. Wheeler Smith in the 1880s and 1890s, until about 1940.

 

Surgery, Medical Education, and Operating Theaters

 

In the 19th century, surgery developed from a remedy of last resort to a common medical procedure, in part due to the introduction of anesthesia in 1847 and to the development of two theories of modern surgery, antiseptic surgery developed by Joseph Lister in 1867, followed by aseptic surgery about 1890. The operating theater was developed in the early 19th century on the model of anatomical theaters which had been the center of medical training since the Renaissance.

 

In the 1870s, many new operating theaters, including the first one at Roosevelt Hospital, were built for the rapidly growing population of student surgeons. Usually incorporated in larger hospital buildings but occasionally occupying their own pavilions, these were well-ventilated wood rooms, often decorated, amply lit by large windows and gas lamps, which accommodated up to 3 00 observers. The best-known operating theater of this generation was at Johns Hopkins Hospital in Baltimore, built between 1877 and 1885.

 

These were superseded by a new generation of operating theaters about 189 0 for aseptic surgery, among the very first of which were the McLane Operating Room^ (now demolished), designed in 18 9 0 by W. Wheeler Smith at Roosevelt Hospital for gynecological surgery, and the Syms Operating Theater. These had improved heat and ventilation from mechanical forced air systems, improved lighting from electric lights, and, with the understanding that absolute cleanliness was essential, smooth, impervious materials for all surfaces.

 

Aseptic operating rooms were bright, clean, hard, undecorated spaces, they were the "high tech" spaces of their day. They utilized the latest technology to produce places suitable for the latest medical practices in a rapidly changing period.

 

History of Syms Operating Theater

 

The Syms Operating Theater was built with $3 50,000 left by William J. Syms (1818-89), $250,000 to build the theater and the remainder to be invested as an endowment for its work. Syms expressed in his will the desire to erect an operating theater which would be "an enduring monument to himself" and of "great service to suffering humanity."8

 

Syms was a partner in the New York firm of Blunt and Syms, for more than 2 5 years the largest gunmaker and dealer in New York. Syms was also a founder of the Metropolitan Gas Company and the Forty-second and Grand Street Railroad Company, and he was President of the Franklin Telegraph Company and Vice-president of the Atlantic and Pacific Telegraph Company. At his death, the Times said that he was' "one of the largest land and house owners" in New York.

 

Syms stipulated that the surgeon, Dr. Charles McBurney (1845-1913) would have complete charge of the building's design and operation. McBurney was a prominent New York surgeon and professor at the College of Physicians and Surgeons.

 

In the year before William Syms died, McBurney achieved international recognition for his identification of the diagnostic point on the abdomen for appendicitis, still called "McBurney's Point." In his years at Syms, he described "McBurney's Incision," a method for removing the appendix, and made numerous other well publicized advances in the practice of surgery. Under McBurney, Syms became a world renowned center for surgeons. McBurney had been called when President McKinley was shot because of his long experience in treating such cases at Roosevelt Hospital.

 

Indeed, McBurney took an active role in the design of the Syms Operating Theater. He made a tour of the most modern operating facilities in Europe and America including "all the large hospitals in England, France, Germany, Austria, and Switzerland" and worked closely with the architect, W. Wheeler Smith, in the design of Syms. It appears that McBurney wrote a detailed program for the building and closely critiqued Smith's plans, finally accepting a fourth effort.13

 

Application for a building permit was made on October 15, 1890 and the building was completed on October 17, 1890. It opened on November 3, 1892 and at that time was considered the most advanced operating theater in the world.

 

In addition to "McBurney's Incision," described above, which was developed largely at Syms, a number of other notable surgical advances were made here. These included the popularization of the use of rubber gloves, the invention of the "Roosevelt clamp," the first use by Thomas Bennett of the nitrous oxide-ether sequence and his subsequent development of the Bennett inhaler, and the development of the Connell Airway Anesthetometer by Dr. Karl Connell."

 

Design and Construction

 

The design of the Syms Operating Theater followed the very latest standards for a scientifically correct surgical operating theater. Syms was planned to serve several complex objectives and its simple exterior form belies the substantial complexity of the interior. Named for its dramatic focal point, the surgical amphitheater, the building also contained numerous additional rooms with varied requirements for light, air, and location. These included visitors' rooms, recovery rooms, living quarters for nurses and assistant surgeons, a decorated private chief surgeon's room, laboratory rooms, rooms for photography and

 

microscopes, two small operating rooms, surgeons' rooms, an ether room, various preparation rooms for bandages, instrument sterilization and storage, and separate circulation systems for visitors, the surgical staff, patients, and residents of the building. Visitors entered the building from the street; patients and medical staff entered via the connecting corridor to the surgical ward next door.

 

The Syms Operating Theater, a "fireproof" building,17 was built of loadbearing brick walls above a stone foundation with rolled-iron floor and roof beams and brick floor arches, and a slate roof. In addition, iron was used extensively for lintels and to create special spaces and features, notably the wheel-ramp leading from the amphitheater to the recovery room, and the amphitheater itself. The amphitheater, whose design was an innovative solution to the problem of lighting such spaces, had a semi-conical iron roof structure supporting tiers of skylights that provided diffused light without glare to the arena.

 

Exterior materials include Haverstraw brick with Trenton molded brick and terra-cotta details, granite window trim, copper downspouts, slate roofing, and "Hayes Skylights." Inside, "No device has been omitted to repel the invasion of dirt and dust...," to dispel dampness, or to admit light.

 

These devices included mosaic tile floors with curved corners, light colored impermeable wall surfaces of marble and painted hard plaster, cement floors in the amphitheater, floor traps, and a basement floor of cement mixed with felt to absorb moisture.

 

The building had a sophisticated heating and ventilating system operated from an engine room and a fan room in the basement. Important features of the system visible from the outside are the air intake tower which projects above the west wing of the building abutting the recovery rooms, brick chimneys in a symmetrical arrangement on either side of the amphitheater roof, and the massive exhaust chimney at the rear of the amphitheater roof.

 

In designing the exterior of the Syms Operating Theater the architect endeavored to make the building harmonize with its High Victorian Gothic style neighbors at Roosevelt Hospital in its setback from the street, the massing of its volumes, the contrasting use of red brick with light stone trim, and picturesque roof form. In particular, it related to the old Surgical Pavilion next door in the height of its one-story wings and in the rhythm and placement of its stone lintels.

 

While the round entrance arch and the main exhaust chimney recall the Romanesque, the overall design reflects the personal approach of the architect for hospital buildings. The principal features were decorative detail largely confined to variations of color and texture in flat walls, recessed windows which minimized

 

interior reveals, curved corners, and modest cornices. In 1892 when it opened, the restrained use of decorative detail was unusual for a prominent medical building. Most contemporary New York hospital buildings were more stylish and more lavishly ornamented, built generally for private paying patients or institutions with religious affiliations. Their designs may have been more fully in the hands of institutional benefactors or architects rather than doctors, and their outward appearances had more to do with aesthetic or conventional symbolic associations than with the practical function of a hospital. For example, Presbyterian Hospital, built in the Romanesque Revival Style at the same time as Syms, was designed by J.C. Cady and was a picturesque composition of Richardsonian elements that conveyed both an ecclesiastical and a club-like character to the building, and St. Luke's Hospital, designed by Ernest Flagg the year Syms opened employed a Beaux-Arts composition and French Baroque ornament in a sophisticated way that conveyed the power, permanence, and reliability of the institution.

 

In contrast to these, at Syms the exterior appearance was considered important but secondary to the primary scientific function of the building.20 Making a virtue of a restricted budget for its exterior, the design appears neither frugal nor lacking expressiveness, but serious and straightforward, evoking the high place of medical science in determining its form, and the priority of science over symbolism in the medical care to be provided within.

 

As a work of architecture, Syms must be seen in the context of hospital buildings and operating spaces not just in New York City but internationally. In this context it is a remarkable building representative of an alliance of medical science and architecture that produced some of the most advanced buildings of the 19th century.2-1

 

William Wheeler Smith22

 

William Wheeler Smith (1838-1908), designer of the Syms Operating Theater, practiced architecture in New York from 18 65 to 1908. During an unusually long career, he designed a number of notable buildings including the Collegiate Reformed Protestant Dutch Church (1872, demolished ca. 1933) at 48th Street and Fifth Avenue; the James White Building (1881), a cast-iron commercial structure, now a designated New York City landmark, at 361 Broadway; the W. & J. Sloane Store (1882), a large commercial structure now included in the Ladies Mile Historic District; and the Syms Operating Theater. Smith was successful and well regarded in his day but most of his major buildings have been demolished and little else survives to give us a full picture of his life and career.

 

Born in New York City, "Mr. Smith was described by his friends and associates as an 'old school architect' who had inherited the fondness and ability for his profession from his father, a well-known builder of this city.112 3 He apprenticed with one of the leading architects of the day, James Renwick, and studied at the University of London. He practiced on his own from about 1865 until his death in 1S08.

 

Along with his architectural practice Smith invested in real estate. He left an estate worth more than $3,000,000, almost all of which was to build "a country sanitarium for poor convalescents who must be sent away from St. Luke's [Hospital] before they have fully regained their strength."

 

Smith's philanthropic interest in hospitals was long standing. Over a period of many years he designed several buildings for Roosevelt Hospital including the Syms Operating Theater, without pay.

 

Smith's career seems to fall into two periods, an early period of general practice and a later period of specialization in hospital architecture and real estate development. The hospital and medical buildings, including the Sloane Maternity Hospital (1886), the College of Physicians and Surgeons (1888), and the Vanderbilt Clinic (1889) , all on the block across 59th Street from Roosevelt Hospital (and all demolished), and the McLane Operating Room (1890), the Accident Building (1898) (both demolished), the Syms Operating Theater, and Private Patients Pavilion (1896) of Roosevelt Hospital all resembled one another. A late project of Smith's was the Kingston Avenue Hospital in Brooklyn. A perspective rendering shows a pavilion plan hospital organized much like McKim, Mead, and White's Columbia College Campus and in the same general style.

 

Later History

 

Syms was refurbished in 1934 but remained an operating theater only until 1941 when the new Private Patients pavilion was opened with new surgical rooms. For some time, Roosevelt's role as a teaching hospital had been diminished, styles of teaching surgery had changed, and the theatrical presentation to large crowds was considered obsolete.

 

In 1942 the blood bank and mortuary of the Hospital were moved into Syms. In 1948, Syms was used as a temporary emergency room. In 1953 the rear portion of the building (17 feet 6 inches deep) was removed to make way for the new Tower Building, the upper tier of skylights was covered in copper sheets, the semi-opaque glass on the ground floor was replaced by clear glass, the amphitheater was gutted, and the building was occupied by the Department of Pathology.

 

Since that time, air-conditioning equipment has been placed in the front lawn, ducts have been run through several windows, parts ' of the areaway have been obstructed by pipes, trees have been allowed to grow in the front lawn, and the old amphitheater and other spaces have been remodeled to suit changing office and laboratory space needs of the Hospital.

 

Description

 

The Syms Operating Theater is a nearly rectangular structure at the southwest corner of West 59th Street and Ninth Avenue. The building is set back on its two street fronts behind narrow planted strips which are bordered along the sidewalk by an iron fence on a granite base with granite capped brick posts.

 

In its massing the building consists of a central block with an elongated semi-conical roof, one-story wings on either side, a narrow three-story L-shaped wing adjacent to the central block on the south and west sides, and a square air intake tower adjacent to the west side of this wing above the one-story wing.

 

The walls of the building are brick with curved corners. Brick is of two types, each laid in the same plane in Flemish bond and differentiated by their finish: smooth and evenly colored around windows and corners, rough and varicolored between windows. The smooth brick framing was in a form suggesting quoins creating two-story bays at the basement and first story levels. Windows have granite sills and lintels and occasional granite mullions in wider windows, sometimes with egg and dart moldings or block modillions of terra cotta.

 

The roof, whose distinctive form signals the amphitheater below, is crowned by a decorative iron finial in the form of a caduceus surmounted by a fleur-de-lis, and is clad in two tiers of skylights across the front, slate shingles on the sides, and tin flashing.

 

The roof is pierced by a large unadorned chimney in either flank, above the back wall of the amphitheater, and a massive exhaust chimney behind the amphitheater with a Romanesque corbelled cornice. The building is entered through a large rounded arch of glazed brick which is reached by a short flight of stairs. Above this arch is a granite panel with raised letters saying "The Wm. J. Syms Operating Theater of the Roosevelt Hospital, 1891."

 

Alterations

 

Today the exterior of the building is as built except for the loss of the entire south facade (the new facade abuts the adjacent Tower Building), the loss of the southernmost bays of the east and west facades, the addition of copper sheeting over the principal skylights, the presence of modern HVAC equipment, and the overgrowth of the lawn.

 

Although the alterations to the building are extensive (more so on the interior, which is not the subject of this designation, than on the exterior) and mostly irreversible, the visual character of this highly distinctive building is still largely intact. Its subtly decorated flat brick walls with rounded corners, its strong entranceway and name panel, its massing as visible from most angles, and especially the distinctive shape of its roof are all present.

 

- From the 1989 NYCLPC Landmark Designation Report

Famed for its dramatic rapids and canyons, the Colorado is one of the most desirable whitewater rivers in the United States A section of the river above Moab, known as the Colorado "Daily" or "Fisher Towers Section", is the most visited whitewater run in Utah, with more than 77,000 visitors in 2011 alone.

 

en.wikipedia.org/wiki/Colorado_River

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

The Colorado River is the principal river of the Southwestern United States and northwest Mexico. The 1,450-mile (2,330 km) river drains an expansive, arid watershed that encompasses parts of seven U.S. and two Mexican states. Rising in the central Rocky Mountains in the U.S., the river flows generally southwest across the Colorado Plateau and through the Grand Canyon before reaching Lake Mead on the Arizona–Nevada line, where it turns south toward the international border. After entering Mexico, the Colorado approaches the large Colorado River Delta where it naturally emptied into the Gulf of California between Baja California and Sonora, though it no longer reaches its delta or the sea.

 

Known for its dramatic canyons and whitewater rapids, the Colorado is a vital source of water for agricultural and urban areas in the southwestern desert lands of North America. The river and its tributaries are controlled by an extensive system of dams, reservoirs, and aqueducts, which divert 90% of its water in the U.S. alone to furnish irrigation and municipal water supply for almost 40 million people both inside and outside the watershed. The Colorado's large flow and steep gradient are used for generating hydroelectric power, and its major dams regulate peaking power demands in much of the Intermountain West. Since the mid-20th century, intensive water consumption has dried the lower 100 miles (160 km) of the river such that it has not consistently reached the sea since the 1960s.

 

Europeans first entered the Colorado Basin in the 16th century, when explorers from Spain began mapping and claiming the area, which later became part of Mexico upon its independence in 1821. Early contact between foreigners and natives was generally limited to the fur trade in the headwaters and sporadic trade interactions along the lower river. After the greater Colorado River basin became part of the U.S. in 1846, the bulk of the river's course was still largely the subject of myths and speculation. Several expeditions charted the Colorado in the mid-19th century, one of which, led by John Wesley Powell in 1869, was the first to run the rapids of the Grand Canyon. American explorers collected valuable information that would later be used to develop the river for navigation and water supply. Large-scale settlement of the lower basin began in the mid- to late-19th century, with steamboats providing transportation from the Gulf of California to landings along the Colorado River that linked to wagon roads into the interior of New Mexico Territory. Lesser numbers settled in the upper basin, which was the scene of major gold strikes in Arizona and Nevada in the 1860s and 1870s.

 

Major engineering of the river basin began around the start of the 20th century, with many guidelines established in a series of domestic and international treaties known as the "Law of the River". The U.S. federal government was the main driving force behind the construction of hydraulic engineering projects in the river system, although many state and local water agencies were also involved. Most of the major dams in the river basin were built between 1910 and 1970, and the system keystone, Hoover Dam, was completed in 1935. The Colorado is now considered among the most controlled and litigated rivers in the world, with every drop of its water fully allocated. The damming and diversion of the Colorado River system have been flashpoint issues for the environmental movement in the American Southwest because of their impacts on the ecology and natural beauty of the river and its tributaries. During the construction of Glen Canyon Dam, environmental organizations vowed to block any further development of the river, and a number of later dam and aqueduct proposals were defeated by citizen opposition. As demands for Colorado River water continue to rise, the level of human development and control of the river continues to generate controversy.

 

en.wikipedia.org/wiki/Colorado_River

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

Don't be fooled! This seemingly captivating shot of Stonehenge on a rainy day, with its dramatic lighting and atmospheric puddles, is actually an AI creation. It's incredible how far artificial intelligence has come in generating photorealistic images, isn't it? The details, from the faint glow of the ancient columns to the reflections of the "tourists" in the water, are so convincing that it's easy to mistake it for a genuine photograph.

 

This image was created from a detailed text description, bringing to life a scene that perfectly blends warm and cool tones to evoke a sense of tension between enduring history and a fleeting stormy moment. It really makes you wonder: what does this mean for photography as we know it? And how will we distinguish between what's real and what's rendered in the future?

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble Djúpalónssandur Beach. In Stykkishólmur fishing village, the 19th-century wood-frame Norwegian House is a regional museum with a craft shop.

Midtown Manhattan

 

The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.

 

HISTORY OF CONSTRUCTION

 

The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."

 

In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.

 

Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.

 

In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.

 

Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.

 

By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.

 

It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.

 

Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.

 

The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.

 

Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.

 

Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.

 

The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.

 

The Chrysler Building and Art Deco

 

Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.

 

The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.

 

In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.

 

In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

 

Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.

 

Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.

 

The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.

 

Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.

 

One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.

 

Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.

 

On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.

-

Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.

 

Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.

 

For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.

 

The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.

 

The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.

 

The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.

 

All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.

 

The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.

 

At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.

 

All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.

 

The Chrysler Building and the Image of Progress

 

When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:

 

The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.

 

The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.

 

As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.

 

The Chrysler Building is therefore dedicated as a sound contribution to business progress.

 

The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.

 

The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.

 

In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.

 

Conclusion

 

Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:

 

It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.

 

The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.

 

The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.

 

- From the 1978 NYCLPC Landmark Designation Report

Upper West Side, Manhattan, New York City, New York, United States

 

The William J. Syms Operating Theater, built 1890-1892, was the most advanced operating theater in the world when it opened and one of the first equipped for aseptic surgery. The result of a collaboration of the architect William Wheeler Smith and the prominent American surgeon Charles McBurney, the building represented the attempt in the 19th century to reconcile architecture with technological advances.

 

The appearance of the building, subtle and simple in detail but striking in its massing, especially in the form of its semi-conical roof, is expressive of the unusual functional demands of the building, an effort to harmonize the design with the other Roosevelt Hospital buildings, and the well-developed personal style of the architect for medical buildings.

 

Syms was the fourth of several major pavilions (see below) built as part of the pavilion plan 'of Roosevelt Hospital begun in 18 69, and as such is both part of one of the earliest pavilion plan hospitals in America, and a rare early survivor of a once highly influential approach to hospital design. Syms was the center of medical education in New York City in its early years, and it was the site of numerous advances in surgical practice at a time when modern surgery was taking shape.

 

Roosevelt Hospital

 

The Syms Operating Theater was one of a series of pavilions built according to the original pavilion plan of Roosevelt Hospital. The pavilion plan was an important early step, proposed by the French Academy of Sciences in 1788 but not executed until much later, in applying scientific knowledge to the design of hospitals. At first it called for small parallel two-story buildings, called pavilions, set in a symmetrical plan oriented for access to light and air.

 

Disease and infections were believed to be carried in vapors, odors, dirt, and other "miasms" which were dispelled by light and goo d ventilation. Later, improved lighting and mechanical ventilation systems led to the acceptance of larger pavilion buildings. Syms' location, siting, massing, and exterior detail as well as its institutional history all relate to the original plan for Roosevelt Hospital and to the architecture of its early buildings.

 

Roosevelt Hospital was established by the bequest of James Henry Roosevelt (1800-1863) who left about $1,000,000 to build a hospital "for the reception and relief of sick and diseased persons."2 Roosevelt Hospital occupies the full block bounded by 58th and 59th Streets and Ninth and Tenth Avenues. Although the land was part of the 1811 Commissioners Plan of Streets, 59th Street was only opened in 1851, and in 1866 when Roosevelt Hospital bought its site the area was still mostly scattered houses and small farms. The trustees of the hospital adopted the pavilion plan in 1866. This was among the earliest in the United States and, as far as is known, the first in New York City.

 

Although no early plan of the hospital survives, the original intention was to build a series of four parallel pavilions. In the first building campaign (1869-72), the prominent New York architect, Carl Pfeiffer, designed all the major buildings, three pavilions along 59th Street. They were built in the High Victorian Gothic Style with red brick walls and light colored "Ohio Stone" trim, and had lively roof lines. The one-story Surgical Pavilion next to the future site of the Syms Operating Theater was the smallest and most simply detailed of the group. The pavilion plan was largely adhered to in several expansions of the hospital, including a group of buildings designed by W. Wheeler Smith in the 1880s and 1890s, until about 1940.

 

Surgery, Medical Education, and Operating Theaters

 

In the 19th century, surgery developed from a remedy of last resort to a common medical procedure, in part due to the introduction of anesthesia in 1847 and to the development of two theories of modern surgery, antiseptic surgery developed by Joseph Lister in 1867, followed by aseptic surgery about 1890. The operating theater was developed in the early 19th century on the model of anatomical theaters which had been the center of medical training since the Renaissance.

 

In the 1870s, many new operating theaters, including the first one at Roosevelt Hospital, were built for the rapidly growing population of student surgeons. Usually incorporated in larger hospital buildings but occasionally occupying their own pavilions, these were well-ventilated wood rooms, often decorated, amply lit by large windows and gas lamps, which accommodated up to 3 00 observers. The best-known operating theater of this generation was at Johns Hopkins Hospital in Baltimore, built between 1877 and 1885.

 

These were superseded by a new generation of operating theaters about 189 0 for aseptic surgery, among the very first of which were the McLane Operating Room^ (now demolished), designed in 18 9 0 by W. Wheeler Smith at Roosevelt Hospital for gynecological surgery, and the Syms Operating Theater. These had improved heat and ventilation from mechanical forced air systems, improved lighting from electric lights, and, with the understanding that absolute cleanliness was essential, smooth, impervious materials for all surfaces.

 

Aseptic operating rooms were bright, clean, hard, undecorated spaces, they were the "high tech" spaces of their day. They utilized the latest technology to produce places suitable for the latest medical practices in a rapidly changing period.

 

History of Syms Operating Theater

 

The Syms Operating Theater was built with $3 50,000 left by William J. Syms (1818-89), $250,000 to build the theater and the remainder to be invested as an endowment for its work. Syms expressed in his will the desire to erect an operating theater which would be "an enduring monument to himself" and of "great service to suffering humanity."8

 

Syms was a partner in the New York firm of Blunt and Syms, for more than 2 5 years the largest gunmaker and dealer in New York. Syms was also a founder of the Metropolitan Gas Company and the Forty-second and Grand Street Railroad Company, and he was President of the Franklin Telegraph Company and Vice-president of the Atlantic and Pacific Telegraph Company. At his death, the Times said that he was' "one of the largest land and house owners" in New York.

 

Syms stipulated that the surgeon, Dr. Charles McBurney (1845-1913) would have complete charge of the building's design and operation. McBurney was a prominent New York surgeon and professor at the College of Physicians and Surgeons.

 

In the year before William Syms died, McBurney achieved international recognition for his identification of the diagnostic point on the abdomen for appendicitis, still called "McBurney's Point." In his years at Syms, he described "McBurney's Incision," a method for removing the appendix, and made numerous other well publicized advances in the practice of surgery. Under McBurney, Syms became a world renowned center for surgeons. McBurney had been called when President McKinley was shot because of his long experience in treating such cases at Roosevelt Hospital.

 

Indeed, McBurney took an active role in the design of the Syms Operating Theater. He made a tour of the most modern operating facilities in Europe and America including "all the large hospitals in England, France, Germany, Austria, and Switzerland" and worked closely with the architect, W. Wheeler Smith, in the design of Syms. It appears that McBurney wrote a detailed program for the building and closely critiqued Smith's plans, finally accepting a fourth effort.13

 

Application for a building permit was made on October 15, 1890 and the building was completed on October 17, 1890. It opened on November 3, 1892 and at that time was considered the most advanced operating theater in the world.

 

In addition to "McBurney's Incision," described above, which was developed largely at Syms, a number of other notable surgical advances were made here. These included the popularization of the use of rubber gloves, the invention of the "Roosevelt clamp," the first use by Thomas Bennett of the nitrous oxide-ether sequence and his subsequent development of the Bennett inhaler, and the development of the Connell Airway Anesthetometer by Dr. Karl Connell."

 

Design and Construction

 

The design of the Syms Operating Theater followed the very latest standards for a scientifically correct surgical operating theater. Syms was planned to serve several complex objectives and its simple exterior form belies the substantial complexity of the interior. Named for its dramatic focal point, the surgical amphitheater, the building also contained numerous additional rooms with varied requirements for light, air, and location. These included visitors' rooms, recovery rooms, living quarters for nurses and assistant surgeons, a decorated private chief surgeon's room, laboratory rooms, rooms for photography and

 

microscopes, two small operating rooms, surgeons' rooms, an ether room, various preparation rooms for bandages, instrument sterilization and storage, and separate circulation systems for visitors, the surgical staff, patients, and residents of the building. Visitors entered the building from the street; patients and medical staff entered via the connecting corridor to the surgical ward next door.

 

The Syms Operating Theater, a "fireproof" building,17 was built of loadbearing brick walls above a stone foundation with rolled-iron floor and roof beams and brick floor arches, and a slate roof. In addition, iron was used extensively for lintels and to create special spaces and features, notably the wheel-ramp leading from the amphitheater to the recovery room, and the amphitheater itself. The amphitheater, whose design was an innovative solution to the problem of lighting such spaces, had a semi-conical iron roof structure supporting tiers of skylights that provided diffused light without glare to the arena.

 

Exterior materials include Haverstraw brick with Trenton molded brick and terra-cotta details, granite window trim, copper downspouts, slate roofing, and "Hayes Skylights." Inside, "No device has been omitted to repel the invasion of dirt and dust...," to dispel dampness, or to admit light.

 

These devices included mosaic tile floors with curved corners, light colored impermeable wall surfaces of marble and painted hard plaster, cement floors in the amphitheater, floor traps, and a basement floor of cement mixed with felt to absorb moisture.

 

The building had a sophisticated heating and ventilating system operated from an engine room and a fan room in the basement. Important features of the system visible from the outside are the air intake tower which projects above the west wing of the building abutting the recovery rooms, brick chimneys in a symmetrical arrangement on either side of the amphitheater roof, and the massive exhaust chimney at the rear of the amphitheater roof.

 

In designing the exterior of the Syms Operating Theater the architect endeavored to make the building harmonize with its High Victorian Gothic style neighbors at Roosevelt Hospital in its setback from the street, the massing of its volumes, the contrasting use of red brick with light stone trim, and picturesque roof form. In particular, it related to the old Surgical Pavilion next door in the height of its one-story wings and in the rhythm and placement of its stone lintels.

 

While the round entrance arch and the main exhaust chimney recall the Romanesque, the overall design reflects the personal approach of the architect for hospital buildings. The principal features were decorative detail largely confined to variations of color and texture in flat walls, recessed windows which minimized

 

interior reveals, curved corners, and modest cornices. In 1892 when it opened, the restrained use of decorative detail was unusual for a prominent medical building. Most contemporary New York hospital buildings were more stylish and more lavishly ornamented, built generally for private paying patients or institutions with religious affiliations. Their designs may have been more fully in the hands of institutional benefactors or architects rather than doctors, and their outward appearances had more to do with aesthetic or conventional symbolic associations than with the practical function of a hospital. For example, Presbyterian Hospital, built in the Romanesque Revival Style at the same time as Syms, was designed by J.C. Cady and was a picturesque composition of Richardsonian elements that conveyed both an ecclesiastical and a club-like character to the building, and St. Luke's Hospital, designed by Ernest Flagg the year Syms opened employed a Beaux-Arts composition and French Baroque ornament in a sophisticated way that conveyed the power, permanence, and reliability of the institution.

 

In contrast to these, at Syms the exterior appearance was considered important but secondary to the primary scientific function of the building.20 Making a virtue of a restricted budget for its exterior, the design appears neither frugal nor lacking expressiveness, but serious and straightforward, evoking the high place of medical science in determining its form, and the priority of science over symbolism in the medical care to be provided within.

 

As a work of architecture, Syms must be seen in the context of hospital buildings and operating spaces not just in New York City but internationally. In this context it is a remarkable building representative of an alliance of medical science and architecture that produced some of the most advanced buildings of the 19th century.2-1

 

William Wheeler Smith22

 

William Wheeler Smith (1838-1908), designer of the Syms Operating Theater, practiced architecture in New York from 18 65 to 1908. During an unusually long career, he designed a number of notable buildings including the Collegiate Reformed Protestant Dutch Church (1872, demolished ca. 1933) at 48th Street and Fifth Avenue; the James White Building (1881), a cast-iron commercial structure, now a designated New York City landmark, at 361 Broadway; the W. & J. Sloane Store (1882), a large commercial structure now included in the Ladies Mile Historic District; and the Syms Operating Theater. Smith was successful and well regarded in his day but most of his major buildings have been demolished and little else survives to give us a full picture of his life and career.

 

Born in New York City, "Mr. Smith was described by his friends and associates as an 'old school architect' who had inherited the fondness and ability for his profession from his father, a well-known builder of this city.112 3 He apprenticed with one of the leading architects of the day, James Renwick, and studied at the University of London. He practiced on his own from about 1865 until his death in 1S08.

 

Along with his architectural practice Smith invested in real estate. He left an estate worth more than $3,000,000, almost all of which was to build "a country sanitarium for poor convalescents who must be sent away from St. Luke's [Hospital] before they have fully regained their strength."

 

Smith's philanthropic interest in hospitals was long standing. Over a period of many years he designed several buildings for Roosevelt Hospital including the Syms Operating Theater, without pay.

 

Smith's career seems to fall into two periods, an early period of general practice and a later period of specialization in hospital architecture and real estate development. The hospital and medical buildings, including the Sloane Maternity Hospital (1886), the College of Physicians and Surgeons (1888), and the Vanderbilt Clinic (1889) , all on the block across 59th Street from Roosevelt Hospital (and all demolished), and the McLane Operating Room (1890), the Accident Building (1898) (both demolished), the Syms Operating Theater, and Private Patients Pavilion (1896) of Roosevelt Hospital all resembled one another. A late project of Smith's was the Kingston Avenue Hospital in Brooklyn. A perspective rendering shows a pavilion plan hospital organized much like McKim, Mead, and White's Columbia College Campus and in the same general style.

 

Later History

 

Syms was refurbished in 1934 but remained an operating theater only until 1941 when the new Private Patients pavilion was opened with new surgical rooms. For some time, Roosevelt's role as a teaching hospital had been diminished, styles of teaching surgery had changed, and the theatrical presentation to large crowds was considered obsolete.

 

In 1942 the blood bank and mortuary of the Hospital were moved into Syms. In 1948, Syms was used as a temporary emergency room. In 1953 the rear portion of the building (17 feet 6 inches deep) was removed to make way for the new Tower Building, the upper tier of skylights was covered in copper sheets, the semi-opaque glass on the ground floor was replaced by clear glass, the amphitheater was gutted, and the building was occupied by the Department of Pathology.

 

Since that time, air-conditioning equipment has been placed in the front lawn, ducts have been run through several windows, parts ' of the areaway have been obstructed by pipes, trees have been allowed to grow in the front lawn, and the old amphitheater and other spaces have been remodeled to suit changing office and laboratory space needs of the Hospital.

 

Description

 

The Syms Operating Theater is a nearly rectangular structure at the southwest corner of West 59th Street and Ninth Avenue. The building is set back on its two street fronts behind narrow planted strips which are bordered along the sidewalk by an iron fence on a granite base with granite capped brick posts.

 

In its massing the building consists of a central block with an elongated semi-conical roof, one-story wings on either side, a narrow three-story L-shaped wing adjacent to the central block on the south and west sides, and a square air intake tower adjacent to the west side of this wing above the one-story wing.

 

The walls of the building are brick with curved corners. Brick is of two types, each laid in the same plane in Flemish bond and differentiated by their finish: smooth and evenly colored around windows and corners, rough and varicolored between windows. The smooth brick framing was in a form suggesting quoins creating two-story bays at the basement and first story levels. Windows have granite sills and lintels and occasional granite mullions in wider windows, sometimes with egg and dart moldings or block modillions of terra cotta.

 

The roof, whose distinctive form signals the amphitheater below, is crowned by a decorative iron finial in the form of a caduceus surmounted by a fleur-de-lis, and is clad in two tiers of skylights across the front, slate shingles on the sides, and tin flashing.

 

The roof is pierced by a large unadorned chimney in either flank, above the back wall of the amphitheater, and a massive exhaust chimney behind the amphitheater with a Romanesque corbelled cornice. The building is entered through a large rounded arch of glazed brick which is reached by a short flight of stairs. Above this arch is a granite panel with raised letters saying "The Wm. J. Syms Operating Theater of the Roosevelt Hospital, 1891."

 

Alterations

 

Today the exterior of the building is as built except for the loss of the entire south facade (the new facade abuts the adjacent Tower Building), the loss of the southernmost bays of the east and west facades, the addition of copper sheeting over the principal skylights, the presence of modern HVAC equipment, and the overgrowth of the lawn.

 

Although the alterations to the building are extensive (more so on the interior, which is not the subject of this designation, than on the exterior) and mostly irreversible, the visual character of this highly distinctive building is still largely intact. Its subtly decorated flat brick walls with rounded corners, its strong entranceway and name panel, its massing as visible from most angles, and especially the distinctive shape of its roof are all present.

 

- From the 1989 NYCLPC Landmark Designation Report

The Sleeping Giant is a formation of mesas and sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Squaw Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Squaw Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.

 

One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men.[3]

Krasnoyarsk Pillars (also known as Stolby) (Russian: Национа́льный парк «Красноя́рские Столбы́») is a Russian national park located 10 km south of the city of Krasnoyarsk, on the northwestern spurs of the Eastern Sayan Mountains. The site is known for its dramatic rock formations. Over 200,000 climbers, hikers, and other visitors are recorded annually. The park covers 47,219 hectares.

 

Topography

The park's natural borders are the Bazaikha River, a right tributary of the Yenisei River, in the northeast; the Mana River in the south; and the Bolshaya Slizneva River in the southwest. To the northeast, the park borders the city of Krasnoyarsk. The park is divided into two regions. The first is straight Stolby, which is open to tourists. The second is "Wild Stolby", which is located deeper the park, and where access is restricted.

 

Ecoregion and climate

Stolby is located in the East Siberian taiga ecoregion, in the heart of Siberia.

 

The climate is subarctic, without dry season (Köppen climate classification, Dfc). This climate is characterized by mild summers and cold, snowy winters.

 

Flora and fauna

Flora of the national park includes about 740 vascular plants and 260 kinds of mosses. Fir taiga, which is typical for the midlands of the Eastern Sayan, prevails. 290 species of vertebrates are found in the territory of the park, including many with a taiga habitat, (red-backed mouse, sable, Siberian musk deer, hazel grouse and others), as well as some forest-steppe animals (Siberian roe deer, steppe polecat, long-tailed ground squirrel and others).

 

Also, there are species from The Red Book of Russia:

 

Plants: calypso bulbosa, cypripedium calceolus, dactylorhiza majalis, orchis militaris, stipa pennata et al.

Birds: osprey, golden eagle, saker falcon, peregrine falcon and others.

Ecotourism and access

Visitors are able to get to the boundary of the park by city bus. The main attraction of the park is the rocks; the collective name of the rocks is Stolby, although all of the large formations, and even some smaller stones, have their own names. Inhabitants of Krasnoyarsk have been visiting Stolby for more than 150 years for sport and adventure holidays.

 

Three districts are accessible to tourists:

Takmakovsky district is situated in a valley of the Bazaikha River, at the foot of the Takmak rock. Rocks in this area include: Kitayskaya Stenka, Yermak and a group of small rocks: Vorobushki, Tsypa, Zhaba.

Central pillars is a district 7 kilometers from the boundary of the reserve, occupying an area of about 5x10 kilometers. Unique rocks such as Ded ("Grandfather"), Perja ("Plumage"), and Lvinnyj vorota ("Lions Gate"), as well as a group of pillars, are located here. The most popular routes to the top of rocks are Golubye Katushki ("Blue Coils") and Dymokhod ("Stovepipe"). Stolbists say that Bolsheviks wrote the word "Svoboda" (en. Freedom) on the biggest pillar before the October Revolution. Nowadays enthusiasts renew the writing intermittently, and because of difficulty of the ascent, law enforcement cannot erase the inscription.

Wild pillars include the rocks Manskaya Stenka and Manskaya Baba, which are situated in a buffer zone (closed for free visit).

History of exploration

 

Hikers climbing a rock (known locally as the First Pillar). A suburb of Krasnoyarsk is seen in the background.

Daniel Gottlieb Messerschmidt explored the Stolby between 1720 and 1727. He visited Krasnoyarsk three times during his 7-year exploration of Siberia. Vitus Bering visited it in 1733–1734.

 

In 1735 the Pillars were seen by the members of the Second Kamchatka Expedition, including naturalists Johann Georg Gmelin and his assistant Stepan Krasheninnikov.

 

In 1771–1773, Peter Simon Pallas visited the Stolby. He lived about a year in Krasnoyarsk, working on such papers as "Journey in various provinces of the Russian Empire," "Description of plants of the Russian state," and "Russian-Asian zoogeography."

 

The gold rush started in Siberia in the 1830s. Gold was mined in the Stolby. "Royev Ruchey" (Eng. "Scooped Brook") was so named because of the activities of miners.

 

In 1833, furs of 67 sables, foxes and 43 to thousands of skins of other animals were obtained in the Stolby region.

 

In 1870 and 1880s, a Krasnoyarsk teacher named Ivan Savenkov organized school trips to the "Pillars". In 1886, Savenkov published a topographical description of the suburbs of Krasnoyarsk.

 

From the late 1940s to the beginning of the 21st century, 16 collections of scientific papers about the Pillars were published. The effect of air pollution and recreational using on taiga ecosystems was investigated. Ivan Belyak has authored several books about the area.

 

History of protection

The core of the area was declared a natural reserve (zapovednik) on June 30, 1925, by the Krasnoyarsk soviet in order to protect the picturesque Syenite Buttes and surrounding rocky landscape. About 3.5% of the territory was open to hikers seeking to visit and climb the rocks.

 

In 1947 a married couple (Yelena Krutovskaya and James Dulkeyt) set up a farm for wild animals injured by poachers. In 2000, it was expanded into a zoo named Royev Ruchey.

 

In 2007 Stolby was submitted to the list of UNESCO World Heritage Sites, but the inscription was deferred indefinitely.

 

On December 4, 2019, the legal status of the Stolby Nature Reserve was changed to that of a national park (IUCN category II).

 

Krasnoyarsk is the largest city and administrative center of Krasnoyarsk Krai, Russia. It is situated along the Yenisey River, and is the second-largest city in Siberia after Novosibirsk, with a population of over 1.1 million. Krasnoyarsk is an important junction of the renowned Trans-Siberian Railway, and is one of the largest producers of aluminium in the country. The city is known for its natural landscape; author Anton Chekhov judged Krasnoyarsk to be the most beautiful city in Siberia. The Stolby Nature Sanctuary is located 10 km south of the city. Krasnoyarsk is a major educational centre in Siberia, and hosts the Siberian Federal University. In 2019, Krasnoyarsk was the host city of the 2019 Winter Universiade, the third hosted in Russia.

 

Etymology

The fort was named Krasny Yar (Russian: Кра́сный Яр) after the Yarin (a dialect of Khakas) name of the place it was built, Kyzyl Char ('red steep-riverbank'), which was translated as Krasny Yar.

 

History

The city was founded on August 19, 1628[2] as a Russian border fort when a group of service class people from Yeniseysk led by Andrey Dubenskiy arrived at the confluence of the Kacha and Yenisei Rivers and constructed fortifications intended to protect the frontier from attacks of native peoples who lived along the Yenisei and its tributaries. Along with Kansk to the east, it represented the southern limit of Russian expansion in the Yenisei basin during the seventeenth century. In the letter to Tsar Michael I the Cossacks reported:

 

...The town of trunks (log buildings) we have constructed and around the place of fort, we the servants of thee, our Lord, have embedded posts and fastened them with double bindings and the place of fort have strengthened mightily...

The settlement was granted town status in 1690. An intensive growth of Krasnoyarsk began with the arrival of the Siberian Route (the road M53 nowadays) in 1735 to 1741 which connected the nearby towns of Achinsk and Kansk with Krasnoyarsk and with the rest of Russia.

 

In 1749, a meteorite with a mass of about 700 kg (1,500 lb) was found 230 km (140 mi) south of Krasnoyarsk. It was excavated by Peter Simon Pallas in 1772 and transported to Krasnoyarsk and subsequently to Saint Petersburg. The Krasnoyarsk meteorite is important because it was the first pallasite ever studied and the first meteorite ever etched.

 

In 1822 Krasnoyarsk became the administrative center of Yeniseysk Governorate. By the end of the 19th century, Krasnoyarsk had several manufacturing facilities and railroad workshops and an engine house. Growth continued with the discovery of gold and the arrival of a railroad in 1895.

 

In the Russian Empire, Krasnoyarsk was one of the places to which political exiles were banished. For example, eight Decembrists were deported from St. Petersburg to Krasnoyarsk after the failure of the revolt.

 

In the aftermath of the Russian Revolution of 1917, during the Russian Civil War, Siberia east of Omsk was controlled by white forces under Alexander Kolchak, who in December 1919 retreated east to Irkutsk and the Bolsheviks took control of the city. On a plateau 7 km outside of town was a prisoner of war camp with 13,000 German and Austrian troops. Elsa Brändström of the Swedish Red Cross spent almost a year there from July 1919 until May 1920.

 

During the periods of centralized planning (Five Year Plans) numerous large plants and factories were constructed in Krasnoyarsk: Sibtyazhmash, the dock yard, the paper factory, the hydroelectric power station (now the fifth largest in the world and the second in Russia), and the river port.

 

In 1934, Krasnoyarsk Krai was formed, with Krasnoyarsk as its administrative center.

 

During Stalinist times, Krasnoyarsk was a major center of the gulag system. The most important labor camp was the Kraslag or Krasnoyarsky ITL (1938-c. 1960) with the two units located in Kansk and Reshyoty. In the city of Krasnoyarsk itself, the Yeniseylag or Yeniseysky ITL labor camp was prominent as well during World War II (c. 1940–41).

 

During World War II, dozens of factories were evacuated from Ukraine and Western Russia to Krasnoyarsk and nearby towns, stimulating the industrial growth of the city. After the war additional large plants were constructed: the aluminum plant, the metallurgic plant, the plant of base metals and many others.

 

In the late 1970s, the Soviet Union began constructing a phased array radar station at Abalakova, near Krasnoyarsk, which violated the ABM Treaty. Beginning in 1983, the United States demanded its removal, until the Soviet Union admitted the radar station was a violation in 1989. Equipment was slowly removed from the site and by 1992 it was officially declared to be dismantled, though the equipment from the site was likely relocated to a new site near Komsomolsk-on-Amur.[citation needed] Krasnoyarsk was also a home to Krasnoyarsk Northeast air base, which was turned into living blocks after the dissolution of the Soviet Union.

 

After the dissolution of the Soviet Union and beginning of privatization, many large plants and factories, such as the Krasnoyarsk Aluminum Plant, became owned by alleged criminal authorities and oligarchs, while others were declared bankrupt. The economic transition resulted in a dramatic rise in unemployment and numerous strikes.

 

The best known financial scandal of the second half of the 1990s happened when ownership of the Krasnoyarsk Aluminum Plant by a known Krasnoyarsk businessman Anatoliy Bykov had been canceled after he was accused of murdering his partner, Vilor Struganov. The accusation eventually turned out to be false. The Krasnoyarsk plant's ownership problems continue through the early 21st century since nearly all of them are owned either by monopolistic financial groups or by oligarchs.

 

Since the election of Pyotr Pimashkov as the mayor of Krasnoyarsk in 1996, the appearance of the city gradually improved: the old historical buildings were restored, the asphalt walkways were replaced with paving-stone, and numerous squares and recreation areas with fountains were either restored or constructed from scratch. Now the majority of the city keeps only a few traces of its former, drab, post-collapse look.

 

Geography

The total area of the city, including suburbs and the river, is 348 km2 (134 sq mi).

 

The river Yenisei flows from west to east through the city. Due to the Krasnoyarsk hydroelectric dam 32 km (20 mi) upstream, the Yenisei never freezes in winter and never exceeds +14 °C (57 °F) in summer through the city. Near the city center, its elevation is 136 m (446 ft) above sea level. There are several islands in the river, the largest of which are Tatyshev and Otdyha Isles, used mainly for recreation.

 

To the south and west, Krasnoyarsk is surrounded by forested mountains averaging 410 m (1,350 ft) in height above river level. The most prominent of them are Nikolayevskaya Sopka (notable for its ski jumping tracks), Karaulnaya Gora, and Chornaya Sopka, the latter being an extinct volcano. The gigantic rock cliffs of the Stolby Nature Reserve rise from the mountains of the southern bank of the Yenisei, the western hills from the Gremyachaya Griva crest extending westwards up to the Sobakina River, the north is generally plain, except for the Drokinskaya Sopka hill, with forests to the northwest and agricultural fields to the north and east.

 

The major rivers in and near Krasnoyarsk are the Yenisei, Mana, Bazaikha, and Kacha Rivers, the latter flowing throughout the historical center of the city. Due to the nature of the terrain, a few natural lakes exist in the vicinity of Krasnoyarsk.

 

The forests close to the city are mostly pine and birch; further afield, aspen becomes dominant in many areas. The moss-covered fir and Siberian pine replaces other wood in the mountains westward of the Karaulnaya River, in about 15 km (9.3 mi) to the west from the city, the forests to the south are mostly pine, fir and aspen.

 

Administrative and municipal status

Krasnoyarsk is the administrative center of the krai. Within the framework of administrative divisions, it is, together with one rural locality (the village of Peschanka) incorporated as the krai city of Krasnoyarsk – an administrative unit with the status equal to that of the districts. As a municipal division, the krai city of Krasnoyarsk is incorporated as Krasnoyarsk Urban Okrug.

 

City divisions

For administrative purposes, Krasnoyarsk is divided into seven city districts:

 

Kirovsky

Leninsky

Oktyabrsky

Sovetsky

Sverdlovsky

Tsentralny

Zheleznodorozhny

Coat of arms

 

The Krasno-yarsk Lion

The first version was approved on March 12, 1804. The coat of arms was divided horizontally into two parts, the upper part containing the coat of arms of Tomsk Governorate, and the lower part picturing the Krasny Yar cliff on a silver background. A revised coat of arms, approved on November 23, 1851, had the golden figure of a lion placed on a red heraldic shield with a spade in the right fore paw and a sickle in the left fore paw, both made of the same metal. The shield was topped with the golden crown of the Russian Empire. The current coat of arms (as depicted here) was approved on November 28, 2004. It contains the same red shield as in 1851 but with a slightly changed figure of the lion in the officially approved image. The shield is topped with a form of the mural crown, which is the golden five-tower coronet of rank of a federal subject administrative center.

 

Climate

Krasnoyarsk experiences a humid continental climate (Köppen climate classification Dfb) bordering on a subarctic climate (Dfc). Its climate is very similar to that of Fort McMurray and Winnipeg in Canada, the latter of which is a good deal further south geographically. Compared to Thompson, Manitoba, or Labrador City at similar latitudes, Krasnoyarsk's winters are relatively mild. Compared to European cities on a similar latitude, Krasnoyarsk has much warmer summers, but much colder and longer winters (for example, Aalborg, Denmark). The summer is also on average warmer than similar inland latitudes of Scandinavia, owing to Siberia's greater continentality. Krasnoyarsk has high differentials between summer and winter temperatures.

 

Architecture

There are a number of historical buildings in Krasnoyarsk, the oldest of them being the Intercession Cathedral (Russian: Покровский собор, 1785 to 1795, restored in 1977 to 1978). Other locally significant samples of Russian Orthodox architecture are the Annunciation Cathedral (Russian: Благовещенский собор, 1802–12), the Holy Trinity Cathedral (Russian: Свято-Троицкий собор, 1802–12), John the Baptist Church (Russian: Церковь Иоанна Предтечи, 1899, former episcopal residence), and the new Michael the Archangel Church (Russian: Церковь Архистратига Михаила, 1998 to 2003).

 

On the top of the Karaulnaya Hill, originally a pagan shrine, later occupied by the Krasnoyarsk fort watchtower, the Paraskeva Pyatnitsa Chapel (1804, rebuilt 1854–55) still stands. The chapel, displayed on the 10-ruble note, is one of the iconic images of the city. The chapel was abandoned and fell into disrepair during the Soviet era and only when Perestroyka came was it regained by the Yenisei bishopric.

 

Another unofficial symbol of Krasnoyarsk is the incomplete 24-story tower located at Strelka. Construction of the tower had been started just before Perestroyka and then frozen due to the administrative crisis. The outline of the tower is clearly seen from many places in the city.

 

A bridge near Krasnoyarsk carries the Trans-Siberian Railway across the Yenisei. The original structure, one of the longest at the time, was constructed between 1893 and 1896 to an award-winning design by Lavr Proskuryakov. In 2003 it was rejected for emergency inscription on the World Heritage List. It was described at the time by ICOMOS "an early representation of a typical parabolic polygonal truss bridge in Russia" which became "a testing ground for the application of engineering theories and the development of new innovative solutions, which had numerous successors". The bridge was dismantled between 2002-2007.

 

Among other notable buildings are the mansions of the merchant Nikolay Gadalov (beginning of the 20th century), the Roman Catholic Transfiguration Chapel (Russian: Преображенский собор, 1911, also known as the Krasnoyarsk Organ Hall), the Krasnoyarsk Krai Museum stylized as an Ancient Egyptian temple, the Krasnoyarsk Cultural/Historical Center and the triumphal arch at the Spit (2003), the regional administration building flanked with two towers known as the "Donkey Ears".

 

There are a number of two-story wooden houses in the city built mostly in the middle of the 20th century as temporary habitations. Many urbanized villages located inside the city keep the remnants of the traditional Russian village architecture: wooden houses with backyards, many somewhat dilapidated now but still inhabited.

 

Culture

There are a number of local holidays celebrated annually in Krasnoyarsk. The most significant holiday is the Day of the City celebrated in June, usually with a carnival. Other holidays and cultural events are the Mana Festival (Russian: Манский фестиваль. The celebrations take place on the outside of town, on the bank of river Mana) usually held on the last weekend in June with the traditional bard contest, the International Museum Biennale traditionally held in the Krasnoyarsk Cultural/Historical Center, the avant-garde Museum Night festival dedicated to the International Museum Day (May 18), the Jazz on Yenisey festival, the Stolbist Day held many times a year celebrating the traditions of mountain climbing in the Stolby national reserve, and the Bikers' Rally.

 

Krasnoyarsk has a number of local television companies and the highly developed telecommunications, many districts of the city have LAN-based broadband Internet access.

 

The city is also home to the Krasnoyarsk Children's Choir, a world-renowned choir that tours in many countries as The Little Eagles of Siberia.

 

Education and science

Next to Novosibirsk, Krasnoyarsk is a prominent scientific and educational center of Siberia, with over 30 higher education facilities, many of which are the branches of the Russian Academy of Science, and about 200 high schools. The most notable higher education institutes are:

 

Siberian Federal University (Russian abbreviation is SFU), founded on November 4, 2006. The institution integrated four large higher education institutions (Krasnoyarsk State University, Krasnoyarsk State Academy of Architecture and Civil Construction, Krasnoyarsk State Technical University, State University of Non-Ferrous Metals and Gold)

Krasnoyarsk State Pedagogical University (Russian abbreviation is KGPU), founded in 1932

Siberian State Technological University (Russian abbreviation is SibGTU), the oldest in the city, founded in 1930 as the Siberian Institute of Forest

Siberian State Aerospace University (Russian abbreviation is SibGAU), founded in 1960

Krasnoyarsk State Medical University (Russian abbreviation is KrasGMU), founded in 1942

Krasnoyarsk State Agrarian University (Russian abbreviation is Krasnoyarsk GAU), founded in 1952

Like Novosibirsk, Krasnoyarsk has a special city district called Akademgorodok ("Academic Town"), where several scientific research institutes are located. Krasnoyarsk's Institute of Biophysics is known for a 1973–1985 experiment on ecological isolation of human beings (the "Bios Experiment"). Sukachev Institute of Forest, founded in 1944 at Moscow and relocated to Krasnoyarsk in 1959. There are several museums in Krasnoyarsk. One is the Krasnoyarsk Regional Museum, containing historical items and exhibits of the region, including ancient history, native Siberians, and woolly rhinos.

 

The Krasnoyarsk zoo is also a major attraction for residents and tourists.

 

Transportation

Metro

An underground system (three lines) has been in planning and construction phases in Krasnoyarsk for decades. Subway construction was terminated in 2008.

 

Public Transportation

The transit system is dominated by buses, but there also are several trolleybus and tram routes.

 

Railway

Krasnoyarsk lies on the Yenisei River and historically has been an important junction on the Trans-Siberian Railway. Krasnoyarsk-Passazhirsky (Russian: Красноярск-Пассажирский, lit. Krasnoyarsk-Passenger) is the main railway station of Krasnoyarsk. Long-range trains of the Trans-Siberian Railway stop at this station. There are some stations served by Elektrichka and there is Krasnoyarsk-East goods station 26.3 km east of Krasnoyarsk-Passazhirsky.

 

Airports

Krasnoyarsk was served by two airports: Yemelyanovo Airport is the main airport and handles both medium and long-haul domestic as well as international flights, and is 27 km (17 mi) northwest of the city. The secondary Cheremshanka Airport handled short-haul flights. Cheremshanka has lost its eminent role as the main base airport for an extensive network of local air services (MVL) in Krasnoyarsk Krai formerly served by the local Aeroflot Krasnoyarsk Directorate. In December 2011 a fire broke out at the Cheremshanka airport which destroyed the terminal building and the air traffic control tower.

 

Tourism

The most popular place of attraction for tourists visiting Krasnoyarsk is the huge national nature reserve Stolby ("pillars"), which covers an area of 470 km2 (180 sq mi) with numerous giant granite rocks formations up to 100 meters high, many of very extraordinary shapes. Stolby is also a major rock climbing location. Many local climbers intentionally do not use any belaying equipment and call their extreme sport stolbizm, known elsewhere as solo climbing.

 

Other popular showplaces include the Krasnoyarsk Hydroelectric Power Station dam, the Karaulnaya Gora hill with the Paraskeva Pyatnitsa Chapel, museums, theaters, etc.

 

Sports

Krasnoyarsk is a center of Siberian sports. Areas, where Krasnoyarsk excels compared to other Russian cities, include rugby union, bandy, and freestyle wrestling.

 

Yenisey was the Soviet bandy champions every year in the 1980s as well as in 1991. The first Russian title came in 2001. In 2014 they became champions of the Bandy Super League and had the highest average attendance, 5 747. In 2015 the league title was won again as well as in 2016. At the 2019 Winter Universiade, bandy will feature as a demonstration sport for the first time and tournaments for both men and women will be held. An indoor stadium will be built for the occasion. It is planned to be ready for use by the end of 2018. The complexity of the construction is considered unique.

 

The city is considered a stronghold of rugby union in Russia, to the extent that the Rugby Union of Russia was headquartered locally for many years. Two Krasnoyarsk clubs, Krasny Yar and Enisey-STM, participate in the national Professional Rugby League, and European Rugby Challenge Cup, the second-tier pan-European club competition. Matches take precedence in the local media, and the city derby match can attract crowds of about 3000–5000. Many players of the Russian national rugby team hail from the area. Some of Russia's international rugby matches are played at the Central Stadium.

 

Notable people

Mirra Andreeva, tennis player

Viktor Astafyev, writer

Vyacheslav Butusov, singer and songwriter

Caziel, artist

Walter Ciszek, Polish-American Jesuit priest held captive here on suspicion of espionage for the Vatican

Valentin Danilov, Russian scientist

Elena Abramovna Davidovich, numismatist and archaeologist

Yekaterina Duntsova, Russian politician, journalist and lawyer

Helene Fischer, German singer and actress

Iya Gavrilova, ice hockey player

Dmitri Hvorostovsky, operatic baritone

Evgeny Isakov, ice hockey player

Elena Khrustaleva, biathlete

Sergey Ivanovich Lomanov, bandy manager and former player

Sergey Sergeyevich Lomanov, bandy player

Andreï Makine, novelist

Yevgeni Popov, writer

Sofia Samodurova, figure skater

Alexander Semin, ice hockey player

Andrei Shepelenko, professional ice hockey player

Pyotr Slovtsov, opera singer

Vasily Surikov, historic painter

Viktoria Tereshkina, prima ballerina

Viktor Tretiakov, violinist

Evgeny Ustyugov, biathlete

 

Twin towns – sister cities

Krasnoyarsk is twinned with:

China Heihe, China (1999)

Tajikistan Istaravshan, Tajikistan (2000)

Canada Sault Ste. Marie, Canada (2002)

Mongolia Ulaanbaatar, Mongolia (2003)

Uzbekistan Samarkand, Uzbekistan (2003)

United States Oneonta, United States (2004)

Italy Cremona, Italy (2006)

Slovakia Žilina, Slovakia (2013)

China Changchun, China (2014)

China Manzhouli, China (2017)

Midtown Manhattan

 

The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.

 

HISTORY OF CONSTRUCTION

 

The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."

 

In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.

 

Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.

 

In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.

 

Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.

 

By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.

 

It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.

 

Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.

 

The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.

 

Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.

 

Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.

 

The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.

 

The Chrysler Building and Art Deco

 

Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.

 

The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.

 

In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.

 

In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

 

Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.

 

Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.

 

The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.

 

Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.

 

One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.

 

Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.

 

On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.

-

Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.

 

Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.

 

For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.

 

The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.

 

The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.

 

The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.

 

All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.

 

The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.

 

At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.

 

All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.

 

The Chrysler Building and the Image of Progress

 

When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:

 

The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.

 

The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.

 

As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.

 

The Chrysler Building is therefore dedicated as a sound contribution to business progress.

 

The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.

 

The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.

 

In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.

 

Conclusion

 

Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:

 

It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.

 

The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.

 

The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.

 

- From the 1978 NYCLPC Landmark Designation Report

Iceland, a Nordic island nation, is defined by its dramatic landscape with volcanoes, geysers, hot springs and lava fields.

 

Massive glaciers are protected in Vatnajökull and Snæfellsjökull national parks.

 

Most of the population lives in the capital, Reykjavik, which runs on geothermal power and is home to the National and Saga museums, tracing Iceland’s Viking history.

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

Midtown, Manhattan, New York City, New York, United States

 

The Chanin Building, built in 1927-29, rises 56 stories at the comer of Lexington Avenue and 42nd Street. Designed by the architectural firm of Sloan & Robertson with sculptural decoration by Rene Chambellan, it is a major example of Art Deco architecture in New York City. Erected under the supervision of the Chanin Construction Company, the building still serves as the organization’s headquarters.

 

Irwin S. Chanin (b.1892) established his firm in 1919 to build one-family houses in Bensonhurst, Brooklyn, after studying engineering at Cooper union, working on subway construction in New York and Philadelphia, and participating in the construction of a poison gas factory for the U.S. Amy during World War I.

 

His first venture in Bensonhurst was so successful that he brought his brother Henry I. Chanin (1893-1973) into the firm, and they proceeded to build more houses and also apartment buildings in Brooklyn and then erected an office building in downtown Brooklyn. Extending their activities to Manhattan in 1924, they constructed the Fur Center Building. 'That same year the Chan ins expanded into the theater business, 'eventually building eight theaters, including the fabulous 6000-seat Roxy. The Chanins also managed a number of these theaters.

 

The 1400-roan Hotel Lincoln, on Eighth Avenue between 44th and 45th. Streets was completed and opened by the Chanins in 1S28. Following the completion of the Chanin Building in 1929, the firm expanded its activities into the Manhattan apartment field, building the Majestic and Century apartment houses on Central Park West. Extensive suburban building activity occupied much of the firm's tire during the 1930s and 1940s. A notable example was Green Acres, a residential park community in Valley Stream, Long Island, begun in 1936. During World War II the firm built 2000 pro-fabricated dwellings in Newport News,Virginia, five hangars at National Airport in Washington, the Naval Or dance Laboratory in White Oak, Maryland, and five Navy powder magazine buildings in Indian Head, Maryland.

 

Tte firm has also built numerous manufacturing buildings in the New York City area and the impressive Coney Island Pumping Station for the City of New York. By 1952 when Irwin S. Chanin was profiled in the National Cyclopaedia of American Biography, the Chanin Organization was composed of approximately 25 firms and corporations engaged in architecture, engineering, and construction, and in ownership and operation of real estate.

 

In August 1926 the Chanins acquired a 105-year leasehold on the site of the Manhattan Storage Warehouse on the west side of Lexington Avenue between 41st and 42nd Streets in order to build their new office tower. Plans were filed and work begun in 1927. When the steel structure work was completed on July 2, 1928, the Chanins followed their traditional practice of driving two gold rivets into a column on the uppermost floor. On January 23, 1929, exactly one year after Irwin S. Chanin drove the first rivet into the st.ee! frame, construction was completed—testimony to the skill of the workmen and the efficiency of the Chanin Construction Company. It was opened for business that January 29 and was hailed as "another step in the evolution of the skyscraper . At that time, it was the first major skyscraper to have been built in the area around Grand Central Terminal, anticipating a major shift in the business district of the city. Other notable skyscrapers such as the Chrysler and Daily News Buildings soon followed. Its 660-foot height was then exceeded only by the Woolworth Building and Metropolitan Life Tower in New York and the Cleveland Terminal Building in Cleveland. Irwin S. Chanin was not, however, interested in creating the world's tallest office building but rather in building an efficient, up-to-date, progressive structure that would attract the modern business man and be a credit to the Chanin firm.

 

To create this image, he commissioned the architectural firm of Sloan & Robertson.

 

Sloan & Robertson was one of the major New York architectural firms of the 1920s and '30s. John Sloan (1888-1954) studied architecture at New York University, then supervised construction for the U. S. Army In various capacities between 1900 and 1920. In private practice in 1920, he received the commission for the Pershing Square Building, 100 East U2nd Street. He formed a partnership in 1924 with T. Markoe Robertson (1878.-1962) who had been educated at Yale University and the Ecole des Beaux-Arts in Paris. In addition to the Chanin Building, the firm was responsible for the Graybar Building, 420 Lexington Avenue; the Maritime Exchange Building, 80 Broad Street; the 29 Broadway Office Building; the Plaza Building, 625 Madison Avenue; apartment buildings at 1 Beekman Place and 895 Park Avenue; and alterations, modernization, and an annex for the St. Regis Hotel.

 

The firm was also active 'in the design of buildings for hospitals and institutions, including the House of Detention for Women at 10 Greenwich Avenue, the Ward's Island Sewage Disposal Plant, the Rikers Island Penitentiary, buildings for the Harlem Hospital, and the Southampton Hospital, Architectural plans for the West Side Elevated Highway between Canal and 72nd Streets and the New York State exhibit building, marine amphitheatre and stage at the 1939 New York World's Fair were also carried out by the firm. In the Chanin Building as in so much of their work during the 1930s, they created a striking example of Art Deco architecture, using that most characteristic Art Deco building type, the skyscraper.

 

The Chanin Building rises 56 stories in a series of setbacks culminating in a tower, designed in accordance with the 1916 zoning ordinance. The site itself, which was bounded by streets on three sides, was governed by three sets of zoning rules. This made the tower rather than the street frontage the controlling factor in regard to massing. Critic Matlack Price praised the Chanin Building as "an impressive realization of the most hopeful predictions that were made years ago, when the zoning laws first imposed the set-back restrictions on tall structures. At once it becane necessary to design in

 

masses rather than in facades." The design of the tower was also influenced by the widely-publicized entry submitted by Eliel Saarinen in the competition for a new building for the Chicago Tribune (1922) .

 

The Saarinen design proved a fertile source for many Art Deco architects.

 

The first 17 stories completely cover tine plot except on the center of trie Lexington Avenue facade which is recessed above the fourth story. Major setbacks begin above the seventeenth story, forming a pyramidal base for the tower which rises uninterrupted from the thirtieth to the fifty-second story. The upper four stories of the tower are further recessed and accented with buttresses. The steel frame is clad with buff brick, terra cotta, and limestone, and is ornamented in such a way as to emphasize seme of the special functions within.

 

As was the customary in skyscraper design, the architects were interested in establishing a clearly-defined base for the composition and a strong interest at and relationship to the street. The first floor was intended for shops. Originally the plate glass shop windows were enclosed by bronze enframements set in Belgian black marble.

 

Later alterations have obscured sane of the original detail. Also at first floor level are major entrances on Lexington Avenue and 42nd Street. Above the first floor runs a bronze frieze telling the story of evolution. It shows different kinds of plant and animal life, beginning with low marine forms, then more complex forms, and finally birds and fish. At the second and third floors, which were intended for financial institutions, are triple window groups framed in bronze and divided between the floors by bronze spandrel panels with characteristic Art Deco ornament.

 

Each window group is flanked by limestone piers with ornamented terra-cotta capitals. Hie windows above the entrances are given a distinctive treatment with ornamental spandrel panels of a different design. Incorporated into the window framing are curved bronze supports holding canopies above the entrances. The canopies themselves have been altered. The fourth story is completely covered with an elaborate pattern of stylized plant forms executed in terra cotta. The use of such stylized forms is a characteristic associated with Art Deco design.

 

Trie ornament on these floors was designed by the noted architectural sculptor Rene Chambellan (1893-1955) in collaboration with Jacques Delamarre (b. 1907), head of the architectural staff of the Chanin Construction Company. Among the buildings for which Chambellan executed architectural sculpture were Radio City Music Hall and other buildings at Rockefeller Center, the East Side Airline Terminal, the Russell Sage Foundation Building, the Tribune Ttwer in Chicago, the Stirling Library at Yale, and the Pershing Stadium in Vincennes, France.

 

In the Chanin Building Delamarre was responsible for many of the details of the interior design and through the years supervised the many projects which the Chanin organization chose to design "in-house." Chambellan and Delamarre also collaborated on the design of the sculptural reliefs and bronze grilles adorning the vestibules inside the building entrances. They symbolically portray various aspects of the theme "the City of Opportunity," telling "the story of a city in which it is possible for a nan to rise from a humble station to wealth and influence by sheer power of his mind and hands." This, in fact, was a tribute to the success and achievement of Irwin S. Chanin.

 

Cc\ the Lexington Avenue side, a series of buttresses at the fifth and sixth stories accent the recessed portion of the facade. The form of these buttresses echoes the form of those at tine crown of the tower. Buttress forms extending from the thirtieth to the forty-ninth floor also accentuate the comers of the brick-faced tower.

 

The termination of the buttress forms at the forty-ninth floor indicates sore of the special functions in the floors above. The fiftieth and the fifty-first floors-now converted to office space— originally housed a theater which was to serve the theatrical division of the Chanin Organization. The Chanin offices continue to be housed in the crcKn of the tower which begins at tiie fifty-second floor. The most prominent features of the crown are the protruding buttresses which provide a distinctive termination for the tower.

 

Projecting ornament executed in abstract patterns at the fifty-second floor adds further interest to the Tower. Originally a battery of 212 flood-lights illuminated the crown of the tower at night adding to its dramatic effect of the skyline. This emphasis on dramatic illumination is another quality associated with Art Deco architecture, and it is characteristically displayed in one of Hugh Ferriss' noted renderings of the buildings.

 

When completed in 1929 the Chanin Building was praised by architectural, critic Matlack Price as being "a splendid contribution to twentieth century architecture.. that.. .powerfully rationalizes all the novel features of this new style,-and.. .a splendid contribution to the architecture of all time because it is a good design."

 

The quality of the design and the ornament continue to delight and are now recognized as exemplifying the characteristics of the Art Deco skyscraper. it remains a striking visual asset to the Grand Central area and continues to function successfully as an office building.

 

- From the 1978 NYCLPC Landmark Designation Report

Midtown Manhattan, Manhattan, New York City, New York, United States

 

The Chanin Building, built in 1927-29, rises 56 stories at the comer of Lexington Avenue and 42nd Street. Designed by the architectural firm of Sloan & Robertson with sculptural decoration by Rene Chambellan, it is a major example of Art Deco architecture in New York City. Erected under the supervision of the Chanin Construction Company, the building still serves as the organization’s headquarters.

 

Irwin S. Chanin (b.1892) established his firm in 1919 to build one-family houses in Bensonhurst, Brooklyn, after studying engineering at Cooper union, working on subway construction in New York and Philadelphia, and participating in the construction of a poison gas factory for the U.S. Amy during World War I.

 

His first venture in Bensonhurst was so successful that he brought his brother Henry I. Chanin (1893-1973) into the firm, and they proceeded to build more houses and also apartment buildings in Brooklyn and then erected an office building in downtown Brooklyn. Extending their activities to Manhattan in 1924, they constructed the Fur Center Building. 'That same year the Chan ins expanded into the theater business, 'eventually building eight theaters, including the fabulous 6000-seat Roxy. The Chanins also managed a number of these theaters.

 

The 1400-roan Hotel Lincoln, on Eighth Avenue between 44th and 45th. Streets was completed and opened by the Chanins in 1S28. Following the completion of the Chanin Building in 1929, the firm expanded its activities into the Manhattan apartment field, building the Majestic and Century apartment houses on Central Park West. Extensive suburban building activity occupied much of the firm's tire during the 1930s and 1940s. A notable example was Green Acres, a residential park community in Valley Stream, Long Island, begun in 1936. During World War II the firm built 2000 pro-fabricated dwellings in Newport News,Virginia, five hangars at National Airport in Washington, the Naval Or dance Laboratory in White Oak, Maryland, and five Navy powder magazine buildings in Indian Head, Maryland.

 

Tte firm has also built numerous manufacturing buildings in the New York City area and the impressive Coney Island Pumping Station for the City of New York. By 1952 when Irwin S. Chanin was profiled in the National Cyclopaedia of American Biography, the Chanin Organization was composed of approximately 25 firms and corporations engaged in architecture, engineering, and construction, and in ownership and operation of real estate.

 

In August 1926 the Chanins acquired a 105-year leasehold on the site of the Manhattan Storage Warehouse on the west side of Lexington Avenue between 41st and 42nd Streets in order to build their new office tower. Plans were filed and work begun in 1927. When the steel structure work was completed on July 2, 1928, the Chanins followed their traditional practice of driving two gold rivets into a column on the uppermost floor. On January 23, 1929, exactly one year after Irwin S. Chanin drove the first rivet into the st.ee! frame, construction was completed—testimony to the skill of the workmen and the efficiency of the Chanin Construction Company. It was opened for business that January 29 and was hailed as "another step in the evolution of the skyscraper . At that time, it was the first major skyscraper to have been built in the area around Grand Central Terminal, anticipating a major shift in the business district of the city. Other notable skyscrapers such as the Chrysler and Daily News Buildings soon followed. Its 660-foot height was then exceeded only by the Woolworth Building and Metropolitan Life Tower in New York and the Cleveland Terminal Building in Cleveland. Irwin S. Chanin was not, however, interested in creating the world's tallest office building but rather in building an efficient, up-to-date, progressive structure that would attract the modern business man and be a credit to the Chanin firm.

 

To create this image, he commissioned the architectural firm of Sloan & Robertson.

 

Sloan & Robertson was one of the major New York architectural firms of the 1920s and '30s. John Sloan (1888-1954) studied architecture at New York University, then supervised construction for the U. S. Army In various capacities between 1900 and 1920. In private practice in 1920, he received the commission for the Pershing Square Building, 100 East U2nd Street. He formed a partnership in 1924 with T. Markoe Robertson (1878.-1962) who had been educated at Yale University and the Ecole des Beaux-Arts in Paris. In addition to the Chanin Building, the firm was responsible for the Graybar Building, 420 Lexington Avenue; the Maritime Exchange Building, 80 Broad Street; the 29 Broadway Office Building; the Plaza Building, 625 Madison Avenue; apartment buildings at 1 Beekman Place and 895 Park Avenue; and alterations, modernization, and an annex for the St. Regis Hotel.

 

The firm was also active 'in the design of buildings for hospitals and institutions, including the House of Detention for Women at 10 Greenwich Avenue, the Ward's Island Sewage Disposal Plant, the Rikers Island Penitentiary, buildings for the Harlem Hospital, and the Southampton Hospital, Architectural plans for the West Side Elevated Highway between Canal and 72nd Streets and the New York State exhibit building, marine amphitheatre and stage at the 1939 New York World's Fair were also carried out by the firm. In the Chanin Building as in so much of their work during the 1930s, they created a striking example of Art Deco architecture, using that most characteristic Art Deco building type, the skyscraper.

 

The Chanin Building rises 56 stories in a series of setbacks culminating in a tower, designed in accordance with the 1916 zoning ordinance. The site itself, which was bounded by streets on three sides, was governed by three sets of zoning rules. This made the tower rather than the street frontage the controlling factor in regard to massing. Critic Matlack Price praised the Chanin Building as "an impressive realization of the most hopeful predictions that were made years ago, when the zoning laws first imposed the set-back restrictions on tall structures. At once it becane necessary to design in

 

masses rather than in facades." The design of the tower was also influenced by the widely-publicized entry submitted by Eliel Saarinen in the competition for a new building for the Chicago Tribune (1922) .

 

The Saarinen design proved a fertile source for many Art Deco architects.

 

The first 17 stories completely cover tine plot except on the center of trie Lexington Avenue facade which is recessed above the fourth story. Major setbacks begin above the seventeenth story, forming a pyramidal base for the tower which rises uninterrupted from the thirtieth to the fifty-second story. The upper four stories of the tower are further recessed and accented with buttresses. The steel frame is clad with buff brick, terra cotta, and limestone, and is ornamented in such a way as to emphasize seme of the special functions within.

 

As was the customary in skyscraper design, the architects were interested in establishing a clearly-defined base for the composition and a strong interest at and relationship to the street. The first floor was intended for shops. Originally the plate glass shop windows were enclosed by bronze enframements set in Belgian black marble.

 

Later alterations have obscured sane of the original detail. Also at first floor level are major entrances on Lexington Avenue and 42nd Street. Above the first floor runs a bronze frieze telling the story of evolution. It shows different kinds of plant and animal life, beginning with low marine forms, then more complex forms, and finally birds and fish. At the second and third floors, which were intended for financial institutions, are triple window groups framed in bronze and divided between the floors by bronze spandrel panels with characteristic Art Deco ornament.

 

Each window group is flanked by limestone piers with ornamented terra-cotta capitals. Hie windows above the entrances are given a distinctive treatment with ornamental spandrel panels of a different design. Incorporated into the window framing are curved bronze supports holding canopies above the entrances. The canopies themselves have been altered. The fourth story is completely covered with an elaborate pattern of stylized plant forms executed in terra cotta. The use of such stylized forms is a characteristic associated with Art Deco design.

 

Trie ornament on these floors was designed by the noted architectural sculptor Rene Chambellan (1893-1955) in collaboration with Jacques Delamarre (b. 1907), head of the architectural staff of the Chanin Construction Company. Among the buildings for which Chambellan executed architectural sculpture were Radio City Music Hall and other buildings at Rockefeller Center, the East Side Airline Terminal, the Russell Sage Foundation Building, the Tribune Ttwer in Chicago, the Stirling Library at Yale, and the Pershing Stadium in Vincennes, France.

 

In the Chanin Building Delamarre was responsible for many of the details of the interior design and through the years supervised the many projects which the Chanin organization chose to design "in-house." Chambellan and Delamarre also collaborated on the design of the sculptural reliefs and bronze grilles adorning the vestibules inside the building entrances. They symbolically portray various aspects of the theme "the City of Opportunity," telling "the story of a city in which it is possible for a nan to rise from a humble station to wealth and influence by sheer power of his mind and hands." This, in fact, was a tribute to the success and achievement of Irwin S. Chanin.

 

Cc\ the Lexington Avenue side, a series of buttresses at the fifth and sixth stories accent the recessed portion of the facade. The form of these buttresses echoes the form of those at tine crown of the tower. Buttress forms extending from the thirtieth to the forty-ninth floor also accentuate the comers of the brick-faced tower.

 

The termination of the buttress forms at the forty-ninth floor indicates sore of the special functions in the floors above. The fiftieth and the fifty-first floors-now converted to office space— originally housed a theater which was to serve the theatrical division of the Chanin Organization. The Chanin offices continue to be housed in the crcKn of the tower which begins at tiie fifty-second floor. The most prominent features of the crown are the protruding buttresses which provide a distinctive termination for the tower.

 

Projecting ornament executed in abstract patterns at the fifty-second floor adds further interest to the Tower. Originally a battery of 212 flood-lights illuminated the crown of the tower at night adding to its dramatic effect of the skyline. This emphasis on dramatic illumination is another quality associated with Art Deco architecture, and it is characteristically displayed in one of Hugh Ferriss' noted renderings of the buildings.

 

When completed in 1929 the Chanin Building was praised by architectural, critic Matlack Price as being "a splendid contribution to twentieth century architecture.. .that.. .powerfully rationalizes all the novel features of this new style,-and.. .a splendid contribution to the architecture of all time because it is a good design."

 

The quality of the design and the ornament continue to delight and are now recognized as exemplifying the characteristics of the Art Deco skyscraper. it remains a striking visual asset to the Grand Central area and continues to function successfully as an office building.

 

- From the 1978 NYCLPC Landmark Designation Report

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach

Coachwork by Carbodies

Chassis n° S75

 

Les Grandes Marques du Monde au Grand Palais 2020

Bonhams

Parijs - Paris

Frankrijk - France

February 2020

 

Estimated : € 1.200.000 - 1.500.000

Sold for € 1.610.000

 

In an era when most cars stood tall, the 4½-litre S-Type Invicta, with its dramatically lowered chassis, caused a sensation: few sports cars before or since have so looked the part. The Invicta Company's origins go back to 1924 when Noel Macklin and Oliver Lyle, both of whom had motor industry experience, got together to create a car combining American levels of flexibility and performance with European quality and roadholding.

 

Like the contemporary Bentley, the Invicta was produced to an exemplary standard. Price was only a secondary consideration, a factor that contributed largely to both firms' failure to weather the Depression years of the early 1930s. The final Invicta left the factory, appropriately enough, on Friday 13th October 1933, though a handful of cars was assembled at the company's service depot between 1934 and 1936. It is estimated that approximately 1,000-or-so Invictas of all types were made.

 

Apart from a handful of prototypes, all Invictas were powered by the tireless six-cylinder engines made by Henry Meadows. Launched at the 1930 Olympia Motor Show, the S-type featured an new under-slung chassis that achieved a much lower centre of gravity by positioning the rear axle above the frame rails instead of below as was normal practice at the time. Like most low-revving engines, the 4½-litre Meadows delivered ample torque in the lower and middle speed ranges. Indeed, the Invicta can be throttled down to 6-8mph in top gear, despite its relatively high 3.6:1 final drive ratio, and will then accelerate rapidly and without complaint when the accelerator is depressed.

 

The popular '100mph Invicta' tag notwithstanding, standard cars had a – still impressive – top speed of around 95mph with more to come in racing trim. However, it must be stressed that the S-type Invicta was primarily a very fast but comfortable high-speed touring car, its greatest attribute being an ability to cover a substantial mileage at high average speeds with no strain, either to driver or the machinery.

 

Invictas are about as indestructible in normal use as a car can be. Approximately 68 of the 75-or-so S-types built are known to survive and most are in excellent order, testifying to the fact that they have always been regarded as high quality motor cars. Indeed, in pre-war days there was a club dedicated exclusively to the model and members famously christened individual cars with names like 'Scythe', 'Scrapper' and 'Sea Lion'. 'S75' was named 'Scout'.

 

In The Invicta S-Type Low Chassis (Invicta Publishing, 2015) 'S75' is recorded as purchased in 1938 by Henry Pether, who would maintain it in original and un-restored condition for almost 60 years. Remarkably, with the exception of necessary mechanical overhauls, the car remains in that wonderfully patinated condition today, almost certainly making it unique among surviving S-Type Low Chassis Invictas.

 

Registered as 'OV 1296', the S-Type had been delivered new in 1931 to Lord Ebury, who owned the car until 1938 when it was sold to one Norman Ruck. Henry Pether was the third owner. The immediately preceding (German) owner, Mr Martin Kölnberger of Aachen, purchased 'S75' from Henry Pether in February 1995. 'S75' was supplied with a spare engine to racing specification ('LG6/451/S4'), which was rebuilt by a specialist in the 1990s and is currently installed, while the original engine ('7478') is included in the sale. The gearbox also has been rebuilt (bill on file). While belonging to Mr Kölnberger, the Invicta was raced by him at the Classic Le Mans, achieving a speed of 185km/h (with the race engine and foldable windscreen fitted) and also won the prize for 'Best Un-restored Car' at the Concours Bagatelle in Paris in 2001.

 

The current vendor purchased 'S75' from Mr Kölnberger in July 2009 and reregistered the Invicta in his daughter's name in April 2016. On a recent test drive with a Bonhams consultant, the Invicta started, ran and drove beautifully.

 

Retaining its original UK registration, 'OV 1296', the car comes with a well prepared history file containing old registration documents, expired MoTs and tax discs, and a current UK V5C Registration Certificate. The original (non-folding) windscreen and side screens are included in the sale.

 

The Low Chassis Invicta S-Type is now regarded as one of the most desirable pre-war sports cars, sought after by collectors for its exceptional driving abilities, style and sheer presence. A guaranteed entry at the most prestigious rallies, concours events and race meetings around the world, the Low Chassis has an enviable reputation amongst connoisseurs and examples are to be found in some of the most important private collections.

 

Dominating this view is Winchester Cathedral which is one of the largest cathedrals in England, with the longest nave and greatest overall length of any Gothic cathedral in Europe. Dedicated to the Holy Trinity, Saint Peter, Saint Paul, and Saint Swithun, it is the seat of the Bishop of Winchester and centre of the Diocese of Winchester. The cathedral is a Grade I listed cathedral.

 

Construction of the cathedral began in 1079 under bishop Walkelin and, on April 8, 1093, in the presence of nearly all the bishops and abbots of England, the monks removed from the Saxon cathedral church of the Old Minster to the new one, "with great rejoicing and glory" to mark its completion. The earliest part of the present building is the crypt, which dates from that time. William II of England and his older brother, Richard of Normandy are both buried in the cathedral. The squat, square crossing tower was begun in 1202 to replace an earlier version which collapsed, partly because of the unstable ground on which the cathedral is built. It has an indisputably Norman look to it. Work continued on the cathedral during the 14th century. In 1394 the remodelling of the Norman nave commenced to the designs of master mason William Wynford, this continued into the 15th and 16th centuries, notably with the building of the retroquire to accommodate the many pilgrims to the shrine of Saint Swithun.

 

Nowadays the cathedral draws many tourists as a result of its association with Jane Austen, who died in the city and is buried in the cathedral's north aisle of the nave. The original 19th century marker gave reluctant praise for her writing ability. Interestingly her gravestone makes no mention of her as a novelist, for which she is now best known. Much later a more descriptive marker about Austen's talent was placed on a nearby wall.

 

The tower to the left of the cathedral is Winchester College Chapel. Winchester College is an independent school for boys in the British public school tradition, situated in this former capital of England. It has existed in its present location for over 600 years and claims the longest unbroken history of any school in England. It is the oldest of the original nine English public schools defined by the Public Schools Act 1868 and is one of four remaining full boarding independent schools, meaning all pupils are boarders, in the United Kingdom (the others are Eton College, Harrow School and Radley College).

 

Situated on the south side of Chamber Court, the Chapel is part of the original College buildings and retains its original wooden fan-vaulted ceiling. Built to accommodate just over 100 people, it long ago became too small to accommodate the whole school (currently 690 boys). Additional seating installed in the re-ordering and extension carried out by the Victorian architect Butterfield allows the Chapel to seat 320 people. On Sundays half the houses worship in Chapel, while the other half worship (at the same time) in St Michael's Church (known as Michla), a redundant parish church central among the boarding houses, which the College took over in the last century. Weekly choral services are sung by the Choir in Chapel on Tuesdays and by the Quiristers on Thursday and Saturday evenings in Fromond's Chantry, which is in the middle of the Cloisters. Roman Catholic boys attend mass every Sunday morning in Michla.

 

The building at the far left with a clock tower and copper spire is The Castle, (not to be confused with Winchester Castle) headquarters of Hampshire County Council which governs the majority of the county of Hampshire. It provides the upper tier of local government, below which are district councils, and town and parish councils. The county council has 78 elected councillors.

 

Hampshire County Council is currently controlled by the Conservative Party. The council is responsible for public services such as education, transport, strategic planning, emergency services, social services, public safety and waste disposal.

 

The area of countryside beyond the city is known as Worthy Down which was the site of a racecourse then an airfield.

 

Twyford Down, where this view is seen from, is a small area of ancient chalk downland lying directly to the southeast of Winchester. The down's 144-metre (472 ft) summit, known as Deacon Hill, is towards the north-eastern edge of the area which is renowned for its dramatic rolling scenery, ecologically rich grassland and as a Site of Special Scientific Interest (SSSI). It is situated at the western extremity of the South Downs National Park, having previously been designated as part of the East Hampshire AONB (Area of Outstanding Natural Beauty).

 

In 1994 a highly controversial road building project was—despite vigorous objection from many quarters—completed and a new 2-mile (3.2 km) stretch of the M3 motorway was created, running through a significant section of the down, which was excavated and removed to create a deep cutting.

 

en.wikipedia.org/wiki/Twyford_Down

This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.

 

[This is a series of 7 photos] The Robert G. Lassiter House, characterized by its dramatic columns, is one of the most beautiful of the many beautiful homes in Oxford, North Carolina. It’s a Neo-Classical Revival residence, built in 1908 by Robert Gilliam Lassiter and his wife Margaret Currin. This 2 1/2 story home still has the original green tile on the roof. Topping it is a small widow’s walk. The most noticeable feature is the 2-story portico with projecting pediment, supported by Ionic columns. Between the tall columns and the entrance are a row of smaller one-story Ionic columns providing the front porch area. These in turn support a deck and a balustrade, extending the front of the house. As one faces the house, a porte-cochère, complete with an old carriage, is on the left; on the right is a side entrance, again using Ionic columns to support a small deck. The side entrance has leaded glass sidelights and a segmented transom. The front entrance also has leaded glass sidelights but . in addition, has an impressive curved transom. According to the book Heritage and Homesteads, classical features and decorative elements are present throughout the house in the wainscoting, mantels and stairs. [On Explore May 15, 2011 at #266]

 

It's in the Oxford Historical District and is on the National Register of Historic Places #88000403 (added 1988).

 

Source of much information: Heritage and Homesteads of Granville County, North Carolina, published 1988 by The Granville County Historical Society, Inc.

 

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

  

The Colorado River is the principal river of the Southwestern United States and northwest Mexico. The 1,450-mile (2,330 km) river drains an expansive, arid watershed that encompasses parts of seven U.S. and two Mexican states. Rising in the central Rocky Mountains in the U.S., the river flows generally southwest across the Colorado Plateau and through the Grand Canyon before reaching Lake Mead on the Arizona–Nevada line, where it turns south toward the international border. After entering Mexico, the Colorado approaches the large Colorado River Delta where it naturally emptied into the Gulf of California between Baja California and Sonora, though it no longer reaches its delta or the sea.

 

Known for its dramatic canyons and whitewater rapids, the Colorado is a vital source of water for agricultural and urban areas in the southwestern desert lands of North America. The river and its tributaries are controlled by an extensive system of dams, reservoirs, and aqueducts, which divert 90% of its water in the U.S. alone to furnish irrigation and municipal water supply for almost 40 million people both inside and outside the watershed. The Colorado's large flow and steep gradient are used for generating hydroelectric power, and its major dams regulate peaking power demands in much of the Intermountain West. Since the mid-20th century, intensive water consumption has dried the lower 100 miles (160 km) of the river such that it has not consistently reached the sea since the 1960s.

 

Europeans first entered the Colorado Basin in the 16th century, when explorers from Spain began mapping and claiming the area, which later became part of Mexico upon its independence in 1821. Early contact between foreigners and natives was generally limited to the fur trade in the headwaters and sporadic trade interactions along the lower river. After the greater Colorado River basin became part of the U.S. in 1846, the bulk of the river's course was still largely the subject of myths and speculation. Several expeditions charted the Colorado in the mid-19th century, one of which, led by John Wesley Powell in 1869, was the first to run the rapids of the Grand Canyon. American explorers collected valuable information that would later be used to develop the river for navigation and water supply. Large-scale settlement of the lower basin began in the mid- to late-19th century, with steamboats providing transportation from the Gulf of California to landings along the Colorado River that linked to wagon roads into the interior of New Mexico Territory. Lesser numbers settled in the upper basin, which was the scene of major gold strikes in Arizona and Nevada in the 1860s and 1870s.

 

Major engineering of the river basin began around the start of the 20th century, with many guidelines established in a series of domestic and international treaties known as the "Law of the River". The U.S. federal government was the main driving force behind the construction of hydraulic engineering projects in the river system, although many state and local water agencies were also involved. Most of the major dams in the river basin were built between 1910 and 1970, and the system keystone, Hoover Dam, was completed in 1935. The Colorado is now considered among the most controlled and litigated rivers in the world, with every drop of its water fully allocated. The damming and diversion of the Colorado River system have been flashpoint issues for the environmental movement in the American Southwest because of their impacts on the ecology and natural beauty of the river and its tributaries. During the construction of Glen Canyon Dam, environmental organizations vowed to block any further development of the river, and a number of later dam and aqueduct proposals were defeated by citizen opposition. As demands for Colorado River water continue to rise, the level of human development and control of the river continues to generate controversy.

 

en.wikipedia.org/wiki/Colorado_River

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

REFORD GARDENS | LES JARDINS DE MÉTIS

 

Beautiful flowers at Reford Gardens.

  

Visit : www.refordgardens.com/

 

From Wikipedia:

 

Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.

 

Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.

  

Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.

 

She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.

 

In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.

 

During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.

 

In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.

 

Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.

 

To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.

 

Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.

 

In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)

 

Visit : en.wikipedia.org/wiki/Elsie_Reford

 

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Visit : www.refordgardens.com/

  

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LES JARDINS DE MÉTIS

 

Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.

 

Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.

 

Commission des lieux et monuments historiques du Canada

Historic Sites and Monuments Board of Canada.

Gouvernement du Canada – Government of Canada

 

© Copyright

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

  

The MS Düsseldorf is a modern and comfortable tour boat operated by the Weisse Flotte Düsseldorf/Duisburg GmbH, not the KD (Köln-Düsseldorfer). This vessel is well-suited for a variety of events and tours on the Rhine River, from public sightseeing cruises to private corporate and celebratory functions. It has the capacity to carry up to 250 people, offering guests a relaxed atmosphere and a range of amenities to enhance their experience on the water.

 

The ship is designed with a spacious interior and multiple decks to provide ample space for passengers. The main deck below features a bar and a large dance floor, while a smaller upper deck and two open-air sun decks allow for a variety of experiences. The open decks can be fitted with flexible sun sails to provide shade. The MS Düsseldorf is also equipped with modern technology, including LED lighting that creates a special ambiance in the evening, and two large plasma screens for presentations or other visual displays.

 

The MS Düsseldorf is used for a variety of public tours, including panoramic cruises that showcase the sights of the city, such as the Old Town and the Media Harbour. It also operates on a regular line service, taking passengers on scenic trips between Düsseldorf and the charming historical town of Kaiserswerth. On board, guests can enjoy a full-service experience with a ship's galley and various bars, making it a popular choice for both tourists and locals looking to explore the Rhine from a new perspective.

 

The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.

 

The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.

 

Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.

 

The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.

 

In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.

Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.

This is a view looking northwest. Interstate 10 runs along the bottom of the mountain. The rock formations at the left edge are where most prior photos of Texas Canyon were shot. There is a Rest Stop on I-10 so it was fairly easy to get access for photos.

 

www.amerind.org/texascanyonnaturepreserve/

Chat GPT

Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.

The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.

The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.

Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.

 

en.wikipedia.org/wiki/Texas_Canyon

Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.

 

www.arizonahighways.com/article/texas-canyon-nature-preserve

The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.

 

By Suzanne Wright

Zipping past Texas Canyon, an hour southeast of Tucson, it’s impossible not to notice the boulders — giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 — particularly at a rest area just down the highway from the kitschy attraction known as The Thing — the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.

There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve — on land previously closed to the public for 85 years, and where the organization’s founding family raised quarter horses until 1968 — is open to all.

“The idea had been percolating with the Amerind Foundation board and management for years,” says Eric Kaldahl, the president, CEO and chief curator of the foundation. “The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we’ve seen for the past 10 years.”

The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.

Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be “perfect little morsels.” Rana didn’t grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.

 

“Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite,” she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. “It’s very unusual that it’s right off a major interstate and just an hour from a major metropolitan area,” she adds. “This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I’m so pleased with how it turned out.”

Elsewhere along the trail, signage reflects the Amerind Museum’s mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O’odham, English and Spanish text, in that order — and Kaldahl hopes to add Apache, too.

Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.

 

Haiku Thoughts:

Stone giants whisper,

Texas Canyon's quiet grace,

Time's hand carves the sky.

 

Southern Arizona Adventure 2024

The chancel of St Mary was built in the late 14th Century. Its dramatic seven-light east window is almost an entire wall of glass.

Machu Picchu is tangible evidence of the urban Inca Empire at the peak of its power and achievement—a citadel of cut stone fit together without mortar so tightly that its cracks still can’t be penetrated by a knife blade.

 

The complex of palaces and plazas, temples and homes may have been built as a ceremonial site, a military stronghold, or a retreat for ruling elites—its dramatic location is certainly well suited for any of those purposes. The ruins lie on a high ridge, surrounded on three sides by the windy, turbulent Urubamba River some 2,000 feet (610 meters) below.

 

Scholars are still striving to uncover clues to the mysteries hidden here high in the eastern slopes of the Andes, covered with tropical forests of the upper Amazon Basin. Machu Picchu appears to lie at the center of a network of related sites and trails—and many landmarks both man-made and mountainous appear to align with astronomical events like the solstice sunset. The Inca had no written language, so they left no record of why they built the site or how they used it before it was abandoned in the early 16th century.

 

Landscape engineering skills are in strong evidence at Machu Picchu. The site’s buildings, walls, terraces, and ramps reclaim the steep mountainous terrain and make the city blend naturally into the rock escarpments on which it is situated. The 700-plus terraces preserved soil, promoted agriculture, and served as part of an extensive water-distribution system that conserved water and limited erosion on the steep slopes.

 

The Inca’s achievements and skills are all the more impressive in light of the knowledge they lacked. When Machu Picchu was built some 500 years ago the Inca had no iron, no steel, and no wheels. Their tremendous effort apparently benefited relatively few people—some experts maintain that fewer than a thousand individuals lived here.

One of the many carvings adorning the wall arcading in the north aisle.

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

Midtown Manhattan

 

The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.

 

HISTORY OF CONSTRUCTION

 

The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."

 

In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.

 

Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.

 

In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.

 

Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.

 

By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.

 

It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.

 

Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.

 

The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.

 

Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.

 

Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.

 

The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.

 

The Chrysler Building and Art Deco

 

Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.

 

The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.

 

In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.

 

In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

 

Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.

 

Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.

 

The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.

 

Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.

 

One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.

 

Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.

 

On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.

-

Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.

 

Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.

 

For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.

 

The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.

 

The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.

 

The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.

 

All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.

 

The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.

 

At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.

 

All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.

 

The Chrysler Building and the Image of Progress

 

When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:

 

The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.

 

The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.

 

As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.

 

The Chrysler Building is therefore dedicated as a sound contribution to business progress.

 

The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.

 

The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.

 

In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.

 

Conclusion

 

Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:

 

It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.

 

The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.

 

The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.

 

- From the 1978 NYCLPC Landmark Designation Report

Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.

This is a view from the trail looking basically southeast across the valley.

 

www.amerind.org/texascanyonnaturepreserve/

Chat GPT

Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.

The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.

The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.

Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.

 

en.wikipedia.org/wiki/Texas_Canyon

Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.

 

www.arizonahighways.com/article/texas-canyon-nature-preserve

The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.

 

By Suzanne Wright

Zipping past Texas Canyon, an hour southeast of Tucson, it’s impossible not to notice the boulders — giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 — particularly at a rest area just down the highway from the kitschy attraction known as The Thing — the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.

There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve — on land previously closed to the public for 85 years, and where the organization’s founding family raised quarter horses until 1968 — is open to all.

“The idea had been percolating with the Amerind Foundation board and management for years,” says Eric Kaldahl, the president, CEO and chief curator of the foundation. “The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we’ve seen for the past 10 years.”

The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.

Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be “perfect little morsels.” Rana didn’t grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.

 

“Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite,” she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. “It’s very unusual that it’s right off a major interstate and just an hour from a major metropolitan area,” she adds. “This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I’m so pleased with how it turned out.”

Elsewhere along the trail, signage reflects the Amerind Museum’s mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O’odham, English and Spanish text, in that order — and Kaldahl hopes to add Apache, too.

Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.

 

Haiku Thoughts:

Stone giants whisper,

Texas Canyon's quiet grace,

Time's hand carves the sky.

 

Southern Arizona Adventure 2024

To create the iconic curving forms of the cruise-ship terminal in Porto, Portugal, architect Luís Pedro Silva began working from the project’s territorial context rather than simply seeking a display of formal prowess. The powerful oval drum of its main volume, with its spiraling central atrium and exterior ramps, is charged with both centripetal and centrifugal force, gathering all the vectors of movement that come together in the terminal from sea and land, and spinning them back out again to their various destinations. Before receiving the commission, Silva, who has degrees in architecture and urban planning from Porto University, worked on a strategic plan for the entire port as a member of a team of economists, engineers, and other specialists. The building and its new dock bring together the group’s ideas for increasing the port’s efficiency, promoting a growing tourist industry, and improving connections to the area’s attractions.

 

Leixões, the port, occupies a small inlet on the Atlantic Ocean 6 miles north of the historic city center of Porto. It is protected by two breakwaters that reach more than 2,500 feet into the sea, each with a dock on its harbor side. The tightly confined waterway houses facilities for container ships, oil tankers, a fishing fleet, and a recreational marina. It’s a node of heavy industry that interrupts the rocky beaches of the coast, separating seaside promenades designed by Portugal’s two Pritzker Prize winners: Eduardo Souto de Moura to the south, in Matosinhos, and Álvaro Siza to the north, in Leça da Palmera, where his outdoor swimming pools and Tea House are nestled into the rocks.

 

In the first phase of the plan, finished in 2011, Silva and his team moved the cruise-ship dock from the inner harbor to a new pier at the end of the southern breakwater, for more direct access to the city and to accommodate ships up to 1,000 feet long. The terminal was completed in a second phase last year. In the near future, the pier and terminal will open to the general public, allowing the building, with its rooftop viewing deck, to truly function as a destination rather than just a curiosity when seen from Souto de Moura’s seaside promenade, where its dramatic forms stand out against the horizon.

 

Silva set the terminal in the elbow of the angled breakwater, and in plan it resembles a hinge or spring, with ramps and arms curving out in different directions toward the marina, the new pier, and the shore. Inside, these pedestrian paths come together in a spiraling oval ramp around the central atrium. The uncoiling arms diagram the different systems of movement through the building. From a cruise ship, for example, a breezeway carries passengers over the service areas of the dock to the terminal. Ramps and escalators bring them down to the ground level, where they pass through customs and baggage handling (or vice-versa), to connect to tour buses or smaller boats for trips to the city and the Douro wine region, or eventually to a tram line that is planned to run along the coast.

 

In the original program, the upper section of the terminal was meant to house a shopping concourse and a restaurant, but Portugal’s ongoing financial slump made investors hard to find. While Silva was developing the design, these floors were taken on by the University of Porto’s Marine Science and Technology Research Park. The architect rather awkwardly converted the commercial spaces into laboratories, with floor-to-ceiling glazed storefronts facing the atrium but with no exterior windows, and with offices on mezzanines accessed via spiral stairs. He installed a research aquarium in the basement, and converted the top-floor restaurant into a multi-use event credits space. Yet this unlikely partnership with the university does bring life to the building, as well as steady revenue, and allows the center’s scientists to be close to the sea.

 

Silva worked with local manufacturers to develop a hexagonal ceramic tile with a tilted face to clad the building, updating the Portuguese tradition of painted-tile facades. He rotated the tiles, placing them in varying relations to each other, like barnacles or shells, to create an uneven surface. “They give the building a human scale,” he says.

 

Glistening in the light, the curving walls of the building read like ribbons looping around themselves in an irregular tangle. Echoes of two Guggenheims are evident—Wright’s in New York and Gehry’s in Bilbao. Silva affirms, however, that Siza is his most important reference: “The way our bodies move in a space, and the way a space invites you forward.” Like Souto de Moura, whose early buildings were very Miesian, Silva may be using Wright and Gehry to mitigate the influence of Siza’s eccentric, rectilinear forms. Whatever the case, he develops the terminal’s looping ramps and drum with an elegant economy of means, and makes this formal repertoire his own.

Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.

 

The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.

 

St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.

 

The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.

 

One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.

 

Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.

 

The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.

 

The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.

 

It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.

 

Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.

en.wikipedia.org/wiki/St_Mary%27s_Church,_Fairford

The Sleeping Giant is a formation of mesas and sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Squaw Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Squaw Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.

 

One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men.[3]

A Stellar Nursery in Orion's Sword, credit to my son who's new to astro photography and captured this with his iphone attached to a Celestron telescope.

  

Behold the Orion Nebula, also known as Messier 42 or simply M42 – one of the most breathtaking deep-sky objects in the night sky and the closest major star-forming region to Earth at about 1,350–1,500 light-years away.Hanging like a cosmic jewel in the "sword" of the constellation Orion (just below the famous Belt of three stars), this glowing cloud of gas and dust is visible to the naked eye as a fuzzy patch under dark skies. With an apparent magnitude of around 4.0, it's bright enough for binoculars or a small telescope to reveal its stunning details: swirling pink and red hydrogen gas excited by intense radiation from hot young stars, mixed with blue reflection nebulae and dark lanes of dust.At its heart lies the Trapezium Cluster – four massive, blazing stars that power the nebula's glow and sculpt its dramatic shapes. This is a true stellar nursery, only about 2 million years old (a baby in cosmic terms!), where thousands of new stars are being born from collapsing clouds of gas. Recent views from telescopes like Hubble and JWST have even captured planet-forming disks and intriguing features like rogue planet pairs.For astrophotographers, Orion season (winter in the Northern Hemisphere) is prime time – and right now in early 2026, Orion is riding high in the evening sky.

   

Detail of the glass by Clayton & Bell in the central lancet of the north transept.

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

Vault of the eastern crossing at Beverley Minster, showing Victorian painted decoration by Clayton & Bell.

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of the Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

 

Uploaded originally for the 'Guess Where UK?' Group.

Day Two.

Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.

"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.

 

Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.

First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.

 

Back on the road and Route One we headed down and into the bit of coast called Big Sur.

"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"

 

It certainly lived up to the description! Amazing place to ride through/along!

Stopped at so many various vista points for pictures and posing etc!

We stopped for lunch at a place called Ragged Point -

"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"

Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..

 

Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.

 

Back on the road and continued down to San Luis Obispo to find our motel..

Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.

We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!

 

Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.

 

The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.

 

St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.

 

The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.

 

One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.

 

Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.

 

The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.

 

The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.

 

It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.

 

Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.

en.wikipedia.org/wiki/St_Mary%27s_Church,_Fairford

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble Djúpalónssandur Beach. In Stykkishólmur fishing village, the 19th-century wood-frame Norwegian House is a regional museum with a craft shop.

Lake Como, in Northern Italy’s Lombardy region, is an upscale resort area known for its dramatic scenery, set against the foothills of the Alps. The lake is shaped like an upside-down Y, with three slender branches that meet at the resort town of Bellagio. At the bottom of the southwest branch lies the city of Como, home to Renaissance architecture and a funicular that travels up to the mountain town of Brunate.

 

Architect: Klas Anshelm

Built in: 1957

Client: The City of Lund

 

Prehistory

Lund Konsthall is the result of a donation from the Old Savings’ Bank (today’s Finn Savings’ Bank) to the City of Lund. In 1953 the City Council decided to accept the gift and invited six architects for a competition to design the new art gallery. In 1954 the jury unanimously decided that Klas Anshelm’s proposal should be realized.

 

Architecture

Klas Anshelm (1914–1980) was a well-known and busy architect in Lund. With its monolithic brick façade Lunds Konsthall became one of Sweden’s finest exhibition venues. Its dramatic and yet restrained form is well adapted to contemporary art, and also blends in with the medieval architecture of Lund.

 

Renovations

Lunds Konsthall has not fully retained its original architectural expression, but it has escaped thorough reconstruction. In 1997 the building was renovated with support from the Finn Savings’ Bank and in 2004 it underwent a lighter renovation, aiming at restoring as much as possible of the original architecture.

 

History

‘I have tried to achieve an environment, tried to achieve a spatial frame for objects, and also to facilitate the changing of light bulbs.’

Klas Anshelm, Architect

 

Source: Lunds Konsthall - History.

 

The images from Lunds Konsthall was taken during the exhibition - The Opposite of Me Is I by the artist Miriam Bäckström.

 

More pictures from Lunds Konsthall here.

Highlight: The area immediately northeast of Halong Bay is known as Bai Tu

Long Bay and is the focus of our special itinerary. Hundreds of islets

 

rising from the clear waters, long sandy beaches beckon, grottoes and

lagoons entice the visitor an area relatively underdeveloped and

unpolluted by

 

the tourist trade.

 

Halong Bay (2 days 1 night) 120USD/PP

 

Bai Tu Long bay Vong Vieng floating village Trong cave Ha Long bay

Sung Sot cave

 

DAY ONE (lunch, dinner )

 

08.30 approx

 

Our guide will meet you at your hotel. Mini bus or private car pick up.

 

Enjoy the peaceful scenery as we travel through the countryside, farmlands

and Red River delta. You will have a chance to take photos and short break.

The

 

time from Hanoi to Halong bay is approximately 3 ½ hours.

 

12 noon approx

 

Arriving Halong Bay. Welcome aboard The Paloma. Meet the captain, crew and

join us for a welcome cocktail as we tell you about life onboard.

 

Check into your cabin. Time to refresh and unwind.

 

Set sail as lunch is prepared by our chef.

 

Join us for a relaxing lunch in the restaurant or on the outdoor dining

area. Enjoy the stunning views of the Bay, its dramatic limestone islands as

we sail

 

through the calm waters.

 

Afternoon

 

While we make our way to Bai Tu Long Bay, relax on the sundeck and watch the

world go by or take an afternoon nap in your cabin. Early afternoon arrive

 

at Vong Vieng floating fishing village. Drop anchor.

 

Our guide will give you some information and interesting facts about this

fascinating village and its local community.

 

Disembark and travel on the sampans rowed by the local people. They will be

your guides through their fishing village where you can meet the locals,

visit

 

the school and pearl farms. See at first-hand what life is like living on

the water. We are proud of our working partnership with, and support of this

 

community. Back on board The Paloma we head towards Halong Bay. We drop

anchor in the calm waters surrounded by islets

 

Opportunity to go swimming in the clear warm waters or go kayaking. Kayaking

is suitable for all levels and ages. Our expert will run through the safety

 

procedures and after a basic paddling lesson our experienced guide will lead

you to explore the Bay, its lagoons and beaches.

 

For those who prefer a relaxing afternoon, make the most of sunbathing on

deck or pamper yourself with a massage and sauna in our luxurious spa.

 

Early evening

 

Back on board, enjoy the sunset with evening cocktails and fresh fruit.

 

Take an opportunity to refresh and then join friends for a pre-dinner drink

in the bar.

 

Dinner is served in the restaurant or outdoor dining area, which is a

gastronomic delight.After dinner, unwind in the bar where there is a

selection of books,

 

magazines and board games or relax in the spa; watch a movie on our plasma

TV; join some of our team to go cuttle fishing at night or take a late night

swim

 

under the stars. Accommodation and overnight on junk.

 

trulyhalong.com/halong-bay-deluxe-cruises/paloma-cruise.htm

East 42nd Street, Midtown Manhattan

 

The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.

 

History of Construction

 

The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.

 

Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.

 

Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.

 

It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.

  

William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "

 

His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.

 

'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.

 

Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.

 

The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.

 

Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.

 

In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.

 

The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.

 

The Chrysler Building and Art Deco

 

Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.

 

The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.

 

In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.

 

The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

 

The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,

 

The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.

 

The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.

 

Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.

 

In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.

 

The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.

 

The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.

 

The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.

 

The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.

 

On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.

 

Conclusion

 

Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:

 

It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.

 

The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.

 

- From the 1978 NYCLPC Landmark Designation Report

This slab of concrete is a memorial to the destruction of Twyford Down by the construction of the M3 motorway and an indictment of those responsible.

 

Twyford Down is a small area of ancient chalk downland lying directly to the southeast of Winchester, Hampshire. The down's 144-metre (472 ft) summit, known as Deacon Hill, is towards the north-eastern edge of the area which is renowned for its dramatic rolling scenery, ecologically rich grassland and as a Site of Special Scientific Interest (SSSI). It is situated at the western extremity of the South Downs National Park, having previously been designated as part of the East Hampshire AONB (Area of Outstanding Natural Beauty).

 

In 1994 a highly controversial road building project was—despite vigorous objection from many quarters—completed and a new 2-mile (3.2 km) stretch of the M3 motorway was created, running through a significant section of the down, which was excavated and removed to create a deep cutting.

 

In December 1991, Twyford Down became the site of the UK's first road protest camp when environmentalists, including members of Dongas and Earth First!, gathered to hinder work. After a year this first camp was evicted on Yellow Wednesday, named after the uniforms of the security guards who performed the eviction in December 1992.

 

Resistance to the road intensified and Earth First! set up a new protest camp nearby in Plague Pits Valley and continued to obstruct the work both on the water meadows and up on the Down itself. In addition to many direct actions, there was a mass trespass in which over 5000 people attended the protests and occupations, and six people were sent to prison for some weeks for defying an earlier injunction not to enter the site.

 

The motorway section that was eventually constructed through Twyford Down completed the route of the M3 motorway. Prior to its completion, traffic travelling from nearby Southampton and Portsmouth (major ferry ports) and from farther west to London and the north had to exit the truncated M3 and travel on the heavily congested 1930s Winchester Bypass. Once round this bypass, traffic could either rejoin the M3 in order to proceed toward London or join the A34 road. Completion of the link in 1994 removed the traffic from the existing Winchester Bypass, allowing its closure and significantly reduced heavy traffic volumes from the village of Twyford. To redress the loss of 1.91 hectares (4.7 acres) of SSSI land, the old route of the A33 road was planted with 7.2 hectares (18 acres) of species-rich grassland under the supervision and monitoring of The Institute of Terrestrial Ecology.

 

In 1994, a government committee concluded that building more roads encourages more traffic and that the way to ease congestion and pollution was to take measures to control car use rather than accommodate more. When Labour came to power in 1997, most of the road schemes were suspended.

 

The South Downs National Park is England's newest National Park, having become fully operational on 1 April 2011. The park, covering an area of 1,627 square kilometres (628 sq mi) in southern England, stretches for 140 kilometres (87 mi) from Winchester in the west to Eastbourne in the east through the counties of Hampshire, West Sussex and East Sussex. The national park covers not only the chalk ridge of the South Downs, with its celebrated chalk downland landscape that culminates in the iconic chalky white cliffs of Beachy Head, but also a substantial part of a separate physiographic region, the western Weald, with its heavily wooded sandstone and clay hills and vales. The South Downs Way spans the entire length of the park and is the only National Trail that lies wholly within a national park.

 

Photoshop Elements was used here to alter the colour of the grass to make it look dead.

 

en.wikipedia.org/wiki/Twyford_Down

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of the Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

This stunning head with its wonderful representation of a complex hair style was yet another treasure from this great museum. Powerful and evocative I personally found this piece very moving, not just because of its dramatic representative power, but alss because of its intimate portrait of a woman of long ago.