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+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Model for the origin of digits by temporal extension of distal Hoxd13 expression.Tree shows phylogenetic relationships of shark, paddlefish, zebrafish and mouse. Top row shows hypothetical timing for the transition of the apical ectodermal ridge (AER) to apical ectodermal fold (AEF); note that the mouse maintains an AER and does not form an AEF. Green shading represents proliferative period for endoskeletal progenitor cells. Middle rows show Hoxd13 expression domains (blue) at early and late stages of fin and limb bud outgrowth. AER and AEF are shaded orange. Bottom row shows pectoral appendicular skeleton for each taxon. Endoskeletal bones are shaded as follows: green, propterygium; red, mesopterygium, yellow, metapterygium. Dermal fin rays are shown as unshaded elements within fin blade. The model suggests that a second phase of distal Hoxd13 expression was present in the paired fins of the common ancestor of chondrichthyans and osteichthyans (at position 1), and that loss of the distal Hoxd13 domain in teleosts (position 2) and its spatial expansion in tetrapods (position 3) may have been associated with temporal modulation of endoskeletal progenitor cell proliferation. Early conversion of the AER to an AEF would be expected to truncate or eliminate phase II expression of Hoxd13 and reduce the fin endoskeleton, as seen in zebrafish, whereas prolonged signaling by the AER would be expected to extend Phase II and expand the Hoxd13 domain, giving rise to digits in the tetrapod lineage. Clock model after [25]; skeletal patterns after [15], [31], [40], [74].
Radio is the transmission of signals through free space by electromagnetic waves with frequencies significantly below visible light, in the radio frequency range, from about 3 kHz to 300 GHz.These waves are called radio waves. Electromagnetic radiation travels by means of oscillating electromagnetic fields that pass through the air and the vacuum of space.
Information, such as sound, is carried by systematically changing (modulating) some property of the radiated waves, such as their amplitude, frequency, phase, or pulse width. When radio waves strike an electrical conductor, the oscillating fields induce an alternating current in the conductor. The information in the waves can be extracted and transformed back into its original form.
An audio signal (top) may be carried by an AM or FM radio wave.
Antennas and propagation
Electromagnetic waves travel through space either directly, or have their path altered by reflection, refraction or diffraction. The intensity of the waves diminishes due to geometric dispersion (the inverse-square law); some energy may also be absorbed by the intervening medium in some cases. Noise will generally alter the desired signal; this electromagnetic interference comes from natural sources, as well as from artificial sources such as other transmitters and accidental radiators. Noise is also produced at every step due to the inherent properties of the devices used. If the magnitude of the noise is large enough, the desired signal will no longer be discernible; this is the fundamental limit to the range of radio communications.
Radio frequencies occupy the range from a few hertz to 300 GHz, although commercially important uses of radio use only a small part of this spectrum.Other types of electromagnetic radiation, with frequencies above the RF range, are microwave, infrared, visible light, ultraviolet, X-rays and gamma rays. Since the energy of an individual photon of radio frequency is too low to remove an electron from an atom, radio waves are classified as non-ionizing radiation.
The meaning and usage of the word "radio" has developed in parallel with developments within the field of communications and can be seen to have three distinct phases: electromagnetic waves and experimentation; wireless communication and technical development; and radio broadcasting and commercialization. Many individuals—inventors, engineers, developers, businessmen - contributed to produce the modern idea of radio and thus the origins and 'invention' are multiple and controversial. Early radio designs could not transmit sound or speech and were called the "wireless telegraph."
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
One of an uncountable, beautiful, wooden bridges with an unbeatable view along the bike path
Frame: Norco Monterey (originally a hybrid)
Stem: Threaded to threadless adaptor with Tehet 100mm Stem
Handlebar: Bontrager 44cm "anatomic"
Brifters: (Used) Shimano Ultegra (9x2 - yeap that's right...)
Brakes: Tektro inline lever on the front brake
Pedals: Schimano M-551 SPD
Rims: Alexrims DA22 (with fairly big gage stainless spokes)
Tyres: Continental Contact 700x28C
Hubs: Shimano 105
Seat and post: Ritchey seat post with a crap saddle (needs to be replaced)
Derailleur: rear - (used) Ultegra, front - original low grade shimano
Cassette: 8 speeds 13x29
Planet bike freddy fenders
Fun fact: I left for an 800km solo tour about a week after having built the bike as it is now with around (urban) 100km on the odo. That may have been madness, but the bike handled perfectly with not a single issue. I was very happy as this proved the reliability of my build :) (I was also very well prepared on the repair side)
Fun fact #2: The front shifter is a double and the bike sports a triple chainring. The derailleur is adjusted so it's low gear is the middle ring and to shift to the granny gear I go in big/big combo (yes that's bad, but I don't actually ride that) and then "kick" the chain to the granny by shifting down twice (the shifters have a low gear setting). It takes some practice, but it works nicely. It's also fun to see it throw off all the mechanics that work on my bike (when for some reason I don't do a repair myself).
Func fact #3: The brakes are "inverted", the right side brakes in the front. Allows me to hand signal with a hand on a front brake and gives me better modulation (I'm right handed)
Not so fun fact #1: I don't think the Ultegra RD is liking the 8 spd chain. When summer comes and I switch back to the road kit again, I may very well switch to a 9 spd cassette and chain.
Road config: when in roadie/commuter config, I switch the stem around for a lower profile and sport Continental Gatorskin's in 700x23C
Winter config: I put back the hybrid (stock) parts for winter riding. (Frame is Ai so it doesn't suffer much)
To be honest it's far from the best touring bike around, but it did a nice job to get me there. I also toured a 500km and a S240 in the hybrid config. I am, however, very inclined to get myself a LHT at some point. And learn to MiG weld. Boast it with heavy duty rims, Phil wood hubs, DT Swiss reinforced spokes, custom water reservoir. And steal front and rear racks. At some point I may also look into building a custom single 700c wheel "bob" for longer runs and possible errands to the hardware store.
Bedford-Stuyvesant, Brooklyn
The Antioch (formerly Greene Avenue) Baptist Church was designed in the Queen Anne style with Romanesque Revival elements by Lansing C. Holden and built in 1887-92. While it clearly reads as a religious building, its striking design harmonizes with the adjacent residential streetscape by reproducing the scale, texture, and overall character of the neighboring rowhouses. Among these is the adjacent Antioch Baptist Church House, which in its exterior materials and details is a well composed architectural complement to the church. Designed as part of a row of seven houses by the Brooklyn firm of Langston & Dahlander, this structure was built in circa 1892-93 as a single-family residence; it was purchased by the Antioch Baptist Church in 1961 for use as a church house.
The Antioch Baptist Church has played a prominent role in Brooklyn's religious history. It was built by the Greene Avenue Baptist congregation, which was a white group originally founded in Bushwick in 1854 and is remembered for its many philanthropic programs. As economic and demographic changes transformed the Bedford-Stuyvesant area surrounding the Greene Avenue church from a mixed-income white neighborhood to an economically diverse black community, this church remained a visual and social anchor. The building was sold in 1950 to the Antioch Baptist congregation, which had been established in downtown Brooklyn by Rev. Moses P. Paylor in 1918. Upon relocating to Greene Avenue, the Antioch congregation continued its dedication to social justice and spiritual enlightenment, receiving as guests nationally renowned civil rights leaders, politicians, performing artists, authors, and many other influential people, particularly black Americans. Today, Antioch persists as a prominent institution in New York's most populous black community, whose cultural roots stem from the communities of Weeksville and Carrsville which were founded by blacks and flourished nearby in the mid-nineteenth century.
2
In the spring of 1854 the white Baptists of Bushwick met for the purpose of organizing a Baptist church in that vicinity. A Board of Trustees was elected and the group was incorporated as "The First Baptist Society of the Town of Bushwick, long Island. "5 Soon recognized by the Baptist Council of Churches, it purchased its first house of worship, a structure on Bushwick Avenue opposite Wall Street which the Ascension Episcopal Church had recently erected but could not afford to keep. Having outgrown this building after twelve years, the society — renamed the Gethsemane Baptist Church of Brooklyn — moved temporarily to member J. Whittlesey's Omnibus House on Broadway near Sumner Avenue. The church members purchased property on Willoughby Avenue near Broadway and erected a new church, dedicated in 1868.
The future of the congregation would be linked to today's Bedford-Stuyvesant. A theological disagreement divided the group, and about thirty members withdrew and organized the Trinity Baptist Church in 1875; two years later they built a wooden chapel on Greene Avenue between Patchen Avenue and Broadway (within the borders of what is today considered Bedford-Stuyvesant, and now demolished).6 The church members remaining on Willoughby Avenue adopted the name Willoughby Avenue Baptist Church in 1879 and two years later they chose the Rev. Robert B. Montgomery (1839-1893) as their new pastor. A native of Scotland, Montgomery moved to Canada where he eventually studied for the ministry at the Baptist College of Ontario (later renamed McMaster University of Toronto) and served in various pastorates; he was pastor of a church at Seneca Falls, New York, when he was invited to the Willoughby Avenue church. It was Rev. Montgomery who led the congregation in 1884-85 as it sold the church and began worshipping in the hall of the Warner Institute, where it remained for several years. Meanwhile it purchased land on Greene Avenue, in the heart of the developing area which would eventually be called Bedford-Stuyvesant; in 1885 a building committee was chosen to solicit designs for the new church and to oversee the project.^ plans submitted by Lansing C. Holden were selected,8 but before construction was completed, the plans were probably altered by Paul F. Higgs (see "Design and Construction of the Church," below).
The exterior of the Antioch Baptist Church is a striking example of Queen Anne design that incorporates Romanesque Revival elements. The horizontal expanse of its rusticated base, bowed central mass, and garland-embellished bands is balanced by the verticality of the stacked windows and of the four towers, particularly the turreted comers and arched narrow openings of the end towers. The steeple .of the western tower accentuates the vertical, or medieval, ambience while serving as a counterpoint to an otherwise symmetrical design. Other Romanesque-inspired details are round-arched window openings, serpentine door straps and carved stone bases on the bartizans (overhanging comer towers). The contrasting colors and textures of the brick, stone, pressed metal, slate shingles, and roof tiles adds to the design's Queen Anne character.
The modulation of the church's facade into several projecting and recessed masses, its set-back behind a small garden, its simple stoop-like staircases, and its varied silhouette allow the large volume of the building to harmonize with the adjacent residential streetscape. Several groups of rowhouses were already standing in the vicinity when the church was designed and the remaining rows were built during the construction of the church and slightly later; therefore, it would seem that this contextual approach to the design of the church was a conscious one on the part of the architect.
The estimated cost of architect Holden's proposed church was $55,000 or $60,000,which was more than the congregation could afford; therefore, it was decided to build only the basement at first. The ceremonious laying of the cornerstone took place in August, 1887; the following April the newly christened "Greene Avenue Baptist Church" held services in the roofed-over basement, which had been built by F. Mapes and accommodated 570 people. At this time the almost 700-member church also resumed its Sunday school and missionary activity. The total cost of land and basement was $35,000; when the $10,000 mortgage was paid off late in 1890, the members decided to complete the church.
The intention to finish the building according to Holden's plans was not carried through, primarily due to financial restraints. New plans were solicited, but none were accepted. Instead, New York City architect Paul F. Higgs, who had been a competitor, was asked to revise Holden's original design^; the resulting scheme, published in the Brooklyn Eagle [see fig. 2], was estimated to cost $27,000. The church took out a new $25,000 mortgage and construction resumed in 1891. The opening of the auditorium was hailed by week-long dedication services, directed by Rev. Montgomery, in April, 1892.
The church exterior reveals the overall organization of the interior (not included in this designation), particularly that of the auditorium. The expansive auditorium takes on the traditional shape of a Greek cross. Surrounding the central space, which has a coved ceiling supported by broad arches on slender columns, are four vaulted "arms," one containing the bowed bay visible on the facade and another sheltering the raised sanctuary.
Contemporaneous with the completion of the church, the architectural firm of Langston & Dahlander designed a row of seven dwellings for the lots directly to the west of the church. Commissioned by Louis C. Schliep, a financial broker on Wall Street, 14 the plans were submitted for a building permit in December, 1891, with an estimated cost of $5,000 per building. 15 Faced in brick and brownstone, these Queen Anne style houses with Romanesgue Revival details have three stories and raised basements. Number 826 (now the church house) was designed and built^^ as the easternmost of this group of rowhouses. Their alternating rhythm of pitched roofs and gabled facades and the sophisticated variation of details within the row support the theory that Nos. 814 (recently demolished)^ and 826 were designed with the same overall composition. Unlike the other five facades, each of the end houses at Nos. 814 and 826 were designed with a second story pierced by a single window and a pair of windows as well as paired third-story dormers. Apparently the architects were extremely sensitive to the design of the adjacent church, then just being completed, as they introduced at No. 826 corbeled lintels over the first-story openings, arched second-story openings with brick voussoirs that contrast' with the color of the facade in an identical fashion as those on the church, slate roof shingles, and uneven dormer sizes in order to complement the church facade. 18 Presumably, the seven rowhouses were executed between 1892 and 1893.
The Greene Avenue congregation continued to prosper in its new location, which was occasionally called the "Baptist fort." Soon after Rev. Montgomery's death in 1893, the church elected Rev. Cornelius Woelfkin (1859-1928) as pastor. Bom on Manhattan's West Side to German parents, Woelfkin was ordained to the ministry in 1886 and served as pastor of churches in New York and New Jersey before arriving at the Greene Avenue church in 1894. During his pastorate, the continued increase in membership (surpassing 1000 faithful by 1904) necessitated the building of a gallery in the auditorium and the church celebrated its Golden Jubilee in 1904. The following year, Woelfkin's abiding friendship with oil executive and philanthropist John D. Rockefeller, Jr., led to the clergyman's transfer to Rockefeller's Fifth Avenue (later Park Avenue) Baptist Church in Manhattan; in that location Woelfkin solidified his reputation as a well-respected anti-Fundamentalist. Curing the early twentieth century, the Greene Avenue congregation's continued vitality permitted the dispatch of members as missionaries to China, Cuba, and throughout the United States. Those remaining in Brooklyn supported philanthropic work, renovated the church interior (including the installation of new stained-glass windows in 1901
and 191025), and in 1922 hosted former Secretary of State and popular orator William Jennings Bryan for a speech against Darwinism.
After several decades of dwindling jnembership, the church sold its largely intact^ house of worship to the Antioch Baptist Church in 1950. The remaining members of the Greene Avenue church moved to other Baptist churches and the funds from the sale were distributed to various charities.
8
Antioch's prominence within the black church^ and the city's religious community is attested to by the enormous number of famous and influential guests it has hosted. 33 Among them are:., civil rights leaders Rev. Dr. Martin Luther King, Jr., Rev. Ralph Abemathy, Rev. Dr. Adam Clayton Powell, Jr., Hazel Cukes (New York's head of the NAACP), and Rosa Parks; politicians including Governor Nelson Rockefeller and Mayors John V. Lindsay and David N. Dinkins; and African-American celebrities in many fields such as Aretha Franklin, Dick Gregory, Ossie Davis, Ruby Dee, Jackie Robinson, Spike Lee, and Langston Hughes. Many of these visits are memorialized in a large photo montage now located in a room adjacent to the church balcony.
Subsequent History of 826 Greene Avenue^
The building that now functions as the church house was sold in 1894 by Thaddeus Halsted Myers to Frederick H. Norwood (aka Frederic H. Narwood) , a manufacturer, for $7,500. Norwood, in turn, sold the house to Elias Reiss in 1920. Seventeen years later it was purchased by Anna Perlman, whose family owned the house until 1948. In that year Mildred Lewis and Sentry Scarborough bought the property; they and their heirs owned the building, which was converted to a multiple dwelling, until 1961 when it was sold to the Antioch Baptist Church. Rev. Lawrence had the structure altered into a one-family parsonage in 1963-65. It currently serves as a non-residential church house.
Description of the Church^ [see figs. 4, 6-7]
The church's nearly-symmetrical facade is composed of five sections, covered largely in rock-faced white and red-brown brick of elongated proportions, russet slate shingles, and white Indiana limestone.
The central section features a bay, sheathed in fish-scale and plain slate shingles, which projects from a limestone base and is flanked by a pair of brick towers. Resting on iron brackets, the bay is adorned by three pressed-metal bands, one decorated with swags, and a swag-embellished cornice. Each of the three round-arched openings, crowned by a projecting keystone, contains stained glass in its arched top section and flat-headed lower sections. The lower portion of the bay bears a long, narrow sign with the words "ANTIOCH BAPTIST CHURCH." The base, buttressed at its sides, is pierced by five double-hung wood-sash windows to which wrought-iron grilles have been added. This section's half-conical roof is now covered with asphalt shingles (originally Roman tile). The flanking red-brick towers terminate the buttresses and are surmounted by cornices and bell-shaped roofs with finials. The western tower bears the cornerstone inserted upon Antioch's arrival in 1950.
Adjacent to the central section are two identical, recessed sections. Their stone bases align with that of- the central section;- their red-brown
brick upper portions contain round-arched openings beneath contrasting white brick arches with stone keystones. Each opening contains stained glass and is divided by a swag-encrusted pressed metal spandrel into an arched upper portion and rectangular lower portion.. Stained-glass windows, filling openings on three sides of the building, depict religious scenes, abstracted foliage, and geometric patterns.
The end pavilions take the form of . matching towers with strikingly different crowns. Each red-brick tower has a long flight of stone steps flanked by original cast-iron pipe railings, some of which retain their intermediate cast-iron infill. Each pair of oak doors, their five-paneled surfaces painted red and embellished with serpentine iron strap hinges, is surrounded by a stone frame and capped by a prominent, hipped hood, now covered in asphalt shingles. At the mid-section, each tower is pierced by an arched opening with a double-hung wood-sash window, a brick arch, and a stone sill. The upper portion of each tower is bracketed between dentiled stone bands, reinforced by bartizans, and pierced by trebled double-hung wood-sash windows with intersecting white brick arches and a continuous stone sill. The western tower culminates in a tall steeple, now surfaced in asphalt shingles; in contrast, the eastern tower has a low pyramidal roof with a carved stone finial. The exposed sides of the end towers are articulated identically to the front of these towers.
At the bottom of each staircase now stands a cast-iron base of what must have been an early streetlight. While not original, these elements must have been added around the turn of the century. Between the staircases, a granite curb supports an original iron fence that protects a small garden. Within the garden is a modestly-sized announcement board with a glass front. Two narrow wings, deeply recessed behind iron gates, span the alleys between the church and the adjacent buildings. Sided in wood and painted dark brown, each of the wings has an arched opening with double-hung wood-sash window and rests on a ground-story arch; in the eastern wing, this arch is filled by a door leading to the Fellowship Hall, while its western counterpart remains open to the alley beyond it.
From the rear of the building, the main roof is visible: its hipped central section is intersected by pitched-roofs covering the arms, which terminate in gables. The rear elevation, partially obscured by an adjoining structure, is stuccoed and pierced by window openings. The brick side walls of the main body of the church, one painted white and the other stuccoed, are pierced by arched openings which contain historic stained glass windows at the auditorium level and recent wrought-iron gates at the basement.
Description of the Church House [see fig. 5]
To the west side of the church is the three-story rowhouse with a raised basement; it now serves as the church house. The box-shaped stone stoop, now painted, has a rock-faced front wall and smooth side walls. A non-original wrought-iron fence with a gate separates the sidewalk from the areaway, now filled in. Original iron gates remain at the basement entrance under the stoop and over the basement window. The parlor story is also -fronted in rock-faced limestone. A projecting lintel, on end corbels,
10
shields the doorway. (The door is not original.) The window opening to the west of the door contains a pair of windows separated by a turned mull ion and capped by leaded glass transoms that are bracketed by rounded corbels. A rectangular sign surmounts the parlor Story and a flower box has been installed beneath the windows. The second story is fronted in rock-faced red-brown brick. Above the door, a small arched opening with a stone sill rests on a stone plaque carved with oak leaves and a shield. To the west are two arched openings. All three second-story openings are united by a stone springing course and have rock-faced white brick arches. A modillioned cornice is surmounted by the slightly pitched slate roof from which two dormers, of unequal size, protrude. Both have smooth surrounds, modillioned cornices, and slate-tiled hipped roofs, one with a ball finial. All windows have one-over-one double-hung wood sash. The house's gabled end walls project slightly above the roof. The eastern wall is of rough brick, and is stuccoed. The western wall is a party wall with the adjacent rowhouse.
- From the 1990 NYCLPC Landmark Designation Report
PRICED FOR QUICK SALE!
MITSUBISHI HDILA REAR PROJECTION TV 1080P
CLICK THIS LINK TO SEE ALL OUR INVENTORY www.flickr.com/photos/53089149@N02
YOU CAN USE THE SEARCH FILTER TO FIND WHAT YOUR LOOKING FOR EASILY BY ENTERING SIZE(50 inch), TYPE(plasma, dlp, lcd), OR ANY KEY WORD!
MODEL # WS-55511
FACTORY SPECS:
Key Features
Screen Size 55 inch
Aspect Ratio 16:9 • 4:3 Enhanced • 14:9
Weight 250 lb.
Remote Control
Remote Control Multibrand
Image Quality
Comb Filter 3DYC / 3D Digital
Velocity Scan Modulation With VSM
Adjustable Color Temp. With Adjustable Color Temperature
Audio Features
Audio Type Virtual Surround
Audio Output Fixed
Technical Features
Picture in Picture With PIP
Sleep Timer With Sleep Timer
Connectors
Headphone Jack Without Headphone Jack
Screen Text
Channel Labels With Channel Labels
Closed Caption on Mute With Closed Caption On Mute
Dimensions
Width 50.75 in.
Depth 28.13 in.
Height 50.38 in.
Weight 250 lb.
WORKS GREAT AND IS READY FOR YOUR LIVING ROOM OR HOME THEATER.
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Brakes
Already famous, the new sedan combines style and comfort with a dynamic and reliable road behavior. Part of this captivating feeling stems from an innovative Continental braking system, which we will closely examine in the following article
Nicodemo Angì
The new D-segment Alfa sedan has a respectable and sophisticated technical outfit which stems from the fact that the car was designed starting from a blank sheet, or almost. The technical features borrowed from the Group's other brands are prestigious indeed, such as the Quadrifoglio V6 engine created through a collaboration with Ferrari and the front end which greatly resembles that of a Maserati. Not to mention the carbon fiber transmission shaft and, in fact, the integrated MK C1 braking system by Continental. The German group, as we well know, has recently started to add to its traditional activity as a tire manufacturer, a well-diversified portfolio of sophisticated components, such as advanced driver assistance systems (ADAS) and sophisticated braking systems.
Simulating the system
The MK C1 appears truly innovative and was designed to perfectly equip hybrid traction systems fulfilling the requirements for a regenerative braking system without any additional measures, likely to become more and more necessary to meet the already stringent – but more so in the future - emissions regulations.
This integrated component allows in fact to implement, with relative ease, a drive-by-wire braking system where the pedal is decoupled from the hydraulic circuit, which allows other interesting advantages, such as actuation speed and pedal feeling adjustable via software.
The MK C1 braking system from Continental combines the brake actuation, booster, and control systems into a single braking unit; connections are therefore limited to the vehicle's wiring system, its data network and the pipes that carry the brake fluid to the brake calipers.
Gone, as already anticipated, the vacuum brake booster and its vacuum pump, replaced by an electric pump driven by a brushless DC motor (BLDC). The traditional tandem pump connected to the pedal is still present but, under normal conditions, will intervene only to transfer to the pedal - and therefore to the driver - the load simulator which reproduces the sensations of a more traditional system. The movement of the piston is read by sensors, and the signals are used to drive the working cylinder, operated by the above mentioned brushless DC motor. The conversion of the motor’s rotation into the linear movement of the piston takes place via a ball-and-screw system, a screw-nut screw system perfected by placing steel balls between the two threads: the rolling friction thus obtained guarantees a smooth and fluid movement with reduced resistance.
Failure free
The load on the nut comes from a single direction - from the piston side of the working pump - making it possible to calculate with great precision the relative piston position.
This ball-and-screw actuator is designed to be maintenance-free, but in case of failure (however unlikely) braking is guaranteed by the pump connected to the pedal and the same would happen even in the event of a complete power supply failure. The size of the pump connected to the tandem brake pedal ensures in any event the minimum braking efficiency prescribed by law (6.43 m/s2 with a pedal pressure of 500 N) even if the vehicle should weigh 2 tons or more.
Furthermore, the absence of the bulky shell of a conventional brake booster makes it possible to gain a further 10 cm in the front end of the vehicle, which can be used to increase the depth of the crumple zone in front of the occupant compartment. The system’s compatibility with ABS and ESC systems, which have a flow and return valve for each wheel, is guaranteed and, as far as the MK C1 is concerned, the valve system has been perfected further, just as its sensors.
Tailor-made braking
Decoupling the pressure on the pedal from the wheels has several advantages, such as no reaction to the pedal when the ABS or ESC systems are activated, or the type of braking intervention set by software and therefore easily adaptable to different brands and models. The sensors can even perceive the load the driver puts on the pedal: if it corresponds to a slight braking, which statistically represents about 80% of all braking, the modulation of the force occurs through the pedal stroke. If the driver, on the other hand, suddenly needs much more braking power, direct pressure on the pedal will provide what is needed.
Additionally, this system is ideal also on hybrid vehicles (so probably we will soon see a hybrid versions of the Giulia and the SUV Stelvio), where braking energy recovery is possible only at a certain speed range. The MK C1 system can effectively manage this function, producing the desired deceleration even when the energy recovery system "hands over" things to the more traditional brakes. The system efficiently works on principles of power on demand and, even if the maximum absorption is almost 100 A, it is only for short moments and then falls; if the system is not activated at all, then it will all be reduced to a slight consumption of the electronic part.
The system has shown remarkable readiness, which is essential if the automatic emergency braking system is to function properly and avoid possible collisions and pedestrians suddenly appearing in front of the car. Tests performed at a speed of 66 km / h saw a car equipped with the MK C1 stop after 18 meters while a more "traditional" car stopped after 23 meters and after 18 meters was still moving at 36 km/h.
“Future and complication proof”
This system so compact and efficient has proved so interesting that we wanted to learn more; therefore, taking advantage of Continental’s efficient press office, we forwarded a few questions to the specialists who deal with it.
Asked if the MK C1 was compatible without further modification with existing driver assistance systems (Adaptive Cruise Control, Emergency Brake and the like) we were given an affirmative answer. Not only no modifications are required, but the dynamic pressure is 3 times higher compared to current ESC systems; meaning that the system is also ready for autonomous driving!
Power absorption is not a problem too, since other onboard systems absorb more than the peak 80 amps of this system; Alfa Romeo came up with an electrical system that easily meets the needs with minimal voltage fluctuation.
The last question revolved around the necessary data for the system to function: are changes to bus on-board systems (CAN, Flexray and the like) required to manage the MK C1? The answer was that the system works with commonly available data on both cars and busses and not only; the system is in fact simplified, since the vacuum pump, the switch on the brake pedal and the various piping and assorted ESC support systems have been eliminated.
Describes the specification of the modulation reactor, which is between the 11kV HT DC supply and the feed-points for the modulation transformer secondary and the final RF stage valves.
A centre-tap feeds the penultimate RF stage valves. Note the possessive apostrophe which the Marconi Company were using at the time!
Madrid (Spain).
ENGLISH
DVB-S is the original Digital Video Broadcasting forward error coding and modulation standard for satellite television and dates from 1994, in its first release, while development lasted from 1993, to 1997. The first application was commercially available in France via Canal+, enabling digitally broadcast, satellite-delivered television to the public.
It is used via satellites serving every continent of the world. DVB-S is used in both MCPC and SCPC modes for broadcast network feeds, as well as for direct broadcast satellite services like Sky Digital (UK) via Astra in Europe, Dish Network and Globecast in the U.S. and Bell TV in Canada.
While the actual DVB-S standard only specifies physical link characteristics and framing, the overlaid transport stream delivered by DVB-S is mandated as MPEG-2, known as MPEG-TS.
This technology uses the 11/12 GHz Frequency band, qpsk modulation, error correcting codes, interleaving scramblers and reed-solomon coding to transmit the digital data from a gateway to a receiver.
More info: en.wikipedia.org/wiki/DVB-S
-----------------------
CASTELLANO
Digital Video Broadcasting by Satellite (DVB-S) es un sistema que permite incrementar la capacidad de transmisión de datos y televisión digital a través de un satélite UH11 usando el formato MPEG2. La estructura permite mezclar en una misma trama un gran número de servicios de video, audio y datos.
Más info: es.wikipedia.org/wiki/DVB-S
GATECRASHER 9TH BIRTHDAY LIVE @ REPUBLIC 21-Sept-2003 , SHEFFIELD , ENGLAND , UK
Gatecrasher 9th B'day (2003-09-20) Play List PVD
01. Mark Norman - Overkill (Intro Mix)
02. Terry Bones & Fred Baker - Introspection (John Askew Remix) (Paul van Dyk Re-Edit)
03. Inzite - Spellbound
04. Agnelli & Nelson - Holding On To Nothing (Paul van Dyk Rework)
05. Modulation - Spirits (Cosmicman Remix)
06. R.B.A - Daywalker
07. Motorcycle - As The Rush Comes (Sweeping Strings Mix)
08. ID
09. 4 Strings - Revelation
10. Jaron Inc. - Overflow
11. Scott Bond Vs. Solar Stone - Naked Angel
12. James Holden & Thompson - Nothing (93 Returning Mix)
13. Donald & Giles - Weekend Wonder (Donald & Giles Remix)
14. Goldenscan - Sunrise (Pulser 6AM Vocal Mix)
15. Paul van Dyk feat. Second Sun - Crush (Album Mix)
16. Paul van Dyk Feat. Vega 4 - Time Of Our Lives (Paul van Dyk Club Mix)
17. David Forbes - Answers (Original Mix)
18. Masters & Nickson - 5th Dimension (Instrumental)
19. Lunatic Asylum - Cabal (Energy Flow) (Hiker & Dumondt's Gom Jabar Mix)
20. Nu-NRG - Connective
21. Three Drives - Carrera 2 (Nu-NRG Remix)
22. Modulation - Spirits (Slusnik Luna Remix)
23. ID
24. Extension 119 - The Zone (Original Mix)
25. Marcel Woods - Time's Running Out
26. ID
27. DJ Flex Pres. Digital Club - Dynamo [w/ DJ Tomcraft - Brainwashed (Club Mix Sampled]
28. Paul van Dyk vs Marco V - For A Revolt
29. Chris Liebing - Natural Selection
30. Tiesto - Traffic
31. Mat Silver Vs. Tony Burt - Ultimate Wave (Paul van Dyk Rework)
32. Project Magneta - Twisted Soul
33. Project Zero - Omega Six (Paul van Dyk Rework)
34. Nick Lunn & YOMC pres. Tecno Punx - Energize (Paul van Dyk Edit)
35. Paul van Dyk feat. Hemstock & Jennings - Nothing But You (Original Mix)
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
The sharp looking nib pictured is known as a "G pen". I don't know what the G stands for, but I'm guessing "graphic"? Anyone?
Anyway, so far I've drawn three sketches with the new pen, and this was the best of the lot, so I decided to take a picture to commemorate! I've wanted a pen like this for longer than I can remember, but it never occurred to me that eBay would be a good place to get one until a couple of weeks ago. *facepalm*
The G pen is a weird thing... it sort of handles like an ink brush, only with greater precision. It's a joy to draw with.
That said, it might take me a little while to get proficient with it, though. This is still a bit messy.
N.B. White ink ---> WORTH EVERY PENNY.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Exploring micro-controllers with the Arduino NG development system. Seen here running in standalone mode with a 9v battery. Arduino makes embedded programming fun and easy by bringing together a clean and simple hardware and software development environment.
Here, I'm messing with reading analog input from a 10k potentiometer and PWM (pulse width modulation) of leds to produce variable brightness.
Link to my RFID tagged blog entries, with video of the setup above in action: stevenandsarah.com/category/rfid/
www.arduino.cc/ - "Arduino is an open-source physical computing platform based on a simple i/o board, and a development environment for writing Arduino software. The Arduino programming language is an implementation of Wiring, itself built on Processing."
Garland Fielder 'Untitled' (white contortion 02), 2007, Holly Johnson Gallery, Dallas
Garland Fielder exhibit 'Modulations'
Three heliographs apparent, and a possible 4th at centre rear. Also, square shutters on tripods - the signal manual mentioned these as an alternative modulation means for the heliographs. Begbie "BB" lamps, other signal lamps, signal flags and telescopes visible. Given the locale and the double straps on the case under one heliograph, I suspect some of these heliographs were patterns other than the English Mance pattern, such as the Indian Army pattern.
I personally scanned this image from my personal copy of the original, which appeared in "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581, with this text above:
" From far-off Sialkot, in the Punjab, comes word of the success of Tommy Atkins at work, for the 2nd Battalion Royal Scots Fusiliers were first in signalling in India last year, with the phenomenal score of 491•46, thus beating the second regiment on the list by nearly seven points in the figure of merit."
A lower resolution may be found online at [1]
Another signalling distinction for the Royal Scots Fusiliers signallers - a few years later one was mentioned
in dispatches: The Relief of Chakdara 2nd August, 1897, From the Despatch of Major-General Sir Bindon Blood, K.C.B."... and E. Christian, Royal Scots Fusiliers, Signalling Officer, carried out their duties most satisfactorily. "
( The above is quoted from[2])
Sialkot is now in Pakistan, GPS coordinates roughly 32.49, 74.53: see:
For more about the Royal Scots Fusiliers, see: en.wikipedia.org/wiki/Royal_Scots_Fusiliers
This is a high resolution scan ( 4,474 × 2,666 pixels) - if you want to look at details, you can view the full-resolution scan (and many other sizes) here:
www.flickr.com/photos/signalmirror/52632242189/sizes/l/
I believe this photograph is in the public domain in the United States (and most other places) as a photograph published before 1928. Any rights I may have inadvertently acquired by scanning it, I donate to the public domain under a CC0 license.
However, copyright and other intellectual property rights are copyright and vary worldwide and with time - rights determination is your responsibility.
[1] "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581
books.google.com/books?id=lnw4AQAAMAAJ&pg=PA581&d...
[2] THE STORY OF THE MALAKAND FIELD FORCE, AN EPISODE OF FRONTIER WAR, pp. 367-368
(preface dated Cavalry Barracks, Bangalore, 30th December, 1897)
archive.org/details/storyofmalakandf00chur/page/368/mode/...
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
amorphica.com/networked.html
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Untitled
2009
Mica acrylic
Rosana Castrillo Díaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo Díaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.
My little Boss pedalboard, even though it doesn't have a single Boss pedal on it.
Back in the 80's I used to see a lot of guys at GIT carrying these around, but I was at an age where I had to make everything harder than it needed to be and kept lugging rack gear around until I got old and tired.
So I finally decided to give one of these a try. I feel guilty about spending the money to set up this little board, but my Rat clone and Lunar Module clone didn't cost me a fortune to build and the other three pedals weren't horribly expensive. I've had the Heptode for a while. I've built several clones of the Demeter over the last couple of years, but finally decided to buy a, "real" one.
I can get pretty much anything I ever want to hear out of this little board, though. I mean, my vocabulary isn't huge in terms of sounds I use, anyway. So this totally does the trick for me. I was on the fence about the Zero Point until I tried it and then I was all, "Oh, I will not live without that."
Heh...anyway, now I need to stop spending money and earn money for a while so I don't have to keep beating myself up about spending money.
Anyway, that's mah board. It's simple, but I'm not all that complicated my own dang self.
OK, so right to left, there's a Demeter Opto Compulator optical compressor. Very transparent. None of the strangeness in the attack that's typical of a lot of compressors.
Next there's a clone I built of a Skreddy Lunar Module. That's Skreddy's shot at the David Gilmour fuzz sounds from 'Dark Side of the Moon.' It's an amazing circuit, IMO.
Next is what I call my, "Swiss Army Rat." It's a Rat built on the BYOC board, but I built this one with am LM301, which is a little lower-gain that the LM308 that production Rats had. Vintage LM301 op-amps sound really good in this circuit.
There are the six clipping options on this board.
The first three are standard Rat-style clip-to-ground:
#1 Standard symmetric Rat clipping from 2 x 1N4148 diodes.
#2 Turbo Rat clipping from 2 x red LEDs.
#3 Asymmetric (Boss-style) clipping from 1 x 1N4148 on one side and 2 x 1N4001 on the other side.
The second three are in the feedback loop like a Tube Screamer or a Boss OD-1. These give you a kind of Rat-Overdrive that's unique among Rat pedals, as far as I know.
#4 Symmetric clipping from 2 x 1N4148 diodes.
#5 Asymmetric (Boss-style) clipping from 1 x 1N4148 on one side and 2 x 1N4001 on the other side.
#6 MOSFET clipping from 2 x BS1`70 MOSFETs.
If all these options weren't enough, the LM308 depends on a compensation capacitor for its performance. The recommended capacitor is 30-33 pF in the original Rat circuit. The smaller the value, the wider the bandwidth of the op-amp. The higher the value, the more the bandwidth is compressed.
So I put a 33 pF monolithic ceramic capacitor in Position 1. Position 2 is a 56 pF ceramic capacitor. Position 3 is a 100 pF WIMA poly capacitor. Finally in Position 4, I used a 220 pF WIMA poly capacitor.
The effect as you run through them is that the sound is a tiny bit more squashed as you go up. Not a lot, but a little. It actually sounds a little bigger as it gets more squashed, or it seemed to. There's also some change in the midrange at the higher settings. You may never move it from its factory setting, but depending on the amp, the higher settings can sound pretty cool.
So yeah, then there's the Catalinbread Zero Point flanger. The concept is that there are two parallel audio lines going and you slow one down when you step on the switch. So real flanging, like slowing down one tape deck. No regeneration, no LFO...just real flanging. When you release the switch the second line slowly regains sync with the direct signal.
What's super-dope about this is that it's got a fairly bad sync when you aren't stepping on the button. The two lines drift a little relative to each other, giving you a really kind of groovy comb filter effect even when you aren't stomping on the switch.
So you could use this like a chorus-style pedal (doesn't really sound like a chorus, though) and bring in a whoosh of grooviness when you really wanted it. Very hip.
Finally there's the Heptode Virtuoso phaser, which is a slightly updated (buffered) version of the old Maestro Phaser, which is my very favorite modulation effect of all time.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
The Blip Festival takes places once a year. It's where musicians get together and play their music inspired by 8 Bit gaming: think old school Super Mario and the rest.
Failotron possible got the greatest applause for his use of psychedelic music, trance, guitar work, etc.
If you'd like to use this photo, please link back to this exact webpage.
Seen here:
www.2d-x.com/blip-festival-2009-music-and-gaming-combine-...
www.photographybay.com/2009/12/22/7-tips-for-shooting-in-...
thephoblographer.wordpress.com/2009/12/28/hey-there-im-ch...
www.2d-x.com/pulsewave-modulation-brings-fresh-chiptunes-...
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent to analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
----------------------------------------------------------------------------------------
The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Ash had been shot by an overzealous Catwalker and was recovering, confined to a wheelchair. Who should come along but everyone's favorite Shadow!
Serp Iwashi's field of vision like a crimson tide fans out down the corridor leaving its lingering touch in a faint scarlet tinge creeping out around the bend. Making reconaissance and inspecting the cause of the scent taken through the current and the warm sensations growing upon his proximity to the flickering flames. The gaudy frame of mechanics treading carefully over the concrete with a purposeful measure of his caution and some attempted refusal of his clanky form. Abound with tiny mechinism now settled deep within his guise as to only remain waiting. The copiously driven swirl of the feline tail dangling along the backside the chair and the ears protruding from the fire slathering his crude smile upon his charred face.
Ashur Kentoku warms her hands, blinking glassily through her haze of medication....she considers callling Ember, tired of waiting for her and missing her, but sits, hypnotized by the flames instead, unaware of the danger behind her...
Ashur Kentoku sighs and rummages for her PDA...which pocket did she put it in again? A scent reaches her...somehow familiar and altogether unique, and it penetrates her addled mind....the hairs on the back of her neck rise and she feezes, ears trying to pick up sounds behind her...
Serp Iwashi a faint hissing parts ways through the revealed palm and chain now presented before the distant light. The hooked end would creep down slowly with the chimes ushering his true intentions forward. Regal like folds through that all too familiar ominous shroud fully set aside to show the gleaming expanse of thick slabs that made up the abdominal wall. They would nearly pearl into the inferno seemingly as the flames intensity would meet the glacial exterior with tiny beads of condensation already dripping down in single streams following the curvature of his well muscled form. There was no hiding now and a further plume of the noxious mist would try to stiffle the fire as he shaped the strands upon her head.
Ashur Kentoku takes a deep breath and turns her wheelchair around to face the dark figure....she narrows her eyes defiantly, even as her heart begins to pound within her chest. "What do you want, Serp?" she mews. "I'm not in the mood for playing with you today." She tries to keep her voice casual, but she's all too aware of her predicament now...she wonders how fast a wheelchair could be if the occupant was desperate enough....
Serp Iwashi had watched quietly as she turned with a dreadful second of waiting. A stillness and true silence that had come so sudden that was truely ordinary. Yet the titanic formation was anything but that as a cold stare fell over the feline. Smoke billowing through his guise and out into the perpetual night that was this cities plight. His frigid nature holding the woman to an unwavering judgement spoken through tainted ink. Finally a shudder of the murky flesh escaping well sculpted canines in the follow of his booming voice.. " You should know well I dont often play with my food..Though I will say I enjoy you're current form..half machine now are we..." A twitch of the cheek region just below that hypnotic gaze that ran red like a scarlet tear pushing aside his humanity and fully allowing him to take advantage of what was to come. The hooked end continously rocking back and forth as the momentum built so did the fiendish laughter now pouring through the alleyways.
Naomah Beaumont is happily nibbling V's collarbone one moment, and the next *that* laugh echoes through the maze of passages behind the den. Nio starts, looking around, but seeing only the usual, but the oily chill slides down her back in thick, dark droplets. She doesn't say anything at the moment, though.
Ashur Kentoku tenses and tries to rise from her chair but succeeds only in doubling into a half-crouch, balancing on one leg, one arm against the wall supporting her weight, the other gripping an armrest. Her face scrunches in pain as her insides feel like they're tearing open again at the sudden exertion...."Serp," she gasps. "I'm not prey...not like this..." Her eyes follow the hook with horrified fascination.
Naomah Beaumont wanders toward the med den, then turns back to listen to Kiri. She chuckles. "You never cease to surprise me, Kiri."
Serp Iwashi spoken tongue was more akin to some demonic entity from another realm then the more comforting notion that he was a mere machine..an earthly creation. " Oh but you are..but tell me how many lives are left so I know how many more times I can beat you within an inch of you're miserable life.." The nefarious lord nodding through his inquiries with a final exasperated sigh hissing through the tubular protrusions beneath jaws fit for some measure of barbarism. The slow gait remained just that as the hook swung back one final time awaiting the moment she would speak before flying outward with a hungered gleam of rotted flesh discarded to make way for the encasement of the rustic blade wanting to bite into those thighs.
Naomah Beaumont blinks. "No, I didn't know. You never did sit down and tell me your life's story. You keep threatening to, but so far, no soap." Nio scratches an ear, looking down at her former pledge mom, wondering how much else she doesn't know about the other cat.
Ashur Kentoku: "More than enough for the likes of you, coward!" she snarls defiantly, and then the hook sweeps down at her and she moves suddenly, twisting aside, a wonderful testament to her training and boosted feline reflexes, but its not enough...not this time...her stiff leg betrays her and the hook still slashes into her thigh, leaving a bloody furrow....she feels something break inside her and her vision dims for a moment as she collapses at Serp's feet, a yowl of pain and despair escaping her lips....
Naomah Beaumont stiffens. That's a yelp she knows entirely too well. "Ash... Shit. Amrys, get up here..." Nio runs toward the sound as best her own battered legs will carry her, stitches be damned.
Amrys (Ameretat Skytower) says 'What is it?'
Amrys (Ameretat Skytower) looks over the rooftops, then finally down. "oh my-- What..."
Serp Iwashi delivered a rather softer cackle that strayed from his otherwise overbearing mechanically induced tone. Lifting a shard like brow high above his right eye in response to her words..His laugh dieing alongside the last notion that there was anything amusing to be found in this .." Just an opportunist my dear..." The rich blood coaxed out from the fresh wound as the blade gnaws away at her thigh trying to sink into the meat with his palm giving a yank back to bring her with now dragging alongside the concrete.." Come we have much to discuss.." His icey fingertips rapping upon his own chain as he began to haul her out into the shadows.
Naomah Beaumont looks over the edge at the tableau unfolding below. "Fuck. SERP! GET AWAY FROM HER. HER CANDY ASS IS MINE!" Well... that's perhaps misrepresenting things a trifle, but at times, it's best to stick to the most primal motivations. Violence. Defence of prey. In a lower voice she says to Amrys. "In the lockers upstairs. Locker 30. Combo There's a rifle made of white plastic. Grab it and bright it to me. And make sure to grab one of the magazines for it at the bottom of the locker." As she says this, she draws the only weapons she has on her, a pair of 9mm automatics. She can hit from here. She's sure she can. But whether the rounds will do anything to the horror stalking the alley is entirely another question. "Hurry!" she enjoins the blue cat.
Amrys (Ameretat Skytower) backs away from the railing and runs to the med den
Ashur Kentoku screams like a kitten as she's dragged by the hook across the concrete, leaving a trail of blood.....she extends her claws, diamond-hard and sharp nanotech constructs, her only weapons now, and claws frantically at whatever part of Serp is in reach....if she could just delay him or hurt him enough to let her go, she might, just might be able to scuttle away under cover from the shots from above....
Emberen Twine arrives at the scene, her breath issuing halted and heaving. "Get off of her," she growls, her body temperature spiking instantly as she draws her axe.
Serp Iwashi Nothing human evident in those swirling pits now glancing upward to the jealous tirade spoken from high above. Grizzly formation of those fearsome rows beaming to the kitten walker or whatever manner of their pesiferous hiearchy..His tongue gracing his lower rows as his sonorous vocalization launches itself to the catwalks like its own chaotic agent. Only the chain remained about her thigh and the titanium could withstand the claws as he continued to back off around the shed..
"Silence wench..If you want her..come down.." A masterful puppet overlord pulling on the strings that was his chains nearly binding Ashur to his will.
Naomah Beaumont runs forward to compensate for the changing angle of the shot and draws a bead on Serp's head with the open sights of her pistols. She has to aim for the head, really. Any lower and she risks putting (more) bullets in Ash.
Akiel Martian reached his left hand for the hand of his blade, silent. Numbed eyes looking over to the darkened fellow, draped in black, original. The blade shifted from his left as he tossed it into the air, snatching at it with his right, "..I'm in the mood to beat someone senseless..", he said low, rumbling in his throat. Growling only slightly as he held the blade lazily over his shouler in his bloodied right hand.
Amrys (Ameretat Skytower) rushes out of the med den with the gun Niobe had requested. She held it out as soon as she saw Niobe. "Here," she said, obviously a little strained from trying (and failing) to run down teh stairs with it.
Emberen Twine glances to Syle, her body shaking with that uncontrolled energy. She turns back just in time to see Ashur's body dragged around the corner, her eyes widening before narrowing darkly under heavily furrowed brow. A sweat breaks onto her flesh as the acid burn of rage burns within her and she approaches the shadowed figure, her eyes sparking before seeming to ignite in a swirl of liquid fire. She falls silent as she approaches her target, focus falling tunneled upon approach.
Ashur Kentoku casts a desperate lok back at Ember as she's draged around the corner..."NO!" she screams..."Stay away! I can handle....this..." The blood seeping from her mouth, an indication of her internal injuries having opened some, and the hook through her thigh seems to make the proposition somewhat unfeasible, but she didnt want Ember hurt...if it was her last act, she wanted her safe....
Ashur Kentoku: ...and tries to pull herself closer to Serp, using the chain embedded in her thigh, to sink her claws into his body and rip and tear at the armour and cybernetics that composed his form....
Serp Iwashi had caught only a glimpse of the bushido wannabe and axe wielding kitten upon his departure from the birthed flames of the pit to now retreat back into the alley with his prey. Casting a parting glance above long enough to hawk out a large chemical splatter over the concrete. Perhaps not terribly in good shape for the sheer corpulence of his overbearing mechanical form but steady nevertheless as those nails screech alongside the carapace only forming distinct lines of silver etchings peeling away the caliginous nature of those crude slabs of armor. His laugh starting up again as his teeth flashed sharply through the changing mood of the scene..The ragged ends of his cloak would be just against the railing now as he would readily embrace the fleeting marks of a wild cat in desperation..His palm risen in that immense fist taking the chain with to try and keep her off balance through another volatile tug that could likely take her into the railing or over.
Ashur Kentoku snarls, even as her vision dims momentarily, and tries to inflict some kind of damage that would cause him to leak whatever substance passes for circulatory fluid, hoping it would make tracking him easier...she'd done it before, in her fights with him in the past, but this was different, and she was badly hurt...she yowled as she was jerked up to the railing and clung stubbornly with one free hand, not willing to go into the darkness that awaited her....her face turns and she locks her eyes on Em's....
Naomah Beaumont drops her pistols on the catwalk and takes the M41 from Amrys as she hands it to her, stuffs the mag in and racks the action of the much heavier assault rifle, preparing to rain 10mm slugs on Serp's head and upper torso like a hailstorm from hell. As she draws the bead on him she yells, "UNHOOK THE CHAIN, ASH!" Whether all this is in time to save Ash from being chucked into the canal is subject to the actions of a lot of others. Particularly Serp's.
Emberen Twine stalks closer to her target, breath huffing heavily through flared nostrils, focus tunneling further as she lowers to a crouch before springing forth, flipping the axe as she flies at the shadowed figure, the spike aiming for his throat.
Serp Iwashi A bulwark of thick metallic slabs rising and falling making a mockery of the fleshlings now attempting to thrust the axe into where the jugular would normally lay. Perhaps it was the brash manner of assault or the predicament of the situation but an orotrund cackle soon broke away from the clatter of obsidians fangs with his mechanical defiance making its presense known through the heavy reverberation pinging against the sheathed aluminum that made up the shed beside him. The chain was still strung upward as if he were going to lynch ashur as he stepped aside letting the chains loop around and in the same movement guiding such to let the axe hit the chains forcing a violent rattle trying to swing the momentum of the axe wielder away from him.Sparks likely following the opposition of metal over metal with a pompous air discharged through baited breath of noxous fumes like a malginant cloud trying to creep into their lungs.. His head was still somewhat in view but the rest of his imposing form had..
Serp Iwashi two felines before him essentially blocking most of his mass..though his cranium was gauging through a lingering eye to the weaponary above..how good was that aim indeed..
Ashur Kentoku squalled in pain and anger, her actions weakening as her injuries began to get the better of her...she tried again to break circulatory tubes she knew lurked between the armor plates, still maintaining her death grip on the railing...
Naomah Beaumont seems to have a moment before Emby gets to Serp, and she cuts loose with the M41, its suppressed chugging sound belying the high powered slugs she's sending Serp's way. She's aiming for his chest, while she has the moment. Chest and head, as the pulse rifle climbs.
Emberen Twine screeches as the axe is deflected by the chains, white knuckles clinging tightly to their charge, before the momentum of his swing casts her off like a rag doll. Claws extend on her free hand, aiming with a powerful swipe before she is thrust head first into the brick wall, her body sliding to the ground with a thud, blood streaming from her skull.
Serp Iwashi constructs illuminated as soon as the gun fire roared through pelting his chest region with two of the slugs and the others streaking up accross his carapace towards the should region and upward with distant splashes of the final rounds hitting the slime below. Black tar oozing out as his gait seemed to loose control with a choked burst of a howl that only further sends more of his blood oozing out the pectoral region..His grip would not falter though even as legs seemed to want to give way to the throbbing pain stemming from the core of his chest. His free hand grasping the back of the rail as his tongue swiped away the murky blood dripping down his fangs..His eyes dimming as he lets himself fall backward into the sewage with the chain running through fast and soon taking Ashur over and into the sludge should she be unable to get out of the tangled mess of rustic links.
Ashur Kentoku gives a final squall as her grip is broken by the immense weight of the falling Shadow and she's dragged into the murky depths along with him, leaving nothing but her blood pooled on the concrete next to the railing to show she was ever there....
Naomah Beaumont lets stitches be damned and makes a high performance leap from the catwalk to the ground running to the edge of the canal. The stitches in one leg tear, leaving a bloody streak down her thigh as she peers over the railing trying to find something, anything to shoot at. And then there are bubbles. She fires on them with little hope, knowing that... hoping that... Ashur is holding her breath and the bubbles come from Serp.
Serp Iwashi’s tar seemed to break out among the stagnant pools in blotches accross the surface of the sludge like some oil spill of sorts. A few pieces of black cloth even floating atop but no bubbles that could be made out amid the thick consistancy of the sewage. The sounds of chains rattling not breaking the surface as he crawls along the bottom with those reflective lenses peering through the murky depths.Feeling along the bottom as he dragged ashur with him down the canal. She would likely float but where he was exactly was hard to determine besides the general direction of ripples eminating outward with stray shots licking away close to him perhaps but unknown which would hit its mark.
Amrys (Ameretat Skytower) leaps onto the nearest roof and, once she regains her balance, aims with the knife, then realizes she can't see the attacker. "Damn," she mutters, she was tired of people getting hurt because of her incompetence.
Ashur Kentoku holds her breath as well as she can, but her struggles are weak now as bloodloss, pain, shock and lack of oxygen take their toll...her mind clouds and dims and she thinks....'Hey, this is peaceful...I think I might just go to sleep...' "
Naomah Beaumont stares down into the water. "Look!" she shouts to Amrys. "The ripples!" She yells up. "Call for backup!" And with that she goes vertical, pulling more stitches out, moving over the building between her and Ash and Serp's path.
Amrys (Ameretat Skytower) pulls out her phone and texts madly, knife still in hand. Tricky, but it can be done.
Serp Iwashi was indeed quite at home without a need to breath in the typical sense he easily remained submerged. His steely fingertips clawing away at the grime encrusted stone with his cloak spreading outward from him akin to some dark manta flattening him as best he could. Little interest was held to wether the feline could breath or not but surely he thought her tougher then a mere victim of drowning.
Amrys (Ameretat Skytower) puts the phone away and resumes looking to the sewage. "I don't know her well, I don't actually know. Nio said call for backup, so I did." Her tone is angry, but she's glaring down at the sludge below--unclear where the anger is directed.
Ashur Kentoku lapses into a state of semi-consciousness...she hasn't automatically inhaled any water yet, but if she's kep under for too much longer she will...
Naomah Beaumont: "It's Ash." Nio yells. "he's down in the canal with her." The guilt in Nio's voice comes out almost like a sob. "He's headed south"
Naomah Beaumont adds. "Follow them! He has to surface if he wants her alive!"
Serp Iwashi bubbling formation rises out through what could be some manner of speech spoken beneath the surface of the muck running down the canal. The resounding vocalization forming more ripples dancing above until calming the waves..A few moments longer he could attempt to keep his captive alive but for now content on the same route without pause to allow her breath.
Amrys (Ameretat Skytower) nods and runs over to where Niobe is, assuming she can see them ((Amrys lost them)). Then she begins to follow their movements.
Amrys (Ameretat Skytower) quietly says to Nio "If she's there, he should be in front of her, right?"
Naomah Beaumont: Probably, I don't know.... Yeah, she's not swimming...
Brandon Dragonfly slowly stammered down the steps, each little piece of concrete trembling beneath the weighted boots; he'd seem heavily armored. Pounds upon pounds of casted metal stretch about the human fleshy form beneath, a harbinger mask of sorts was worn. The harbinger of chaos scanned a quick gaze over the surrounding area, glancing for any signs of distress he'd have heard deep within the lobs of his ear.
Serp Iwashi had made it just under the bridge with a turn of his body like some leviathan rising up out of the sewage now dripping down the length of the folds that made up his cloak. Soaked and matted alongside his thighs and the musculature of his form he would tug upwards and reach out gripping the chain and trying to consume the neck to bring her out like a wet rat opposing to her feline genetics. Wanting to ring her out as he allowed but a single gasp before he would lower himself back down and her with.
Niemack Saarinen glances around following the harbinger...hand on the grip of his kalashnakov....scanning....he'd hear some metal distress but..couldnt point out where it was comming from quite yet....he muttered quietly in german under his facemask...the sound distroyed and unrecognizable outside....just muffles.
Naomah Beaumont looks over her shoulder at the other two people who've moved onto the sidewalk. She eyes them, and makes her way back across the street.
Serp Iwashi cloak soon slipped over the side of the concrete with raining droplets beading down along the surface as he arose from the waste. His cumbersome form soon landing down with a heavy thud while the chain is slowly taken back into his grip to hoist ashur up and out of the sludge. The liquid was inside his shell now with a expelled cough wreaking havoc on the modulation of his voice before spewing out some of his own blood and the swallowed green slime off to the side. A growl in aggravation with his free hand letting his thumb probe over the fresh peneration of lead that had warped his exterior.
Ashur Kentoku splutters and gasps as she's hauled free of the foul water, and then coughs weakly, still only semi-aware of her surroundings...she knew she was in trouble but lucid thought escaped her for the moment as she recovered from her underwater voyage.
Serp Iwashi once luminous orbs covered in a toxic sheath seeming to drown a little during her gasped fit. He lets the chain fall almost immediatelt with his talosn swooping in to try and grab those wrists to hold her up above and leave her face mere inches from his own..
Ashur Kentoku dangles limply, head down, wet hair matting her face....she coughs again, then brings her head up slowly to meet the skull-like face, blinking owlishly. Her ears fold back and she hisses weakly, instinctively....
Serp Iwashi Decayed manacles of those icy grips claiming the pulse running through those wrists as the sopping wet cat continues to drip over the grime. Long chains that had weighed her down now dangling as well with the hook still sunken deep not wanting to release the connection through such tantalizing prospects in some fusion of metal and beast. An animal was all she was to him as those cold orbs continue to belittle her and make judgement. The scarlet sheathing peeling back several times with the spinning motion evident. Clangerous bite of his jaws promising to taste her flesh as his plates groaned in some complaint..There was still some of his own blood running down his chest in droplets splashing to the cement. Each one forcing a twitch under the inky skin as his grip tightening.." Wake up kitten.." His voice breaks free of the visage and washes over the paled skin.
Ashur Kentoku hisses again, ears still folded back, her pale eyes suddenly shining with defiance and a mixture of anger and fear...she struggles weakly to break free of the tightening grip on her wrists as she hangs above the filthy sewage water and tries to raise her weary legs in an attempt at kicking against the dark figure's vast, armored chest, but she's too hurt inside and her muscles simply won't obey her...she settles for wriggling a few moments instead before subsiding, panting. She coughs convulsively, and blood fills her mouth, some of it leaking down her chin...
Serp Iwashi Those dreadful crimson beams continue to whirl in a circular fashion as the clanking of multiple pieces release themselves in shuttering expells. Cluttering steel vibrating outward as his features begin to protrude out of the mask. His tongue lashing out swiping away the blood dripping down her chin..A faint breath bated as his mechanical hiss sheered rough the confines of the tunnels. Savoring the taste with a satisfied rumble churned through his gullet before moving his head into Ashur's .Letting the horrid black steely brows roll about her face in almost a loving embrace as the coldness of his clammy flesh would grace her own. " Im going to enjoy this..." Words nearly whispered at but a wisp of smoke lingering around the ebon spindles of those long locks and tugging on the feline ears..But a moment to pass befoe his face changed with the sharp shards narrowing inward giving the crimson a slant that streaked accross directly about her sight like a visor.." Are you ready kitten.."His head suddenly rearing back and trying to slam it directly into her own before releasing her to face the brunt of the blow should he suceed meshing titanium and her own chin and or forehead depending on how she would move. A sickening crack would likely be heard through and the newly laced blood promising to paint his own charred face should it follow through.
Ashur Kentoku recoils as the tongue flicks out to lap at the blood leaking down her chin, turning her face aside and grimacing at the touch. She glares into the crimson orbs and growls, ever-defiant in spite of her fear and pain. She was a warrior, used to be, and still had the heart of one and snarls, bloody fangs bared when the skull face presses itself against hers, frustrated at her body's betrayal and her inability to fight back...she opens her mouth to say something when the horror before her speaks, but never gets the chance as the head slams into her forehead with a crack that echoes off the sewer walls...for a few moments she sees and feels and hears nothing, then it comes back in a rush of new pain, and she mews slowly, desperately trying to focus, blinking through the blood running down her face and stinging her eyes...
Serp Iwashi Vigorious movements of steely talons undulating in the damp air that encompassed them. Nocturnal wings flailing aside as if suddenly driven by unseen forces letting the ripples of stygian cloth unfurl. Grotesque shards shifting back as his own head begins to shift side to side making sure to carefully roll it atop that thick set of darkened tissues that was his neck." This will be just a faint memory..a blurr in you're miserable life.. " Her dazed state easily allow him time to approach as his thumb flicked her own blood off his face and to the wall. The tremor of his step closing in towards her as he loomed atop with an audible chime of his thick mechanical digits crossing over one another and flexing. Even the tone of his voice would seem like an assault ringing through those ears. Hellish grin of metal peaking out of his dark visage as he hovered there a few seconds longer..Suddenly his right palm forming a back hand and rearing back with a resounding slap booming through the tunnels should it connect accross her cheek bone..The same hand would swing backward but this time swooping in low to sink those claws in about the abdomen to try and get ahold of her better. The thumb and index finger pincering through the lowest rib of an anatomy he knew all so very well.
Ashur Kentoku yelps as her face is struck, her cheekbone breaking and flesh splitting, sending a spray of blood across the sewer wall, then gasps as the clawed hand sinks into her abdomen and slices through a rib....she doubles over and holds onto the figure's arm, another hand against his chest in a curiously intimate-seeming gesture....She blinked at the blood obscuring her vision and started shivering involuntarily, her skin clammy and cold from shock..."You know....nothing...of my life," she whispers....
Serp Iwashi Rich organs that were cradled within but a breath away from being split open but that was too easy an option. The vice like grip crushing the bone and rending flesh that his hand was now apart of her body with the raw mechanical nature pumping his toxicity into her. Brittle peelings of his own hand making the skin rise under her stomach region before peaking out and soon tiny beads of crimson pouring through each and every hole..Her touch meant nothing to him as he had felt nearly nothing but the thrill seeping through his mind. An echoic roar of laughter before squelching such and letting his other hand reach behind his cloak.." I dont care to know fleshling..you are all the same..bone..tissue..organs..blood....- meat-.." Ominous overtones spoken with a true passion as he grunts taking her with directly to the wall to try and pin her up..The concrete absorbed the blow and her backside scraping along all the way up..her clothing..her skin catching on the cement slabs as he continued to toy with the ribs..another inch..reaching for the second just beneath the skin as a dagger suddenly comes to the dismal light now held in his left hand..A tool as every much a part of him as his own claws..He brings it down screeching against the brick making it dull with each blow and a horrid peeling sending the dull ache of the sound flooding the tunnels.
Ashur Kentoku screams as she's rent asunder, digging her claws into his arm, her other clawed hand scrabbling at his chest for support, something to cling to, to try quell the pain...she had none but her torturer for that and so she clung to him, a hideous embrace. She yelps again, a short, cut-off sound as she's slammed against the wall and pinned there, her skin tearing and her ribs cracking further under the force....She's so overcome with pain and shock she barely notices the knife, simply hanging there, panting and shivering, ears pinned back....
Serp Iwashi elongated tips slide over the handle more firmly as that horrific sculpt of his own blade gealms under the incandescent glow of his own sight. A snarl let forther to become a mask of hunger in a boisterous display of mechanical harmonics trying to seep through to ones very bones..Muscled layers giving way to the cruel nature of his talons squirming inside like starved maggots eating her alive. Thet mystifying gaze glaring into her as his breath like the decay of a thousand corpses seeps out and clings to her flesh. The jagged edge stroking alongside her cheek as she shivered more under the cool dampness of the tunnel and his very own presense only making manners worse as her blood continued to drizzle down along his plates..Her meager attempts at clawing across his chest a mere tickle while he toyed just a moment longer.." Shhh..So attractive you are..though I had heard beauty is only skin deep..perhaps.." A cloud of his cancerous breath pluming out.." We should find out.." With that his jaws clench and the blade departs from her face now thrusting it downward along her bicep trying to peel under and separate skin from muscle tissues as if he was some butcher preparing the meal to come..He would likely stop mid palm with a swipe of blood splattered accross his own garb..The motion entertained again as he continued with another following the same as he attempts to repeat the motion with resistant overpowered by his mechanical might..A demented gleam of his fangs just under those swirling pits of hatred with blackened nostrisl flaring..breathing more heavily and his tongue squirming through pushing foam like chemical concotion out between the cracks of his jaws as he worked pushing harder and harder on the ribs trying to compress the abdomen as he did so.
Ashur Kentoku's internal nanites swarm and struggle to control her blood-loss and system shock, trying to keep her alive...She couldn't scream anymore, couldnt find the breath to, so she just mews quietly, almost casually, as if to herself, as her ribs collapse. She lays her head against the armoured chest and closes her eyes, even moving her head a little to get comfortable, still clinging to the arm that's killing her, and sighs.
Serp Iwashi finally pulled the blade aside to let the droplets fly outward.Her arms likely looked mangled now and her ribs upon her left hand side were nearly protruding out in a compount fracture as he pulled half the the bone with. Crushing it in his hand almost into a powdery film now sprinkled atop her..His foot kicking her back to the wall and soon striking the armored shin across her body several times to batter her. He would slowly move back to gauge the damage as his licked the blade a moment in thought. he could nearly whistle at this point to judge his quick work as if to see if he had gotten any better through the countless bodies that have come to past.
Ashur Kentoku crumples to the sewer floor and twitches as she's battered, but it's perhaps a blessing she's unconscious now....she lies there and sets about the business of dying as the horror before her contemplates his handiwork, her blood mingling with the waters and flowing away from her...
Serp Iwashi soon slipped the blade along his backside once more. The white film tainted in red continously rubbed through his inner palm as he would lean down only once letting his figners graze atop her feline ear..Stroking the tip a moment with a soft laugh that nearly betrayed the size and mass of his mechanical form. " Enjoy you're recovery.." Soon walking off back into the shadows of the tunnel as if nothing had happened.
Tiziano Vecelli or Tiziano Vecellio (c. 1473/1490 – 27 August 1576 better known as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called da Cadore, taken from the place of his birth.
Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.
PI: Sanjiva Lele, Stanford University
Studying the intense noise emissions associated with OAM using physics-based simulations will be important for improved wind turbine design, implementation, and clean energy. The comprehensive LES database involving the novel large-span calculation—which unequivocally showed the presence of large-scale three-dimensionality—is being used to quantify epistemic uncertainties in Reynolds Averaged Navier Stokes (RANS) models and could spark renewed interest in fundamental research on “stall cells” under carefully controlled conditions. The database should also help improve semi-empirical tools for predicting airfoil self-noise.
This image depicts visual evidence for “stall cells” from the large-span calculation of flow past a NACA64-618 airfoil (Reynolds number based on chord = 1,900,000, angle of attack = 12.2 degrees). Instantaneous snapshot of streamwise velocity on the airfoil surface is shown here (note that in wall-modeled large eddy simulations, the tangential components of velocity are allowed to slip at the wall).
Image credit: Joseph G. Kocheemoolayil and Sanjiva K. Lele, Stanford University
Scientific discipline: Engineering
This research used resources of the Argonne Leadership Computing Facility at Argonne National Laboratory
Bedford-Stuyvesant, Brooklyn
The Antioch (formerly Greene Avenue) Baptist Church was designed in the Queen Anne style with Romanesque Revival elements by Lansing C. Holden and built in 1887-92. While it clearly reads as a religious building, its striking design harmonizes with the adjacent residential streetscape by reproducing the scale, texture, and overall character of the neighboring rowhouses. Among these is the adjacent Antioch Baptist Church House, which in its exterior materials and details is a well composed architectural complement to the church. Designed as part of a row of seven houses by the Brooklyn firm of Langston & Dahlander, this structure was built in circa 1892-93 as a single-family residence; it was purchased by the Antioch Baptist Church in 1961 for use as a church house.
The Antioch Baptist Church has played a prominent role in Brooklyn's religious history. It was built by the Greene Avenue Baptist congregation, which was a white group originally founded in Bushwick in 1854 and is remembered for its many philanthropic programs. As economic and demographic changes transformed the Bedford-Stuyvesant area surrounding the Greene Avenue church from a mixed-income white neighborhood to an economically diverse black community, this church remained a visual and social anchor. The building was sold in 1950 to the Antioch Baptist congregation, which had been established in downtown Brooklyn by Rev. Moses P. Paylor in 1918. Upon relocating to Greene Avenue, the Antioch congregation continued its dedication to social justice and spiritual enlightenment, receiving as guests nationally renowned civil rights leaders, politicians, performing artists, authors, and many other influential people, particularly black Americans. Today, Antioch persists as a prominent institution in New York's most populous black community, whose cultural roots stem from the communities of Weeksville and Carrsville which were founded by blacks and flourished nearby in the mid-nineteenth century.
2
In the spring of 1854 the white Baptists of Bushwick met for the purpose of organizing a Baptist church in that vicinity. A Board of Trustees was elected and the group was incorporated as "The First Baptist Society of the Town of Bushwick, long Island. "5 Soon recognized by the Baptist Council of Churches, it purchased its first house of worship, a structure on Bushwick Avenue opposite Wall Street which the Ascension Episcopal Church had recently erected but could not afford to keep. Having outgrown this building after twelve years, the society — renamed the Gethsemane Baptist Church of Brooklyn — moved temporarily to member J. Whittlesey's Omnibus House on Broadway near Sumner Avenue. The church members purchased property on Willoughby Avenue near Broadway and erected a new church, dedicated in 1868.
The future of the congregation would be linked to today's Bedford-Stuyvesant. A theological disagreement divided the group, and about thirty members withdrew and organized the Trinity Baptist Church in 1875; two years later they built a wooden chapel on Greene Avenue between Patchen Avenue and Broadway (within the borders of what is today considered Bedford-Stuyvesant, and now demolished).6 The church members remaining on Willoughby Avenue adopted the name Willoughby Avenue Baptist Church in 1879 and two years later they chose the Rev. Robert B. Montgomery (1839-1893) as their new pastor. A native of Scotland, Montgomery moved to Canada where he eventually studied for the ministry at the Baptist College of Ontario (later renamed McMaster University of Toronto) and served in various pastorates; he was pastor of a church at Seneca Falls, New York, when he was invited to the Willoughby Avenue church. It was Rev. Montgomery who led the congregation in 1884-85 as it sold the church and began worshipping in the hall of the Warner Institute, where it remained for several years. Meanwhile it purchased land on Greene Avenue, in the heart of the developing area which would eventually be called Bedford-Stuyvesant; in 1885 a building committee was chosen to solicit designs for the new church and to oversee the project.^ plans submitted by Lansing C. Holden were selected,8 but before construction was completed, the plans were probably altered by Paul F. Higgs (see "Design and Construction of the Church," below).
3
4
The exterior of the Antioch Baptist Church is a striking example of Queen Anne design that incorporates Romanesque Revival elements. The horizontal expanse of its rusticated base, bowed central mass, and garland-embellished bands is balanced by the verticality of the stacked windows and of the four towers, particularly the turreted comers and arched narrow openings of the end towers. The steeple .of the western tower accentuates the vertical, or medieval, ambience while serving as a counterpoint to an otherwise symmetrical design. Other Romanesque-inspired details are round-arched window openings, serpentine door straps and carved stone bases on the bartizans (overhanging comer towers). The contrasting colors and textures of the brick, stone, pressed metal, slate shingles, and roof tiles adds to the design's Queen Anne character.
The modulation of the church's facade into several projecting and recessed masses, its set-back behind a small garden, its simple stoop-like staircases, and its varied silhouette allow the large volume of the building to harmonize with the adjacent residential streetscape. Several groups of rowhouses were already standing in the vicinity when the church was designed and the remaining rows were built during the construction of the church and slightly later; therefore, it would seem that this contextual approach to the design of the church was a conscious one on the part of the architect.
The estimated cost of architect Holden's proposed church was $55,000 or $60,000,which was more than the congregation could afford; therefore, it was decided to build only the basement at first. The ceremonious laying of the cornerstone took place in August, 1887; the following April the newly christened "Greene Avenue Baptist Church" held services in the roofed-over basement, which had been built by F. Mapes and accommodated 570 people. At this time the almost 700-member church also resumed its Sunday school and missionary activity. The total cost of land and basement was $35,000; when the $10,000 mortgage was paid off late in 1890, the members decided to complete the church.
The intention to finish the building according to Holden's plans was not carried through, primarily due to financial restraints. New plans were solicited, but none were accepted. Instead, New York City architect Paul F. Higgs, who had been a competitor, was asked to revise Holden's original design^; the resulting scheme, published in the Brooklyn Eagle [see fig. 2], was estimated to cost $27,000. The church took out a new $25,000 mortgage and construction resumed in 1891. The opening of the auditorium was hailed by week-long dedication services, directed by Rev. Montgomery, in April, 1892.
The church exterior reveals the overall organization of the interior (not included in this designation), particularly that of the auditorium. The expansive auditorium takes on the traditional shape of a Greek cross. Surrounding the central space, which has a coved ceiling supported by broad arches on slender columns, are four vaulted "arms," one containing the bowed bay visible on the facade and another sheltering the raised sanctuary.
Contemporaneous with the completion of the church, the architectural firm of Langston & Dahlander designed a row of seven dwellings for the lots directly to the west of the church. Commissioned by Louis C. Schliep, a financial broker on Wall Street, 14 the plans were submitted for a building permit in December, 1891, with an estimated cost of $5,000 per building. 15 Faced in brick and brownstone, these Queen Anne style houses with Romanesgue Revival details have three stories and raised basements. Number 826 (now the church house) was designed and built^^ as the easternmost of this group of rowhouses. Their alternating rhythm of pitched roofs and gabled facades and the sophisticated variation of details within the row support the theory that Nos. 814 (recently demolished)^ and 826 were designed with the same overall composition. Unlike the other five facades, each of the end houses at Nos. 814 and 826 were designed with a second story pierced by a single window and a pair of windows as well as paired third-story dormers. Apparently the architects were extremely sensitive to the design of the adjacent church, then just being completed, as they introduced at No. 826 corbeled lintels over the first-story openings, arched second-story openings with brick voussoirs that contrast' with the color of the facade in an identical fashion as those on the church, slate roof shingles, and uneven dormer sizes in order to complement the church facade. 18 Presumably, the seven rowhouses were executed between 1892 and 1893.
The Greene Avenue congregation continued to prosper in its new location, which was occasionally called the "Baptist fort." Soon after Rev. Montgomery's death in 1893, the church elected Rev. Cornelius Woelfkin (1859-1928) as pastor. Bom on Manhattan's West Side to German parents, Woelfkin was ordained to the ministry in 1886 and served as pastor of churches in New York and New Jersey before arriving at the Greene Avenue church in 1894. During his pastorate, the continued increase in membership (surpassing 1000 faithful by 1904) necessitated the building of a gallery in the auditorium and the church celebrated its Golden Jubilee in 1904. The following year, Woelfkin's abiding friendship with oil executive and philanthropist John D. Rockefeller, Jr., led to the clergyman's transfer to Rockefeller's Fifth Avenue (later Park Avenue) Baptist Church in Manhattan; in that location Woelfkin solidified his reputation as a well-respected anti-Fundamentalist. Curing the early twentieth century, the Greene Avenue congregation's continued vitality permitted the dispatch of members as missionaries to China, Cuba, and throughout the United States. Those remaining in Brooklyn supported philanthropic work, renovated the church interior (including the installation of new stained-glass windows in 1901
and 191025), and in 1922 hosted former Secretary of State and popular orator William Jennings Bryan for a speech against Darwinism.
After several decades of dwindling jnembership, the church sold its largely intact^ house of worship to the Antioch Baptist Church in 1950. The remaining members of the Greene Avenue church moved to other Baptist churches and the funds from the sale were distributed to various charities.
8
Antioch's prominence within the black church^ and the city's religious community is attested to by the enormous number of famous and influential guests it has hosted. 33 Among them are:., civil rights leaders Rev. Dr. Martin Luther King, Jr., Rev. Ralph Abemathy, Rev. Dr. Adam Clayton Powell, Jr., Hazel Cukes (New York's head of the NAACP), and Rosa Parks; politicians including Governor Nelson Rockefeller and Mayors John V. Lindsay and David N. Dinkins; and African-American celebrities in many fields such as Aretha Franklin, Dick Gregory, Ossie Davis, Ruby Dee, Jackie Robinson, Spike Lee, and Langston Hughes. Many of these visits are memorialized in a large photo montage now located in a room adjacent to the church balcony.
Subsequent History of 826 Greene Avenue^
The building that now functions as the church house was sold in 1894 by Thaddeus Halsted Myers to Frederick H. Norwood (aka Frederic H. Narwood) , a manufacturer, for $7,500. Norwood, in turn, sold the house to Elias Reiss in 1920. Seventeen years later it was purchased by Anna Perlman, whose family owned the house until 1948. In that year Mildred Lewis and Sentry Scarborough bought the property; they and their heirs owned the building, which was converted to a multiple dwelling, until 1961 when it was sold to the Antioch Baptist Church. Rev. Lawrence had the structure altered into a one-family parsonage in 1963-65. It currently serves as a non-residential church house.
Description of the Church^ [see figs. 4, 6-7]
The church's nearly-symmetrical facade is composed of five sections, covered largely in rock-faced white and red-brown brick of elongated proportions, russet slate shingles, and white Indiana limestone.
The central section features a bay, sheathed in fish-scale and plain slate shingles, which projects from a limestone base and is flanked by a pair of brick towers. Resting on iron brackets, the bay is adorned by three pressed-metal bands, one decorated with swags, and a swag-embellished cornice. Each of the three round-arched openings, crowned by a projecting keystone, contains stained glass in its arched top section and flat-headed lower sections. The lower portion of the bay bears a long, narrow sign with the words "ANTIOCH BAPTIST CHURCH." The base, buttressed at its sides, is pierced by five double-hung wood-sash windows to which wrought-iron grilles have been added. This section's half-conical roof is now covered with asphalt shingles (originally Roman tile). The flanking red-brick towers terminate the buttresses and are surmounted by cornices and bell-shaped roofs with finials. The western tower bears the cornerstone inserted upon Antioch's arrival in 1950.
Adjacent to the central section are two identical, recessed sections. Their stone bases align with that of- the central section;- their red-brown
brick upper portions contain round-arched openings beneath contrasting white brick arches with stone keystones. Each opening contains stained glass and is divided by a swag-encrusted pressed metal spandrel into an arched upper portion and rectangular lower portion.. Stained-glass windows, filling openings on three sides of the building, depict religious scenes, abstracted foliage, and geometric patterns.
The end pavilions take the form of . matching towers with strikingly different crowns. Each red-brick tower has a long flight of stone steps flanked by original cast-iron pipe railings, some of which retain their intermediate cast-iron infill. Each pair of oak doors, their five-paneled surfaces painted red and embellished with serpentine iron strap hinges, is surrounded by a stone frame and capped by a prominent, hipped hood, now covered in asphalt shingles. At the mid-section, each tower is pierced by an arched opening with a double-hung wood-sash window, a brick arch, and a stone sill. The upper portion of each tower is bracketed between dentiled stone bands, reinforced by bartizans, and pierced by trebled double-hung wood-sash windows with intersecting white brick arches and a continuous stone sill. The western tower culminates in a tall steeple, now surfaced in asphalt shingles; in contrast, the eastern tower has a low pyramidal roof with a carved stone finial. The exposed sides of the end towers are articulated identically to the front of these towers.
At the bottom of each staircase now stands a cast-iron base of what must have been an early streetlight. While not original, these elements must have been added around the turn of the century. Between the staircases, a granite curb supports an original iron fence that protects a small garden. Within the garden is a modestly-sized announcement board with a glass front. Two narrow wings, deeply recessed behind iron gates, span the alleys between the church and the adjacent buildings. Sided in wood and painted dark brown, each of the wings has an arched opening with double-hung wood-sash window and rests on a ground-story arch; in the eastern wing, this arch is filled by a door leading to the Fellowship Hall, while its western counterpart remains open to the alley beyond it.
From the rear of the building, the main roof is visible: its hipped central section is intersected by pitched-roofs covering the arms, which terminate in gables. The rear elevation, partially obscured by an adjoining structure, is stuccoed and pierced by window openings. The brick side walls of the main body of the church, one painted white and the other stuccoed, are pierced by arched openings which contain historic stained glass windows at the auditorium level and recent wrought-iron gates at the basement.
Description of the Church House [see fig. 5]
To the west side of the church is the three-story rowhouse with a raised basement; it now serves as the church house. The box-shaped stone stoop, now painted, has a rock-faced front wall and smooth side walls. A non-original wrought-iron fence with a gate separates the sidewalk from the areaway, now filled in. Original iron gates remain at the basement entrance under the stoop and over the basement window. The parlor story is also -fronted in rock-faced limestone. A projecting lintel, on end corbels,
10
shields the doorway. (The door is not original.) The window opening to the west of the door contains a pair of windows separated by a turned mull ion and capped by leaded glass transoms that are bracketed by rounded corbels. A rectangular sign surmounts the parlor Story and a flower box has been installed beneath the windows. The second story is fronted in rock-faced red-brown brick. Above the door, a small arched opening with a stone sill rests on a stone plaque carved with oak leaves and a shield. To the west are two arched openings. All three second-story openings are united by a stone springing course and have rock-faced white brick arches. A modillioned cornice is surmounted by the slightly pitched slate roof from which two dormers, of unequal size, protrude. Both have smooth surrounds, modillioned cornices, and slate-tiled hipped roofs, one with a ball finial. All windows have one-over-one double-hung wood sash. The house's gabled end walls project slightly above the roof. The eastern wall is of rough brick, and is stuccoed. The western wall is a party wall with the adjacent rowhouse.
- From the 1990 NYCLPC Landmark Designation Report
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
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These modifications of this Gristleism are identical to the modifications made by A.S.M.O. and used by all four members of Throbbing Gristle at their last gig on 23rd October 2010 at Village Underground, Hackney, London, UK. The Gristleism has an added LFO circuit which modulates the pitch and rhythmically triggers the loops. The LFO has 5 controls" speed, depth, wave shape and two momentary switches to engage the modulation and loop trigger. There is also an added switched jack output to connect to larger amplification.
Paeonia (peony or paeony) is a genus of flowering plants, the only genus in the family Paeoniaceae. They are native to Asia, Southern Europe and Western North America. Boundaries between species are not clear and estimates of the number of species range from 25 to 40.
Most are herbaceous perennial plants 0.5–1.5 metres (1.6–4.9 ft) tall, but some resemble trees 1.5–3 metres (4.9–9.8 ft) tall. They have compound, deeply lobed leaves and large, often fragrant, flowers, ranging from red to white or yellow, in late spring and early summer.
The peony is named after Paeon (also spelled Paean), a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower.[3]
The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year. The family had been given other names a few years earlier. The composition of the family has varied, but it has always consisted of Paeonia and one or more genera that are now placed in Ranunculales. It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works. Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in Ranunculaceae, but that Paeonia belongs in the unrelated order Saxifragale
Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids and steroids, paeonols, and phenols.
Biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.
The herb known as Paeonia, in particular the root of P. lactiflora (Bai Shao, Radix Paeoniae Lactiflorae), has been used frequently in traditional medicines of Korea, China and Japan. Research suggests that constituents in P. lactiflora – paeoniflorin and paeonol – can modulate IgE-induced scratching behaviors and mast cell degranulation.
The peony is among the longest-used flowers in Eastern culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where the Paeonia suffruticosa is called 牡丹 (mǔdān). It is also known as 富贵花 (fùguìhuā) "flower of riches and honour" or 花王 (huawang) "king of the flowers", and is used symbolically in Chinese art.[13] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang have been said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). Pronunciation of 牡丹 (peony) in Japan is "botan." In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "King of Flowers" and Paeonia lactiflora is called the "Prime Minister of Flowers."
In the Middle Ages peonies were often painted with their ripe seed-capsules, since it was the seeds, not the flowers, which were medically significant. Collectors in the Middle Ages had to take great care not to seen by a woodpecker while digging for peony roots, or the bird might peck out their eyes.
Information from Wikipedia Free Encyclopedia,
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Upper West Side, Manhattan, New York City, New York, United States
The 854 West End Avenue House is one of an intact group of four residences designed by the architectural firm of Schneider & Herter and built by the firm of Schneider & Company as a speculative venture. 1 The rowhouse group is the sole surviving example of a type of site planning used on several comer plots along West End Avenue in the early 1890s where a group of houses facing the Avenue featured a prominent comer house and an additional house was built facing the side street behind the Avenue-facing houses. Treated as the centerpiece of the rehouse group, the comer house at No. 858 West End Avenue is representative of the many larger comer houses with side entrances and comer towers which once stood on West End Avenue.
The group of residences was built in 1892-93 during the first period of intense residential development for the comfortable professional class along the northern portion of West End Avenue where the suburban qualities of landscaped streets, the views of the Hudson River, and the amenities of nearby Riverside Park created a desirable residential area. The 858 West End Avenue House is distinguished by ornament characteristic of the mannerist aesthetic of the firm of Schneider & Herter, the juxtaposition of contrasting textures of rough, smooth-faced, and carved brownstone, and the emphasis on a lively roof line punctuated by a bell-shaped tower and chimneys. The quality and distinctiveness of the Queen Anne/Romanesque Revival style design of the 858 West End Avenue House reflects the desire for individuality in the appearance of houses within rowhouse groups and is representative of the eclectically-styled residential architecture of West End Avenue dating from the 1890s.
Development of the Upper West Side
Despite its long history beginning soon after the colonial Dutch settlement, the Upper West Side, known as Bloomingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (later renamed the Boulevard and finally Broadway in 1898) was opened through rural Bloomingdale and provided the northern route out of the city which was then concentrated in the southern tip of Manhattan. The Upper West Side was included in the Randel Survey of 1811 (known as the Commissioners' Map) which established a uniform grid of avenues and cross streets in Manhattan as far north as 155th Street, although years elapsed before streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and the land was subdivided into building lots.
The city grew rapidly northward during the nineteenth century, but it was not until after Central Park (a designated New York City Scenic landmark) was laid out in 1857 that development began around the perimeter of the Park, setting off the first wave of real estate speculation on the Upper West Side.
Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side. By 1880 the horse car line on Eighth Avenue had been replaced by street rail service up to 125th Street and the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890) had been completed. However, the biggest boost to the development of the West End (the area west of Broadway) was the creation, between 1876 and 1900, of Riverside Drive and Park (a designated New York City Scenic Landmark) located north of 72nd Street along the Hudson River. The presence of the park and drive, designed by Frederick Law Olmsted, was an important factor in making this area desirable for high-quality residential development.
Development of the Wast End began slowly, due, to a large degree, to the hesitation of would-be residents, but by 1885 it had emerged as the area in the city experiencing the most intense real estate speculation. The expectation that the blocks along Riverside Drive and West End Avenue would be lined with mansions kept the value of these lots, as well as adjacent land, consistently higher and developers were willing to wait to realize profits from the potentially valuable sites. The real estate developers, including the West End Association, founded in 1884 by the prominent developer, W.E.D. Stokes, ultimately stimulated the demand for houses in the West End. Real estate brochures and the local press drew attention to the area, emphasizing the scenic quality of the setting, the nearness of parks, and the availability of public transportation.
West End Avenue (formerly Eleventh Avenue) was opened in 1880 from 72nd Street to 106th street and was paved with asphalt by 1893. West End Association members set twenty-year restrictive covenants governing West End Avenue which closed the avenue to commercial traffic and initially limited development to single-family houses, thus enhancing the desirability of the residential area. By 1890 the character of the avenue had emerged as completely residential and was promoted as a suburban-like setting with such amenities as grass plots and trees along the sidewalks. The absence of flats and apartment houses on the avenue provided the opportunity for various treatments of the comers with rowhouses and larger attached residences.
In the mid-1880s the most attractive areas for development along West End Avenue were located near the El stations and along the higher elevations of the hilly avenue. Construction of mid-size rowhouses, rather than the more grand type of mansions originally projected for West End Avenue, began in 1885 near 104th Street which was convenient to a Ninth Avenue El station and by 1895 the high plateau between West 99th and 104th Streets had been built up with three- and four-story rowhouses. The architectural tone of these private residences was set by the presence of costly mansions such as the W.F. Foster residence at 102th Street and Riverside Drive and the Bacon residence at 104th Street and Riverside Drive.
The Schneider & Company's Houses
The site at the northeast corner of West 102nd Street and West End Avenue appears to have been first sold for development purposes in 1881 and at that time an open-ended restrictive covenant was initiated which prevented the construction of a variety of commercial and industrial buildings. The property changed hands several times before Hannah O'Brien filed plans in 1890 to build five three-story limestone-fronted houses designed by Andrew Spence; within a year O'Brien lost control of the property and this project was abandoned.
Two New York architects, Ernest W. Schneider and Henry Herter, along with two partners — John Fish, a previous client, and Eugene Schultz— acquired the property and soon after filed plans for the construction of a group of four three-story residences with raised basements. Beside the comer house, facing West End Avenue, are two narrow houses, nearly identical in design. Situated across the rear of the three West End Avenue houses, facing West 102nd Street and enclosing the yard area, the fourth house has a freestanding side facade. The houses, built between May, 1892, and April, 1893, were appropriately finished on the interior with decorative mantels, hardwood trim, and horseshoe openings ornamented with fretwork dividing the music rooms from the parlors, as well as up-to-date plumbing and utility areas. The placement of the stairhall in the center of each house permitted large full-width front rooms on the upper floors.
The first house to be sold in the rowhouse group was No. 856 West End Avenue. In 1895 the remaining houses were divided among the investors and Schneider & Herter acquired title to No. 858 West End Avenue. The house was sold in 1897 but title reverted to Schneider & Herter in 1898; they soon resold the house. No. 854 West End Avenue had been sold in 1895 and the West 102nd Street House was sold in 1896.
The Schneider & Company development venture is the sole surviving example of a site development pattern that emerged on West End Avenue in which large comer parcels were purchased for the construction of rowhouse groups. By decreasing the depth of the avenue-facing houses, an additional house could be built on the plot facing the side street; the plan worked to the advantage of the developer who sought a maximum return on the expensive West End Avenue lots. Slightly larger and more prestigious comer houses, with highly visible design features such as comer towers, were characteristic of this site development plan. This scheme was particularly favored in the early 1890s when the area between 99th and 104th streets was developed. Rowhouse groups facing West End Avenue, with a side street-facing house (or houses) across the rear of these lots, were built at the southeast comers of West End Avenue and 99th, 100th, 102nd, and 103rd Streets; all of the groups except the Schneider & Company group have been demolished.
The rowhouse group at the southeast comer of 103rd Street and West End Avenue, designed by M.V.B. Ferdon in 1891, included five houses facing West End Avenue and one facing 103rd Street; only the house facing West 103rd Street remains standing. Another group of houses designed by M.V.B. Ferdon and built by Increase Grenell in 1892 at the northwest comer of West End Avenue and 104th Street (demolished) included a comer house very similar to the Schneider & Company house, featuring the entrance near the center of the 104th Street facade.
Picturesque Architecture on West End Avenue
Curing the intense period of rowhouse development on the Upper West Side, from 1885 to 1900, residential design was dominated by a reaction to the conformity and homogeneity of older Italianate style brownstone rowhouses found elsewhere in the city. The first wave of development along West End Avenue in the period between 1885 and 1895 produced a number of individually-designed houses and speculatively-built, yet distinctive, rowhouse groups which, along with houses in the West End as a whole, represent the culmination of single-family house construction in Manhattan. Many of the most prominent architects working in New York City designed these residences, often for speculative developers who invested in the area. The residences designed for West End Avenue were characteristic of the picturesque eclecticism of late-nineteenth-century architecture, drawing from a wide variety of stylistic sources and expressing the desire of architects and clients for originality, variety, and novelty in residential architecture.
There was a movement away from smooth brownstone as a facing material and a new emphasis on the sculptural and textural qualities of surfaces, as well as on the mixture of colors and materials.
Unusual, picturesque house design on West End Avenue had been initiated by the construction of two groups of houses with a "Dutch" flavor in 1885-86, designed by Frederick B. White and McKim, Mead & White. Clarence True and other architects continued to design residences for West End Avenue in unusual and picturesque revival styles which were executed with a high-degree of artistic experimentation. Strong rhythmic patterns, asymmetrical massing, and a lively streetscape were created by the profusion of bowfronts, bay and oriel windows, gables, turrets, chimneys, dormers, cornices, stoops, and ornamentation associated with the popular Queen Anne and Romanesque Revival styles as well as more exotic revival styles. These later rowhouses on West End Avenue, and throughout the Upper West Side, unlike their Italianate brownstone predecessors from earlier in the nineteenth century, were purposely designed to be distinguished from one another, while together forming visually coherent ensembles.
The houses designed by Schneider & Herter are representative of this picturesque design movement, and although based on the common hybrid of the Queen Anne and Romanesque Revival styles they are enlivened by unusual carved ornament. The treatment of each of the four houses individually within the easily recognizable group provided the architects with the opportunity to create variations on a theme. The high degree of modulation in the plane of the facades, through the use of recessed entrances as well as projecting bay windows and balconies (which afforded views of the river and park) adds depth and grandeur to the rowhouse designs. Schneider & Herter explored the range of surface effects achievable from smooth-faced and rough-cut brownstone, and incorporated both geometric and figural carving of the material.
The repetition of several ornamental elements unites the houses, including paired stringcourses, gridded panels of rough-faced stone, chamfered window surrounds in the smooth-faced facades, sheet-metal panels at the roofline, and elements of the carved stone program. The two smaller West End Avenue houses are identical except for the shape and detailing of the window openings. No. 858 West End Avenue has recessed balconies at the parlor and second stories that relate the comer house to the West End Avenue houses, while the longer West 102nd Street frontage is visually linked to the house at 254 West 102nd Street through the repetition of unusual columns flanking the entrances and the carved panels at the roofline. The round comer tower with a bell-shaped roof serves as the centerpiece of the group.
The design of picturesque rowhouses in New York was influenced by trends in the design of architectural ornament in the later nineteenth century, a time when ornament was treated by many architects as an opportunity for creative experimentation. European theorists such as Owen Jones, James K. Collings, and Christopher Dresser encouraged an abstract interpretation of vegetation executed with an emphasis on geometricized form and their publications influenced designers in the United States. At the same time, technological change also influenced the design of ornament. The availability of steam-powered tools encouraged the use of bold, machine-cut ornament while the growing use of terra cotta prompted the design of intricate ornament that could be easily reproduced.
The popularity of several revival styles, and the inventive blending of these styles, encouraged the architect/designer to adopt an individualized aesthetic in the design of architectural ornament. This trend can be seen in the abstracted naturalistic ornament developed by such recognized American innovators as Frank Fumess and Louis H. Sullivan, as well as in the pioneering work of architects like Henry Hobson Richardson, who developed a highly personal style drawing on Romanesque sources. Many architects working in New York City also developed identifiable personal styles, such as clarence True with his interpretation of the "Elizabethan Renaissance Revival" style.
Schneider & Herter developed a somewhat idiosyncratic and mannerist aesthetic characterized by a lack of reverence for the traditional placement of ornament, an unexpected combining of architectural styles, and asymmetry in the composition of facades and their detailing; these characteristics appear in the firm's early designs for tenements, rowhouses and synagogues. In the ornamental programs of several buildings, including the 858 West End Avenue House, Schneider & Herter combined incised, machine-cut ornament— recalling the earlier Neo-Grec style of incised ornament — with both abstracted naturalistic designs and romantic figurative carving. An uncommon approach to the composition and placement of ornament appears in the design of the entrance where the architects combined pilasters with the projecting balcony above to suggest an entrance portico.
Two flattened engaged baluster forms, with incised horizontal bands and necks at the bottom, are topped by capitals with carved shell forms above inscribed circles; animal masks extend from the upper portion of plain blocks above the capitals that support the projecting balcony. Framing the door to the east is a variation on this form, a cylindrical baluster with a capital, different from the flanking ones, of stalky acanthus leaves above which an elongated console bracket supports the balcony. A more subtle example of Schneider & Herter's unusual ornamental treatment appears in the placement of carved stones in the upper courses of the rusticated basement to cap undefined piers.
Schneider & Herter
Ernest W. Schneider and Henry Herter began an architectural partnership in New York City around 1887; within a very short time they had a thriving business designing tenements, flats, and industrial buildings, primarily on the Lower East Side. Schneider & Herter worked repeatedly for a group of German-Jewish clients with ethnic backgrounds similar to theirs, the most prominent of whom were the real estate developers Jonas Weil and Bernard Mayer for whom the architects designed a number of multiple dwellings. This association led to the firm's commission for the Park East Synagogue, 163 East 67th Street (1889-90, a designated New York City Landmark), which Weil financed and led as president of the congregation. Schneider & Herter also designed Congregation Kol Israel Arshi at 20-22 Forsyth Street (1892, now owned by the Hellenic Orthodox Community).
The firm of Schneider & Herter had acted as architect-developers prior to its venture on the Upper West Side as Schneider & Co., designing and building a pair of French flats at 731-735 East 5th Street in 1890-91 and a French flat at 233-35 Delancey Street in 1891-92; the firm began a warehouse project at 141 West Broadway in 1893. Schneider & Herter later erected a five-story apartment building at 79-81 Perry Street in 1895 (in addition to designing several other buildings now within the Greenwich Village Historic District) and a pair of flats buildings at 309 and 317 West 93rd Street in 1901-02 (within the Riverside-West End Historic District).
The West End Avenue-102nd Street project was a departure from Schneider & Herter's usual work designing multiple dwellings, and was among the firm's first projects on the Upper West Side. Many of the firm's more than 100 multiple dwellings in Manhattan no longer stand, but those remaining exhibit the firm's individualistic approach to the use of ornament and facade compositions often featuring round-arched windows characteristic of the Romanesque Revival style.
- From the 1990 NYCLPC Landmark Designation Report