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.

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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).

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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.

www.prague.eu/de/objekt/orte/31/prager-burg-prazsky-hrad

 

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.

This is it. One of the absolute greatest effects pedals ever engineered. It has EVERYTHING encorperated in it: flanging, delay, vibrato, tremulant, filter, modulation. This is BY FAR the most advanced effects pedal ever designed.

Semi-synthetic

Organic polymer

Light modulation

 

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,

 

Most of the junk in this picture makes up a synchronous buck / class D amplifier. The amplifier supplies power to the tesla coil bridge. Yes, i can do all sorts of modulation this way, including play music.

The amplifier with elegance. Gracefully refined and dignified.

 

# Features: A solid state amplifier pre-tuned to sound similar to our ultra high-end Musee acoustic amplifier series.

# Individual input level control with allows each channel to be independently controlled for multi-channel system, or 5.1 channel system.

# Pulse width modulation power supply built with toroidal core transformer for great response to high frequency and current capacity. Power supply keeps steady voltage and provides wider dynamic range.

# Powerful output final stage driven by Pc=100W 1c=10A bipolar power transistor in a single push-pull. This provides a simple and uniformed output sound.

# Blue glass epoxy circuit board for durability, reliability and endurance. 70um thick copper foil is also used for all wiring.

# High density aluminum chassis with real wood ornaments provides the elegant look and the luxury satisfaction as well as the functionality as a heat sink.

# Cooper plate backing.

 

# Specification: Rated Power: 70W x 4ch (4Ω) (210W x 2ch(4ΩBridged))

# Maximum Output Power: 140W x 4 (4Ω)

# Load Impedance: 2Ω - 8Ω/4Ω - 8Ω(Bridged)

# Input Sensitivity: 0.2-5V (Each channel can be individually controlled)

# Total Harmonic Distortion: 0.01% (1KHz/4Ω)

# Frequency Response: 5Hz - 100kHz (+0,-1.5dB)

# Signal-to-Noise Ratio: 100dB (1KHz/IHF-A)

# Standby Time: Short Circuit/Over Voltage/Over Load/Thermal

# Input Voltage: DC12-16V

# Current Consumption: 1.2A (Idle) /40A (Rated Power)

# Dimensions: 431(W ) x210(D) x 55(H)mm

# Weight: 5.0Kg

Crown XLS2500 DriveCore Series 2400W Amplifier Description:

 

Crown's XLS 2500 is a premiere, portable power amplifier with unmatched performance, technology and affordability. Its advantageous flexibility includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 11 pounds, the Crown XLS2500 power amp is much easier to set up and move from show to show.

 

Integrated DriveCore Technology

Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into the development of this technology resulting in truly remarkable benefits. DriveCore Technology provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the Crown XLS2500 power amp won't compromised your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc.

 

In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low-frequencies at high power levels for maximum subwoofer output.

 

Advanced Switched-Mode Power Supply

The advanced power supply in the Crown XLS2500 power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies. All four models in the Crown XLS line weigh 10 pounds or less with no compromise in performance. This makes the Crown XLS2500 power amp and others in the XLS Series the benchmark for high-performance, lightweight portability.

 

PureBand Crossover System

The PureBand Crossover System in the Crown XLS Series adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provides steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.

 

Peakx limiters

Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher sound pressure level (SPL) with less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.

 

The XLS is a leader in portable amps, with DriveCore Technology, PureBand Crossover System, and Peakx limiters

XLS High Performance, Lightweight Class D power amp weighs less than 11 lbs.

Integrated PureBand Crossover System for better performance and control

Peakx Limiters provide maximum output while protecting your speakers

XLR, 1/4", RCA inputs provide outstanding flexibility

1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup

Electronically balanced XLR inputs; touchproof binding post and Speakon outputs

Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel

Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications

Minimum Guaranteed Power per channel, both channels driven: 1550W, Stereo, 2 Ohms (per ch.); 775W, Stereo, 4 Ohms (per ch.); 440W, Stereo, 8 Ohms (per ch.); 1550W, Bridge-Mono, 8 Ohms; 2400W, Bridge-Mono, 4 Ohms

Sensitivity (for full rated power at 4 ohms): 1.4 Vrms

Frequency Response (at 1 watt, 20 Hz - 20 kHz): +0 dB, -1 dB

Signal-to-Noise Ratio Rated as dBr to full rated 8Ohm power output (A-Weighted): XLS2000 > 103 dB

Damping Factor (8 Ohm): 10 Hz to 400 Hz: > 200

Crosstalk (below rated 8Ohm power): At 1kHz: > 85dB; At 20kHz: >55dB

Input Impedance (nominal): 20 kOhm balanced, 10 kOhm unbalanced

Load Impedance: 2 to 8 Ohm per channel in Stereo; 4 to 8 Ohm in Bridge Mono

AC Line Voltage and Frequency Configurations Available (± 10%):120 VAC 60 Hz; 100 VAC 50/60 Hz; 220 and 240 VAC 50 Hz

Ventilation: Flow-through ventilation from front to back

Cooling: Internal heat sinks with forced-air cooling for rapid, uniform heat dissipation

Integrated Processing: PureBand Crossover System; Crossover Filter: Linkwitz-Riley 24dB per Octave; Crossover Frequency Range: 50 HZ - 3 kHz: Crossover Mode: Crossover (CH1=LPF, CH2=HPF), LowPass (both channels LPF), HighPass (both channels HPF), Bridge (LPF or HPF); Peakx limiters: Channel independent clip limiter designed to provide maximum output while protecting your loudspeakers

Input/Output: Input Connectors: XLR (one per channel), 1/4-Inch (one per channel), and RCA (one per channel). 1/4-Inch connectors can be used as loop-thrus to distribute signal to additional amplifiers. Output Connectors: Two 4-Pole Speakon Output Connectors accept 2-pole or 4-pole Speakon connectors. The top Speakon connector is wired for both channels so it can be used for bridgemono wiring or for stereo wiring of two speakers to a single Speakon connector. One pair of back-panel binding posts per channel; accepts banana plugs or bare wire. (European models do not accept banana plugs.)

Dimensions: 19"W x 3-1/2"H x 10-3/4"D

Weight: XLS2500: 10-3/4 lb.

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

DSCF1529

At KTRU the transmitter was located across campus from the studio. So that the DJ could take the legally required transmitter meter readings every hour, the plate voltage and current of the final amplifying tube were telemetered to this panel in the studio. This was done the cheapest way possible, of course. The Analog System Specifying Hourly Operating Log Entries, or ASSHOLE, was kept in adequate calibration thanks to regular adjustments by the Chief Engineer.

 

Below, the legally required modulation monitor, which listens to the over-the-air signal and measures the audio level, for compliance with the rules about how often it can exceed the nominal maximum, and by how much. This was probably the single most expensive piece of equipment in the studio, and fortunately one of the few items to survive the great flood, being mounted at eye level.

 

Above, the Emergency Broadcast System receiver, which monitors a designated commercial AM radio station for the activation tone and automatically unmutes the audio. This allows the DJ to listen to the EBS announcement from that station. If it was just a test, the event was logged. If it was an actual EBS activation, the DJ was supposed to transmit our own EBS activation tone and then repeat the information for our listeners. Inside the fancy rack-mount case was the guts of a cheap transistor radio and a little garage-made circuit board with the tone decoder. That company is still making broadcast gear today.

Hybrid EggRing and 8 speed hub-gears drive chain.

 

The hub-gears allow for very quick gear changes even when the system is under load.

 

The elliptical rings make it easier to pedal through the dead-spots where the pedaling forces are not being transfered to the rear wheel. This means that this bike can be pedaled slowly on steep hills without stalling. It also works as a traction control system reducing the likelihood of the rear wheel slipping or the front wheel lifting from the torque reaction.

 

By comparing the relative efficiencies of walking and running you can get a reasonable understanding of how an EggRing can be more efficient than the equivalent round chain ring. When you run you waste energy, because the walking motion is more energy efficient than running.

 

Riding a round ring on the flat is energy efficient but becomes less so as resistance forces (hills, mud , headwinds etc.) increase. This is because the rider decelerates as the pedals pass through the dead-spots, and then has to regain its speed in the power-stroke. An elliptical chain-ring, on the other hand, spends less time going through the dead-spot with the result that the rider will have less time in the deceleration phase. So, like walking, EggRings can reduce the energy needed to get from A to B. Instead of having to spin a round chainring in order to make sure you have enough momentum to get you through the next dead-spot, an EggRing can be turned slowly, with much less danger of not getting to the next power-stroke.

 

Does this have a use?

 

Well not to win races. Unless the course is so extreme that the riders repeatedly exhaust themselves and have to take rests.

 

However, the elliptical granny ring on my daughters bike does mean that she has now stopped whinging about how steep the hills are, and perseveres, riding slowly and steadily right to the top. Not the stuff of racing legend, but it does have a real potential for encouraging more people to ride bikes.

 

The Rollerbrakes are very smooth as they are filled with grease and self-servo to reduce finger strain. They give suburb control via their excellent modulation characteristics and are nearest equivalent of anti-lock brakes to be found on a bicycle.

 

~ Text and photograph by Graham Wallace

OUR PARTNER IN ALL OURS AS A WE AS A WERE A SINGLE SARDAR =SIKH.MISTER M.S.KOHLII- A RAREST FIND WE.

 

WE SAW THE WE AS A FEW AS A WE AS A TOO IN THE WE TO BE IN THE HELPING THE HUMAN IN THE PLANET TO THE EXTENT OF THE THEIR WELFARE AS A GUIDANCES EITHER THROUGH HE HIMSELF OR OTHERS.

 

HE CAREFULLY WENT INTO THE MATTER AS A TALK WITH ONE OR ANOTHER OF THE SENIOR PROFESSORS OF THE UNIVERSITY IN WHICH HE WAS STUDYING.

 

THIS AS A FIVE SEVENTY AS A STUDIES AS A WERE AS A WE AS A GIVEN A LINE AS A WE AS.

 

VISITING MANY A DEPARTMENTS HE NEVER VISITED ERLIER WITH A VIEW TO GATHER THE DATAS.

 

THE HIS TWO BROTHERS TRIED TO STOP HE AS A A.S. BRAR BY GUIDED.THEY FELT HE WERE USING HIS FATHER AS A INFLUENCES TO GET TO THE TOP WHICH ALL HAVE A RIGHT TO CLIMB AS IF IT WERE A HIMALAYA AS A CLIMB THAT HE WE SAW AS A PERSON WERE HONOURED BY THE UNITED NATIONS AND ALL NATIONS OF THE EARTH.HERE WE SAW A WAVE WERE BY THE BOGUS AS A A.S. AS.OUT TO MALIGN HE OVER IN THE LIFE HIS ACCOMPLISHED AS AWEAS ASPIRTUAL GIANT AS A DESCRIBE IN GIVEN AWARDS AS A VERY MANY AS A MAN WHO TOO CLIMBED THE EVEREST AS A EDMUND HILARY AND TENZING NORGAY SAID AS A TWENTY SIX TIMES AS A WINNERS NOT AS A LOOSERS AS AND THE U.N. BY ASKED TO SEEN HIS GUIDANCES AS A WERE IN THE FIELDS AS A ALL IN THE DECISION THREE OF THE U.N. AUTHOR HE WE AS A SELECTED BY WE THE GOD OF ALL SUPREME FORCE UNIVERSE AS A STURDIEST MIND..OF THE HIGHEST AS A STORM INVISIBLE AS A VERY VERY POLITE AND DOVE AS A RELIANT ON ALL ASSES TILL TILLORED ALL IN THE THEY TILL FINDING WHO IS WHAT FROM THE VOICE MODULATIONS AS A FIRST EXPERIMENTS THEN THE FACE AS A RECOGNITION AS A TWO LINES HE STARTED ON THE EARTH AS A MATTER ADOPTED BY ALL OF THE PLANET BASED ON HIS LINES AS A GUIDE.A PICTURE TOO WERE BASED ON HE AS A NAME AS A GUIDE AS A MAN OF HIS TEMPER ALWAYS THINKING OF THE WELFARE OF THE OTHER FIRST AS A TRAININGS AS.TENZING SAY DID THEY WOULD NOT HAVE CROSSED EIGHT THOUSAND FEET AS WERE ERLIER UNLESS THE GUIDANCE DAILY OF THE HE WERE THERE FOR THE THEY AS A TEAM.A TEAM AS A OF THE EIGHT AS A SENT BY HE WE SAW AS A WASTE AS A SIGNS AS A WE AS A NOT BUT THE VERY POLITICIANS THAT SENT HE THE THEY TO TEST HE AS A GUIDE AS A WE AS A NONE WE TO SAY AS A MOCKER OF THE RACE AS WELL THE CULTURES ALL AS A VERY POOR PEOPLE OF LOW STATE OF MIND.OFTEN THEY ALL WERE THAT TOO IN THE ARRANGE OF THE MATTER WE AS A RAISED IN ORDER TO SORE WE AS A GODS AS A ONES WE BY NOT FAVOURED OR GIVEN A GAIN .ALL THE GAINS WERE DUE TO THE MESSENGER OF THE GOD AS A SAY IN THE MAN WE MEAN AS A WE AS A SAY IN THE THEY BY SAID IS.TILL DATE.WE COMPARE DETAILS AS A WE AS A SANESTS AS A SAINT AS A SINLESS AS A LIFE.HE WE SAW WE AS A IS AS A SIN TO ATTACH IN THE IT NOT BE IN ANY CASE .WE SAW IT.AS A CASE AS A WE AS A DICTUMS AS A LEARNING OF THE AGES AS A NIL COMING TO HE IN THE LINES THIRTEEN THOUSANDS.AS A GUIDES AS A SINLESS AS A RESEARCHERS AS A FAMINE AS A WE AS A SOUGHT NOT HE TOO NOT BUT HE WENT ABOUT SHOUTING TOO NOT BUT TO NEHRU ASKING HE ISSUE A STATEMENT SAYING WE ARE TOGETHER SO SHALL SEE IT TOGETHER.LET US LEAVE THE WASTE AS A HABIT AMONGST THE RICHER SECTIONS OF THE SOCIETY AND PASS ON SOME TOO TO THE OTHER.HE WE SAW AS A FOLLOWER AS A FOLLOWED BUT WERE NOT ENTERED IN THE REGISTER EITHER AS A SUGGESTOR OR A SUGGESTION HIS AS IT IS AS A WE AS A RECORDS AS A VERY LOW TYPE OF MEN..NOT IN SEEING THEY THEMSELVES OR THE CALIBRE OF THEIR OWN .WASTE OURS AS A WE AS A IS THERE BEFORE US.AS A WE ASSES AS A WE ARE LOADED.SENSELESSESTS AS A MEN WOMEN AS A SUSHMAS AS A LOVEBIRD AS A ROMANCES BEFORE THE OTHER TO TEACH A WHOLE COUNTRY OF DACOIT TO DO DACOITY ON ALL WOMEN TELLING THEY SHE WERE FORCED TO LOVE EACH AND EVERY PERSON EVER OR BE DHOWED AS A MAN HERS AS A GENUINE NICE AS A OUTSIDERS TO BE SO SHE CAN DO ALL TO SEE HIS ACQUIRED OURS AS A ASSAM FORCIBLY GIVEN AS A CHEAT ON WE THE WE BY A SISTERS AS WE ASKING WHAT IS IT AND WHY EQUATE LOVE WITH THE OTHER THING THAT YOU CAN NOT EQUATE--------HAVE YOU STUDIED THE VALUES AS A ASSAM AS TO BE GIVING AWAY OUR ASSAM TO A PERSON YOU KNOW BUT I AS A PERSON NEVER WERE INTRODUCED AS A HUSBAND WIFE TOO NOT BUT A FRIEND AS A WHAT I GIVE IT BE TOLD TO ME BE BY YOU MEMBERS OF MY FAMILY EVEN BEFORE I CONSIDER IT WORTHY TO BE CALLING SELF A SOLE LANDOWNER INDIA THOUGH I HAD DEVELOPED PEOPLE MORE THAN YOUR FATHER BUT IT WERE NEVER THAT I OPENED MY MOUTH AS A MAN OF SENSE BUT NONSENSE AS A HE TOO YOU TOO IS A A ME TO A CYANIDE AND MY THINGS TO BE ALLOCATED TO OTHERS AS A RUBBER AS A OUR DEVELOPED WE WHAT FOR WILL GIVE THEY OR A DARSHI OR A CHARANJIT BECAUSE YOU FEEL SEX FOR THEY AT THIS SWARAJ SAID TAKE IT BACK.......MALAWIN TOOK IT BACK BUT KANCHANA POURED FOUR MORE DROPS OF CYANIDE AT THE SAY OF THE SUSHMA HOW WILL WE SPEND OUR LIFE THERE SIR TO DOCTOR SS KOHLI SAYING YOU GO WE WILL SEE HE..I TAKE IT TO COURT OF JUSTICE AS A WE TO A CHARGE BE OF THE ASS AS A BJP.OR I CHARGE IT AS A WE ME AS A SADR AS A SARDARS AS A WE AS A IS ASS AS ANGRY AT ME LOOSING ALL HIS AS A WE AS A SERIES AS A WORKS AS A DICTUMS AS A SILLY ASSES AS A ASSED AS. WE BOTH WE.SO I DECIDE.I DID START TODAY TO HARASS ALL THEY THE WE TO SILLYS AS A LESSONS THEY TOO IN THE WORLD WE AS.THEY SOLD THE PURCHEE AS A A.S. SAYS BUT WE SEE IT WITH THE A.S. AS A WE AS A STRIVE AS A TO HE SO GIVEN AND HE TO CHARGE WE FOR OTHER STRIVES IS............AS A SERIOUSMOST ALLEGE AS A WE AS A DEALINGS AS A WE TOO TO WE WITH THE ASS WE'S WIFE TO SEVENTY SEXUAL INTERCOURSES AS A SSKOHLI AS A ORDER IN TAKEN WERE IS SAID AS A DARSHAN INDER SINGH A LOOSE MADE CATCH THEIR CAUGHT ENDLESSLY AS A ONE YEAR NOT ERLIER AS A CHILD IN THE MOTHER TO GIVEN BY THEY IN THE RAPES ON HER IN THE THEIR MADE SPECIALLY FOR WE THE T.B. HOSPITAL NEAR OUR RESIDENCE TO START THE EXPERIMENT OF INFECTING A PATIENT WITH T.B. AS A SPUTUM AFTER KILLING AND BEFORE KILLING WITH RADIUM INSERT IN THE LUNG TO KILL TISSUE IN IT AS WAS AS A WE AS A DOCTORS AS A NOT BUT TOO TO FORCE WE INTO A GORGE AS A WE AS A GOD TO BE TO TEST FOR SURE GOD SAVES THE GOD'SFAMILY AND SEE IF WE CAN KILL IT WE TAKE ALL THEIRS AS DID.NORMALLY THE JUSTICE WE FEEL IN SUCH A CASES AS A BRITAIN AS A CALL AS A WE AS A CANCELLED WERE STILL THEY INTRODUCED WE AS A IT SO WE CANCEL THEIR LICENSE TO LIVE AS A FAMILIES THREE AS A NOT BUT ALL.ALL OTHERS TOO BE.

 

WE AS A ORDER WE AS A WE AS A WE AS ARE WE AS A NOT BE EVER BE FOR THEY THE THIS GROUP'S ASS AS A SADR EVER TO BE IN ANY FIELD OR POLICE OVER.

 

KULBHUSHAN KHARBANDA DECOMES AS A WERE AS A WE.........IS WRITTEN AS A FALSESTS AS A MATTERS AS A WE AS A STRIVES AS A A.S. BRAR GANGSTERS DEALING IN GIRL UDHEL.AS SEEN BY WE SINCE NINETEEN TWENTY-----GIRL UDHEL IS THE CATCHING OF GIRLS FOR THE PURPOSES AS A GIRL CAN BE IN ANY BROTHEL.

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

 

amorphica.com/networked.html

 

www.facebook.com/amorphica

 

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 ]

Title: Concha Renaissance San Juan Resort

Other title: Concha

Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects

Creator role: Architect

Date: 1958 (original) 2008 (renovation)

Current location: San Juan, Puerto Rico

Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).

Description of view: View from the pool/lounge area of the hotel that leads to the beach.

Work type: Architecture and Landscape

Style of work: Modern: International Style

Culture: Puerto Rican

Materials/Techniques: Water

Masonry

Trees

Source: Pisciotta, Henry (copyright Henry Pisciotta)

Date photographed: May 13, 2008

Resource type: Image

File format: JPEG

Image size: 2304H X 3072W pixels

Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm

Collection: Worldwide Building and Landscape Pictures

Filename: WB2010-0236 Concha.JPG

Record ID: WB2010-0236

Sub collection: resorts

waterfront

Copyright holder: Copyright Henry Pisciotta

18th October 2013 at Kings Place (Hall Two), London N1 (Ross Ainslie & Jarlath Henderson gig).

 

Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.

 

It is common to see a battery of pedals like this with an Electric guitar player. Much less common with someone playing an acoustic instrument like Ali Hutton.

 

PI: Frank Tsung, University of California, Los Angeles

 

Laser-initiated, or inertial fusion energy (IFE), holds incredible promise as a source of clean and sustainable energy. However, significant obstacles to delivering IFE remain, including the fact that IFE experiments have not achieved self-sustained ignition. This is attributed in large part to excessive laser-plasma instabilities (LPIs) encountered by the laser beams. LPIs, such as two-plasmon/high-frequency-hybrid instability (HFHI) and stimulated Raman scattering (SRS), can absorb, deflect, or reflect laser light, causing potential disruptions and excess heat loads. Therefore, developing an understanding of LPIs is crucial to the success of any IFE scheme.

 

The Ex-field at two different times showing the evolution of a nonlinear electron plasma wave in an SRS simulation using OSIRIS. The wave breaks up due to modulations in both the longitudinal and transverse directions, the wave-fronts bow due to the nonlinear plasma wave frequency shift, and the wave localizes transversely about its central axis.

 

Image credit: F.S. Tsung, University of California, Los Angeles

 

Scientific discipline: Physics: Plasma Physics

 

This research used resources of the Argonne Leadership Computing Facility at Argonne National Laboratory.

 

Accession Number: 1990:1416

Display Title: Capturing the wild elephant

Suite Name:

Media & Support: Opaque watercolor and gold on paper

Creation Date: ca. 1780

Creation Place/Subject: India

State-Province: Tamilnadu

Court: Tanjore

School: Company

Display Dimensions: 9 7/16 in. x 13 11/16 in. (24 cm x 34.8 cm)

Credit Line: Edwin Binney 3rd Collection

Label Copy:

November 2006

 

Paintings from South India

 

These two paintings are from the same series, which appears to have been commissioned by a British patron from the East India Company. Elements of European watercolor landscape painting are evident in the distant vegetation along the low horizon line and in the modulations of the grass and sky.

The top painting depicts one of South Indias renowned processions in which the movable image of divinitiesin this case Shiva and his wife, Parvati, on the bull Nandiare carried aloft by priests. On special festival days, the presence of the gods is ritually transferred from the icons in the temple sanctum to the movable images in order to provide opportunities for the masses to receive the blessings of darshan (seeing god and being seen by god) during the procession. Dark-skinned mendicant holy men are directly beneath the palanquin. A dancer and musicians are shown in front of a cluster of devotees at the far right. (For information on the use of South Indian music in the context of ritual processions, see the computer kiosk program.)

 

Marks:

Bibliography:

Repository: The San Diego Museum of Art

Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”

 

Delaunay explored the developments of Cubist fragmentation more explicitly in his series of paintings of the Eiffel Tower. In these canvases, characteristic of his self-designated “destructive” phase, the artist presented the tower and surrounding buildings from various perspectives. Delaunay chose a subject that allowed him to indulge his preference for a sense of vast space, atmosphere, and light, while evoking a sign of modernity and progress. Like the soaring vaults of Gothic cathedrals, the Eiffel Tower is a uniquely French symbol of invention and aspiration. Many of Delaunay’s images of this structure and the surrounding city are views from a window framed by curtains. In Eiffel Tower (painted in 1911, although it bears the date 1910) the buildings bracketing the tower curve like drapery.

Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”

 

The artist’s attraction to windows and window views, linked to the Symbolists’ use of glass panes as metaphors for the transition from internal to external states, culminated in his Simultaneous Windows series. (The series derives its name from the French scientist Michel-Eugène Chevreul’s theory of simultaneous contrasts of color, which explores how divergent hues are perceived at once.) Delaunay stated that these works began his “constructive” phase, in which he juxtaposed and overlaid translucent contrasting complementary colors to create a synthetic, harmonic composition. Guillaume Apollinaire wrote a poem about these paintings and coined the word Orphism to describe Delaunay’s endeavor, which he believed was as independent of descriptive reality as was music (the name derives from Orpheus, the mythological lyre player). Although Simultaneous Windows (2nd Motif, 1st Part) contains a vestigial green profile of the Eiffel Tower, it is one of the artist’s last salutes to representation before his leap to complete abstraction.

please visit

sakamatra.blogspot.com

for more details

 

Specifications

Year 1973

Form : Solid-state 4ch control Integrated Amplifier

Circuit system

Power amplifier part

Perfect complimentary whole page hardwired-connection OCL circuitry

Power amplifier part

Music power (IHF)

120W (4ohms)

98W (8ohms)

Effective output (IHF)

42W/42W (4ohms)

35W/35W (8ohms)

Power Band Width

5Hz - 50kHz-3dB

Frequency characteristic

5Hz-100kHz+0 -3 dB

Distortion (at the time of an effective output) 0.2% or less

Cross modulation distortion (60Hz:7kHz=4:1) 0.2% or less (at the time of an effective output)

SN ratio (IHF) 110dB or more

Dumping factor 50 (at the time of an 8-ohm load intensity)

Input sensitivity/impedance 1V/50kohm

Input sensitivity/impedance

Phono : 2mV / 30kohm, 50kohm, 100kohm

Tuner, AUX : 100mV /, 80kohm

Tapes monitor Rec Out : 100mV / 10kohm

Playback : 100mV / 60kohm

Rec/Play(DIN) : 100mV / 60kohm, 50mV / 80kohm

An Output voltage/impedance Output power : 1V/200 ohm

Maximum output voltage : 3V

Phono maximum permissible input 100mV (1kHz)

Frequency characteristicDeflection of less than ±0.5dB from a Phono : RIAA standard curve

Tuner, AUX : 5Hz - 60kHz, and +0 -3 dB

Tone control

Bass :50Hz, ±16dB

Turnover frequency : 150Hz, 500Hz

Treble : 20kHz, ±14dB

Turnover frequency : 2kHz, 6kHz

Loudness control 100Hz : +10dB (Volume −30dB)

An Output-power voltage

/Output load impedance 600mV / 10 kohm

Maximum output voltage 2.5V

Frequency characteristic 10Hz-20kHz+0 -3 dB

The semiconductor used Transistor : 37 pieces

Diode : Seven pieces

Power source AC 100V, 50/60Hz

Power consumption At the time of an Output power : 70W

Dimensions

Width 410x height 140x depth of 300mm

Weight 10.3kg

 

source : audio-database.com

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.

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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,

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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

This board was put together to make my bass guitar sound like an assortment of enormous, distorted analog synths.

 

TOP L-R: Amdek PCK-100 Percussion Synthesizer, Boss SL-20 Slicer, Line6 FM4 Filter Modeler, Line6 MM4 Modulation Modeler, Line6 DL4 Delay Modeler.

 

BOTTOM L-R: Boss PS-5 Super Shifter, Boss LS-2 Line Selector, Boss AW-3 Dynamic Wah, Boss PS-2 Pitch Shifter/Delay, Boss DSD-2 Digital Sampler/Delay, Boss ODB-3 Bass Overdrive, Boss OC-3 Super Octave, Boss SYB-3 Bass Synthesizer, Boss SYB-5 Bass Synthesizer, Boss CS-3 Compression Sustainer.

 

Homemade two-tier board.

 

  

+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 .

soundcloud.com/parabelles

 

+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.

jaguar.hotglue.me/

 

+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.

amezek.com/

 

+ 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.

www.facebook.com/AnakondaBoy

 

+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.

just-k.info/

 

+YVES YANOMAMI+

+ DJ KIM KONG-IL

Broken LP, plastic hair toy part, prefab pin back. 50mm diameter.

Naamseingever

de Nederlandse zeevisserij

voornamelijk geplaatst in radiotelefonie zenders van schepen

met slechte gespreksdicipline en identificatie problemen.

 

naamsein " I M "

fabrikaat Centrale Werkplaats PTT

type 3-65 nr. 40

primaire 24VDC

output = het naamsein "I M" in morse ( . . __ __ )

modulatie toon 2000Hz

.

.

www.carnivalofthemaniac.com

.

.

 

Georges de La Tour

French, 1593-1652

Oil on canvas

J. Paul Getty Museum

 

My first thought; is this a Dutch or Flemish painting? No it's French and I always think of de La Tour, using candle light to express mood in his paintings.

 

Here a brawling musician lifts his arm, squeezing lemon juice into the eyes of his supposedly blind opponent. The impostor's guide gasps with dismay while the two spectators at right knowingly laugh at the spectacle of deception revealed. An early work by La Tour, this painting exhibits sharp diagonal rhythms, rapid calligraphic brushwork, and swift modulations in coloring that resonate with the violence of the subject.

 

An 8-bit atmega328 synth that does digital direct synthesis and bitwise modulation. Two oscillators, sine, square, saw and triangle waves, bitwise modulation effect, a rudimentary LFO, LPF, VCA and MIDI in.

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

 

The 858 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.

 

The Corner House on West End Avenue

 

The corner house type evolved on West End Avenue in response to the restrictive covenants that limited construction on this avenue to single-family dwellings, a departure from the development pattern found throughout much of the Upper West Side where flats or tenements were built on Avenue frontage and rowhouses were reserved for the side streets. Architects took advantage of the comer sites to punctuate the West End Avenue streetscape with slightly larger and often taller residences at the ends of blocks, which were often designed with comer towers or curved comer bays, whether built as "centerpieces" of rowhouse groups or as individual buildings. While a tower enhanced the presence of the comer residence, the house was often designed with an entrance near the center of the side street facade rather than a grand Avenue-facing entrance.

 

This was done for interior planning considerations, facilitating the placement of the stairhall near the center of the house which permitted full-width rooms at the front of the house.

 

Most of the comer houses built on West End Avenue were demolished during the redevelopment of the Avenue with apartment houses. Surviving examples of comer houses with side street entrances include the individually-designed and -built 520 West End Avenue (Leech) Residence (1892, a designated New York City landmark), the 858 West End Avenue House, the 560 West End Avenue House (1889-90, in the Riverside-West End Historic District), and several houses in the West End-Collegiate Historic District near the southern end of West End Avenue.

 

The 858 West End Avenue House has characteristics similar to many of these comer houses. The curved comer bay, topped with a bell-shaped roof and originally, a tall finial, extends a story above the other houses in the rowhouse group and serves as a focal point for the group. The roofline, highly visible in the avenue streetscape, features several tall chimneys, pinnacles, and a carved panel. The house is slightly longer than the adjacent houses, although the rear portion of the house is only two stories in height and forms a terrace at the rear, replicating the characteristic form of a rowhouse with a rear extension; a recessed porch with a service entrance at the end bay serves as an extension of the adjacent yard area. The presence of the entrance bay in the long street facade is enhanced by pilasters which frame the entrance, the recessed balcony at the second story, and the window group. A decorative panel extending above the roofline further provides a vertical counterpoint to the long facade.

 

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.

 

Description

 

The comer house of the group of the four houses built by Schneider & Company, with the address of 858 West End Avenue, has a narrow seventeen-foot vide West End Avenue facade and a seventy-two-foot long 102nd Street facade. The house has three stories above a basement and is of brick construction with a brownstone veneer, rusticated at the basement and smooth-faced on the stories above. Dominating the design is an engaged cylindrical comer tower, which rises an additional story and is capped by a bell-shaped roof. The entrance bay, located in the center of the West 102nd Street facade, is emphasized by the use of a box stoop leading to the parlor-story entrance which is recessed behind engaged pilasters and surmounted by a shallow bow-fronted balcony.

 

A recessed balcony at the second story, an arched window group at the third story, and a carved panel with a lion head, which rises above the cornice and conceals the termination of the mansard portion of the roof, make this bay an important vertical counterpoint to the horizontal composition of the house that is accentuated by paired stringcourses. Rock-faced gridded panels in the upper portion of the third story, just below the classically-detailed cornice, add to the picturesque quality of the roof line; the mansard portion of the roof is covered with patterned sheet metal and the sheet-metal cornice is ornamented with sunflower motifs. The carved detailing of the house repeats forms used on other houses in the group, furthering the ensemble quality.

 

The first and second stories are extended in an additional curved bay at the eastern end of the 102nd Street facade, creating an open balcony at the third story. A short column and an implied pier with a carved impost block support the segmental arch (with a wrought iron gate) of the recessed service porch under this bay. A similar gate under an arch spans the entry to the rear yards between the comer house and No. 254 West 102nd Street. Beyond the curved return of the extension, the eastern elevation of the house is faced with brick, as is the eastern wall of the third story.

 

Alterations include the replacement of the original double-hung wood sash with aluminum sash and the panning of the original frames; the circular window next to the main entrance and the elliptical windows flanking the door in the bay above the main entrance remain unchanged. Two tall chimneys, pinnacles, and an elongated finial from the tower roof have been removed. The basement-level window grilles and the cast-iron fence on the areaway wall appear to have been added at an early date.

 

- From the 1990 NYCLPC Landmark Designation Report

  

+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 .

soundcloud.com/parabelles

 

+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.

jaguar.hotglue.me/

 

+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.

amezek.com/

 

+ 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.

www.facebook.com/AnakondaBoy

 

+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.

just-k.info/

 

+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 .

soundcloud.com/parabelles

 

+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.

jaguar.hotglue.me/

 

+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.

amezek.com/

 

+ 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.

www.facebook.com/AnakondaBoy

 

+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.

just-k.info/

 

+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 .

soundcloud.com/parabelles

 

+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.

jaguar.hotglue.me/

 

+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.

amezek.com/

 

+ 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.

www.facebook.com/AnakondaBoy

 

+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.

just-k.info/

 

+YVES YANOMAMI+

+ DJ KIM KONG-IL

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

 

The 856 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. 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 quality and distinctiveness of the Queen Anne/Romanesque Revival style design of the 856 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. No. 856 West End Avenue 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 gables and a chimney.

 

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 West 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 comer 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 limes tone-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 residences. The centerpiece of the group of three-story houses with raised basements is the comer house which has a cylindrical tower with an additional story and an entrance near the center of its long West 102nd Street facade. Beside this house facing West End Avenue are two narrow houses, nearly identical in design, the southernmost one being No. 854 West End Avenue. Situated across the rear of the three West End Avenue houses and 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 house at 856 West End Avenue, the first of the group of residences to be sold, was purchased by Lavinia Katz in 1893. In 1895 the remaining houses were divided among the investors. The house at 854 West End Avenue was sold in 1895 and the house on 102nd Street house was sold in 1896. The comer house was sold in 1897; after title reverted to the developers in 1898, they were able to resell it that same year. A similar situation developed with 854 West End Avenue when title was regained by the investors in 1899; the house was resold again the following year.

 

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 corner 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 104 th Street facade. 5

 

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 ami 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. Along West End Avenue in particular, there emerged a characteristic treatment in the design of cowhouse groups. A larger comer house served to terminate a row of houses or became the focal point in a rowhouse group that turned a comer; the design of these comer houses frequently included an entrance in the longer, street-facing facade, a curved comer bay and tower, and a lively roofline.

 

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 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 augural 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 where the rock-faced semi-elliptical-arched window surrounds of the 856 West End Avenue House contrast with the trabeated pilaster scheme with chamfered window heads of the 854 West End Avenue House.

 

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 as 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 established usage 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 854 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 which included a female mask above and entrance door and lion newel posts at the stoop (no longer intact), identical to those at the 254 West 102nd Street House.

 

An uncommon approach to the composition and placement of ornament appears in the use of unmatched abstracted designs for the capitals of the pilasters that frame the former entrance and in the projecting balcony above that suggests an entrance portico. The placement of the capitals at the height of the window transoms required the insertion of paneled blocks above the capitals and creates compound vertical forms that depart from the traditional relationship of pilaster and horizontal member above. In contrast, the pilaster capitals at the second story, executed in another series of abstracted foliate designs, support the weighty horizontal member below the setback of the fourth story.

 

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, 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). 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.

 

Description

 

No. 856 West End Avenue is the central house in the West End Avenue frontage of the group of houses built by Schneider & Company. The seventeen-foot wide rowhouse has three stories above a raised basement and features a brownstone facade two bays wide. In the southern bay of the parlor story the recessed entrance, at which the original door remains, is surmounted by a recessed balcony with a shallow curved balustrade at the second story supported by a lion head. Paired one-over-one double-hung wood windows in semi-elliptical-arched openings light the main rooms of these stories; the parlor-story windows have carved wood mull ions and stained-glass transoms. The third story is recessed slightly, allowing room for a balcony in the northern bay which is accessed through a door in a window group with carved wood mull ions in a semi-elliptical opening. Pilasters at the parlor and second stories have carved capitals executed in a variety of abstracted foliate designs.

 

Rough-faced brownstone used in the spandrels of the parlor and third stories and narrow rough-faced courses on the gable and chimney adds to the picturesque quality of the roofline, further enhanced by a peaked gable and a tall chimney above the northern bay and a small blind dormer extending from the patterned sheet-metal sheathed mansard roof. Originally, a pinnacle extended from the buttress-like form next to the gable. The box stoop which led to the parlor story entrance has been removed and the raised basement has been refaced with concrete stucco.

 

- From the 1990 NYCLPC Landmark Designation Report

Networked Fabrication for Urban Provocations.

Shifting Paradigms from Mass Production to Mass Customization

Computational architecture and design course

 

amorphica.com/networked.html

 

www.facebook.com/amorphica

 

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 ]

Mullard MAS 281 radio, 1946

Blacktron Gold - Listening and Assault Unit

 

Spacecraft equipped with:

- stereo cockpit

- optoechoic head

- white noise generator

- modulation metronome

- dual megabass cannon

- large aperture antenna with phrase scanning

- dual IR (iridium) jam-session-er

- powerful pro-tone torpedo

- dual frequency Hi-Fi-per sonic missiles

Photo Copyright 2012, dynamo.photography.

All rights reserved, no use without license

 

+++++ FROM WIKIPEDIA ++++++++

 

The peony or paeony[2] is a flowering plant in the genus Paeonia, the only genus in the family Paeoniaceae. They are native to Asia, Europe and Western North America. Scientists differ on the number of species that can be distinguished ranging from 25 to 40,[3][4] although the current consensus is 33 known species.[5] The relationships between the species need to be further clarified.[6]

 

Most are herbaceous perennial plants 0.25–1 metre (0.82–3.28 ft) tall, but some are woody shrubs 0.25–3.5 metres (0.82–11.48 ft) tall. They have compound, deeply lobed leaves and large, often fragrant flowers, in colors ranging from purple red to white or yellow, in late spring and early summer.

 

Peonies are among the most popular garden plants in temperate regions. Herbaceous peonies are also sold as cut flower on a large scale, although generally only available in late spring and early summer.[7]

 

Description

Morphology

 

All Paeoniaceae are deciduous perennial herbs or shrubs, with thick storage roots and thin roots for gathering water and minerals. Some species are caespitose, because the crown produces adventitous buds, while others have stolons. They have rather large compound leaves without glands and stipules, and with anomocytic stomata. In the woody species the new growth emerges from scaly buds on the previous flush or from the crown of the rootstock. The large bisexual flowers are mostly single at the end of the stem. In P. emodi, P. lactiflora, P. veitchii and many of the cultivars these contributed to, few additional flowers develop in the axils of the leaves. Flowers close at night or when the sky is overcast. Each flower is subtended by a number of bracts, that may form a sort of involucre, has 3-7 tough free sepals and mostly 5-8, but occasionally up to 13 free petals. These categories however are intergrading, making it difficult to assign some of them, and the number of these parts may vary. Within are numerous (50–160) free stamens, with anthers fixed at their base to the filaments, and are sagittate in shape, open with longitudal slits at the outer side and free pollen grains which have three slits or pores and consist of two cells. Within the circle of stamens is a more or less prominent, lobed disc, which is presumed not to excrete nectar. Within the disk is a varying number (1-15) of separate carpels, which have a very short style and a decurrent stigma. Each of these develops into a dry fruit (which is called a follicle), which opens with a lengthwise suture and each of which contains one or a few large fleshy seeds. The annual growth is predetermined: if the growing tip of a shoot is removed, no new buds will develop that season.[7][8][9]

 

Taxonomy

The family name "Paeoniaceae" was first used by Friedrich K.L. Rudolphi in 1830, following a suggestion by Friedrich Gottlieb Bartling that same year.[3] The family had been given other names a few years earlier.[10] 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.[4] It has been widely believed that Paeonia is closest to Glaucidium, and this idea has been followed in some recent works.[3][11] Molecular phylogenetic studies, however, have demonstrated conclusively that Glaucidium belongs in the Ranunculaceae family, Ranunculales order,[12] but that Paeonia belongs in the unrelated order Saxifragales.[13] The genus Paeonia consists of about 35 species, assigned to three sections: Moutan, Onaepia and Paeoniae. The section Onaepia only includes P. brownii and P. californicum. The section Moutan is divided into P. delavayi and P. ludlowii, together making up the subsection Delavayanae, and P. catayana, P. decomposita, P. jishanensis, P. osti, P. qiui and P. rockii which constitute the subsection Vaginatae. P. suffruticosa is a cultivated hybrid swarm, not a naturally occurring species.[14]

2017-06-25 1655 Peony

Distribution

 

The genus Paeonia naturally occurs in the temperate and cold areas of the Northern Hemisphere. The section Moutan, which includes all woody species, is restricted in the wild to Central and Southern China, including Tibet. The section Onaepia consist of two herbaceous species and is present in the West of North-America, P. brownii between southern British Columbia and the Sierra Nevada in California and eastward to Wyoming and Utah, while P. californica is limited to the coastal mountains of Southern and Central California.

 

The section Paeonia, which comprises all other herbaceous species, occurs in a band stretching roughly from Morocco to Japan. One species of the section Paeonia, P. anomala, has by far the largest distribution, which is also north of the distribution of the other species: from the Kola peninsula in North-West Russia, to Lake Baikal in Siberia and South to the Tien Shan Mountains of Kazakhstan. The rest of the section concentrates around the Mediterranean, and in Asia.

 

The species around the Mediterranean include Paeonia algeriensis that is an endemic of the coastal mountains of Algeria, P. coriacea in the Rif Mountains and Andalucia, P. cambessedesii on Majorca, P. russoi on Corsica, Sardinia and Sicilly, P. corsica on Corsica, Sardinia, the Ionian islands and in western Greece, P. clusii subsp. clusii on Crete and Karpathos, and subsp. rhodia on Rhodes, P. kesrouanensis in the Western Taurus Mountains, P. arietina from the Middle Taurus Mountains, P. broteri in Andalucia, P. humilis from Andalucia to the Provence, P. officinalis from the South of France, through Switzerland to the Middle of Italy, P. banatica in western Romania, northern Serbia and Slovenia and in southern Hungary, P. peregrina in Albania, western Bulgaria, northern Greece, western Romania, Serbia, Montenegro and Bosnia, while P. mascula has a large distribution from Catalonia and southern France to Israel and Turkey.

 

Between the two concentrations, the subspecies of Paeonia daurica occur, with subspecies velebitensis in Croatia, and daurica in the Balkans and Crimea, while the other subspecies coriifolia, macrophylla, mlokosewitschii, tomentosa and wittmanniana are known from the Caucasus, Kaçkar and Alborz Mountains.

 

Paeonia emodi occurs in the western Himalayas between Pakistan and western Nepal, P. sterniana is an endemic of southeastern Tibet, P. veitchii grows in Central China (Qinghai, Ningxia, Gansu, Shaanxi, Shanxi, Sichuan and the eastern rim of Tibet), like P. mairei (Gansu, Guizhou, Hubei, Shaanxi, Sichuan, and Yunnan), while P. obovata grows in warm-temperate to cold China, including Manchuria, Korea, Japan, Far Eastern Russia (Primorsky Krai) and on Sakhalin, and P. lactiflora occurs in Northern China, including Manchuria, Japan, Korea, Mongolia, Russia (Far East and Siberia).[15]

Distributional history

 

The species of the section Paeonia have a disjunct distribution, with most of the species occurring in the Mediterranean, while many others occur in eastern Asia. Genetic analysis has shown that all Mediterranean species are either diploid or tetraploid hybrids that resulted from the crossbreeding of species currently limited to eastern Asia. The large distance between the ranges of the parent species and the nothospecies suggest that hybridisation already occurred relatively long ago. It is likely that the parent species occurred in the same region when the hybrids arose, and were later exterminated by successive Pleistocene glaciations, while the nothospecies remained in refugia to the South of Europe. During their retreat P. lactiflora and P. mairei likely became sympatric and so produced the Himalayan nothospecies P. emodi and P. sterniana.[15]

Chemistry and biological activity

 

Over 262 compounds have been obtained so far from the plants of Paeoniaceae. These include monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids, steroids, paeonols, and phenols. In vitro biological activities include antioxidant, antitumor, antipathogenic, immune-system-modulation activities, cardiovascular-system-protective activities and central-nervous-system activities.[19]

Cultivation

 

Paeonia 'Sarah Bernhardt'

 

Ancient Chinese texts mention the peony was used for flavoring food. Confucius (551–479 BC) is quoted to have said: "I eat nothing without its sauce. I enjoy it very much, because of its flavor."[20] Peonies have been used and cultivated in China since early history. Ornamental cultivars were created from plants cultivated for medicine in China as of the sixth and seventh century. Peonies became particularly popular during the Tang dynasty, when they were grown in the imperial gardens. In the tenth century the cultivation of peonies spread through China, and the seat of the Sung dynasty, Luoyang, was the centre for its cultivation, a position it still holds today. A second centre for peony cultivation developed during the Qing dynasty in Cáozhōu, now known as He Ze. Both cities still host annual peony exhibitions and state-funded peony research facilities. Before the tenth century, P. lactiflora was introduced in Japan, and over time many varieties were developed both by self fertilisation and crossbreeding, particularly during the eightienth to twentieth centuries (middle Edo to early Shōwa periods). During the 1940s Toichi Itoh succeeded in crossing tree peonies and herbaceous peonies and so created a new class of so-called intersectional hybrids. Although P. officinalis and its cultivars were grown in Europe from the fifteenth century on, originally also for medicinal purposes, intensive breeding started only in the nineteenth century when P. lactiflora was introduced from its native China to Europe. The tree peony was introduced in Europe and planted in Kew Gardens in 1789. The main centre of peony breeding in Europe has been in the United Kingdom, and particularly France. Here, breeders like Victor Lemoine and François Félix Crousse selected many new varieties, mainly with P. lactiflora, such as "Avant Garde" and "Le Printemps". The Netherlands is the largest peony cut flower producing country with about 50 million stems each year, with "Sarah Bernardt" dominating the sales with over 20 million stems.[7]

 

Plant growth habits

 

Peony species come in two distinct growth habits, while hybrid cultivars in addition may occupy an intermediate habit.

 

herbaceous: During summer, renewal buds develop on the underground stem (the "crown"), particularly at the foot of the current season's annual shoots. These renewal buds come in various sizes. Large buds will grow into stems the following growing season, but smaller buds remain dormant. The primordia for the leaves can already be found in June, but the flower only starts differentiating in October, as the annual shoots die down, completing its development in December, when sepals, petals, stamens and pistils are all recognisable.[7]

tree: During the summer, large buds develop at the tip of the annual growth and near its foot. In the autumn, the leaves are shed, and the new stems become woody and are perennial.

Itoh (or "Intersectional"): In 1948 horticulturist Toichi Itoh from Tokyo used pollen from the yellow tree peony "Alice Harding" to fertilize the herbaceous P. lactiflora "Katoden", which resulted in a new category of peonies, the Itoh or intersectional cultivars. These are herbaceous, have leaves like tree peonies, with many large flowers from late spring to early autumn, and good peony wilt resistance. Some of the early Itoh cultivars are "Yellow Crown", "Yellow Dream", "Yellow Emperor" and "Yellow Heaven".[21]

 

Flower types

 

Six types of flower are generally distinguished in cultivars of herbaceous peonies.

 

single: a single or double row of broad petals encircle fertile stamens, carpels visible.

Japanese: a single or double row of broad petals encircle somewhat broadened staminodes, may carry pollen along the edges, carpels visible.

anemone: a single or double row of broad petals encircle narrow incurved petal-like staminodes; fertile stamens are absent, carpels visible.

semi-double: a single or double row of broad petals encircles further broad petals intermingled with stamens.

bomb: a single row of broad petals encircles a shorter dense pompon of narrower petals.

double: the flower consists of many broad petals only, including those which likely are altered stamens and carpels.[7]

 

Propagation

 

Herbaceous and Itoh peonies are propagated by root division, and sometimes by seed. Tree peonies can be propagated by grafting, division, seed, and from cuttings, although root grafting is most common commercially.[22][23]

 

Herbaceous peonies such as Paeonia lactiflora, will die back to ground level each autumn. Their stems will reappear the following spring. However tree peonies, such as Paeonia suffruticosa, are shrubbier. They produce permanent woody stems that will lose their leaves in winter but the stem itself remains intact above ground level.[24]

Uses

 

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. 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."[25]

 

In China, the fallen petals of Paeonia lactiflora are parboiled and sweetened as a tea-time delicacy. Peony water, an infusion of peony petals, was used for drinking in the Middle Ages. The petals may be added to salads or to punches and lemonades.[26]

 

Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.

Culture

In this gold-engraved lacquerware food tray from the Song dynasty (960–1279), the two long-tailed birds represent longevity, and the peony seen at the top center represents prosperity

Peony, by Chinese artist Wang Qian, Yuan dynasty (1271–1368)

Portrait of a peony by Chinese artist Yun Shouping, 17th century

 

The peony is among the longest-used flowers in Eastern culture. 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 富貴花 (fùguìhuā) "flower of riches and honour" or 花王 (huawang) "king of the flowers", and is used symbolically in Chinese art.[27] In 1903, the Qing dynasty declared the peony as the national flower. Currently, the Republic of China government in Taiwan designates the plum blossom as the national flower, while the People's Republic of China government 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 the Middle Ages, peonies were often painted with their ripe seed-capsules, since it was the seeds, not the flowers, which were medically significant.[1] Ancient superstition dictated that great care be taken not to be seen by a woodpecker while picking the plant's fruit, or the bird might peck out one's eyes.[28]

 

In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.

 

Mischievous nymphs were said to hide in the petals of the Peony, giving it the meaning of Shame or Bashfulness in the Language of Flowers. While the peony takes several years to re-establish itself when moved, it blooms annually for decades once it has done so.[29]

 

Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds, and is not required for the plants' own pollination or other growth.[30]

 

Peonies are a common subject in tattoos, often used along with koi-fish. The popular use of peonies in Japanese tattoo was inspired by the ukiyo-e artist Utagawa Kuniyoshi's illustrations of Suikoden, a classical Chinese novel. His paintings of warrior-heroes covered in pictorial tattoos included lions, tigers, dragons, koi fish, and peonies, among other symbols. The peony became a masculine motif, associated with a devil-may-care attitude and disregard for consequence.

 

Famous painters of peonies have included Conrad Gessner (ca. 1550) and Auguste Renoir in 1879. Paeonia officinalis can be found in the altar picture of Maria im Rosenhag by Schongauer in the former Dominican Church in Colmar.[31] The Italian Jesuit, painter and architect Giuseppe Castiglione (1688-1766), who worked at the court of the Qianlong Emperor in the Qing dynasty, painted peonies.

 

Die Pfingstrosen (Paeonia), auch Päonien genannt, sind die einzige Pflanzengattung der Familie der Pfingstrosengewächse (Paeoniaceae). Diese Gattung umfasst 32 Arten. Die bekanntesten Sorten sind Stauden, also ausdauernde krautige Pflanzen, deren oberirdische Sprossen im Winter absterben; daneben gibt es auch verholzende Arten und Sorten, die meistens als Halbsträucher, seltener als Sträucher wachsen. Ausgangsformen der Kultursorten sind fast immer gärtnerische Züchtungen der Gemeinen Pfingstrose und der Milchweißen Pfingstrose.[1] Wenige Gartenformen basieren dagegen auf interspezifischen Hybriden.

 

Die wechselständig angeordneten Laubblätter sind zumeist relativ groß und gestielt. Die zusammengesetzte Blattspreite ist mit Ausnahme der vorhergehend genannten beiden Arten zumeist doppelt dreizählig. Die Zahl der Abschnitte der unteren Blätter variieren bei den staudigen Arten zwischen 9 (Paeonia daurica),[3] 10 bis 22 (Paeonia mascula),[3] 78 bis 91 (Paeonia intermedia)[4] und 134 bis 340 (Paeonia tenuifolia).[4] Bei Paeonia intermedia und Paeonia tenuifolia sind die Blätter dabei federartig mit zahlreichen linealischen Blattabschnitten.[5] Die Blattfiedern besitzen normalerweise einen gezähnten Rand oder sind gelappt. Nebenblätter fehlen.

Blüten, Früchte und Samen

 

Die endständigen Blüten stehen über ein bis sechs Hochblättern (Brakteen). Sie sind groß und sehen Rosenblüten etwas ähnlich. Die zwittrigen Blüten variieren stark in der Anzahl ihrer Blütenorgane. Es sind zwei bis neun Kelchblätter und vier bis dreizehn Kronblätter vorhanden. Die Kronblätter besitzen meist Rosa- oder Rottöne, es existieren jedoch auch Arten mit weißen und gelben Kronblättern. In der Mitte der Blüte befinden sich viele (bis zu 230), zentrifugal vermehrte, kurze Staubblätter. Die Staubblätter verdecken beinahe die zwei bis fünf (bis acht) großen, freien Fruchtblätter, welche am Grunde eine als Nektarium dienende Scheibe, den „Diskus“, bilden. Die Blüten der Pfingstrosen verbreiten einen intensiven Duft.

 

Die Sorten der Strauch- und Baumpäonien tragen die größten und prächtigsten Blüten aller Pfingstrosen. Sie sind zumeist gefüllt, manchmal bis über 20 Zentimeter groß und besitzen gerüschte oder gekräuselte Kronblätter.

 

Es werden Sammelbalgfrüchte gebildet. Die dunklen Samen sind relativ groß mit einem Durchmesser von bis zu 1,3 Zentimetern.

Mikroskopische Merkmale, Inhaltsstoffe und Chromosomenzahl

 

Vorkommen

 

Bis auf zwei an der Westküste Nordamerikas heimische Arten sind alle Pfingstrosen aus den gemäßigten Klimazonen und subtropischen Klimazonen Eurasiens verbreitet. Einige Arten gedeihen aber auch in stärker kontinentalen Gebieten Sibiriens und Ostasiens (Paeonia anomala, Paeonia lactiflora, Paeonia obovata). Verbreitungsschwerpunkt sind aber die subtropischen Bergregionen in Südeuropa, Kleinasien, Kaukasien und Ostasien.

 

Um Blütenknospen ausbilden zu können, benötigen die meisten Pfingstrosen-Arten eine kalte Ruhezeit im Winter. Junge Blätter und Blütenknospen können dagegen durch Spätfröste geschädigt werden. Dies gilt insbesondere für die Strauch-Päonien, die besonders früh austreiben.

 

Pfingstrosen wachsen überwiegend in Bergwäldern, einige Arten kommen auch in den Steppenregionen Osteuropas sowie Asiens vor (beispielsweise Paeonia tenuifolia). Die europäischen Pfingstrosen finden sich überwiegend auf kalkhaltigen Böden und wachsen zumeist in wenig geschlossenen Wäldern und Buschwaldregionen. Die Gemeine Pfingstrose (Paeonia officinalis) kommt aber auch häufiger in subalpinen Rasengesellschaften der Südalpen vor.

 

Die Gemeine Pfingstrose, die aus den Bergregionen Südeuropas stammt, gilt in Bayern und zwar vor allem in Franken als stellenweise eingebürgert. Aufgrund ihrer langen Kultivierungsgeschichte in Mitteleuropa würde man sie den ethelochor verschleppten Archäophyten zurechnen.

 

Die meisten europäischen Pfingstrosenarten sind nur von wenigen Fundorten bekannt und gehören daher zu den gefährdeten Arten.

Systematik

Namensherkunft

 

Die Gattung Paeonia wurde 1753 von Carl von Linné in Species Plantarum erstveröffentlicht.[6] Der botanische Gattungsname Paeonia ist auf das griechische Wort „paionia“ zurückzuführen, das für den Götterarzt Paian steht. Der griechischen Sage nach heilte er mit Hilfe dieser Pflanze Pluton, den Gott der Unterwelt, nachdem Herakles diesen im Krieg um Pylos verwundet hatte. Auch die antiken römischen Dichter wissen Ähnliches von der Pflanze zu berichten. Vergil sagt im 7. Gesang der Äneis, dass die Göttin Artemis den Virbios, der von den Pferden seines Vaters Theseus getötet worden war, mit Hilfe einer Pfingstrose wieder zum Leben erweckte.

 

Äußere Systematik

 

Die Pfingstrosengewächse wurden im Laufe der Zeit an verschiedenen Stellen im Stammbaum der Bedecktsamer angesiedelt: Cronquist stellte sie unter anderem wegen der zentrifugalen Vermehrung (Dédoublement) der Staubblätter in die basale Ordnung Dilleniales der Dilleniidae (siehe Systematik nach Schmeil-Fitschen); Tachtadschjan sah eine enge Verwandtschaft mit Glaucidium palmatum, das von APG II zu den Hahnenfußgewächsen gestellt wird, stellte Paeonia und Glaucidium jeweils in eine eigene Ordnung Paeoniales bzw. Glaucidiales und ordnete beide der Unterklasse Hahnenfußähnliche (Ranunculidae) zu[7][8] (siehe Systematik der Bedecktsamer nach Tachtadschjan).

 

Die Angiosperm Phylogeny Group (APG) schließlich, nach deren Systematik sich die deutschsprachige Wikipedia richtet, rechnet die Pfingstrosengewächse zur Ordnung der Steinbrechartigen (Saxifragales) (siehe Systematik der Bedecktsamer).

Balearen-Pfingstrose (Paeonia cambessedesii)

West-Kaukasische Pfingstrose (Paeonia daurica subsp. coriifolia)

Gelbe Kaukasus-Pfingstrose (Paeonia daurica subsp. mlokosewitschii)

Korallen-Pfingstrose (Paeonia mascula)

Gemeine Pfingstrose (Paeonia officinalis)

Die Feinblättrige Pfingstrose (Paeonia tenuifolia) zählt bis heute nicht zu den häufigen Gartenpflanzen in Mitteleuropa.

Innere Systematik

 

Die Gattung Paeonia enthält 32 Arten, die sich in drei Sektionen einteilen lassen:[9]

 

Sect. Moutan DC. (Strauchige Pfingstrosen)

Paeonia cathayana D.Y.Hong & K.Y.Pan: Sie kommt in den chinesischen Provinzen Henan und Hubei vor.[10]

Paeonia decomposita Hand.-Mazz.: Die zwei Unterarten kommen nur im nordwestlichen Sichuan vor:[10]

Paeonia decomposita Hand.-Mazz. subsp. decomposita: Dieser Endemit gedeiht nur im Dadu He Tal in Höhenlagen von 2000 bis 3100 Metern im nordwestlichen Sichuan.[10]

Paeonia decomposita subsp. rotundiloba D.Y.Hong: Dieser Endemit gedeiht nur im Ming Jiang Tal in Höhenlagen von 2000 bis 3100 Metern im nordwestlichen Sichuan.[10]

Delavays Strauch-Pfingstrose[11] (Paeonia delavayi Franch., Syn.: Paeonia lutea Delavay ex Franch.): Sie kommt im südöstlichen Tibet und in den chinesischen Provinzen westliches Sichuan und zentralen sowie nördlichen Yunnan vor.[10]

Paeonia jishanensis T.Hong & W.Z.Zhao: Sie kommt in den chinesischen Provinzen Henan, Shaanxi und Shanxi vor.[10]

Paeonia ludlowii (Stern & G.Taylor) D.Y.Hong: Sie kommt im südöstlichen Tibet in Höhenlagen von 2900 bis 3500 Metern vor.[10]

Paeonia ostii T.Hong & J.X.Zhang (Syn.: Paeonia suffruticosa subsp. yinpingmudan D.Y.Hong, K.Y.Pan & Zhang W.Xie): Die Heimat ist das westliche Henan.[10]

Paeonia qiui Y.L.Pei & D.Y.Hong: Die Heimat ist das westliche Henan und das westliche Hubei.[10]

Paeonia rockii (S.G.Haw & L.A.Lauener) T.Hong & J.J.Li ex D.Y.HongSie kommt in den chinesischen Provinzen Gansu, Henan, Hubei und Shaanxi vor.[10] Mit den Unterarten:

Paeonia rockii subsp. atava (Brühl) D.Y.Hong & K.Y.Pan (Syn.: Paeonia rockii subsp. taibaishanica D.Y.Hong)

Paeonia rockii subsp. rockii (Syn.: Paeonia rockii subsp. linyanshanii (Halda) T.Hong & G.L.Osti)

 

Zu dieser Sektion gehört auch die Kulturhybride

 

Strauch-Pfingstrose[11] (Paeonia ×suffruticosa Andrews), die die kultivierten, von Kreuzungen mehrerer wilder Arten abstammenden Strauchpäonien umfasst.[9]

 

Sect. Onaepia Lindl. (Nordamerikanische Stauden-Pfingstrosen)

Paeonia brownii Douglas: Sie kommt in den westlichen US-Bundesstaaten Washington, Oregon, Wyoming, Montana, Utah, Nevada, Idaho und Kalifornien vor.[12]

Kalifornische Pfingstrose (Paeonia californica Nutt.): Sie kommt in Kalifornien und im mexikanischen Bundesstaat Baja California vor.[12]

 

Sect. Paeonia DC. (Eurasische Stauden-Pfingstrosen)

Paeonia algeriensis Chabert (Syn.: Paeonia mascula subsp. atlantica (Coss.) Greuter & Burdet): Sie kommt in Algerien vor.[13]

Paeonia anomala L., Heimat: China, Russland (auch im europäischen Teil), Sibirien, Zentralasien, Mongolei; mit den Unterarten:

Paeonia anomala L. subsp. anomala

Veitchs Pfingstrose[11] (Paeonia anomala subsp. veitchii (Lynch) D.Y.Hong & K.Y.Pan; Syn.: Paeonia veitchii Lynch): Die Heimat ist China.

Türkische Pfingstrose (Paeonia arietina G.Anderson, Syn.: Paeonia mascula subsp. arietina (G.Anderson) Cullen & Heywood)

Paeonia broteri Boiss. & Reuter (Syn.: Paeonia lusitanica Mill.): Sie kommt auf der Iberischen Halbinsel vor.

Balearen-Pfingstrose[11] (Paeonia cambessedesii (Willk.) Willk.). Sie kommt nur auf den Balearen vor.

Clusius-Pfingstrose[14] (Paeonia clusii Stern & Stearn), mit den zwei Unterarten:

Paeonia clusii subsp. clusii, Heimat: Kreta, Karpathos.

Paeonia clusii subsp. rhodia (Stearn) Tzanoud., Heimat: Rhodos.

Paeonia coriacea Boiss.: Sie kommt in Marokko, in Spanien, in Sardinien und in Korsika vor.[13]

Paeonia corsica Sieber ex Tausch: Sie kommt in Sardinien, Korsika und Griechenland vor.[13]

Krim-Pfingstrose (Paeonia daurica Andrews), mit folgenden Unterarten:

Krim-Pfingstrose (Paeonia daurica subsp. daurica)

West-Kaukasische Pfingstrose (Paeonia daurica subsp. coriifolia (Rupr.) D.Y.Hong)

Großblättrige Pfingstrose (Paeonia daurica subsp. macrophylla (Albov) D.Y.Hong, Syn.: Paeonia macrophylla (Albov) Lomakin)

Gelbe Kaukasus-Pfingstrose (Paeonia daurica subsp. mlokosewitschii (Lomakin) D.Y.Hong, Syn: Paeonia mlokosewitschii Lomakin): Sie kommt in Aserbaidschan, in Georgien und im südlichen europäischen Russland vor.[13]

Paeonia daurica subsp. tomentosa (Lomakin) D.Y.Hong (Syn.: Paeonia tomentosa (Lomakin) N.Busch)

Paeonia daurica subsp. velebitensis D.Y.Hong: Dieser Endemit gedeiht nur im Velebit-Gebirge in Kroatien.

Wittmanns Pfingstrose (Paeonia daurica subsp. wittmanniana (Hartwiss ex Lindl.) D.Y.Hong, Syn.: Paeonia wittmanniana Hartwiss ex Lindl.): Sie kommt im Kaukasusraum sowie in der Türkei vor.

Paeonia emodi Wall ex Royle: Sie kommt im nördlichen Pakistan, im nordwestlichen Indien, in Kaschmir, im westlichen Nepal und im südlichen Xizang vor.[10]

Paeonia intermedia C.A.Mey. (Syn.: Paeonia anomala subsp. intermedia (C.A.Mey.) Trautv.): Sie kommt in Kasachstan, Usbekistan, Tadschikistan, Kirgisistan, im südwestlichen Sibirien und in der chinesischen Provinz Xinjiang vor.

Paeonia kesrouanensis (J. Thiébaut) J.Thiébaut: Sie wurde aus dem Gebiet von Syrien und Libanon beschrieben, wird aber von manchen Autoren auch als Unterart Paeonia mascula subsp. kesrouanensis (J. Thiébaut) Halda angesehen.[15]

Milchweiße Pfingstrose[16] (Paeonia lactiflora Pall.). Ihre Hybriden werden auch als Chinesische Pfingstrose oder Edelpfingstrose bezeichnet, Verbreitung: China (Mandschurei), Mongolei, Japan, Korea.

Paeonia mairei H.Lév.: Sie kommt in den chinesischen Provinzen Gansu, Guizhou, Hubei, Shaanxi, Sichuan und Yunnan vor.[10]

Korallen-Pfingstrose (Paeonia mascula (L.) Mill.), mit folgenden Unterarten:

Paeonia mascula subsp. bodurii N.Özhatay

Paeonia mascula subsp. hellenica Tzanoud.

Paeonia mascula subsp. mascula

Paeonia mascula subsp. russoi (Biv.) Cullen & Heywood

Paeonia obovata Maxim., Heimat: Es gibt zwei Unterarten:

Paeonia obovata subsp. obovata (Syn.: Paeonia japonica (Makino) Miyabe & H.Takeda, Paeonia obovata var. glabra Makino, Paeonia obovata subsp. japonica (Makino) Halda, Paeonia obovata var. japonica Makino, Paeonia oreogeton S.Moore): Sie ist in China, Japan, Korea und Russlands Fernen Osten verbreitet.[10]

Paeonia obovata subsp. willmottiae (Stapf) D.Y.Hong & K.Y.Pan (Syn.: Paeonia willmottiae Stapf, Paeonia obovata var. willmottiae (Stapf) Stern): Sie gedeiht in sommergrünen Laubwäldern in Höhenlagen von 800 bis 2800 Metern in den chinesischen Provinzen südöstliches Gansu, westliches Henan, westliches Hubei, südliches Ningxia, östliches Qinghai, südliches Shaanxi, Shanxi, östliches sowie nördliches Sichuan.[10]

Gemeine Pfingstrose (Paeonia officinalis L.), mit folgenden Unterarten:

Paeonia officinalis subsp. banatica (Rochel) Soó

Paeonia officinalis subsp. huthii Soldano

Paeonia officinalis subsp. italica Passalacqua & Bernardo

Paeonia officinalis subsp. microcarpa (Boiss. & Reut.) Nym.

Paeonia officinalis subsp. officinalis

Paeonia parnassica Tzanoud.: Sie kommt nur in Griechenland vor.

Fremde Pfingstrose[16] (Paeonia peregrina Mill.): Ihre Heimat ist Süd- und Südosteuropa und die Türkei.

Paeonia saueri D.Y.Hong, X.Q.Wang & D.M.Zhang: Sie kommt auf der Balkanhalbinsel vor.[13]

Paeonia sterniana H.R.Fletcher: Sie gedeiht in Höhenlagen von 2800 bis 3500 Metern nur im südöstlichen Tibet.[10]

Feinblättrige Pfingstrose[16] (Paeonia tenuifolia L.): Ihre Heimat ist Südosteuropa und Südrussland.

 

Nutzung

Pfingstrosen im Garten

Kulturformen

 

Von zwei Arten aus dieser Gattung werden viele Sorten in Mitteleuropa sehr häufig kultiviert: Die Gemeine Pfingstrose (Paeonia officinalis) wird auch als Echte Pfingstrose oder Bauern-Pfingstrose bezeichnet, weil sie fester Bestandteil des traditionellen Bauerngartens ist. Nach wie vor findet sich diese Art in vielen mitteleuropäischen Gärten, wo sie ab Mai mit ihren großen Blüten die Pflanzenfreunde erfreut. Als Zierpflanze für Parks und Gärten hat sie jedoch zunehmend Konkurrenz durch die züchterischen Sorten der aus Ostasien stammenden Milchweißen Pfingstrose (Paeonia lactiflora) erhalten. Insgesamt wurden 3.000 Sorten dieser Gattung gezüchtet. Strauch- oder Baumpäonien werden nur in klimatisch begünstigten Regionen kultiviert. Strauch-Pfingstrosen werfen im Herbst ihre Blätter ab. Ihre verholzten Triebe verwelken im Gegensatz zu denen der Stauden-Pfingstrosen nicht. Erst nach dem Zweiten Weltkrieg gelang es Züchtern, Strauch-Pfingstrosen und Stauden-Pfingstrosen erfolgreich zu kreuzen. Die ersten sechs Sorten dieser Kreuzungen wurden nach dem Züchter Itoh-Hybriden benannt, geläufiger ist inzwischen der Begriff „Intersektionelle Pfingstrosen“. Gemeinsames Merkmal dieser Hybriden sind das Laub und die Blüten (besonders die gelbe Farbe) den Strauch-Pfingstrosen ähneln, verbunden mit dem jährlichen Neuaustrieb als Staude.

Die Korallen-Pfingstrose (Paeonia mascula) ist eine der zwei Arten, die man bereits in der Antike als Heilpflanze schätzte.

Die Geschichte der Pfingstrosen als Gartenpflanze

Pfingstrosen in China

Strauch-Pfingstrose (Paeonia ×suffruticosa)

 

Die Pfingstrosen werden in der chinesischen Gartenkunst bereits seit mehr als tausend Jahren als Zierpflanze kultiviert. Die Strauch-Pfingstrose (Paeonia ×suffruticosa) ist in Nordwestchina, in Tibet und in Bhutan beheimatet und wächst dort in Bambusdickichten, im Unterholz der Wälder und auf Wiesen. Chinesische Gärtner hatten aus der ursprünglich rot blühenden Art bereits eine Palette unterschiedlicher Sorten mit Blütenfarben von Weiß über Gelb bis hin zu Schwarzviolett gezüchtet, als gegen Ende des 18. Jahrhunderts Europäer die ersten lebenden Pflanzen nach England mitbrachten. Die Royal Horticultural Society sendete 1834 sogar eigens den Pflanzensammler Robert Fortune nach China, um dort weitere Pfingstrosen-Sorten zu erwerben.

 

Auch eine zweite Art, die Milchweiße Pfingstrose (Paeonia lactiflora), wird seit über 1.000 Jahren in China als Zierpflanze geschätzt. Bereits zur Zeit der Song-Dynastie (961 bis 1278) hatte man aus der Art 39 verschiedene Sorten gezüchtet, die sich vor allem durch dicht gefüllte, ballähnliche Blüten auszeichneten.

 

Pfingstrosen in Europa

 

Bereits in der europäischen Antike war die Pfingstrose als Gartenpflanze bekannt. Zwei der Arten, die im Mittelmeergebiet heimisch sind, die Korallen-Pfingstrose (Paeonia mascula) und die Gemeine Pfingstrose (Paeonia officinalis), wurden im Mittelmeerraum bereits in der Antike gepflegt. Beide Arten standen in dem Ruf, Heilpflanzen zu sein. Es sind vor allem die Benediktinermönche gewesen, die die Gemeine Pfingstrose von jenseits der Alpen nach Mitteleuropa brachten, um sie als Heilpflanze in ihren Klöstern zu kultivieren. Gelegentlich bezeichnete man daher die Gemeine Pfingstrose auch als Benediktinerrose. Von den Klostergärten aus gelangte sie in die Bauerngärten, wo sie neben ihrer Heilwirkung auch wegen ihrer Anspruchslosigkeit und Langlebigkeit geschätzt wurde.

 

Insbesondere die Gemeine Pfingstrose (Paeonia officinalis) ist eine verhältnismäßig robuste Gartenpflanze und das gilt auch für viele der Zuchtsorten der Chinesischen Pfingstrose. Die anderen Arten stellen an ihren Standort höhere Anforderungen und können vor allem durch Spätfröste Schaden an Blättern und Trieben nehmen. Sinnvoll ist es, Pfingstrosen möglichst lange an einem Standort stehen zu lassen, da der Blütenansatz von Jahr zu Jahr zunimmt. Pfingstrosen können über Jahrzehnte am selben Ort gedeihen, ohne dass sie je ausgegraben und geteilt werden müssen. Empfehlenswert ist es, die Pflanzen im Frühjahr vor dem Austrieb sowie nach der Blüte im Sommer mit organischem Dünger wie Knochenmehl oder Hornspänen zu versorgen, damit die Pflanzen ihre Blühwilligkeit behalten. Auf mineralischen Dünger reagieren Pfingstrosen gelegentlich mit gelben Blättern und dürftigem Wachstum. Der Blühfähigkeit der Pflanze dient es auch, wenn verblühte Blüten abgeschnitten werden, da die Samenbildung die Pflanze viel Kraft kostet, die zu Lasten des Blütenansatzes im nächsten Jahr geht.

 

Pfingstrosen gedeihen am besten an einem etwas windgeschützten Standort in vollem oder leicht gefiltertem Sonnenlicht und in einem nährstoffreichen und durchlässigen Gartenboden wie beispielsweise einem lockeren Lehmboden. Pfingstrosen sind sogenannte Starkzehrer, das heißt, sie benötigen einen nährstoffreichen Boden. Bei den meisten Gärtnern hat es sich bewährt, sie nach dem Austrieb zu mulchen und mit gut verrottetem Mist zu düngen.

 

Stauden-Pfingstrosen werden so tief gepflanzt, dass ihr Wurzelstock etwa drei bis vier Zentimeter unter der Erdoberfläche liegt. Die ideale Pflanzzeit ist in der Regel der Herbst, wenn die Sortenauswahl im Gartenfachhandel in der Regel auch am größten ist. Die beste Pflanzzeit für Strauch-Pfingstrosen fällt gleichfalls in diese Zeit. Sie werden jedoch so tief gepflanzt, dass die Veredelungsstelle etwa 10 bis 15 Zentimeter unterhalb der Oberfläche liegt. Der Pflanzabstand sollte 80 bis 100 cm betragen.

 

Strauch-Pfingstrosen stehen am besten allein oder in Gesellschaft mit anderen Sträuchern. Ideale Begleitpflanzen der Stauden-Pfingstrosen sind beispielsweise Frauenmantel, Katzenminze oder die Arten und Sorten der Storchschnäbel.

Pfingstrosen in der Medizin

 

In China werden Pfingstrosen (Sorte 'Fen Dan Bai', Hybride von Paeonia ostii) großflächig zur Gewinnung des Mudan pi, einem wichtigen Stoff der chinesischen Heilkunst, angebaut. Auch in Europa importiert die Pharmaindustrie beträchtliche Mengen an Päonienwurzeln, die von Naturstandorten aus Ost-Europa und Vorderasien stammen.

 

Die Blüten enthalten den Anthocyanin-Farbstoff Peonidin, einen Methylether des Cyanidins.

Symbolik

 

Aufgrund ihrer langen Kultivierungsgeschichte wird den Päonien ein hoher symbolischer Gehalt zugewiesen. Pfingstrosen tauchen in den mittelalterlichen Tafelgemälden bereits auf, da sie in der christlichen Symbolsprache Reichtum, Heil, Heilung und Schönheit symbolisierten.

 

In der chinesischen Gartenkunst symbolisiert die Päonie Reichtum, Liebespfand, ein in Liebe erfülltes Frauenleben und die Sanftmut Buddhas.

 

Ein japanisches Sprichwort sagt:

 

立てば芍薬、座れば牡丹、歩く姿は百合の花

tateba shakuyaku, suwareba botan, aruku sugata wa yuru no hana

Im Stehen wie eine Chinesische Pfingstrose, im Sitzen wie eine Strauch-Pfingstrose, und die Art, wie sie läuft, die Blüte einer Lilie.

 

Das Sprichwort beschreibt die drei unterschiedlichen Schönheitsideale, denen eine Frau entsprechen soll: Wenn sie steht, soll sie einer chinesischen Pfingstrose gleichen, mit ihrem kräftigen Stängel und der vollen Blüte. Wenn sie sitzt, soll sie dagegen zerbrechlich wirken wie die Strauch-Pfingstrose. Und wenn sie geht, soll sie anmutig sein wie eine Lilie.

 

In China gilt die Päonie als Symbol für Vornehmheit und Reichtum. Zu den zentralen Werken der chinesischen Literatur zählt das vielfach ausgeführte und bearbeitete Drama Der Päonienpavillon. In der klassischen Erotikliteratur Chinas gilt der Blumenname “牡丹”(Aussprache "mu-dan") oft als Anspielung auf den Genital,[19] da das Schriftzeichen “牡”(Aussprache "mu") in etymologischer Verbindung mit dem Schriftzeichen “牝”(Aussprache "pin") steht und ursprünglich verwendet wurde, um einen Ochsen/Hahn als Gegensatz einer Kuh/Huhn zu bezeichnen. In einer chinesischen Legende kennt man die junge Heldin unter dem Namen“白牡丹”(Aussprache "bai-mu-dan", wörtliche Übersetzung "weiße Päonie"; namentlich eine weibliche Person aus der Familie bai resp. Familie "weiß" mit dem Vornamen mu-dan resp. "Päonie"). Diese Figur ist nämlich Geliebte des Unsterblichen “吕洞宾”(Aussprache "lü-dong-bin") in der chinesischen Mythologie.

Pfingstrosen in der Kunst

Édouard Manet, Weiße Pfingstrosen (1864)

 

Die Pfingstrose wird in der chinesischen Kunst sehr häufig dargestellt, aber auch in der europäischen Kunst spielt sie eine große Rolle. Eines der ersten Gemälde, auf denen Pfingstrosen zu entdecken sind, ist „Das Paradiesgärtlein“, das um 1410 von einem unbekannten oberrheinischen Meister geschaffen wurde. Dieses Bild gehört heute zu einem der Hauptwerke im Besitz des Städelschen Kunstinstituts in Frankfurt. Die sogenannte „Marienblume“, wie man die Pfingstrose auch nannte, ist auf diesem Bild in der Mitte des unteren Bilddrittels abgebildet. Nicht unweit davon liegt tot der kleine Drache, der das Unheil symbolisiert und damit das Gegenstück zu dieser Blume bildet, die das Heil symbolisiert.

 

THWOMP is teaching us about post code modulation. Guitarist Dan Bronson (pictured) is talking about PCM and all the types of sound waves.

Nombre: Francisco Ruiz Pino

 

Edad: 35

 

Grupo de investigación: Balance Energético, Pubertad y Salud Reproductiva

 

Líneas de investigación:

En las líneas de investigación que tenemos en marcha estamos estudiando la implicación que tienen diversas señales procedentes tanto del sistema nervioso central como del sistema endocrino durante la puesta en marcha y el mantenimiento de funciones del organismo, entre ellas la función reproductora. En este sentido, estamos muy interesados en conocer como se ve afectada dicha función por situaciones de estrés metabólico tales como la obesidad infantil o la desnutrición severa.

 

El resultado más destacable de tus investigaciones:

Como resultado mas destacado de nuestros trabajos podemos destacar la demostración por primera vez de que la Neuroquinina B, un neuropéptido procedente del sistema nervioso central, tiene un papel clave en el control de la llegada a la pubertad en roedores y de que este papel se encuentra afectado por el estado de las reservas energéticas del organismo. Publicado en: The Journal of Neuroscience, February 15, 2012 • 32(7):2388 –2397. Role of Neurokinin B in the Control of Female Puberty and Its Modulation by Metabolic Status.

 

¿Cómo llegaste a la ciencia y por qué sigues aquí?

Llegué a este mundo porque desde siempre me llamó la atención la investigación tanto durante mi infancia como durante mi formación académica. En la actualidad sigo en la investigación científica porque pienso que, a pesar de los esfuerzos que se tienen que realizar, es un mundo fascinante que te da la oportunidad de conocer excelentes científicos y que además es una profesión con un gran porvenir a pesar de la crisis en la que estamos inmersos. Además me parece muy gratificante aportar desde el laboratorio nuestro granito de arena en la solución de los algunos de los problemas de salud actúales. Así por ejemplo, como he dicho anteriormente, nos interesa conocer las bases de como la obesidad o la desnutrición, pueden alterar la edad de llegada a la pubertad.

 

Un deseo científico

Mi deseo para los próximos años sería que la ciencia tuviese un mayor impacto sobre la sociedad y que Córdoba se convierta en un referente tanto a nivel nacional como internacional en este campo, de forma que se vea reflejada la enorme calidad de tienen los científicos actuales.

 

  

+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 .

soundcloud.com/parabelles

 

+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.

jaguar.hotglue.me/

 

+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.

amezek.com/

 

+ 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.

www.facebook.com/AnakondaBoy

 

+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.

just-k.info/

 

+YVES YANOMAMI+

+ DJ KIM KONG-IL

Gristleisms with LFO pitch modulation and loop auto trigger for Throbbing Gristle.

by A.S.M.O.

 

www.youtube.com/watch?v=4tlFmBvfw3E

I bought 2 metres of this individually addressable RGB (Red Green Blue) LED light strip (Adafruit: Digital Addressable RGB LED w/ PWM waterproof flexi strip - (1m), ID: 306). The strip uses LPD8806 controllers that allows each LED to be controlled using pulse-width modulation (PWM) meaning brightness can be controlled along with colour. Specs boost 7-bit PWM at 1.2MHz for each channel - 21-bit colour per LED (2 million colours?).

 

I hope to build a light painting wand project and testing the strip and getting it to work was the first step.