Strasbourg (/ˈstræzbɜrɡ/, French pronunciation: ​[stʁaz.buʁ, stʁas.buʁ]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is the capital and principal city of the Alsace region in north eastern France and is the official seat of the European Parliament. Located close to the border with Germany, it is the capital of the Bas-Rhin département. The city and the region of Alsace were historically Alemannic-speaking, hence the city's Germanic name.[5] In 2006, the city proper had 272,975 inhabitants and its urban community 467,375 inhabitants. With 759,868 inhabitants in 2010, Strasbourg's metropolitan area (only the part of the metropolitan area on French territory) is the ninth largest in France. The transnational Eurodistrict Strasbourg-Ortenau had a population of 884,988 inhabitants in 2008.[6]

 

Strasbourg is the seat of several European institutions, such as the Council of Europe (with its European Court of Human Rights, its European Directorate for the Quality of Medicines and its European Audiovisual Observatory) and the Eurocorps, as well as the European Parliament and the European Ombudsman of the European Union. The city is also the seat of the Central Commission for Navigation on the Rhine and the International Institute of Human Rights.[7]

 

Strasbourg's historic city centre, the Grande Île (Grand Island), was classified a World Heritage site by UNESCO in 1988, the first time such an honour was placed on an entire city centre. Strasbourg is immersed in the Franco-German culture and although violently disputed throughout history, has been a bridge of unity between France and Germany for centuries, especially through the University of Strasbourg, currently the second largest in France, and the coexistence of Catholic and Protestant culture. The largest Islamic place of worship in France, the Strasbourg Grand Mosque, was inaugurated by French Interior Minister Manuel Valls on 27 September 2012.[8]

 

Economically, Strasbourg is an important centre of manufacturing and engineering, as well as a hub of road, rail, and river transportation. The port of Strasbourg is the second largest on the Rhine after Duisburg, Germany.

 

Etymology and Names

The city's Gallicized name (Lower Alsatian: Strossburi, [ˈʃd̥rɔːsb̥uri]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is of Germanic origin and means "Town (at the crossing) of roads". The modern Stras- is cognate to the German Straße and English street, all of which are derived from Latin strata ("paved road"), while -bourg is cognate to the German Burg and English borough, all of which are derived from Proto-Germanic *burgz ("hill fort, fortress").

 

Geography

 

Strasbourg seen from Spot Satellite

Strasbourg is situated on the eastern border of France with Germany. This border is formed by the River Rhine, which also forms the eastern border of the modern city, facing across the river to the German town Kehl. The historic core of Strasbourg however lies on the Grande Île in the River Ill, which here flows parallel to, and roughly 4 kilometres (2.5 mi) from, the Rhine. The natural courses of the two rivers eventually join some distance downstream of Strasbourg, although several artificial waterways now connect them within the city.

 

The city lies in the Upper Rhine Plain, at between 132 metres (433 ft) and 151 metres (495 ft) above sea level, with the upland areas of the Vosges Mountains some 20 km (12 mi) to the west and the Black Forest 25 km (16 mi) to the east. This section of the Rhine valley is a major axis of north-south travel, with river traffic on the Rhine itself, and major roads and railways paralleling it on both banks.

 

The city is some 400 kilometres (250 mi) east of Paris. The mouth of the Rhine lies approximately 450 kilometres (280 mi) to the north, or 650 kilometres (400 mi) as the river flows, whilst the head of navigation in Basel is some 100 kilometres (62 mi) to the south, or 150 kilometres (93 mi) by river.

 

Climate

 

In spite of its position far inland, Strasbourg's climate is classified as Oceanic (Köppen climate classification Cfb), with warm, relatively sunny summers and cold, overcast winters. Precipitation is elevated from mid-spring to the end of summer, but remains largely constant throughout the year, totaling 631.4 mm (24.9 in) annually. On average, snow falls 30 days per year.

 

The highest temperature ever recorded was 38.5 °C (101.3 °F) in August 2003, during the 2003 European heat wave. The lowest temperature ever recorded was −23.4 °C (−10.1 °F) in December 1938.

 

Strasbourg's location in the Rhine valley, sheltered from the dominant winds by the Vosges and Black Forest mountains, results in poor natural ventilation, making Strasbourg one of the most atmospherically polluted cities of France.[10][11] Nonetheless, the progressive disappearance of heavy industry on both banks of the Rhine, as well as effective measures of traffic regulation in and around the city have reduced air pollution.

 

Prehistory

The first traces of human occupation in the environs of Strasbourg go back many thousands of years.[16] Neolithic, bronze age and iron age artifacts have been uncovered by archeological excavations. It was permanently settled by proto-Celts around 1300 BC. Towards the end of the third century BC, it developed into a Celtic township with a market called "Argentorate". Drainage works converted the stilthouses to houses built on dry land.[17]

 

From Romans

The Romans under Nero Claudius Drusus established a military outpost belonging to the Germania Superior Roman province at Strasbourg's current location, and named it Argentoratum. (Hence the town is commonly called Argentina in medieval Latin.[18]) The name "Argentoratum" was first mentioned in 12 BC and the city celebrated its 2,000th birthday in 1988. "Argentorate" as the toponym of the Gaulish settlement preceded it before being Latinized, but it is not known by how long. The Roman camp was destroyed by fire and rebuilt six times between the first and the fifth centuries AD: in 70, 97, 235, 355, in the last quarter of the fourth century, and in the early years of the fifth century. It was under Trajan and after the fire of 97 that Argentoratum received its most extended and fortified shape. From the year 90 on, the Legio VIII Augusta was permanently stationed in the Roman camp of Argentoratum. It then included a cavalry section and covered an area of approximately 20 hectares. Other Roman legions temporarily stationed in Argentoratum were the Legio XIV Gemina and the Legio XXI Rapax, the latter during the reign of Nero.

 

The centre of Argentoratum proper was situated on the Grande Île (Cardo: current Rue du Dôme, Decumanus: current Rue des Hallebardes). The outline of the Roman "castrum" is visible in the street pattern in the Grande Ile. Many Roman artifacts have also been found along the current Route des Romains, the road that led to Argentoratum, in the suburb of Kœnigshoffen. This was where the largest burial places were situated, as well as the densest concentration of civilian dwelling places and commerces next to the camp. Among the most outstanding finds in Kœnigshoffen were (found in 1911–12) the fragments of a grand Mithraeum that had been shattered by early Christians in the fourth century. From the fourth century, Strasbourg was the seat of the Bishopric of Strasbourg (made an Archbishopric in 1988). Archaeological excavations below the current Église Saint-Étienne in 1948 and 1956 unearthed the apse of a church dating back to the late fourth or early fifth century, considered to be the oldest church in Alsace. It is supposed that this was the first seat of the Roman Catholic Diocese of Strasbourg.

 

The Alemanni fought the Battle of Argentoratum against Rome in 357. They were defeated by Julian, later Emperor of Rome, and their King Chonodomarius was taken prisoner. On 2 January 366, the Alemanni crossed the frozen Rhine in large numbers to invade the Roman Empire. Early in the fifth century, the Alemanni appear to have crossed the Rhine, conquered, and then settled what is today Alsace and a large part of Switzerland.

 

In the fifth century Strasbourg was occupied successively by Alemanni, Huns, and Franks. In the ninth century it was commonly known as Strazburg in the local language, as documented in 842 by the Oaths of Strasbourg. This trilingual text contains, alongside texts in Latin and Old High German (teudisca lingua), the oldest written variety of Gallo-Romance (lingua romana) clearly distinct from Latin, the ancestor of Old French. The town was also called Stratisburgum or Strateburgus in Latin, from which later came Strossburi in Alsatian and Straßburg in Standard German, and then Strasbourg in French. The Oaths of Strasbourg is considered as marking the birth of the two countries of France and Germany with the division of the Carolingian Empire.[19]

 

A major commercial centre, the town came under the control of the Holy Roman Empire in 923, through the homage paid by the Duke of Lorraine to German King Henry I. The early history of Strasbourg consists of a long conflict between its bishop and its citizens. The citizens emerged victorious after the Battle of Oberhausbergen in 1262, when King Philip of Swabia granted the city the status of an Imperial Free City.

 

Around 1200, Gottfried von Straßburg wrote the Middle High German courtly romance Tristan, which is regarded, alongside Wolfram von Eschenbach's Parzival and the Nibelungenlied, as one of great narrative masterpieces of the German Middle Ages.

 

A revolution in 1332 resulted in a broad-based city government with participation of the guilds, and Strasbourg declared itself a free republic. The deadly bubonic plague of 1348 was followed on 14 February 1349 by one of the first and worst pogroms in pre-modern history: over a thousand Jews were publicly burnt to death, with the remainder of the Jewish population being expelled from the city.[20] Until the end of the 18th century, Jews were forbidden to remain in town after 10 pm. The time to leave the city was signalled by a municipal herald blowing the Grüselhorn (see below, Museums, Musée historique);.[21] A special tax, the Pflastergeld (pavement money), was furthermore to be paid for any horse that a Jew would ride or bring into the city while allowed to.[22]

 

Construction on Strasbourg Cathedral began in the twelfth century, and it was completed in 1439 (though, of the towers, only the north tower was built), becoming the World's Tallest Building, surpassing the Great Pyramid of Giza. A few years later, Johannes Gutenberg created the first European moveable type printing press in Strasbourg.

 

In July 1518, an incident known as the Dancing Plague of 1518 struck residents of Strasbourg. Around 400 people were afflicted with dancing mania and danced constantly for weeks, most of them eventually dying from heart attack, stroke or exhaustion.

 

In the 1520s during the Protestant Reformation, the city, under the political guidance of Jacob Sturm von Sturmeck and the spiritual guidance of Martin Bucer embraced the religious teachings of Martin Luther. Their adherents established a Gymnasium, headed by Johannes Sturm, made into a University in the following century. The city first followed the Tetrapolitan Confession, and then the Augsburg Confession. Protestant iconoclasm caused much destruction to churches and cloisters, notwithstanding that Luther himself opposed such a practice. Strasbourg was a centre of humanist scholarship and early book-printing in the Holy Roman Empire, and its intellectual and political influence contributed much to the establishment of Protestantism as an accepted denomination in the southwest of Germany. (John Calvin spent several years as a political refugee in the city). The Strasbourg Councillor Sturm and guildmaster Matthias represented the city at the Imperial Diet of Speyer (1529), where their protest led to the schism of the Catholic Church and the evolution of Protestantism. Together with four other free cities, Strasbourg presented the confessio tetrapolitana as its Protestant book of faith at the Imperial Diet of Augsburg in 1530, where the slightly different Augsburg Confession was also handed over to Charles V, Holy Roman Emperor.

 

After the reform of the Imperial constitution in the early sixteenth century and the establishment of Imperial Circles, Strasbourg was part of the Upper Rhenish Circle, a corporation of Imperial estates in the southwest of Holy Roman Empire, mainly responsible for maintaining troops, supervising coining, and ensuring public security.

 

After the invention of the printing press by Johannes Gutenberg around 1440, the first printing offices outside the inventor's hometown Mainz were established around 1460 in Strasbourg by pioneers Johannes Mentelin and Heinrich Eggestein. Subsequently, the first modern newspaper was published in Strasbourg in 1605, when Johann Carolus received the permission by the City of Strasbourg to print and distribute a weekly journal written in German by reporters from several central European cities.

 

From Thirty Years' War to First World War

The Free City of Strasbourg remained neutral during the Thirty Years' War 1618-1648, and retained its status as a Free Imperial City. However, the city was later annexed by Louis XIV of France to extend the borders of his kingdom.

 

Louis' advisors believed that, as long as Strasbourg remained independent, it would endanger the King's newly annexed territories in Alsace, and, that to defend these large rural lands effectively, a garrison had to be placed in towns such as Strasbourg.[23] Indeed, the bridge over the Rhine at Strasbourg had been used repeatedly by Imperial (Holy Roman Empire) forces,[24] and three times during the Franco-Dutch War Strasbourg had served as a gateway for Imperial invasions into Alsace.[25] In September 1681 Louis' forces, though lacking a clear casus belli, surrounded the city with overwhelming force. After some negotiation, Louis marched into the city unopposed on 30 September 1681 and proclaimed its annexation.[26]

 

This annexation was one of the direct causes of the brief and bloody War of the Reunions whose outcome left the French in possession. The French annexation was recognized by the Treaty of Ryswick (1697). The official policy of religious intolerance which drove most Protestants from France after the revocation of the Edict of Nantes in 1685 was not applied in Strasbourg and in Alsace, because both had a special status as a province à l'instar de l'étranger effectif (a kind of foreign province of the king of France). Strasbourg Cathedral, however, was taken from the Lutherans to be returned to the Catholics as the French authorities tried to promote Catholicism wherever they could (some other historic churches remained in Protestant hands). Its language also remained overwhelmingly German: the German Lutheran university persisted until the French Revolution. Famous students included Goethe and Herder.

  

The Duke of Lorraine and Imperial troops crossing the Rhine at Strasbourg during the War of the Austrian Succession, 1744

During a dinner in Strasbourg organized by Mayor Frédéric de Dietrich on 25 April 1792, Claude Joseph Rouget de Lisle composed "La Marseillaise". The same year François Christophe Kellermann, a child of Strasbourg was appointed the head of the Mosel Army. He led his company to victory at the battle of Valmy and saved the young French republic. He was later appointed Duke of Valmy by Napoléon in 1808.

 

During this period Jean-Baptiste Kléber, also born in Strasbourg, led the French army to win several decisive victories. A statue of Kléber now stands in the centre of the city, at Place Kléber, and he is still one of the most famous French officers. He was later appointed Marshal of France by Napoléon.

 

Strasbourg's status as a free city was revoked by the French Revolution. Enragés, most notoriously Eulogius Schneider, ruled the city with an increasingly iron hand. During this time, many churches and monasteries were either destroyed or severely damaged. The cathedral lost hundreds of its statues (later replaced by copies in the 19th century) and in April 1794, there was talk of tearing its spire down, on the grounds that it was against the principle of equality. The tower was saved, however, when in May of the same year citizens of Strasbourg crowned it with a giant tin Phrygian cap. This artifact was later kept in the historical collections of the city until it was destroyed by the Germans in 1870 during the Franco-Prussian war.[27]

 

In 1805, 1806 and 1809, Napoléon Bonaparte and his first wife, Joséphine stayed in Strasbourg.[28] In 1810, his second wife Marie Louise, Duchess of Parma spent her first night on French soil in the palace. Another royal guest was King Charles X of France in 1828.[29] In 1836, Louis-Napoléon Bonaparte unsuccessfully tried to lead his first Bonapartist coup in Strasbourg.

 

During the Franco-Prussian War and the Siege of Strasbourg, the city was heavily bombarded by the Prussian army. The bombardment of the city was meant to break the morale of the people of Strasbourg.[30] On 24 and 26 August 1870, the Museum of Fine Arts was destroyed by fire, as was the Municipal Library housed in the Gothic former Dominican church, with its unique collection of medieval manuscripts (most famously the Hortus deliciarum), rare Renaissance books, archeological finds and historical artifacts. The gothic cathedral was damaged as well as the medieval church of Temple Neuf, the theatre, the city hall, the court of justice and many houses. At the end of the siege 10,000 inhabitants were left without shelter; over 600 died, including 261 civilians, and 3200 were injured, including 1,100 civilians.[31]

 

In 1871, after the end of the war, the city was annexed to the newly established German Empire as part of the Reichsland Elsass-Lothringen under the terms of the Treaty of Frankfurt. As part of Imperial Germany, Strasbourg was rebuilt and developed on a grand and representative scale, such as the Neue Stadt, or "new city" around the present Place de la République. Historian Rodolphe Reuss and Art historian Wilhelm von Bode were in charge of rebuilding the municipal archives, libraries and museums. The University, founded in 1567 and suppressed during the French Revolution as a stronghold of German sentiment,[citation needed] was reopened in 1872 under the name Kaiser-Wilhelms-Universität.

  

Strasbourg in the 1890s.

A belt of massive fortifications was established around the city, most of which still stands today, renamed after French generals and generally classified as Monuments historiques; most notably Fort Roon (now Fort Desaix) and Fort Podbielski (now Fort Ducrot) in Mundolsheim, Fort von Moltke (now Fort Rapp) in Reichstett, Fort Bismarck (now Fort Kléber) in Wolfisheim, Fort Kronprinz (now Fort Foch) in Niederhausbergen, Fort Kronprinz von Sachsen (now Fort Joffre) in Holtzheim and Fort Großherzog von Baden (now Fort Frère) in Oberhausbergen.[32]

 

Those forts subsequently served the French army (Fort Podbielski/Ducrot for instance was integrated into the Maginot Line[33]), and were used as POW-camps in 1918 and 1945.

 

Two garrison churches were also erected for the members of the Imperial German army, the Lutheran Église Saint-Paul and the Roman Catholic Église Saint-Maurice.

 

1918 to the present

 

A lost, then restored, symbol of modernity in Strasbourg : a room in the Aubette building designed by Theo van Doesburg, Hans Arp and Sophie Taeuber-Arp.

 

Following the defeat of the German empire in World War I and the abdication of the German Emperor, some revolutionary insurgents declared Alsace-Lorraine as an independent Republic, without preliminary referendum or vote. On 11 November 1918 (Armistice Day), communist insurgents proclaimed a "soviet government" in Strasbourg, following the example of Kurt Eisner in Munich as well as other German towns. French troops commanded by French general Henri Gouraud entered triumphantly in the city on 22 November. A major street of the city now bears the name of that date (Rue du 22 Novembre) which celebrates the entry of the French in the city.[34][35][36] Viewing the massive cheering crowd gathered under the balcony of Strasbourg's town hall, French President Raymond Poincaré stated that "the plebiscite is done".[37]

 

In 1919, following the Treaty of Versailles, the city was annexed by France in accordance with U.S. President Woodrow Wilson's "Fourteen Points" without a referendum. The date of the assignment was retroactively established on Armistice Day. It is doubtful whether a referendum in Strasbourg would have ended in France's favour since the political parties striving for an autonomous Alsace or a connection to France accounted only for a small proportion of votes in the last Reichstag as well as in the local elections.[38] The Alsatian autonomists who were pro French had won many votes in the more rural parts of the region and other towns since the annexation of the region by Germany in 1871. The movement started with the first election for the Reichstag; those elected were called "les députés protestataires", and until the fall of Bismarck in 1890, they were the only deputies elected by the Alsatians to the German parliament demanding the return of those territories to France.[39] At the last Reichstag election in Strasbourg and its periphery, the clear winners were the Social Democrats; the city was the administrative capital of the region, was inhabited by many Germans appointed by the central government in Berlin and its flourishing economy attracted many Germans. This could explain the difference between the rural vote and the one in Strasbourg. After the war, many Germans left Strasbourg and went back to Germany; some of them were denounced by the locals or expelled by the newly appointed authorities. The Saverne Affair was vivid in the memory among the Alsatians.

 

In 1920, Strasbourg became the seat of the Central Commission for Navigation on the Rhine, previously located in Mannheim, one of the oldest European institutions. It moved into the former Imperial Palace.

 

When the Maginot Line was built, the Sous-secteur fortifié de Strasbourg (fortified sub-sector of Strasbourg) was laid out on the city's territory as a part of the Secteur fortifié du Bas-Rhin, one of the sections of the Line. Blockhouses and casemates were built along the Grand Canal d'Alsace and the Rhine in the Robertsau forest and the port.[40]

 

Between the German invasion of Poland on 1 September 1939 and the Anglo-French declaration of War against the German Reich on 3 September 1939, the entire city (a total of 120,000 people) was evacuated, like other border towns as well. Until the arrival of the Wehrmacht troops mid-June 1940, the city was, for ten months, completely empty, with the exception of the garrisoned soldiers. The Jews of Strasbourg had been evacuated to Périgueux and Limoges, the University had been evacuated to Clermont-Ferrand.

 

After the ceasefire following the Fall of France in June 1940, Alsace was annexed to Germany and a rigorous policy of Germanisation was imposed upon it by the Gauleiter Robert Heinrich Wagner. When, in July 1940, the first evacuees were allowed to return, only residents of Alsatian origin were admitted. The last Jews were deported on 15 July 1940 and the main synagogue, a huge Romanesque revival building that had been a major architectural landmark with its 54-metre-high dome since its completion in 1897, was set ablaze, then razed.[41]

 

In September 1940 the first Alsatian resistance movement led by Marcel Weinum called La main noire (The black hand) was created. It was composed by a group of 25 young men aged from 14 to 18 years old who led several attacks against the German occupation. The actions culminated with the attack of the Gauleiter Robert Wagner, the highest commander of Alsace directly under the order of Hitler. In March 1942, Marcel Weinum was prosecuted by the Gestapo and sentenced to be beheaded at the age of 18 in April 1942 in Stuttgart, Germany. His last words will be: "If I have to die, I shall die but with a pure heart". From 1943 the city was bombarded by Allied aircraft. While the First World War had not notably damaged the city, Anglo-American bombing caused extensive destruction in raids of which at least one was allegedly carried out by mistake.[42] In August 1944, several buildings in the Old Town were damaged by bombs, particularly the Palais Rohan, the Old Customs House (Ancienne Douane) and the Cathedral.[43] On 23 November 1944, the city was officially liberated by the 2nd French Armoured Division under General Leclerc. He achieved the oath that he made with his soldiers, after the decisive Capture of Kufra. With the Oath of Kuffra, they swore to keep up the fight until the French flag flew over the Cathedral of Strasbourg.

 

Many people from Strasbourg were incorporated in the German Army against their will, and were sent to the eastern front, those young men and women were called Malgré-nous. Many tried to escape from the incorporation, join the French Resistance, or desert the Wehrmacht but many couldn't because they were running the risk of having their families sent to work or concentration camps by the Germans. Many of these men, especially those who did not answer the call immediately, were pressured to "volunteer" for service with the SS, often by direct threats on their families. This threat obliged the majority of them to remain in the German army. After the war, the few that survived were often accused of being traitors or collaborationists, because this tough situation was not known in the rest of France, and they had to face the incomprehension of many. In July 1944, 1500 malgré-nous were released from Soviet captivity and sent to Algiers, where they joined the Free French Forces. Nowadays history recognizes the suffering of those people, and museums, public discussions and memorials have been built to commemorate this terrible period of history of this part of Eastern France (Alsace and Moselle). Liberation of Strasbourg took place on 23 November 1944.

 

In 1947, a fire broke out in the Musée des Beaux-Arts and devastated a significant part of the collections. This fire was an indirect consequence of the bombing raids of 1944: because of the destruction inflicted on the Palais Rohan, humidity had infiltrated the building, and moisture had to be fought. This was done with welding torches, and a bad handling of these caused the fire.[44]

 

In the 1950s and 1960s the city was enlarged by new residential areas meant to solve both the problem of housing shortage due to war damage and that of the strong growth of population due to the baby boom and immigration from North Africa: Cité Rotterdam in the North-East, Quartier de l'Esplanade in the South-East, Hautepierre in the North-West. Between 1995 and 2010, a new district has been built in the same vein, the Quartier des Poteries, south of Hautepierre.

 

In 1958, a violent hailstorm destroyed most of the historical greenhouses of the Botanical Garden and many of the stained glass windows of St. Paul's Church.

 

In 1949, the city was chosen to be the seat of the Council of Europe with its European Court of Human Rights and European Pharmacopoeia. Since 1952, the European Parliament has met in Strasbourg, which was formally designated its official 'seat' at the Edinburgh meeting of the European Council of EU heads of state and government in December 1992. (This position was reconfirmed and given treaty status in the 1997 Treaty of Amsterdam). However, only the (four-day) plenary sessions of the Parliament are held in Strasbourg each month, with all other business being conducted in Brussels and Luxembourg. Those sessions take place in the Immeuble Louise Weiss, inaugurated in 1999, which houses the largest parliamentary assembly room in Europe and of any democratic institution in the world. Before that, the EP sessions had to take place in the main Council of Europe building, the Palace of Europe, whose unusual inner architecture had become a familiar sight to European TV audiences.[45] In 1992, Strasbourg became the seat of the Franco-German TV channel and movie-production society Arte.

 

In 2000, a terrorist plot to blow up the cathedral was prevented thanks to the cooperation between French and German police that led to the arrest in late 2000 of a Frankfurt-based group of terrorists.

 

On 6 July 2001, during an open-air concert in the Parc de Pourtalès, a single falling Platanus tree killed thirteen people and injured 97. On 27 March 2007, the city was found guilty of neglect over the accident and fined €150,000.[46]

 

In 2006, after a long and careful restoration, the inner decoration of the Aubette, made in the 1920s by Hans Arp, Theo van Doesburg, and Sophie Taeuber-Arp and destroyed in the 1930s, was made accessible to the public again. The work of the three artists had been called "the Sistine Chapel of abstract art".

 

Architecture

 

Strasbourg, Cathedral of Our Lady

The city is chiefly known for its sandstone Gothic Cathedral with its famous astronomical clock, and for its medieval cityscape of Rhineland black and white timber-framed buildings, particularly in the Petite France district or Gerberviertel ("tanners' district") alongside the Ill and in the streets and squares surrounding the cathedral, where the renowned Maison Kammerzell stands out.

 

Notable medieval streets include Rue Mercière, Rue des Dentelles, Rue du Bain aux Plantes, Rue des Juifs, Rue des Frères, Rue des Tonneliers, Rue du Maroquin, Rue des Charpentiers, Rue des Serruriers, Grand' Rue, Quai des Bateliers, Quai Saint-Nicolas and Quai Saint-Thomas. Notable medieval squares include Place de la Cathédrale, Place du Marché Gayot, Place Saint-Étienne, Place du Marché aux Cochons de Lait and Place Benjamin Zix.

 

Maison des tanneurs.

 

In addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Étienne, partly destroyed in 1944 by Allied bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[49] the Gothic Église protestante Saint-Pierre-le-Jeune with its crypt dating back to the seventh century and its cloister partly from the eleventh century, the Gothic Église Saint-Guillaume with its fine early-Renaissance stained glass and furniture, the Gothic Église Saint-Jean, the part Gothic, part Art Nouveau Église Sainte-Madeleine, etc. The Neo-Gothic church Saint-Pierre-le-Vieux Catholique (there is also an adjacent church Saint-Pierre-le-Vieux Protestant) serves as a shrine for several 15th-century wood worked and painted altars coming from other, now destroyed churches and installed there for public display. Among the numerous secular medieval buildings, the monumental Ancienne Douane (old custom-house) stands out.

 

The German Renaissance has bequeathed the city some noteworthy buildings (especially the current Chambre de Commerce et d'Industrie, former town hall, on Place Gutenberg), as did the French Baroque and Classicism with several hôtels particuliers (i.e. palaces), among which the Palais Rohan (1742, now housing three museums) is the most spectacular. Other buildings of its kind are the "Hôtel de Hanau" (1736, now the city hall), the Hôtel de Klinglin (1736, now residence of the préfet), the Hôtel des Deux-Ponts (1755, now residence of the military governor), the Hôtel d'Andlau-Klinglin (1725, now seat of the administration of the Port autonome de Strasbourg) etc. The largest baroque building of Strasbourg though is the 150 m (490 ft) long 1720s main building of the Hôpital civil. As for French Neo-classicism, it is the Opera House on Place Broglie that most prestigiously represents this style.

 

Strasbourg also offers high-class eclecticist buildings in its very extended German district, the Neustadt, being the main memory of Wilhelmian architecture since most of the major cities in Germany proper suffered intensive damage during World War II. Streets, boulevards and avenues are homogeneous, surprisingly high (up to seven stories) and broad examples of German urban lay-out and of this architectural style that summons and mixes up five centuries of European architecture as well as Neo-Egyptian, Neo-Greek and Neo-Babylonian styles. The former imperial palace Palais du Rhin, the most political and thus heavily criticized of all German Strasbourg buildings epitomizes the grand scale and stylistic sturdiness of this period. But the two most handsome and ornate buildings of these times are the École internationale des Pontonniers (the former Höhere Mädchenschule, girls college) with its towers, turrets and multiple round and square angles[50] and the École des Arts décoratifs with its lavishly ornate façade of painted bricks, woodwork and majolica.[51]

 

Notable streets of the German district include: Avenue de la Forêt Noire, Avenue des Vosges, Avenue d'Alsace, Avenue de la Marseillaise, Avenue de la Liberté, Boulevard de la Victoire, Rue Sellénick, Rue du Général de Castelnau, Rue du Maréchal Foch, and Rue du Maréchal Joffre. Notable squares of the German district include: Place de la République, Place de l'Université, Place Brant, and Place Arnold

 

As for modern and contemporary architecture, Strasbourg possesses some fine Art Nouveau buildings (such as the huge Palais des Fêtes and houses and villas like Villa Schutzenberger and Hôtel Brion), good examples of post-World War II functional architecture (the Cité Rotterdam, for which Le Corbusier did not succeed in the architectural contest) and, in the very extended Quartier Européen, some spectacular administrative buildings of sometimes utterly large size, among which the European Court of Human Rights building by Richard Rogers is arguably the finest. Other noticeable contemporary buildings are the new Music school Cité de la Musique et de la Danse, the Musée d'Art moderne et contemporain and the Hôtel du Département facing it, as well as, in the outskirts, the tramway-station Hoenheim-Nord designed by Zaha Hadid.

  

Place Kléber

The city has many bridges, including the medieval and four-towered Ponts Couverts that, despite their name, are no longer covered. Next to the Ponts Couverts is the Barrage Vauban, a part of Vauban's 17th-century fortifications, that does include a covered bridge. Other bridges are the ornate 19th-century Pont de la Fonderie (1893, stone) and Pont d'Auvergne (1892, iron), as well as architect Marc Mimram's futuristic Passerelle over the Rhine, opened in 2004.

 

The largest square at the centre of the city of Strasbourg is the Place Kléber. Located in the heart of the city's commercial area, it was named after general Jean-Baptiste Kléber, born in Strasbourg in 1753 and assassinated in 1800 in Cairo. In the square is a statue of Kléber, under which is a vault containing his remains. On the north side of the square is the Aubette (Orderly Room), built by Jacques François Blondel, architect of the king, in 1765–1772.

 

Parks

 

The Pavillon Joséphine (rear side) in the Parc de l'Orangerie

 

The Château de Pourtalès (front side) in the park of the same name

 

Strasbourg features a number of prominent parks, of which several are of cultural and historical interest: the Parc de l'Orangerie, laid out as a French garden by André le Nôtre and remodeled as an English garden on behalf of Joséphine de Beauharnais, now displaying noteworthy French gardens, a neo-classical castle and a small zoo; the Parc de la Citadelle, built around impressive remains of the 17th-century fortress erected close to the Rhine by Vauban;[52] the Parc de Pourtalès, laid out in English style around a baroque castle (heavily restored in the 19th century) that now houses a small three-star hotel,[53] and featuring an open-air museum of international contemporary sculpture.[54] The Jardin botanique de l'Université de Strasbourg (botanical garden) was created under the German administration next to the Observatory of Strasbourg, built in 1881, and still owns some greenhouses of those times. The Parc des Contades, although the oldest park of the city, was completely remodeled after World War II. The futuristic Parc des Poteries is an example of European park-conception in the late 1990s. The Jardin des deux Rives, spread over Strasbourg and Kehl on both sides of the Rhine opened in 2004 and is the most extended (60-hectare) park of the agglomeration. The most recent park is Parc du Heyritz (8,7 ha), opened in 2014 along a canal facing the hôpital civil.

ITCHY SCRATCHY

 

An exhibition initiated by Jason Evans

Preview Friday 2 October 6.30 - 9.30pm

 

Exhibition continues 3 October – 8 November 2009

Permanent Gallery, 20 Bedford Place, Brighton

 

Open: Thurs/Fri/Sun 1pm - 6pm, Sat 11am - 6pm

 

"I think of it as the picture/s that you print up, just to a small working size, to get a look at. The ones that interest and trouble you because there is something that you don't fully understand about them, as if you unconsciously did something. These pictures seem to signpost a new direction in a photographer's practice, they are transitional pieces, and precursors to a new phase or project. I think all the best photographers have the guts to move beyond the pictures they already know they can make, and spend time with the itchy scratchy pictures to work out what comes next."

Charlotte Cotton

 

Itchy Scratchy is an exhibition of photographs. The title is taken from this quote by Charlotte Cotton, where she describes the pictures which break photographers out of familiar ways of working. The exhibition affirms the role that happy accidents and epiphanies play in creative activity.

 

Itchy Scratchy was initiated by photographer/writer Jason Evans. All exhibitors have been invited to submit a digital file of an itchy scratchy image in a uniform size, to be reproduced on matt paper using an inkjet printer. The exhibition features a broad range of photographers from the emerging to those of international repute.

 

Visitors to the exhibition are able to purchase a raffle ticket. At the end of the show a draw will determine who has won which unique print. Proceeds from ticket sales will support the realisation of future exhibitions at Permanent Gallery.

 

Itchy Scratchy photographs will be viewable at www.permanentgallery.com soon. Raffle tickets will be available to purchase from the Gallery (during opening times, Thurs/Fri/Sun 1pm -6pm + Sat 11am - 6pm), and from the gallery website, as of Friday 2nd October. Raffle tickets are £50.

 

List of contributors :

 

Nik Adam, Marta Bakst, Jason Bascombe, Kevin Beck, Nicola Belson, David Blackmore, Peter Bobby, Michael Bodiam, Mark Bolland, Matt Burgess, Millie Burton, Polly Braden, Thom Bridge, Thomas Brown, Tommi Cahill, Helen Cammock, Sam Collins, Ben Crawford, Jason Evans, Niccolo Fano, Annabelle Fenning, Andrew Ferguson, Victoria Fornieles, Anna Fox, Carl Gent, Ruth George, Phillipe Gerlach, Simon Gilbert & Nik Adam, Nigel Green, Amy Gwatkin, Fiona Harvey, Peter Haynes, David Hendra, Laura Hensser, Todd Hido, Kelly Hill, Jan von Holleben, Mandy Lee Jandrell, Greg Jones, Maria Kapajeva, Shiho Kito, Paul Knight, Ioannis Koussertari, Matthieu Lavanchy, Patrick Lears, Patrick Lee, Wiebke Leister, Chris Linaker, Gordon MacDonald, John MacLean, Craig Mammano, Mike Massaro, Trent McMinn, Sherman McMinn, Shannon Michael Cane, Alexander Milnes, Tim Mitchell, David Moore, Ashima Narain, Luke Norman, Magali Nougarede, Tod Papageorge, Sam Pearce, Sarah Pickering, Oliver Pin-Fat, Oliver Poddar, Augusta Quirk, Milo Reid, Alex Rich, John Rose-Adams, David Rule, Viviane Sassen, Richard Sawdon Smith, Michael Schmelling, Aaron Schuman, Andy Sewell, Alexandria Da Silva, John Spinks, Sandra Stein, Christopher Stevens, Melanie Stidolph, Clare Strand, Kamei Takashi, Andreas Tauber, Kirsti Taylor Bye, George Thomas, Tviga, Nick Waplington, Harry Watts, Ruth Wiggins

 

www.jasonevans.info

www.permanentgallery.com

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Permanent

Gallery & Bookshop

20 Bedford Place

Brighton BN1 2PT

UK

+44 1273 710389

info@permanentgallery.com

www.permanentgallery.com

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Open:

Thurs/Fri/Sun 1pm - 6pm

Sat 11am - 6pm

Bottleneck Bridge NB Grade Prep

Pouring concrete for the bridge deck has been completed.

The bridge parapets are complete. Parapets are safety barriers that are

installed on the side of a bridge to protect vehicles and pedestrians.

The new bridge will be open for traffic in early June.

George Segal 'Girl Putting on Mascara' (Mädchen sich Wimperntusche aufegend), 1968, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany, Permanent Collection

...

 

the colors that came out of this one really stun me, oh yeah, 30 mph winds again too :)

 

better on black 'L'

 

U.S. Permanent Representative to the UN, Ambassador Nikki Haley meets Israeli Minister of Defense Avigdor Lieberman, at the King David Hotel in Jerusalem, June 9, 2017.

U.S. Permanent Representative to the UN, Ambassador Nikki Haley, visited Yad Vashem Holocaust Museum in Jerusalem today, June 9, 2017, where she toured the exhibits, laid a wreath at the Hall of Remembrance and signed the guest book.

 

Free Photos – Transparent and Colored Stick Pens / Gel Stick Pen

 

More photos and details about possible copyright or licensing restrictions here:

public-photo.net/household/permanent-marker/

Full Size Up to 3072 x 2304 pixels

 

Information Regarding Copyright: public-photo.net/copyright/

9/26/14 Club Bounce Party Pics! BBW little black dress party!

Feel free to save, share & tag your photos!

 

What a great night once again! Packed solid with sexy fun people!

 

Next event date is Friday Oct 31st Halloween inside amaya lounge again at 7850 beach blvd Buena park ca 90620

 

Please join or email list at www.clubbounce.net/ and stay peeping at this page that your on right now at

www.facebook.com/clubbounce for current event info! We currently are doing monthly Club Bounce events in OC, however, we are actively seeking venues in the LA and/or OC areas to find our new permanent home for Club Bounce so we can be back to giving you the HOTTEST BBW PARTIES WEEKLY!

 

#BBW #CLUBBOUNCE #LISAMARIEGARBO #PLUSSIZE #THICKANDSEXY #FULLFIGURED #BBWS #BBWPARTY #PLUSSIZEMODELS #PLUSSIZEFASHION #PLUSSIZEPARTY #CURVY #CURVES #SINGLEBBW #BBWPICS #BBWVIDEOS #BBWS #PARTYGIRLS #SEXYBBW #FA #OC #LA

leper graveyard, robben island, cape town

  

Robben Island

From Wikipedia, the free encyclopedia

Robben Island shown within Western Cape

Location within Cape Town [show]

Coordinates:

 

33.806734°S 18.366222°ECoordinates:

 

33.806734°S 18.366222°E

CountrySouth Africa

ProvinceWestern Cape

MunicipalityCity of Cape Town

Area[1]

• Total5.18 km2 (2.00 sq mi)

Population (2011)[1]

• Total116

• Density22/km2 (58/sq mi)

Racial makeup (2011)[1]

• Black African60.3%

• Coloured23.3%

• White13.8%

• Other2.6%

First languages (2011)[1]

• Xhosa37.9%

• Afrikaans35.3%

• Zulu15.5%

• English7.8%

• Other3.4%

PO box7400

 

UNESCO World Heritage Site

TypeCultural

Criteriaiii, vi

Designated1999 (23rd session)

Reference no.916

State PartySouth Africa

RegionAfrica

 

Robben Island (Afrikaans: Robbeneiland) is an island in Table Bay, 6.9 km west of the coast of Bloubergstrand, Cape Town, South Africa. The name is Dutch for "seal island." Robben Island is roughly oval in shape, 3.3 km long north-south, and 1.9 km wide, with an area of 5.07 km².[2] It is flat and only a few metres above sea level, as a result of an ancient erosion event. Nobel Laureate and former President of South Africa Nelson Mandela was imprisoned there for 18 of the 27 years he served behind bars before the fall of apartheid. To date, three of the former inmates of Robben Island have gone on to become President of South Africa: Nelson Mandela, Kgalema Motlanthe,[3] and current President Jacob Zuma.

Robben Island is a South African National Heritage Site as well as a UNESCO World Heritage Site.[4][5]

 

History[edit]

  

Robben Island as viewed from Table Mountain towards Saldanha Bay.

Since the end of the 17th century, Robben Island has been used for the isolation of mainly political prisoners. The Dutch settlers were the first to use Robben Island as a prison. Its first prisoner was probably Autshumato in the mid-17th century. Among its early permanent inhabitants were political leaders from various Dutch colonies, including Indonesia, and the leader of the mutiny on the slave ship Meermin.

After the British Royal Navy captured several Dutch East Indiamen at the battle of Saldanha Bay in 1781, a boat rowed out to meet the British warships. On board were the "kings of Ternate and Tidore, and the princes of the respective families". The Dutch had long held them on "Isle Robin", but then had moved them to Saldanha Bay.[6]

In 1806 the Scottish whaler John Murray opened a whaling station at a sheltered bay on the north-eastern shore of the island which became known as Murray's Bay, adjacent to the site of the present-day harbour named Murray's Bay Harbour which was constructed in 1939–40.[7][8]

After a failed uprising at Grahamstown in 1819, the fifth of the Xhosa Wars, the British colonial government sentenced African leader Makanda Nxele to life imprisonment on the island.[9] He drowned on the shores of Table Bay after escaping the prison.[10][11]

The island was also used as a leper colony and animal quarantine station.[12] Starting in 1845 lepers from the Hemel-en-Aarde (heaven and earth) leper colony near Caledon were moved to Robben Island when Hemel-en-Aarde was found unsuitable as a leper colony. Initially this was done on a voluntary basis and the lepers were free to leave the island if they so wished.[13] In April 1891 the cornerstones for 11 new buildings to house lepers were laid. After the introduction of the Leprosy Repression Act in May 1892 admission was no longer voluntary and the movement of the lepers was restricted. Prior to 1892 an average of about 25 lepers a year were admitted to Robben Island, but in 1892 that number rose to 338, and in 1893 a further 250 were admitted.[13]

During the Second World War the island was fortified and BL 9.2-inch guns and 6-inch guns were installed as part of the defences for Cape Town.

From 1961, Robben Island was used by the South African government as a prison for political prisoners and convicted criminals. In 1969 the Moturu Kramat, which is now a sacred site for Muslim pilgrimage on Robben Island, was built to commemorate Sayed Abdurahman Moturu, the Prince of Madura. Moturu, who was one of Cape Town's first imams, was exiled to the island in the mid-1740s. He died there in 1754. Muslim political prisoners would pay homage at the shrine before leaving the island.

The maximum security prison for political prisoners closed in 1991. The medium security prison for criminal prisoners was closed five years later.[14]

With the end of apartheid, the island has become a popular destination with global tourists. It is managed by Robben Island Museum (RIM); which operates the site as a living museum. In 1999 the island was declared a World Heritage Site. Every year thousands of visitors take the ferry from the Victoria & Alfred Waterfront in Cape Town for tours of the island and its former prison. Many of the guides are former prisoners. All land on the island is owned by the state of South Africa with the exception of the island church. It is open all year around, weather permitting.

 

Access to the island[edit]

Robben Island is accessible to visitors through tours that depart from Cape Town's waterfront. Tours depart three times a day and take about 3.5 hours, consiststing of a ferry trip to and from the island, and a tour of the various historical sites on the island that form part of the Robben Island Museum. These include the island graveyard, the disused lime quarry, Robert Sobukwe’s house, the Bluestone quarry, the army and navy bunkers, and the maximum security prison including Nelson Mandela’s cell.[15]

 

Maritime hazard[edit]

  

Dutch map of the island, from 1731.

Seagoing vessels must take great care navigating near Robben Island and nearby Whale Rock (it does not break the surface) as they pose a danger to shipping.[16] A prevailing rough Atlantic swell surrounds the offshore reefs and the island's jagged coastline. Stricken vessels driven onto rocks are quickly broken up by the powerful surf. There are a total of 31 known vessels that have been wrecked around the island.[17]

In 1990, a marine archaeology team from the University of Cape Town began Operation "Sea Eagle". It was an underwater survey that scanned 9 square nautical miles of seabed around Robben Island. The task was made particularly difficult by the strong currents and high waves that make sailing in these waters treacherous. Nevertheless, the group managed to find 24 vessels that had sank around Robben Island. Most wrecks were found in waters less than 10 metres (33 ft). The team concluded that poor weather, darkness and fog were the cause of the sinkings.[17]

Maritime wrecks around Robben Island and its surrounding waters include the 17th century Dutch East Indiaman ships, the Yeanger van Horne (1611), the Shaapejacht (1660), and the Dageraad (1694). Later 19th century wrecks include several British brigs including the Gondolier (1836) and the American clipper, A.H. Stevens (1866). In 1901 the mail steamer SS Tantallon Castle struck rocks off Robben Island in dense fog shortly after leaving Cape Town. After distress cannons were fired from the island, nearby vessels rushed to the rescue. All 120 passengers and crew were taken off the ship before it was broken apart in the relentless swell. A further 17 ships have been wrecked in the 20th century, including British, Spanish, Norwegian and Taiwanese vessels.

 

Robben Island lighthouse[edit]

Due to the maritime danger that Robben Island presents to shipping, Jan van Riebeeck, the first Dutch colonial administrator in Cape Town in the 1650s, ordered that huge bonfires were to be lit at night on top of Fire Hill, the highest point on the island (now Minto Hill). These were to warn VOC ships approaching the island.

In 1865 Robben Island lighthouse was completed on Minto Hill.[18] The cylindrical masonry tower, which has an attached lightkeepers house at its base, is 18 metres (59 ft) high with a lantern gallery at the top. In 1938 the lamp was converted to electricity. The lighthouse utilises a flashing lantern instead of a revolving lamp; it shines for a duration of 5 seconds every seven seconds. The 46,000 candela beam flashes white light away from Table Bay. It is visible up to 24 nautical miles (28 mi).[19] A secondary red light acts as a navigation aid for vessels sailing south southeast.

 

Wildlife and conservation[edit]

When the Dutch arrived in the area in 1652, the only large animals on the island were seals and birds, principally penguins. In 1654, the settlers released rabbits on the island to provide a ready source of meat for passing ships.[20]

The original colony of African penguins on the island was completely exterminated by 1800. However the modern day island is once again an important breeding area for the species after a new colony established itself there in 1983.[21] The colony grew to a size of ~16,000 individuals in 2004, before starting to decline in size again. As of 2015, this decline has been continuous (to a colony size of ~3,000 individuals) and mirrors that found at almost all other African penguin colonies. Its causes are still largely unclear and likely to vary between colonies, but at Robben Island are probably related to a diminishing of the food supply (sardines and anchovies) through competition by fisheries.[22] The penguins are easy to see close up in their natural habitat and are therefore a popular tourist attraction.

Around 1958, Lieutenant Peter Klerck, a naval officer serving on the island, introduced various animals. The following extract of an article, written by Michael Klerck who lived on the island from an early age, describes the fauna life there:[23]

My father, a naval officer at the time, with the sanction of Doctor Hey, director of Nature Conservation, turned an area into a nature reserve. A 'Noah's Ark' berthed in the harbour sometime in 1958. They stocked the island with tortoise, duck, geese, buck (which included Springbok, Eland, Steenbok, Bontebok and Fallow Deer), Ostrich and a few Wildebeest which did not last long. All except the fallow deer are indigenous to the Cape. Many animals are still there[24] including three species of tortoise—the most recently discovered in 1998—two Parrot Beaked specimens that have remained undetected until now. The leopard or mountain tortoises might have suspected the past terror; perhaps they had no intention of being a part of a future infamy, but they often attempted the swim back to the mainland (they are the only species in the world that can swim). Boats would lift them out of the sea in Table Bay and return them to us. None of the original 12 shipped over remain, and in 1995, four more were introduced—they seem to have more easily accepted their home as they are still residents. One resident brought across a large leopard tortoise discovered in a friend's garden in Newlands, Cape Town. He lived in our garden and grew big enough to climb over the wall and roam the island much like the sheep in Van Riebeeck's time. As children we were able to ride his great frame comfortably, as did some grown men. The buck and ostriches seemed equally happy and the ducks and Egyptian Geese were assigned a home in the old quarry, which had, some three hundred years before, supplied the dressed stone for the foundations of the Castle; at the time of my residence it bristled with fish. Recent reports in Cape Town newspapers show that a lack of upkeep, a lack of culling, and the proliferation of rabbits on the island has led to the total devastation of the wildlife; there remains today almost none of the animals my father brought over all those years ago; the rabbits themselves have laid the island waste, stripping it of almost all ground vegetation. It looks almost like a desert. A reporter from the broadcasting corporation told me recently that they found the carcass of the last Bontebok.

There may be 25,000 rabbits on the island. Humans are hunting and culling the rabbits to reduce their number.[

25]

List of former prisoners held at Robben Island[edit]

* Autshumato, one of the first activists against colonialism

* Dennis Brutus, former activist and poet

* Patrick Chamusso, former activist of the African National Congress

* Laloo Chiba, former accused at Little Rivonia Trial

* Eddie Daniels (political activist)

* Jerry Ekandjo, Namibian politician

* Nceba Faku, former Metro Mayor of Port Elizabeth

* Petrus Iilonga, Namibian trade unionist, activist and politician

* Ahmed Kathrada, former Rivonia Trialist and long-serving prisoner

* Koesaaij, Malagasy co-leader of the Meermin slave mutiny in February, 1766

* Langalibalele, The King of the Hlubi people, one of the first activists against colonialism[citation needed]

* John Kenneth Malatji, former activist and special forces of ANC - Tladi, Soweto

* Njongonkulu Ndungane,[26] later to become Archbishop of Cape Town

* Mosiuoa Lekota, imprisoned in 1974, President and Leader of the Congress of the People

* Mac Maharaj, former accused at Little Rivonia Trial

* Makana, one of the activists against colonialism

* Nelson Mandela, African National Congress leader and former President of South Africa (first black president)

* Gamzo Mandierd, activist

* Jeff Masemola, the first prisoner sentenced to life imprisonment in the apartheid era

* Amos Masondo, former Mayor of Johannesburg

* Massavana, Malagasy leader of the Meermin slave mutiny in February, 1766

* Michael Matsobane, leader of Young African Religious Movement. Sentenced at Bethal in 1979; released by PW Botha in 1987.

* Chief Maqoma, former chief who died on the island in 1873

* Govan Mbeki, father of former President of South Africa Thabo Mbeki. Govan was sentenced to life in 1963 but was released from Robben Island in 1987 by PW Botha

* Wilton Mkwayi, former accused at Little Rivonia Trial

* Murphy Morobe, Soweto Uprising student leader

* Dikgang Moseneke, Deputy Chief Justice of South Africa

* Sayed Adurohman Moturu, the Muslim Iman who was exiled on the island and died there in 1754

* Griffiths Mxenge, a South African Lawyer and member of the African National Congress

* Billy Nair, former Rivonia Trialist and ANC/SACP leader

* M. D. Naidoo, a South African lawyer and member of the African National Congress

* John ya Otto Nankudhu, Namibian liberation fighter[27]

* John Nkosi Serving life but released by PW Botha in 1987

* Samuel Sisulu Founder of South African Freedom Organisation

* Nongqawuse, the Xhosa prophetess responsible for the Cattle Killing

* Maqana Nxele, former Xhosa prophet who drowned while trying to escape

* John Nyathi Pokela, co-founder and former chairman of the PAC

* Joe Seremane, former chairperson of the Democratic Alliance.

* Tokyo Sexwale, businessman and aspirant leader of the African National Congress

* Gaus Shikomba, Namibian politician

* Walter Sisulu, former ANC Activist

* Stone Sizani, ANC Chief Whip

* Robert Sobukwe, former leader of the PAC

* Andimba Toivo ya Toivo, Namibian politician

* Sakaria Nashandi, Namibian politicia

* Jacob Zuma, President of South Africa and leader of the African National Congress

* Achmad Cassiem

* Setsiba Paul Mohohlo, former APLA unit commander

* Micheal Ludumo Buka, former ANC Activist

* Kgalema Motlanthe, South Africa's first Pedi president

* John Aifheli Thabo, an ANC political activist[citation needed]

* Ezra Mvuyisi Sigwela, an ANC political activist

* Xolani Casper Jonas, an ANC political activist

* Kwezi Nontsikelo, ANC political activist, Advisor to the Minister of Defence

 

Kafe Antzokia (Bilbao), Tom Hagen Rock Photography 2014

 

You can buy some of my photos here ---> bit.ly/1satGrV

 

My book --> www.flickr.com/photos/tomhagen/8247082525/in/set-72157632...

 

Follow me @ Facebook ---> www.facebook.com/TomHagenRockPh

 

Twitter ---> twitter.com/_tomhagen

Permanent structure, transient passengers.

PictionID:54056663 - Catalog:14_032994 - Title:Vandenberg AFB Details: Site 576B-3; Opening Roof Prior to Erection of missile 99D/Hotshot Date: 11/17/1960 - Filename:14_032994.tif - - - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Enfermée dans cette dualité permanente. Elle m'épuise.

Si le père Noël pouvait déposer une baguette magique pour faire disparaitre ce "il" et tout recommencer depuis le début.

A hard day's work on the permanent way has seen reinstatement of much of the road surface at the double junction outside Tooting Common Station.

Here the printed stone setts are beginning to be laid between the rails and tracks,

This takes especial care around the moving point blades. I had to reposition one point motor slightly and sorted out a dry wiring joint at this stage.

18/07/2023. New York, United Kingdom. The Foreign Secretary James Cleverly and the Deputy Permanent Representative to the British mission to the United Nations, James Kairuki visits a Bagel Shop in New York after attending the United Nations Security Conference. United Nations HQ. Picture by Rory Arnold / No 10 Downing Street

didn't really put more effort into this one but i really like this word. :)

 

today in school was really boring. it was day 1 so we had our homeroom teacher all day, ahhh!! it sucked. but i don't have much to say today....except for its FRIDAY! yayyaayyaayayay!<3

omg, my photostream has more than 100 views now!! hhehhehehehehe! HAPPY DAY.

 

"If someone hurts you, make them pay. -Katy Perry♥"

The permanent way over the level crossing at Hall Lane AOCL in Dereham had reached the end of its life. This crossing was upgraded from a farm track in 1977 when the Green's Road industrial estate was built. Unfortunately the rails are now heavily corroded around a pair of joints within the carriageway and so required replacement and there were several rotten sleepers at the extremity of the road.

 

Due to some extremely poor town planning, some cretin decided to allow the industrial estate to be built with only one way in and out. As a consequence we were denied permission to close the road to replace it and are having to replace it half and half, over two weekends, retaining the joint within the road. This is definitely not our preferable solution. Here we see the old tarmac being broken out up to the joint which is slightly off centre within the road.

twitter.com/notifications les Osiedle de Pologne [Tout savoir tt connaitre ici les textes] La POLOGNE durement bombardé pdt la guerre .. Elle a été un pays marqué par la reconstruction.. Via ses cités modernes dites de préfabriqués des annees 60 et 70 la bas ont les appellent Osiedle (domaine, lotissement) Osiedle est un terme utilisé en Pologne pour désigner une subdivision désignée d'une ville ou d'un village, ou d'un dzielnica, avec son propre conseil et exécutif. Comme le dzielnica et le sołectwo, un osiedle est une unité auxiliaire d'une gmina www.twitter.com/Memoire2cite En République tchèque, l’antique ville de Most est détruite pour des raisons économiques pour être reconstruite à 2km grâce au panneau de béton. Au travers d’archives et de témoignages des habitants, son histoire dailymotion.com/video/x413amo visible ici des la 23e minute , c est de la folie...Panelák est un terme familier en tchèque et en slovaque pour un immeuble construit en béton préfabriqué précontraint, comme ceux qui existent dans l’ex-Tchécoslovaquie et ailleurs dans le monde.La POLOGNE durement bombardé pdt la guerre .. Elle a été un pays marqué par la reconstruction.. Via ses cités modernes dites de préfabriqués des annees 60 et 70 la bas ont les appellent Osiedle (domaine, lotissement) Cette unité urbanistique réalisée grâce à des technologies modernes, l’îlot urbanistique (blokurbanisztyczny), est au fondement de la formation des quartiers (dzielnica) qui, tous ensemble,

composent finalement la ville « Bien conçu et selon les résultats des analyses passées, le logement, adapté aux besoins et aux possibilités économiques de ses habitants et du pays tout entier, est la cellule fondamentale, la mesure

de l’organisme urbain contemporain. Construite selon une programmation économique réaliste, cette cellule devrait bénéficier des moyens techniques les plus avancés dans les domaines de la construction, de la santé, des communications, de l’esthétique architecturale et des jardins. Et elle devrait se dresser de toute sa masse, en conformité avec les besoins de la population des villes,

comme matière fondamentale et aboutie de la forme urbanistique et architecturale. D’une ou de plusieurs de ces cellules urbanistiques, c’est-à-dire des logements, naît un immeuble ; de quelquesuns à quelques dizaines d’immeubles, un îlot urbanistique, d’un groupe d’îlots émerge un quartier. Et

de quelques quartiers d’habitation ou plus, en association avec des quartiers d’ateliers de travail naît la totalité organique urbaine, c’est-à-dire la ville. » Ainsi, à la veille de la deuxième guerre mondiale, on trouve en Pologne des structures politiques, associatives, professionnelles impliquées dans la promotion d’un habitat social

réalisé selon de nouvelles technologies, et permettant de loger quelques milliers d’habitants autour de services de base. Censé apporter des solutions à une situation du logement catastrophique, héritée du XIXème siècle et de la première guerre mondiale, ce nouveau type d’habitat est construit et géré sous forme coopérative (Coudroy de Lille 2004). Ces groupements de logements sont au départ nommés kolonia. La littérature urbanistique

théorique des années 1930, représentée par les auteurs majeurs que sont Barbara Brukalska et Tadeusz Tołwiński construit deux systèmes lexicaux différents pour nommer l’unité spatiale supérieure à la kolonia, celle qui rassemble quelques milliers de logements : osiedle pour la

première, blok pour le second. C’est finalement osiedle qui s’imposera sur le long terme. Mais dans cette période de l’entre-deux-guerres, le terme osiedle avait une autre signification dans la langue courante, de portée plus générale.

I.2.Osiedle : un terme issu du vocabulaire courant

Le Dictionnaire de la langue polonaise (1927) le définit comme « tout groupement d’habitations humaines constituant une unité, séparée des autres10». Le texte indique qu’un

osiedle peut être temporaire ou permanent, compter de une à des centaines de milliers d’habitations, et que les activités dominantes des habitants permettent de distinguer deux

types : rural ou urbain11. Selon le Dictionnaire étymolotique de la langue polonaise (2005), le mot apparaît à partir du XVème siècle, dans plusieurs langues slaves sous des formes

voisines, dérivées d’une même racine osedle (qui donne par exemple en vieux tchèque ošedlé). Il désignait alors l’établissement fixe, le foyer, le patrimoine.

La définition de 1927, contemporaine de Barbara Brukalska et Tadeusz Tołwiński correspond à un « établissement humain », et est très proche du Siedlung allemand Ce dictionnaire ne comporte d’ailleurs pas d’entrée « ville » (miasto). Cette notion est introduite dans le corps de la définition d’osiedle. allemand cependant, le mot Siedlung prend le sens dans le sens dans les années 1920 de cité d’habitat moderne (Topalov et al. 2010 : 1109). Les urbanistes polonais qui formalisent les unités d’habitations d’un type nouveau dans l’entre-deux-guerres ont étendu le sens traditionnel du terme osiedle en lui donnant un sens proche du Siedlung. De fait, la langue polonaise a souvent emprunté à l’allemand pour nommer les formes et les fonctions urbaines, et cette influence germanique fut renouvelée et renforcée au début du XXème siècle, grâce au rayonnement de l’école viennoise dans l’architecture d’Europe centrale, puis par le prestige du mouvement Bauhaus (Blau and Platzer 2000). Après la première guerre mondiale, les urbanistes et architectes polonais entretenaient par ailleurs d’intenses contacts

avec l’Autriche, l’Allemagne, où certains furent formés (c’est le cas de Szymon Syrkus), et où ils exposaient leurs travaux.

L’utilisation du mot osiedle pour désigner une modalité de la conception des espaces résidentiels contribue donc à enrichir la signification de ce mot, pour un usage à la fois savant

et technique. L’osiedle est une forme urbaine, un idéal social, mais aussi, pourrait-on dire, un

point de ralliement pour le mouvement moderne en Europe centrale. En effet, ce terme acquis une importance considérable dans les pratiques et surtout les représentations

urbanistiques de la Pologne d’après-guerre : tout d’abord comme contre-modèle, car il fut pendant un certain temps après 1945 mis au ban, puis au contraire, comme objet de nostalgie. II. La marginalisation de l’osiedle dans la pratique et le lexique urbanistiques L’ouvrage de Barbara Brukalska qui en 1948 exposait les motivations et les attendus

d’un urbanisme social autour de la notion cardinale d’osiedle fut retiré de la vente dès sa parution. En effet, 1948-49 marque un tournant politique et idéologique majeur en Europe de l’est, celui de l’alignement sur le stalinisme, avec comme conséquence dans le domaine de la

création en général, et de l’architecture en particulier, l’imposition du réalisme socialiste (Kopp 1985; Włodarczyk 1991; Aman 1992 [1987]). Comme cela avait été fait dans les années 1930 en Union Soviétique, les expressions

de l’ « avant-garde » sont rejetées et l’architecture moderne est accusée de propager une idéologie réactionnaire de «désurbanisation » (Kopp 1985). Ainsi, alors qu’on avait restauré et poursuivi les constructions d’osiedle dans les années 1945 à 1948, le revirement est ensuite

brutal. De 1949 à 1956, les canons du réalisme socialiste inspirent des réalisations monumentales, de style néo-classique, s’appuyant sur un souci de symétrie et de grandeur ; l’usage des matériaux traditionnels, les valeurs de densité, de verticalité, sont réhabilités dans les formes urbaines. La construction et la gestion des logements urbains est recentralisée, étatisée, au détriment de la nébuleuse coopératiste, jugée trop élitiste : les programmes

ambitieux de cette nouvelle période sont destinés à rendre le centre-ville à la classe ouvrière. La construction du Palais de la Culture à Varsovie est la manifestation la plus célèbre et la

plus spectaculaire du réalisme socialiste ; il faut y ajouter des quartiers d’habitation (Marszałkowska Dzielnica Mieszkaniowa, Praga II à Varsovie), voire des villes nouvelles

(Nowe Tychy dans la conurbation silésienne, Nowa Huta aux portes de Cracovie, au début des années 1950). La condamnation de l’urbanisme fonctionnaliste suit de peu, sous les slogans de «cosmopolitisme bourgeois», ou de «formalisme sans âme» comme le dénonçait A cela rien d’étonnant : l’espace correspondant au territoire polonais actuel fut urbanisé assez largement grâce au mouvement d’Ostsiedlung, de colonisation vers l’est. Celui-ci poussa vers l’est des colons allemands qui, à l’invitation de la Couronne polonaise, et de seigneurs laïques ou religieux fondèrent de nombreuses villes selon des modèles juridiques et architecturaux germaniques en Silésie, en Poméranie, essentiellement aux XII° et XIII°s. Les mots polonais de handel (en allemand Handel, commerce), rynek (Ring, l’anneau, le boulevard circulaire) meldunek (Meldung enregistrement), gmina (Gemeinde, commune) témoignent de cette imprégnation germanique.

Pozostałości burŜuazyjnego kosmpolityzmu, bezduszny formalizm (Bierut, 1951 : 329). le président de la République ayant opéré ce virage, Bolesław Bierut (1892-1956). Tout en

occupant cette fonction politique, il signa en effet un album intitulé le Plan de six ans de reconstruction de Varsovie (Bierut 1951), qui présente grâce à des planches de dessins et de

cartes commentées les traits de la capitale polonaise idéale, reconstruite selon les principes du réalisme socialiste. Dans cet ouvrage fondamental, dont le programme fut partiellement

réalisé et compose une partie majeure du centre-ville de Varsovie, Bierut entretient l’ambiguïté sur le vocabulaire des formes résidentielles : d’un côté, le mot osiedle est très

souvent employé, notamment dans les légendes des figures et des photographies. Mais dans la plupart des cas, les formes ainsi désignées ne correspondent nullement à celles de l’osiedle social des années 1930. Ainsi l’osiedle Koło, commencé avant la guerre, est présenté dans sa

silhouette de 1955, c’est-à-dire sous la forme d’immeubles délimitant clairement les îlots, annonçant un retour à une composition urbaine plus classique et monumentale, dans laquelle la rue structure de nouveau la ville. A cela s’ajoute l’idée de construction en masse, pour la classe ouvrière, ce que ne prévoyaient ni la kolonia ni l’osiedle, conçus commes des unités de peuplement de taille réduite. Ainsi, le concept d’osiedle, théorisé par Barbara Brukalska en 1948, semble être trop élitiste et « formaliste » aux yeux de cette nouvelle doctrine. Dès lors, l’îlot (blok) est souvent convoqué dans la littérature du réalisme socialiste pour remplacer le mot osiedle. Dans la langue urbanistique polonaise, le terme de blok désigne après la guerre comme à l’époque de

Tołwiński un îlot, c’est-à-dire « un ensemble compact de maisons (ou d’immeubles) entre quatre rues » (1960)14. Cette substitution est explicitée et entérinée par la Grande

Encyclopédie Universelle de 1963 (c’est-à-dire la première rédigée sous le régime de la République Populaire) : « En 1950-55 le terme de cité résidentielle [osiedle] a été remplacé

par la notion de « îlot [blok] résidentiel » (1963)15. Cette préférence sémantique recouvre la réalité de l’évolution urbaine. Parallèlement, la réforme administrative menée en 1954 instaura un niveau territorial appelé lui aussi osiedle, correspondant à une unité intermédiaire entre la ville et le village ; c’est une concentration de peuplement liée à la présence d’activités (la pêche, le tourisme, selon les exemples de l’Encyclopédie de 1963) ne conduisant pas

nécessairement à la constitution d’une véritable ville16. Le glissement du terme osiedle de l’urbanisme vers un usage administratif n’est pas anodin, et peut être interprété comme un signe de marginalisation de l’urbanisme moderne dans la période la plus « dure » de la République Populaire de Pologne. .Le réalisme socialiste à Varsovie : la Place de la Constitution (arch. : Józef Sigalin, 1950-53). Cliché Coudroy 2009. Cependant, on observe avec le recul que si le réalisme socialiste a duré assez longtemps pour marquer de manière spectaculaire les paysages urbains de Cracovie (Nowa

Huta), de Nowe Tychy, et surtout de Varsovie, il n’est pas parvenu à imprégner avec la même force la langue, qui a conservé pendant cette période le terme d’osiedle à côté de celui de blok. Avec la déstalinisation entamée en 1956, le glas du réalisme socialiste est sonné, et les urbanistes qui concevaient des osiedle sur le modèle coopératif fonctionnaliste reprennent certains chantiers, jusque vers la fin des années 1950. Zespół [...] domów zwarty między czteroma ulicami (Słownik Języka Polskiego, 1960, article blok). 15 W 1950-55 koncepcję osiedla mieszkaniowego zastąpiono pojęciem „bloku mieszkaniowego” (Wielka

Encyklopedia Powszechna, 1963, article osiedle).

16 « Osiedle : unité de la division territoriale du pays incluse dans le district. Il constitue une forme intermédiaire

de peuplement entre la ville et le village » (Osiedle : jednostka podziału terytorialnego kraju, wchodząca z skład

powiatu (…). Stanowią one pośrednią formą osadnictwa między miastem a wsią (Wielka Encyklopedia

Powszechna, PWN, 1963). L’Encyclopédie Universelle (1975, 1976), donne les exemples d’osiedle ouvriers, de

pêche, ou de villégiature (O. robotnicze, rybackie, uzdrowiskowe) Il en existait seulement 54, avant que cet

échelon ne disparaisse de la structure territoriale en 1972.

III. Les conséquences de la construction de masse sur la terminologie : appauvrissement de la langue savante et invention vernaculaire La généralisation d’une construction de masse tendue vers des objectifs quantitatifs, mais indifférente à la qualité du bâti, au nom ce qu’on appela la « politique de l’économie » marque, à partir des années 1960 une « seconde mort » de l’osiedle, non plus comme notion, mais comme forme urbaine. En effet, la décennie 1960 et plus encore la suivante voient se généraliser des ensembles de plus en plus gigantesques et de plus en plus indigents qualitativement. Le préfabriqué se généralise, et avec lui l’uniformisation paysagère ; la taille des unités résidentielles augmente considérablement (de 5000 logements en moyenne selon le

« modèle type » d’origine, on passe à 20 000 et plus), les équipements, même minimes, font défaut ; ces lacunes vident l’osiedle de toute identification possible avec l’unité de voisinage. Toute une littérature – critique - en rend compte à partir de la fin des années 1970, notamment en sociologie urbaine, en utilisant comme références à la fois les auteurs des années 1930, « inventeurs » de la notion, et quelques cités jugées exemplaires à l’aune de ce modèle (Wallis

1978; Siemiński 1979 ; Kaltenberg-Kwiatkowska, Kryczka et al. 1983). Le sociologue Bohdan Jałowiecki, dans un article sur les « pathologies urbaines » de la fin des années 1970

expliquait la raison d’être de ce qu’on nomma en Pologne la « sociologie de l’osiedle »c’est-à-dire les études empiriques mesurant les effets sociaux de la massification de l’habitat.

Il se livrait au passage à une analyse critique du vocabulaire :

« On parle en l’occurence d’osiedle résidentiel (osiedle mieszkaniowe) alors qu’en réalité on est face à des ensembles urbanistiques (zespoły urbanistyczne) de plusieurs milliers de logements qui n’ont rien à voir avec la conception d’osiedle résidentiel, dont la forme spatiale et architecturale,

ainsi que le contenu social avaient été précisément définis par les milieux de gauche des urbanistes polonais dans l’entre-deux-guerres » (Jałowiecki 1984) Cet extrait résume le désenchantement qu’a procuré progressivement le décalage entre les valeurs humanistes de la notion d’osiedle, et une production résidentielle de plus en plus bureaucratique et normative à partir de la fin des années 1960 (Coudroy de Lille L. 2004). Est-ce pour en rendre compte ? Toujours est-il que dans les années 1980, quelques auteurs – notamment le francophone Bohdan Jałowiecki - proposent le terme de wielki zespół mieszkaniowy, traduction littérale de l’expression française « grand ensemble d’habitation »

(Jałowiecki & Kaltenberg-Kwiatkowska 1988; Misiak 1988). Le sociologue Władysław Misiak le définit comme

« une aire urbaine conçue de manière complexe sur un espace délimité, dans laquelle les fonctions résidentielles l’emportent sur les autres, et où la construction en blocs est le plus souvent réalisée grâce à des technologies industrielles

». Cet emprunt au français a connu son heure de gloire dans les années 1980 avec quelques variantes (qui consistent à qualifier de « grands » ou non ces ensembles

d’habitations) dans la langue spécialisée, mais ne s’est pas enraciné. Ainsi, wielki zespół mieszkaniowy devient zespół mieszkaniowy, que nous traduisons dans les titres des

références citées par « ensemble d’habitations ».

De manière paradoxale, le creusement de l’écart entre la notion d’osiedle et la réalité morphologique et fonctionnelle des réalisations résidentielles est allé de pair avec la

généralisation du mot lui-même, en dehors de la langue savante. Il a investi la langue technique et administrative des coopératives de logement, qui étaient tout à la fois les

promoteurs, les maîtres d’œuvre et les gestionnaires de ces grands ensembles. Revenues en grâce dans les années soixante, elles ont vite été propulsées comme acteur de premier plan dans la question du logement urbain en Pologne (Coudroy de Lille L. 2004). Dans la mesure où elles sont en contact permanent avec la population, de la phase d’attente d’un logement à son occupation effective, les choix sémantiques des coopératives ont immanquablement

investi la langue courante. D’une part, la toponymie des quartiers d’habitat collectif à partir des années 1960 utilise presque systématiquement le mot d’osiedle, suivi d’un qualificatif ou le plus souvent d’un toponyme antérieur (ex : Osiedle « des jeunes », Osiedle Ostrobramska,

Osiedle Stegny, etc…). D’autre part, ces ensembles coopératifs étaient administrés sur le

terrain par le conseil d’osiedle (rada osiedla), le comité d’osiedle (komitet osiedlowy),etc…La répétition de cette terminologie dans les textes réglementaires diffusés aux habitants, sur les panneaux d’affichage dans les halls d’immeubles, a contribué à diffuser l’usage du mot dans

la langue courante où il a fini par désigner le quartier d’habitation de manière générale,l’espace du quotidien. Ainsi, la trajectoire selon laquelle le mot osiedle est passé du

vocabulaire des urbanistes vers le registre courant, a emprunté le vecteur de la langue administrative, celle des coopératives. Mais le langage commun ne s’est pas contenté d’intérioriser ce terme diffusé à l’origine par des urbanistes : il a aussi inventé des mots imagés pour décrire l’habitat dans lequel vivait plus de la moitié des citadins. Difficiles par nature à dater, probablement apparus dans les années 1970-80, ces termes - qu’on rencontre à l’oral dans les conversations, dans la presse, avec ou sans guillemets - sont parfois bâtis avec le même suffixe en isko qui en polonais est assez rare, mais apparaît dans plusieurs mots relevant de l’écologie. Ce suffixe

évoque l’étendue, le lieu où se rencontre une matière ou bien où se concentrent des êtres vivants en quantité (ce qui transparaît dans le mot même de concentration, skupisko) : on peut citer środowisko (environnement), torfowisko (tourbière), trzęsawisko (marécage), mrowisko (fourmilière), tokowisko (aire d’accouplement des oiseaux). On peut supposer que c’est selon cette analogie qu’ont été forgés les termes de mrowiskowiec ou mrogowisko (barbarismes issus du mot « fourmilière »), ainsi que blokowisko qui serait alors traduisible mot à mot par « étendue de blocs », le mot blok ayant aussi le sens géométrique de volume compact, comme en français. Ce néologisme, qui décrit bien la spatialité du grand ensemble, est l’un des mots inventés par la langue populaire, qui a créé aussi, selon des variantes locales : deska (la

planche, pour une barre très longue), superjednostka (super-unité), megasypialna (mégachambre à coucher), etc...Seul blokowisko et son corollaire blok se sont imposés, et ont

franchi les limites de la langue familière pour investir la langue savante et entrer dans les dictionnaires Ces deux termes apparaissent en 1995 dans deux dictionnaires différents. Blok n’est pas un néologisme, mais son sens a dévié. Son premier sens est, dans la langue courante, « une grande masse de pierre régulière »23 sens qui avait sans doute inspiré les fondateurs du mouvement d’art moderne Le mot blokowisko désigne également en géologie un type de roche détritique, un conglomérat non consolidé ; mais on peut douter que la langue populaire se soit inspirée d’un terme réservé à un domaine aussi étroit. Cette signification est absente des dictionnaires courants. On peut noter que parallèlement, le mot blokowisko a été largement approprié par ce qu’on appelle parfois la« culture urbaine » : un groupe de hip-hop, des forums de discussion sur le web l’ont adopté comme nom de ralliement. DuŜa, foremna bryła kamienia selon le Dictionnaire de la Langue Polonaise de l’Académie des Sciences,sjp.pwn.plk, consulté le 29 sept 2010.

Blok dans l’entre-deux-guerres. On a vu plus haut que pour les urbanistes, dès l’entre-deux-guerres, il désignait aussi un îlot. A cela s’ajoutent des significations supplémentaires à partir des années 1960, liées à l’évolution des techniques de construction : il prend le sens d’élément préfabriqué. Enfin quelques décennies plus tard, le terme désigne les immeubles ainsi construits, comme dans le Dictionnaire de la langue polonaise (1995) : « un grand bâtiment

d’habitation, de plusieurs étages, faits de segments qui se répètent ». On rencontre ces deux significations dans la littérature sociologique et urbanistique des les années 1980 :

« construction en blok » « blok résidentiels »27 (Grzybowski 1984; KaltenbergKwiatkowska 1985; Siemiński & Zalewska 1989). Le dictionnaire de 1995 possède une entrée pour blokowisko : « cité composée de grands blok d’habitation : blokowisko gris, écrasant. Quartier de blokowisko29

». La Grande Encyclopédie de 2001 introduit le mot blok en lui restituant son registre vernaculaire d’origine. « Blok : familier : grand bâtiment de plusieurs étages fait de plusieurs cages d’escaliers » (2001). A peu près à la même époque, le Dictionnaire du polonais contemporain renforce la dimension dépréciative de la notion : «[se dit] avec découragement à propos d’une cité d’habitation à l’architecture faiblement différenciée, faite de blok d’habitations identiques : monotonie du blokowisko ; blokowisko inhumains30 » (2000). Cette connotation négative, on le voit repose sur la misère technique et paysagère de ces quartiers et non sur une

quelconque stigmatisation à caractère « social ». En effet, en Pologne comme dans les autres pays socialistes, l’habitat collectif de masse abritait la majorité de la population urbaine, de manière assez indifférenciée : il ne s’agit d’un habitat ni aisé, ni « social »31 (Dufaux & Fourcaut 2004 : 90-95).

Fig. 3 : Un paysage de blokowisko : Retkinia, ŁódŜ (cliché Coudroy 2007) L’encyclopédie en ligne Wikipédia, très développée en langue polonaise32, résume

parfaitement ce balancement entre langues spécialisée et populaire. En effet, l’entrée blokowisko (registre familier) redirige l’internaute vers l’article intitulé « grand ensemble

d’habitations » (registre savant) : « Bloc de mur : grand élément de construction préfabriqué destiné à une élévation verticale, utilisé comme matériau de construction » (Blok ścienny : DuŜy prefabrykowany element budowlany przeznaczony doustawiania pionowego stosowany jako materiał konstrukcyjny, (Wielka Encyklopedia Powszechna, PWN, 1963 (article Blok scienny). DuŜy, wielkopiętrowy budynek mieszkalny o powtarzalnych segmentach (Słownik języka polskiego PWN, 1995

(article Blok). Zabudowa blokowa Bloki mieszkaniowe

Il est difficile de traduire blok dans cette définition. Au moment où elle est rédigée, on peut opter pour« bloc », mais c’est incongru en français ; ou bien par « immeuble », mais défini come précédemment, doncsous-entendu « de facture préfabriquée, comprenant un nombre élevé d’étages ». Or un tel mot n’existe pas en français. D’autre part, il existe un autre mot plus neutre pour immeuble en polonais qui n’est pas utilisé dans cette définition du dictionnaire. Osiedle składające się z wielkich bloków mieszkalnych : szare, przytłające blokowisko. Dzielnica blokowisk.

Słownik języka polskiego PWN, 1995 (article Blokowisko). Cette définition est toujours présente depuis les

années 2000 dans les éditions en ligne de ce dictionnaire : usjp.pwn.pl). Blokowisko : z zniechęcenia o osiedlu mieszkaniowym słabo zróŜnicowanym architektonicznie, składającymsię z podobnych do siebie bloków mieszkalnych. Monotonia blokowiska. Nieludzkie blokowiska. Derrière l’universalité morphologique du grand ensemble d’habitation en Europe de l’est se cachent en outre

des statuts de propriété eux aussi contrastés. A côté du cas polonais où dominent les coopératives comme on l’a

vu, on trouve des cas où les logements de ces grands immeubles sont majoritairement étatiques (ex : Hongrie,

URSS), ou au contraire privés (ex : Bulgarie, Roumanie).

32 Le polonais est la quatrième langue productrice d’articles de l’encyclopédie en ligne, au coude-à-coude avec

l’italien (730 600 articles en septembre 2010), après l’anglais (plus de 3 millions), l’allemand (1 100 000), le

français (1 million) selon les sources de Wikipedia de septembre 2010. « Grand ensemble d’habitation [wielki zespół mieszkaniowy], (abr. wzm, grand ensemble

d’habitations, du français grand ensemble, familièrement blokowisko) – forme urbaine dans

laquelle, sur un espace restreint, se trouve une concentration de blok d’habitation sans autres bâtiments résidentiels, et dont le nombre d’habitants va de quelques milliers à quelques dizaines de milliers » Osiedle est un terme utilisé en Pologne pour désigner une subdivision désignée d'une ville ou d'un village, ou d'un dzielnica, avec son propre conseil et exécutif. Comme le dzielnica et le sołectwo, un osiedle est une unité auxiliaire d'une gmina www.twitter.com/Memoire2cite En République tchèque, l’antique ville de Most est détruite pour des raisons économiques pour être reconstruite à 2km grâce au panneau de béton. Au travers d’archives et de témoignages des habitants, son histoire dailymotion.com/video/x413amo visible ici des la 23e minute , c est de la folie...Panelák est un terme familier en tchèque et en slovaque pour un immeuble construit en béton préfabriqué précontraint, comme ceux qui existent dans l’ex-Tchécoslovaquie et ailleurs dans le monde. La presse utilise depuis les années 1990 couramment blokowisko dans les articles

consacrés aux quartiers d’habitat collectif construits pendant le socialisme.

Dans la même période, le mot a été approprié par les scientifiques dans plusieurs

publications, dont les titres au départ explicitent le mot, puis s’en passent. Ainsi dans les

années 1990 on peut lire Pourquoi nous devons nous préparer à la rénovation des cités

résidentielles appelées blokowisko (Siemiński & Zalewska 1989 ; collectif 1994), ou

L’humanisation des ensembles d’habitations – les blokowisko. Puis en 2000, l’ouvrage

d’Iwona Borowik est titré tout simplement Les blokowisko : un habitat urbain dans le regard

sociologique (Borowik 2003). Cet auteur introduit ce terme en le définissant dans

l’introduction comme le produit de la « construction en masse d’habitat collectif, s’exprimant

sous la forme moderne des grands ensembles d’habitation appelés familièrement

blokowisko34 » (p. 5). Le terme est désormais banalisé dans la langue des sociologues, et plus

largement des sciences sociales, même s’il n’a pas remplacé osiedle. La nuance entre les deux

semble faire de blokowisko un terme franchement associé à la construction de masse des

années 1960-70 : « On évite [aujourd’hui] le compartimentage rigide typique des

appartements des blokowisko de la période socialiste35 » (Michałowski 2004).

Le terme osiedle s’utilise encore largement dans la langue spécialisée, mais recouvre à

la fois le modèle historique des années 1930 et ses avatars déformés plus tardifs :

« On peut réduire l’image du milieu d’habitation de la grande majorité des villes polonaises au

modèle de l’osiedle qui, depuis son apparition dans les années 1930, n’a pas beaucoup changé »36

(Chmielewski & Mirecka 2001).

Le manuel d’urbanisme de Jan Maciej Chmielewski (2000), dans son glossaire, ignore blok,

kolonia, blokowisko et wielki zespół mieszkaniowy, pour ne conserver que le mot osiedle

assorti du qualificatif « résidentiel ». Il y est défini comme

« une unité résidentielle structurelle comprenant un regroupement de bâtiments d’habitation ainsi

que des services connexes et des espaces verts, créant une totalité du point de vue territorial et de la

composition spatiale Wielki zespół mieszkaniowy (w skrócie wzm, wielki zespół mieszkaniowy halshs.archives-ouvertes.fr/halshs-00582437/document

LES GRANDS ENSEMBLES @ Bien qu’ils échappent à une définition unique, les grands ensembles sont ty-piquement des ensembles de logement collectif, souvent en nombre impor-tant (plusieurs centaines à plusieurs milliers de logements), construits entre le milieu des années 1950 et le milieu des années 1970, marqués par un urba-nisme de barres et de tours inspiré des préceptes de l’architecture moderne.

Ces grands ensembles, dont plusieurs centaines ont été construits en France, ont permis un large accès au confort moderne (eau courante chaude et froide, chauffage central, équipements sanitaires, ascenseur…) pour les ouvriers des banlieues ouvrières, les habitants des habitats insalubres, les rapatriés d’Algérie et la main-d’oeuvre des grandes industries.

Ils se retrouvent fréquemment en crise sociale profonde à partir des années 1980, et sont, en France, l’une des raisons de la mise en place de ce qu’on appelle la politique de la Ville. Définition

Il n’y a pas de consensus pour définir un grand ensemble.

On peut toutefois en distinguer deux :

• Selon le service de l’Inventaire du ministère de la Culture français, un grand ensemble est un «aménagement urbain comportant plusieurs bâtiments isolés pouvant être sous la forme de barres et de tours, construit sur un plan masse constituant une unité de conception. Il peut être à l’usage d’activité et d’habitation et, dans ce cas, comporter plusieurs centaines ou milliers de logements. Son foncier ne fait pas nécessairement l’objet d’un remembrement, il n’est pas divisé par lots ce qui le différencie du lotissement concerté».

• Selon le «géopolitologue» Yves Lacoste, un grand ensemble est une «masse de logements organisée en un ensemble. Cette organisation n’est pas seulement la conséquence d’un plan masse; elle repose sur la présence d’équipement collectifs (écoles, commerces, centre social, etc.) […]. Le grand ensemble apparaît donc comme une unité d’habitat relativement autonome formée de bâtiments collectifs, édifiée en un assez bref laps de temps, en fonction d’un plan global qui comprend plus de 1000 logements».

Le géographe Hervé Vieillard-Baron apporte des précisions : c’est, selon lui, un aménagement en rupture avec le tissu urbain existant, sous la forme de barres et de tours, conçu de manière globale et introduisant des équipements règlementaires, comportant un financement de l’État et/ou des établissements publics. Toujours selon lui, un grand ensemble comporte un minimum de 500 logements (limite fixée pour les Zone à urbaniser en priorité (ZUP) en 1959). Enfin, un grand ensemble n’est pas nécessairement situé en périphérie d’une ag-glomération.

Comme on le voit ci-dessus, la détermination d’un seuil de logements peut être débattue. Les formes du grand ensemble sont assez récurrentes, inspirées (ou légitimées) par des préceptes de l’architecture moderne et en particulier des CIAM : ils se veulent une application de la Charte d’Athènes4. Pour autant, on ne peut pas dire qu’il s’agisse d’une application directe des principes de Le Corbusier. Ils sont aussi le fruit d’une industriali-sation progressive du secteur du bâtiment et, notamment en France, des procédés de préfabrication en béton.

Histoire

La Cité de la Muette à Drancy, construite par Eugène Beaudouin, Marcel Lods et Jean Prouvé entre 1931 et 1934 pour l’Office public HBM de la Seine, est traditionnellement considérée comme le premier grand en-semble en France. Elle est même à l’origine du terme de «grand ensemble» puisque c’est ainsi que la désigne pour la première fois Marcel Rotival dans un article de l’époque6. Cette cité, initialement conçue comme une cité-jardin, se transforme en cours d’étude en un projet totalement inédit en France, avec ses 5 tours de 15 étages et son habitat totalement collectif. Cependant, cette initiative reste sans lendemain du moins dans l’immédiat.

Après la Seconde Guerre mondiale, le temps est à la reconstruction et la priorité n’est pas donnée à l’habitat. Le premier plan quinquennal de Jean Monnet (1947-1952) a avant tout pour objectif la reconstruction des infrastructures de transport et le recouvrement des moyens de production. Par ailleurs, le secteur du bâtiment en France est alors incapable de construire des logements en grande quantité et rapidement : ce sont encore de petites entreprises artisanales aux méthodes de constructions traditionnelles.

Les besoins sont pourtant considérables : sur 14,5 millions de logements, la moitié n’a pas l’eau courante, les 3/4 n’ont pas de WC, 90 % pas de salle de bain. On dénombre 350 000 taudis, 3 millions de logements surpeu-plés et un déficit constaté de 3 millions d’habitations. Le blocage des loyers depuis 19147, très partiellement atténué par la Loi de 1948, ne favorise pas les investissements privés.

L’État tente de changer la situation en impulsant à l’industrialisation des entreprises du bâtiment : en 1950, Eugène Claudius-Petit, ministre de la reconstruction, lance le concours de la Cité Rotterdam à Strasbourg. Ce programme doit comporter 800 logements, mais le concours, ouvert à un architecte associé à une entreprise de BTP, prend en compte des critères de coût et de rapidité d’exécution. Le projet est gagné par Eugène Beau-douin qui réalise un des premiers grands ensembles d’après guerre en 1953. En 1953 toujours, Pierre Courant, Ministre de la Reconstruction et du Logement, fait voter une loi qui met en place une série d’interventions (appelée «Plan Courant») facilitant la construction de logements tant du point de vue foncier que du point de vue du financement (primes à la construction, prêts à taux réduit, etc.) : la priorité est donnée clairement par le ministère aux logements collectifs et à la solution des grands ensembles.

La même année, la création de la contribution obligatoire des entreprises à l’effort de construction (1 % de la masse des salaires pour les entreprises de plus de 10 salariés) introduit des ressources supplémentaires pour la réalisation de logements sociaux : c’est le fameux «1 % patronal». Ces fonds sont réunis par l’Office Central Interprofessionnel du Logement (OCIL), à l’origine de la construction d’un certain nombre de grands ensembles.

Mais le véritable choc psychologique intervient en 1954 : le terrible hiver et l’action de l’Abbé Pierre engage le gouvernement à lancer une politique de logement volontariste. Un programme de «Logements économiques de première nécessité» (LEPN) est lancé en juillet 1955 : il s’agit de petites cités d’urgence sous la forme de pavillons en bandes. En réalité, ces réalisations précaires s’avèrent catastrophiques et se transforment en tau-dis insalubres dès l’année suivante. La priorité est donnée alors résolument à l’habitat collectif de grande taille et à la préfabrication en béton, comme seule solution au manque de logements en France.

Une multitude de procédures administratives

Grands ensembles du quartier Villejean à Rennes par l’architecte Louis Arretche.

Il n’existe pas une procédure type de construction d’un grand ensemble pendant cette période. En effet, de très nombreuses procédures techniques ou financières sont utilisées. Elles servent souvent d’ailleurs à désigner les bâtiments ou quartiers construits à l’époque : Secteur industrialisé, LOPOFA (LOgements POpulaires FAmiliaux), Logecos (LOGements ÉCOnomiques et familiaux), LEN (Logements économiques normalisés), l’opération Million, l’opération «Économie de main d’oeuvre». L’unique objectif de toutes ces procédures est de construire vite et en très grande quantité. Le cadre de la Zone à urbaniser en priorité intervient en 1959, avec des constructions qui ne commencent réellement qu’en 1961-1962.

Les contextes de constructions

Le quartier de La Rouvière (9ème arrondissement) à Marseille construit par Xavier Arsène-Henry.

On peut distinguer 3 contextes de construction de ces grands ensembles à la fin des années 1950 et début des années 1960 :

• de nouveaux quartiers périphériques de villes anciennes ayant pour objectif de reloger des populations ins-tallées dans des logements insalubres en centre-ville ou pour accueillir des populations venues des campagnes environnantes (cas les plus fréquents).

• des villes nouvelles liées à l’implantation d’industries nouvelles ou à la politique d’aménagement du ter-ritoire : c’est le cas de Mourenx (avec le Gaz de Lacq), Bagnols-sur-Cèze ou Pierrelatte (liées à l’industrie nucléaire). On voit aussi des cas hybrides avec la première situation, avec des implantations proches de villes satellites de Paris, dans le but de contrebalancer l’influence de cette dernière : c’est le cas de la politique des «3M» dans le département de Seine-et-Marne avec la construction de grands ensembles liés à des zones in-dustrielles à Meaux, Melun, Montereau-Fault-Yonne.

• des opérations de rénovation de quartiers anciens : le quartier de la Porte de Bâle à Mulhouse, l’îlot Bièvre dans le 13e arrondissement de Paris, le centre-ville ancien de Chelles.

Il est à noter qu’un grand ensemble n’est pas forcément un ensemble de logements sociaux : il peut s’agir aussi de logements de standing, comme le quartier de la Rouvière à Marseille.

Les modes de constructions

Le Haut du Lièvre (3000 logements, construits à partir de 1954), deux des plus longues barres de France, construite par Bernard Zehrfuss sur une crête surplombant Nancy.

Tout est mis en oeuvre pour qu’un maximum d’économies soient réalisées sur le chantier :

• la préfabrication : de nombreux procédés de préfabrications sont mis en oeuvre sur les chantiers permettant un gain de temps et d’argent. Expérimentés au cours des chantiers de la Reconstruction après la Seconde Guerre mondiale, ces procédés permettent la construction en série de panneaux de bétons, d’escaliers, d’huisseries mais aussi d’éléments de salles de bains à l’intérieur même du logements. Ces procédés ont pour nom : Camus (expérimenté au Havre et exporté jusqu’en URSS), Estiot (au Haut-du-Lièvre à Nancy) ou Tracoba (à la Pierre Collinet à Meaux). Les formes simples (barres, tours) sont privilégiées le long du chemin de grue (grue posée sur des rails) avec des usines à béton installées à proximité du chantier, toujours dans une recherche de gain de temps.

• une économie de main d’oeuvre : la préfabrication permet de faire appel à une main d’oeuvre peu qualifiée, souvent d’origine immigrée. De grands groupes de BTP bénéficient de contrats pour des chantiers de construc-tion gigantesques, favorisés par l’État.

• les maîtres d’ouvrages sont eux aussi très concentrés et favorise les grandes opérations. La Caisse des dépôts et consignations est ainsi l’un des financeurs incontournables de ce mouvement de construction avec notam-ment sa filiale, la SCIC (Société Civile immobilière de la Caisse des dépôts et consignations), créée en 1954. Elle fait appel à des architectes majeurs des années 1950 et 1960, tels que Jean Dubuisson, Marcel Lods, Jacques Henri Labourdette, Bernard Zehrfuss, Raymond Lopez, Charles-Gustave Stoskopf et elle est à l’ori-gine de nombreux grands ensembles situés en région parisienne, tels que Sarcelles (le plus grand programme en France avec 10 000 logements), Créteil, Massy-Antony.

Les désignations de ces grands ensembles sont à cette époque très diverses : unité de voisinage, unité d’habitation, ville nouvelle (sans aucun rapport avec les villes nouvelles de Paul Delouvrier), villes satellites, ou encore cités nouvelles, etc.Pendant 20 ans, on estime à 300 000 le nombre de logements construits ainsi par an, alors qu’au début des années 1950, on ne produisait que 10 000 logements chaque année. 6 millions de logements sont ainsi construits au total. 90 % de ces constructions sont aidées par l’État.

En 1965, le programme des villes nouvelles est lancé, se voulant en rupture avec l’urbanisme des grands ensembles. En 1969, les zones à urbaniser en priorité sont abandonnées au profit des zones d’aménagement concerté, créées deux ans auparavant. Enfin, le 21 mars 1973, une circulaire ministérielle signée par Olivier Guichard, ministre de l’Équipement, du Logement et des Transports, «visant à prévenir la réalisation des formes d’urbanisation dites « grands ensembles » et à lutter contre la ségrégation sociale par l’habitat», interdit toute construction d’ensembles de logements de plus de 500 unités. La construction des grands ensembles est définitivement abandonnée. La loi Barre de 1977 fait passer la priorité de l’aide gouvernementale de la construction collective à l’aide aux ménages : c’est le retour du pavillonnaire et du logement.

Les guerres jouent un rôle majeur dans l'histoire architecturale d'un pays. Alors que les commémorations orchestrées par la mission Centenaire 1914-1918 battent leur plein, il paraît intéressant de revenir sur ce que la Grande Guerre a représenté pour les architectes, au-delà des destructions et du traumatisme. Ce premier épisode de « mobilisation totale » - suivant les termes utilisés par Ernst Jünger en 1930 -, a notamment entraîné une industrialisation accéléré des processus de production, qui a marqué les esprits. Certains architectes comme Félix Dumail et Marcel Lods se sont alors engagés dans la définition d'un cadre urbanistique nouveau pour le logement social : au sein de l'Office public d'habitations à bon marché du département de la Seine, ils ont largement contribué à l'invention du « grand ensemble ».

La reconstruction de l'après Première Guerre mondiale a souvent été présentée comme une occasion manquée. Cette antienne a même servi de repoussoir après la Seconde. C'est pourtant un bilan à tempérer, puisqu'au sortir de l'une et l'autre, on est parvenu à reconstruire un nombre de logements comparable en valeur relative, dans à peu près le même laps de temps. Plus généralement, les vicissitudes des chantiers de l'entre-deux-guerres tiennent au contexte économique et politique, au problème du moratoire des loyers, aux effets de la crise de 1929, etc., plutôt qu'à une défaillance des savoir-faire des entreprises et des architectes. Dans cette période ouverte cohabitent, au contraire, des procédés constructifs aussi nombreux qu'efficaces. L'élaboration des programmes modernes - logement social, équipements sportifs, sociaux et éducatifs, grande distribution, etc. - est l'objet d'un éventail de recherches d'une grande pluralité. On aura rarement inventé autant de types architecturaux. Ainsi, pour paraphraser ce que Jean-Louis Cohen écrit de la Seconde Guerre (1), on peut suggérer que la Première ne représente pas seulement quatre années de « page blanche », ni même une répétition de la suivante, mais bien, elle aussi, un temps de condensation « technologique, typologique et esthétique ». Si la Seconde Guerre coïncide avec la « victoire » et la « suprématie » de la modernité architecturale, la Premièren'est pas en reste, qui pose les conditions de diffusion du fordisme, de la préfabrication des bâtiments et dessine les contours urbanistiques de la construction de masse.

Certes, le XIXe siècle, avec le Paris d'Haussmann et les expositions universelles, avait largement plus que défricher les champs de la rapidité, de l'étendue et de la quantité, mais, spécifiquement, l'entre-deux-guerres est marqué par le perfectionnement de la répétition (2). Un des effets de la Grande Guerre réside dans l'accélération de la mise en place d'un cadre de production pour le logement collectif et dans la définition progressive du « grand ensemble ». Ce concept, apparu en juin 1935 sous la plume de Maurice Rotival dans L'Architecture d'aujourd'hui, ressortit à la tentative « d'un urbanisme contemporain : un urbanisme des habitations » (3). Son héraut est l'Office public d'habitations à bon marché du département de la Seine (OPHBMS) d'Henri Sellier, futur ministre de la Santé publique du Front populaire. Imaginé en 1913, organisé pendant la guerre, l'OPHBMS sera, avant 1939, le maître d'ouvrage de plus de 17 000 logements répartis en une vingtaine d'opérations banlieusardes.

Dans une perspective de généalogie du logement de masse français, il y a grand intérêt à suivre les parcours des architectes de l'OPHBMS pendant la Grande Guerre. Parmi la vingtaine de protagonistes concernés, seuls deux étaient trop âgés pour participer au conflit : Raphaël Loiseau (1856-1925), architecte-conseil, et Alexandre Maistrasse (1860-1951), qui s'applique dès avant l'armistice au projet de la « cité-jardins » de Suresnes, dont Sellier sera maire de 1919 à 1940. Il y livrera près de 2 500 logements. Bien que plus jeune, Maurice Payret-Dortail (1874-1929) n'est pas mobilisé et participe à la mise en place de l'Office durant la guerre, avant de travailler jusqu'à son décès prématuré à une autre grande cité-jardins, celle du Plessis-Robinson. Nés entre 1868 et 1900, les autres architectes correspondent exactement aux classes d'âge appelées au front.

Les figures de Marcel Lods et de Felix Dumail

Deux d'entre eux (4) ont laissé des archives significatives sur ces années : Félix Dumail (1883-1955), un des plus fidèles compagnons de Sellier, et Marcel Lods (1891-1978), brillant cadet entré dans un second temps à l'OPHBMS avec son associé Eugène Beaudouin (1898-1983). Dumail est diplômé de l'Atelier Bernier en 1908 et lorsqu'il est mobilisé, il figure déjà parmi les pionniers du logement social. Lods, quant à lui, est admis dans le même atelier en 1911, mais, conscrit l'année suivante, il ne quitte l'uniforme qu'une fois la guerre terminée. Il obtient son diplôme en 1923, tout en collaborant dès 1921 sur d'importantes opérations HBM avec Albert Beaudouin, architecte de la Société des logements économiques pour familles nombreuses depuis 1907. Celui-ci lui cédera son agence en 1929, ainsi qu'à son neveu Eugène.

Vers des logements sociaux en grande série

Il faut rappeler qu'à l'approche de la guerre, ce que l'on nomme le logement ouvrier se situe à un tournant : fin 1912, la loi Bonnevay a affirmé son caractère public. Elle autorise alors les collectivités locales à constituer des offices d'habitations à bon marché, domaine jusque-là réservé des sociétés anonymes et des fondations philanthropiques. Peu avant, la Ville de Paris a obtenu la possibilité de produire elle-même des logements sociaux. Si les résultats du concours qu'elle lance en 1912 sont suspendus, du fait de ses terrains petits et irrégulier ayant inspiré des propositions peu généralisables, quelques architectes se sont d'ores et déjà essayés à décliner des plans en immeubles libres et cours ouvertes. C'est le cas de Payret-Dortail, lauréat sur le site de l'avenue Émile-Zola, et du jeune groupement Dumail, Jean Hébrard et Antonin Trévelas. Au concours de 1913, ce trio peut développer ses principes à l'échelle plus favorable de vastes terrains. Il se retrouve lauréat de 600 logements rue Marcadet, avec un projet désigné dix ans plus tard comme un des plus avancés des « standards d'avant-guerre » (5). Ce deuxième concours, qui porte l'ambition d'entamer un processus de construction en grande série sur la base de plans-modèles, suscite l'engouement, puisque près de 700 châssis ont été adressés et que, comme l'affirme L'Architecture : « On sent qu'il y a maintenant une génération d'architectes s'intéressant à la question des habitations à bon marché, et qui l'ont comprise. » (6) Sellier ne s'y trompe pas, qui forme, entre 1916 et 1921, la première équipe d'architectes-directeurs de l'OPHBMS en puisant parmi les lauréats des concours parisiens : Albenque et Gonnot ; Arfvidson, Bassompierre et de Rutté ; Hébrard et Dumail, Maistrasse, Payret-Dortail, Pelletier, Teisseire.

L'entrée en guerre, dans un premier temps, coupe net l'élan de cette génération, avant de la décimer. Ainsi, Trévelas aura son nom gravé sur le monument aux morts de la cour du mûrier, au cœur de l'École des beaux-arts. Mobilisé dans l'infanterie, Dumail décrit dans ses courriers et dans son journal, le manque d'organisation, la faim, la fatigue, les douleurs corporelles, l'ampleur des destructions et les atrocités : blessures par obus, barricades élevées avec des couches de cadavres, etc. Si l'épisode napoléonien avait déjà provoqué des tueries de masse, celles-ci se singularisent. Leur mécanisation et l'annihilation du territoire représenteront une source inextinguible de réflexions pour les architectes, faisant écho à une sensibilité récente : les théories premières de Prosper Mérimée ou Viollet-le-Duc - suite au « vandalisme » de la révolution et aux effets de l'industrialisation - venaient justement d'accoucher le 31 décembre 1913 de l'actuelle loi sur les monuments historiques. Après guerre, les architectes se passionneront du sort des monuments endommagés - la cathédrale de Reims notamment - et du statut des ruines, quasi sacralisées par un Auguste Perret. Simultanément les avant-gardes mettront en avant l'idée de la table rase. Le spectacle des manœuvres de nuit sous le feu des projecteurs procure ainsi à Dumail un sentiment ambigu de fascination-répulsion, évoquant la sidération exprimée par un Apollinaire.

Dumail manifeste des capacités d'observation hors du commun, qui lui vaudront la légion d'honneur. Sous les bombardements, il exécute des plans et des panoramas des positions ennemies, permettant de mieux diriger les tirs. Nommé sous-lieutenant en octobre 1915, il entame des démarches pour être affecté à l'aviation. À l'appui de sa demande, il mentionne sa passion pour les sports mécaniques, sa pratique assidue de la moto et souligne son succès en 1912 au concours Chenavard consacré à une école d'aviation militaire. C'est pourtant un projet dans lequel l'aéroport représentait surtout un emblème. À l'instar, du reste, de l'aéroport de la cité-jardins du Grand Paris imaginée par l'OHBMS en 1919 en marge des projets du Plessis-Robinson et de la Butte-Rouge (Châtenay-Malabry), ou encore, à partir de 1922, de celui qu'associe Le Corbusier à une autoroute sur la rive droite de Paris, dans son fameux Plan Voisin soutenu par le fabricant automobile et aéronautique éponyme. Bien que Dumail juge plus aisé de piloter un avion qu'une auto et malgré le soutien de ses officiers, ses démarches n'aboutissent pas. Pas plus que ses tentatives d'entrer au Génie puis au service technique de Peugeot ou encore, en 1917, ses propositions d'adaptation d'une mitrailleuse Hotchkiss auprès du sous-secrétariat d'État des inventions. Comme beaucoup d'appelés, Dumail attendra sa démobilisation quasiment jusqu'au traité de Versailles, en 1919. Durant ces années incertaines, alors que ne se concrétisent ni le chantier de la rue Marcadet ni sa nomination définitive par l'OPHBMS - il y est inscrit avec Hébrard sur la liste d'architectes depuis 1917 -, il voyage dans les régions dévastées. Dumail et Hébrard sont agréés pour la reconstruction des Ardennes en 1921, au moment où les études de la rue Marcadet reprennent et celles de la cité-jardins de Gennevilliers deviennent opérationnelles.

Cette concentration de commandes explique que leur activité de reconstruction se limite au seul village d'Attigny (Ardennes), d'autant que leurs aspirations vont bientôt dépasser l'horizon hexagonal. En effet, lorsque Dumail retrouve Hébrard, celui-ci enseigne l'architecture dans le cadre de l'American Expeditionary Forces University, prolongeant son expérience à l'université Cornell-Ithaca entre 1906 et 1911. Leurs deux frères, eux aussi architectes, sont à l'étranger : GabrielDumail, fait prisonnier en 1915, est parti pour la Chine ; quant à ErnestHébrard, Grand Prix de Rome 1904, il a aussi été fait prisonnier avant de se voir confier, en 1918, la reconstruction de Salonique, puis de devenir architecte en chef d'Indochine. Pionnier de l'urbanisme - néologisme de 1910 -, il est membre fondateur de la Société française des architectes urbanistes en 1911, et l'une des premières figures de l'architecture internationale, voire « mondialisée ». Il avait entraîné, peu avant la guerre, son frère et les Dumail dans l'aventure de l'International World Centre : un essai de capitale pour les États-Unis du monde, précurseur de la Société des Nations, dans lequel La Construction moderne voyait en janvier 1914 « une école mondiale de la paix »... arrivée trop tard ! De cette tentation de l'ailleurs, Dumail tire quelques réalisations en Indochine entre 1924 et 1928. Jean Hébrard, lui, s'expatrie en 1925 pour devenir un des théoriciens du City Planning dans les universités de Pennsylvanie puis du Michigan.

Des chantiers d'expérience

Dumail consacrera dès lors l'essentiel de sa carrière à l'OPHBMS, en tant qu'architecte-directeur des cités-jardins de Gennevilliers, du Pré-Saint-Gervais, de Dugny, de l'achèvement de Suresnes, et d'un ensemble HBM pour militaires à Saint-Mandé, immédiatement reconnus pour la qualité de leurs logements et de leur greffe urbaine. Comme pour la cité de la rue Marcadet, il y conçoit « des bâtiments isolés, absolument entourés d'air et de lumière » (7). Ces « chantiers d'expériences », suivant une expression des années 1920 qui deviendra emblématique à la Libération, sont souvent mis en œuvre par des entreprises ayant fourbi leurs premières armes avec les troupes américaines pour des constructions de baraquements préfabriqués. Ils permettront à Dumail de figurer parmi les rares architectes français à avoir édifié plus de 2 000 logements avant la Seconde Guerre, dans lesquels il étrennera les chemins de grue et les principes de coffrage des Trente Glorieuses.On ne peut que faire le lien entre ses aspirations pendant la guerre, sa culture technique, son goût pour la mécanique, et ceux d'autres acteurs de la modernité architecturale. Quelques années avant lui, en 1904, son associé Hébrard brille lui aussi au concours Chenavard, avec pour sujet un Palais de l'automobile. En 1908, le Salon de l'automobile accueille à Paris ses premiers exposants aéronautiques et c'est justement un architecte de la même génération, AndréGranet (1881-1974), futur gendre d'Eiffel, qui contribue l'année suivante à lancer au Grand Palais la première exposition internationale de la locomotion aérienne, ancêtre du salon du Bourget. Plus précisément, le passage de l'observation militaire à l'aviation renvoie à WalterGropius (1883-1969). Comme Dumail ou encore André Lurçat, mais dans le camp d'en face, le fondateur du Bauhaus dessine d'abord ses repérages de ligne de front à pied, avant d'être affecté à l'aviation et d'y connaître une révélation, déterminante pour sa carrière (😎. Cette passion de la photographie aérienne sera partagée par son alter ego français dans l'expérimentation de la préfabrication, Marcel Lods, en pleine résonance avec une attention voulue « scientifique » au territoire et à sa documentation - une des constantes des équipes de l'OPHBMS. Si Lods s'engage comme aviateur en 1939, il est vingt-cinq ans plus tôt affecté comme instructeur d'artillerie. Et il ne lui échappe pas qu'avec presque 900 millions d'obus tirés, son arme représente l'instrument par excellence de l'industrialisation de la guerre. Puis, il suit l'arrivée des troupes américaines et de leurs engins et se passionne pour le développement spectaculaire des industries automobile et aéronautique aux États-Unis. Pays où était née, dès 1908, la fameuse Ford T, premier véhicule de série. Du début des années 1920 jusqu'à la fin de sa carrière, aux côtés de grands ingénieurs, Lods tente d'exporter ce modèle à celui du bâtiment et de ses composants. Ce seront notamment les chantiers de la Cité du Champ des Oiseaux, à Bagneux (1927-1933), et de La Muette, à Drancy (1931-1934). Puis, après guerre, les Grandes Terres de Marly-le-Roi (1952-1960) et surtout la Grand'Mare de Rouen (1960-1977). C'est aussi une myriade de petites réalisations prototypiques, à commencer par l'aéroclub de Buc abordé au moment où Lods obtient son brevet de pilote, en 1932.

Ses chantiers qui se veulent de pur montage, rêvés en gants blanc, ne sont pas dénués d'utopie. Ils participent au sentiment qui sourd au début du XXe siècle, selon lequel l'homme s'apprête à faire quasi corps avec la machine. Charlie Chaplin a génialement montré dans Les Temps modernes en 1936 la part tragique de cette nouvelle condition. Elle apparaît comme un des effets les plus paradoxaux de la guerre, dans laquelle toute une génération a été confrontée aux corps mutilés en masse, soumis aux éléments et à la putréfaction en plein champ, mais aussi possiblement transcendés par la mécanisation et la science. Alfred Jarry en avait eu l'intuition dès 1902 avec Le Surmâle : roman moderne dans lequel il dressait le récit de la course - en forme d'hécatombe - d'un train à vapeur et de cyclistes dopés à la « perpetual-motion food ». Le Corbusier est l'architecte qui, au contact des Planistes et du théoricien eugéniste Alexis Carrel, captera le mieux ce nouveau rapport au corps, avec ses recherches sur l'immeuble-villa puis sur l'« unité d'habitation de grandeur conforme », instruments d'une « fabrique de l'homme nouveau » liant sport, biologie et habitation. Intégré à la fondation Carrel entre 1943 à 1945 (9), Dumail n'échappera pas à ce programme « d'hygiène sociale et de prophylaxie » énoncé par Sellier lui-même au moins dès 1921.Ces proches de Sellier que sont Dumail et Lods ont vu leurs réalisations de l'OPHBMS données en 1935 comme modèles du programme du grand ensemble du futur, dans cette période accidentée où s'élaborait une culture politique de gestion de la croissance des périphéries urbaines. À la Libération, ils affirment ensemble le logement comme la grande « affaire » du XXe siècle dans un livret du comité Henri-Sellier (10). En 1951, ils s'engagent presque simultanément dans les chantiers respectifs des deux SHAPE Villages : Dumail à Saint-Germain-en-Laye, aux côtés de Jean Dubuisson, et Lods à Fontainebleau. Les logements qu'ils bâtissent, chacun à sa façon mais tous deux en un temps record, pour les sous-officiers et officiers du quartier général des forces alliées en Europe, constituent un des moments fondateurs de la politique de construction à venir : les grands ensembles français ne sont décidément pas tombés du ciel avec la croissance et le baby-boom. * Architecte, Hubert Lempereur a consacré de nombreux articles à la généalogie et à l'histoire matérielle et culturelle des premiers grands ensembles français et à la construction de masse. À paraître, Félix Dumail, architecte de la « cité-jardins », aux éditions du patrimoine et La Samaritaine, Paris, aux éditions Picard, ouvrage codirigé avec Jean-François Cabestan. 1. J.-L. Cohen, Architecture en uniforme. Projeter et construire pour la Seconde Guerre mondiale, Hazan/Centre Canadien d'Architecture, 2011. 2. Voir P. Chemetov et B. Marrey, Architectures. Paris 1848-1914, Dunod, 1980. 3. M. Rotival, « Urbanisme des H.B.M. - Formes de la cité », L'Architecture d'aujourd'hui, n° 6, juin 1935. 4. Leurs archives sont conservées au centre d'archives d'architecture du XXe siècle. La famille Dumail conserve de son côté ses correspondances de guerre. 5. J. Posener, « Historique des H.B.M. - Naissance du problème, premières solutions », L'Architecture d'aujourd'hui, n° 6, juin 1935. 6. G. Ernest, « Concours pour la construction par la Ville de Paris d'immeubles collectifs à bon marché », L'Architecture, 28 fév. 1914. 7. A. Gaillardin, « Les derniers concours de la Ville de Paris pour la construction d'habitations à bon marché », La Construction moderne, 28 juin 1914. 8. J. Gubler, « L'aérostation, prélude à l'aviation ? Notes sur la découverte architecturale du paysage aérien », Matières, 1998. 9. H. Lempereur, « La fondation Carrel (1941-1945), Le Corbusier et Félix Dumail : portraits d'architectes en bio-sociologues », fabricA, 2009. 10. F. Dumail, P. Grünebaum-Ballin, R. Hummel, M. Lods, P. Pelletier et P. Sirvin, L'affaire du logement social, préface de Léon Blum, Éditions de la Liberté, 1947. TEXTE DU MONITEUR @ les #Constructions #Modernes #BANLIEUE @ l' #Urbanisme & l es #Chantiers d'#ApresGuerre ici #Mémoire2ville le #Logement Collectif* dans tous ses états..#Histoire & #Mémoire de l'#Habitat / Département territoire terroir region ville souvenirs du temps passé d une époque revolue #Archives ANRU / #Rétro #Banlieue / Renouvellement #Urbain / #Urbanisme / #HLM #postwar #postcard #cartepostale twitter.com/Memoire2cite Villes et rénovation urbaine..Tout savoir tout connaitre sur le sujet ici via le PDF de l'UNION SOCIALE POUR L HABITAT (l'USH)... des textes à savoir, à apprendre, des techniques de demolition jusqu a la securisation..& bien plus encore.. union-habitat.org/.../files/articles/documents/...

www.dailymotion.com/video/xk6xui Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées

Cebu Province has one of three model courthouses in the country, the one located in Lapu-Lapu. While waiting for a decision on the Palace of Justice in the Capitol compound, “permanent” courtrooms are being prepared on the third and fourth floors of the Quimonda IT Center.

Source: livinghistories.newcastle.edu.au/nodes/view/46453

 

This image was scanned from the original glass negative taken by Ralph Snowball. It is part of the Norm Barney Photographic Collection, held by Cultural Collections at the University of Newcastle, NSW, Australia.

 

Notes:

The businesses occupying this building are: Northumberland Permanent Building Investment Land and Loan Society, Bennet and Yeomen's Architects, Austral Printing Works and Thomas Renn and Co.

 

This building was demolished in 1938.

 

This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.

 

If you have any information about this photograph, please contact us or leave a comment in the box below.

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

The Dornier Do 319 was directly inspired by the (modest) successes experienced by the Messerschmitt Me 262 fighter, the world's first operational jet-powered fighter aircraft. Design work started before World War II began, but problems with engines, metallurgy and top-level interference kept the aircraft from operational status with the Luftwaffe until mid-1944.

 

However, when it became clear that the new jet engine carried the potential for aircraft that were faster than piston engine counterparts, the German Navy urged the Reichsluftfahrtministerium (RLM) to develop an amphibian fighter, attack and reconnaissance aircraft. This was not to be a navalized Me 262 (which was regarded as impossible due to the aircraft’s layout with low wings and underslung engine nacelles, and added floats would have ruined the aircraft’s aerodynamics, too), but rather a dedicated single-seat jet aircraft. This new design was to be either operated from catapults (replacing the Marine’s standard on-board aircraft, the Arado Ar 196 floatplane) or, with foldable wings, from submarines with water-tight hangars. This concept had already been discussed in the mid-late 1930s, when German class III submarines were to be outfitted with such compartments – but at that time for small motorboats only, for covert landing operations, and no submarine was converted accordingly. But the concept still found a lot of attention.

 

Dornier was tasked with the development of such an aircraft, based on the experience gained with the Me 262 and its innovative means of propulsion. Dornier realized that the new turbojet engine presented an opportunity to overcome the drawback of floatplanes if it was possible to combine the light jet engine with a streamlined flying boat hull, which would impose only a small aerodynamic penalty. Such an aircraft could still be at least on par with piston-engine land-based aircraft.

Using aerodynamic research data from the Messerschmitt fighter, Dornier conceived a compact flying boat with shoulder-mounted gull wings, carried by a narrow pylon behind the single seat cockpit. The engine nacelles were placed on the wings’ upper sides, as far away from spray water as possible. Through this layout, however, stabilizer floats would have necessitated very long and draggy struts, and the relatively thin, swept wings did not allow a (favored) retracting mechanism.

As a consequence, the aircraft was designed with Dornier’s trademark stub-wing floats, which added uplift in both water and air and offered, despite a permanent drag penalty, a convenient amount of space for extra fuel and the wells for a fully retractable landing/beaching gear, which made the aircraft fully amphibious and independent from a beaching trolley. Armament consisted of four 30mm MK 108 machine guns in the aircraft’s nose section, and the aircraft’s main task would be ground attack, air defense and, as a secondary mission, fast tactical reconnaissance.

 

Dornier first presented the initial concept to the RLM in mid-1943. Performance with two Junkers Jumo 004 axial-flow turbojet engines was – naturally – lower than the clean Me 262 fighter, but still impressive. The Me 262 was supposed to achieve a maximum speed of 900 km/h (559 mph), while the Dornier aircraft, with basically the same engines, was expected to have a top speed of 520 mph at 40,000 ft. But this was still regarded as sufficient, and the project was officially given the RLM’s type number 319. Two prototypes were built (under the designation Do 319 A-0), the first one making its maiden flight in February 1944.

 

However, at that time the German navy had lost much of its power and sovereignty, and more and more resources had to be allocated to defense projects. As a consequence, the Do 319 as a combat aircraft (originally designated Do 319 A) became a secondary priority only, and the original aircraft was cancelled. Still, the small amphibious aircraft attained a lot of interest through the type’s potential as a fast reconnaissance plane and for special purpose transport duties – namely as a personal transport for high-ranking officials and for covert operations behind enemy lines and at foreign shores – was discovered and the type nevertheless ordered into small-scale production.

 

As a consequence and as an adaptation of the airframe to its new role, the Do 319’s design was modified: the fuselage behind the cockpit was widened into a compartment for passengers, cargo or other equipment. The cabin could hold up to two passengers, sitting vis-à-vis, and it was accessible through a watertight door on each side above the stub floats. The cabin was open to the cockpit in front of it, but the opening was blocked if the front passenger seat was in place. Alternatively, up to 300 kg (660 lb) of cargo or photo equipment could be carried, and one or both seats could also be replaced by internal auxiliary tanks. The provision for the Do 319 A’s cannon armament was retained, but the weapons were rarely mounted in order to save weight.

 

In this form, and now designated Do 319 B and christened “Seeschwalbe”, the aircraft entered service with the Luftwaffe and the Kriegsmarine on a limited scale. Most machines were exclusively assigned to staff units and reserved for special missions like liaison duties for high ranking officials, but they were also used in recce and other special missions. At least one Do 319 B was shot down over the American east coast, probably while deploying German agents from a submarine. How the aircraft with its limited range itself could come close to American shores remains a mystery until today, since Germany did not build or operate submarine aircraft carriers.

 

Production numbers remained low, though, reaching roundabout 20 aircraft (even this number is uncertain) until the end of the war, and no Do 319 survived the hostilities.

  

General characteristics:

Crew: 1 pilot plus up to 2 passengers

Length: 10.80 m (35 ft 4 1/2 in)

Wingspan: 12.60 m (41 ft 6 in)

Height: 3.78 m (12 ft 4 1/2 in)

Wing area: 26.8 m² (288 ft²)

Aspect ratio: 7.32

Empty weight: 4,120 kg (9,075 lb)

Loaded weight: 6,830 kg (15,044 lb)

Max. take-off weight: 7,385 kg (16,266 lb)

 

Powerplant:

2× Junkers Jumo 004 B-1 turbojets, 8.8 kN (1,980 lbf) each

 

Performance:

Maximum speed: 820 km/h (510 mph)

Range: 1,200 km (652 mi)

2,100 km (1,300 mi) with extra internal fuel cells

Service ceiling: 10,850 m (35,538 ft)

Rate of climb: 1,000 m/min (At max weight of 7,130 kg) (3,275 ft/min)

 

Armament:

Provisions for 4× 30 mm MK 108 cannon in the nose, but rarely mounted

  

The kit and its assembly:

Another entry for the “Flying Boat, Seaplane and Amphibian” Group Build at whatifmodelers.com in late 2017, and the result of a spontaneous inspiration from a drawing of a Luft’46/fantasy creation of a Me 262 fuselage with a planning bottom, a parasol(!) wing and a single jet engine exhausting right above the cockpit, and no (visible) stabilizing floats at all. Rather spurious.

Well, nevertheless, the Me 262 jet fighter has a very shark-like profile and shape, and it has already been converted into flying boats or even submarines by modelers, and I decided to create my personal interpretation of the theme. I remembered a lone He 115 float in my stash (maybe 35 years old or even more!), and when I held to a Me 262 fuselage the parts had almost the same length and width. So, creating a flying boat jet fighter seemed like a realistic task.

 

Things started straightforward with an 1:72 Smer Me 262 fighter, which is actually the vintage Heller two-seater night fighter with a new fuselage and canopy. My kit of choice would have been the Matchbox kit, but the Heller kit is also O.K., due to its simplicity and simple construction.

 

Creating something amphibian from a Me 262 is not a trivial task, though. With its low wings and underslung engine nacelles there’s a lot to be changed until you get a plausible floatplane. Another challenge is to integrate some form of stabilizer/outrigger floats, what also influences the wings’ position. Placing the engines where they are safe from spray ingestion is also a serious matter – you have to get the high and the intakes as far forward as possible.

 

Doing some legwork I found some similar builds, and they all did not convince me. And, after all, I wanted to create my own “design”; in order to incorporate some realism I eventually settled on Dornier’s typical WWII designs like the Do 18 and Do 24. These elegant aircraft had a common, elegant trait: low stub wings as stabilizer floats, paired with high wings (in the case of the Do 18 held by a massive central pylon) which carried the engine out of the water’s reach. This appeared like a feasible layout for my conversion, even though it would mean a total re-construction of the kit, or rather assembling it in a way that almost no part was glued into the intended place!

 

Work started with the cockpit, which had to be moved forward in order to make room for the wings behind the canopy, placed high on a pylon above the fuselage. For this stunt, the cockpit opening and the place in front of it (where the original front fuselage tank would be) were cut out and switched. The cockpit tub was moved forward and trimmed in order to fit into the new place. The nose section was filled with lead, because the stub wings/floats would allow a retractable landing gear to be added, too, making the aircraft a true amphibian!

 

The He 115 float was cut down in order to fit under the OOB Me 262 fuselage, and a front wheel well was integrated for a tricycle landing gear. Once the fuselage was closed, the planning bottom was added and the flanks sculpted with putty – lots of it.

 

In the meantime the Me 262 wing received a thorough re-arrangement, too. Not only were the engine nacelles moved to the upper wing surface (cutting the respective wing and intake sections of the nacelles off/out and turning them around 180°), the original connecting ventral wing part with the landing gear wells were turned upside down, too, the landing gear covers closed (with the respective OOB parts) and the inner wing sections modified into a gull wing, raising the engines even further. VERY complex task, and blending/re-shaping everything took a lot of PSR, too.

 

Under the central wing section I added a pylon left over from a Smer Curtiss SC Seahawk kit, because a massive Do 18-esque construction was out of question for a fast jet aircraft. The gaps were filled with putty, too.

 

In order to keep the stabilizers free from water spray they were moved upwards on the fin, too. The original attachment points were sanded away and hidden under putty, and the OOB stabilizers placed almost at the top at the fin.

 

Finding suitable stub wings/floats became a challenge: they have to be relatively thick (yielding buoyancy and also offering room for the retractable landing gear), but also short with not-so-rounded tips. It took a while until I found suitable donor parts in the form of the tips of an 1:32 AH-64 Apache (!) stabilizer! They were simply cut off, and openings for the main landing gear cut into their lower sides.

 

Once glued to the lower flanks and the stabilizers in place it was time to place the wing. In the meantime the moved cockpit had been blended to the fuselage, and initial tests indicated that the pylon would have to be placed right behind the canopy – actually on top of the end of the clear part. As a consequence the canopy was cut into pieces and its rear section integrated into the fuselage (more PSR).

However, the relatively thin and slender central pylon from the Curtiss SC indicated that some more struts would be necessary in order to ensure stability – very retro, and not really suited for a jet-powered aircraft. And the more I looked at the layout, the more I became convinced that the wings and engines were in a plausible position, but placed too high.

 

What started next were several sessions in which I shortened the pylon step by step, until I was satisfied with the overall proportions. This went so far that almost everything of the pylon had gone, and the wings almost rested directly on the Me 262’s spine!

However, this new layout offered the benefit of rendering the extra struts obsolete, since I decided to fill the small gap between wing and fuselage into a single, massive fairing. This would also mean more internal space, and consequently the original idea of a jet-powered combat aircraft was modified into a fast multi-purpose amphibian vehicle for special tasks, capable of transporting personnel behind enemy lines with a quick move.

 

More PSR, though, and after some finishing touches like a scratched landing gear (front leg/wheel from an Italeri Bae Hawk, main struts from a Mistercraft PZL Iskra trainer, wheels from an Academy OV-10 Bronco and with improvised covers), several antennae and mooring lugs made from wire, the aircraft was ready for painting. On the downside, though, almost any surface detail had been lost due to the massive, overall body sculpting – but the application of the light zigzag pattern helped to recreate some “illusionary” details like flaps or panel lines. ;-)

  

Painting and markings:

Originally, when the Seeschwalbe was still conceived as a fighter, the model was to receive a daylight scheme in typical German naval aircraft colors (RLM 72/73/65). But this plan changed when the aircraft’s role became a ‘special purpose’ transporter for covert operations.

 

Nocturnal operations appeared plausible, so that the scheme became much more murky: from above, a splinter scheme with RLM 73 and RLM 74 (naval dark green and dark, greenish grey, both from the ModelMaster Authentic enamel paint range) was applied as a basis, and the undersides became black – as if standard daylight colors had been overpainted, a frequent practice.

Since this black paint was made from soot, it easily wore away and many Luftwaffe machines with improvised black undersides quickly gained a rather shaggy look. I wanted to re-create this look, and built up the lower paint accordingly: In an initial step, RLM76 (I used Humbrol 87, which is a tad darker than the RLM tone, for less contrast with the black) was painted on the lower wing surfaces, the fuselage with a medium waterline and the fin. Once dry, the national marking decals were added. Then a coat of thinned Revell Acrylics 6 Tar Black was applied on top of the lower surfaces, including the lower decals, and later wet-sanded in order to reveal some of the grey underneath for a worn look.

 

In order to break up the aircraft’s outlines, esp. at low altitude, a disruptive meander pattern in light grey (RLM 76) was painted on top of the upper surfaces. For this task, I thinned Humbrol’s 247 enamel and used a simple brush, painting the curls free-handedly. The finish looks pretty convincing, and it mimics well the technique with which those improvised patterns were applied in the field in real life: quickly, with anything at hand. The way the finish turned out, the pattern could have been applied with a broad brush – the use of a spray gun was rather uncommon, and IMHO the use of an airbrush on a model to recreate such a zigzag pattern rarely leads to convincing results?

 

This pattern was painted tightly around all the upper markings, and the markings themselves were kept at a minimum. For instance, the tactical code only comprises the aircraft’s individual letter “Blue O” behind the fuselage cross, which indicates an air staff machine. This would, following the official German squadron code system, be confirmed by an “A”, following as a fourth digit. The squadron’s code (“P7”, which is fictional, just like the aircraft’s sea reconnaissance squadron itself) was omitted, too. Such minimal markings became a frequent practice towards the final war stages, though, and it fits the aircraft’s special duty role well. The only individual marking is a squadron badge under the cockpit – lent from an Italian night fighter and placed on a dark blue disc. Another, subtle indicator for the aircraft’s operator are the blue air intake center bodies, repeating the staff flight’s blue color code.

 

Only some light weathering was done, with dry-brushed light grey on the leading edges, and finally the kit was sealed with matt acrylic varnish (Italeri). In a final step, some very light dry-brushing with aluminum was done on some of the fuselage edges, esp. the spray dams, and the position lights were painted with translucent paint over a silver base.

  

A messy project, in many ways, but I am happy with result. Most stunning is IMHO the fact that all major parts for this compact flying boat actually come from a single, simple Me 262 kit – but visually there’s not much of the left from the jet fighter. But it’s also amazing that the proportions look right, and the whole thing quite plausible and Dornier-esque! Turned out better than expected.

ⓒRebecca Bugge, All Rights Reserved

Do not use without permission.

 

Black satin shoe from Italy or France, 1770-1785

 

Victoria and Albert museum, named after the British queen and her consort, was founded in 1852. It has the world's greatest museum of decorative art and design, with a permanent collection spanning over 5 000 years and including 4 500 000 objects. The museum is divided into 145 galleries and houses objects of marble, iron, glass, ceramics among others. The collection of Italian Renaissance objects is the largest outside of Italy. But there is also collections of Asian artifacts. And everything is neatly divided into collections - be it plaster-castings or Chinese art.

 

The museum is often abbreviated V&A.

Yellow indicates permanent structures in both the new and old spaces. Red diagonals are doorways. Red floor is oak, green floor is porcelain tile. Red lines are windows (see front elevation photos on this photostream).

 

New doorway at top between the bookshelf and the yellow-colored closet leads to the dining room and to the bath and bedrooms. There is an oak floor under these areas already. The doorway will be a pocket door with full-length glass so that we can keep the dog, smells, and sounds corralled when we need it and yet not isolate the kitchen when door is closed. We will need to reconcile the new floor with the old oak floor here.

 

Green area is front lobby and includes a long coat closet. Lobby windows are awning style overlooking driveway. Front door has full-length glass with blinds to increase natural light during daytime. In previous photos, many of the walls of this area are painted green as a test of the color. There is a door at top of green area in drawing which was the original front door position in 1951. (We retained a door here when we expanded the house into the former front step area in 1975. We will retain the hollowcore oak door at this postion for dog, smell, and sound control as well as to block view of interior of house from front door when we need to do this.) Beyond this door are the living room, another bedroom, and a deck door that is almost directly in line with this doorway. We will need to reconcile the old oak floor at this position with the new tile floor.

 

Stairway to basement will have windowless pocket door. Most of the time this doorway will be open to allow dog access to basement walkout, but closed when needed. Steve has redone the entire basement stairway to allow a safe, wide top step threshold before the first descending step and to even out the stair heights. This was a lot of work and it cost us the lower half of the existing coat closet (which is cut off in photo).

 

Pantry closet was planned to be angled but we decided to square-off the access route; door will be windowless hinged door (I would like louvers but we'll see.)

 

Door to garage is a steel firedoor to be painted to match something in the lobby. This door sees a lot of action because Steve works on autos in garage and washes hands in kitchen. The coat closet will have a blaze orange section. The blind cupboard corner of the kitchen abutting this closet will have an access door from inside the coat closet instead of access from the kitchen. This will allow offseason boot storage. Closet door is two sliding doors, not bifolds as shown.

 

We will commission a custom bookshelf in the area formerly a doorway leading to the bathroom and bedrooms at upper left in photo. A small eating table with a piece of art behind it will lie between refrigerator and bookcase--it will be viewed down the long hall from the garage, so it has to be attractive and inviting. Another piece of art will be mounted on the uninterupted wall of the pantry closet--it will be best seen from the inside of the G. Another piece of art will be positioned to the left of the awning windows in the lobby, which can be seen from stools or after entering from dining room or when removing coat in lobby.

 

In previous photos, the middle of walls inside of the G-shaped kitchen are painted red as a test. There are upper cupboards on the top and bottom of the G but not on window wall or peninsula. Decor of the room(s) will be eclectic: Spare Scandinavian-style pale cupboards, modern white glass pendant lights, probably "pewter" door hardware, and a minimal backsplash. All countertops will be laminate except two butcherblock 2' x 2' sections either side of the range. Art works may include a mix of Audubon birds, a Breckenridge watercolor of a heron rookery, a couple oil landscapes, and national park early photos. Display pieces on the bookshelf will include Old Sheffield Plate silver antiques and Benningtonware teapots. A wooden hayfork may make an appearance somewhere here. Lobby and desk and table chairs may be early 19th century "fancy chairs" or similar items. A repro mahogany utility cupboard will serve in the lobby under the window until we find something more suitable.

 

As of late May, 2010, we have come to the point where we must make some flooring final decisions. Steve will be reconciling the ceiling first (so the slop does not fall on oak floor) and then will begin laying tile and oak. We must use strong porcelain tile instead of ceramic because of the potential heaving of old fill under the house.

 

Because of personal preference and energy conservation, we have no recessed lights. The green area and hall toward patio have 3 successive ceiling-hugging lights. There is a matching utilitarian light to be positioned centrally off the pantry closet corner to give general light to the kitchen hall and there are two matching ceiling-hugging fixtures n the center of the G. There will be undercounter lights on the two ends of the kitchen. Three pendants will hang in front windows and two over the peninsula. A funky semi-antique small chandelier will hang over the table. Yes, that's a lot of lights. Not sure how much we will use any of them yet, but we know how much the ceiling-huggers will be workhorses because this space has so many different walkpaths. Wiring all this new stuff and removing vestigial wiring has been a challenge for Steve.

 

We have to have things done as much as possible for daughter Rebecca's visit from Alaska the 2nd week in June.

 

We bit the bullet at the end of May and commissioned someone else to put the finish on the cupboards. This will speed the work so that Steve can go to the Arctic in July.

____

 

Within the G, the wall on the left has two breadboards. The one next to refrigerator will make this a sandwich and toast station. It and the one under the window will also allow the countertop to expand in size to hold dishes coming and going to dinner parties in dining room. Lower left corner of G is the microwave and beverage station. Lower right corner is the baking area, with a breadboard, mixer on countertop and baking gear in drawers below. Peninsula of the G will have another breadboard and a drawer to accept peelings and such as we chop. Compost bucket goes under small sink. Double-trash is next to sink. We anticipate this to be the major veg chopping station. Although the range is simple electric range with hood above, there is access on both sides of it so two cooks should be happy. A portable induction plate can be used adjacent to range to expand cooking options during heavy use periods. We will countersink (pun!) two containers into the butcherblock to hold utensils to right of range and a large slit to hold knives left of range.

 

This kitchen and lobby should allow two people to enjoy it without feeling that the space is oversized, but when out of town family members come to stay for a period of time or when friends attend a party, they should be able to find a place here that is comfortable and welcoming. (Previously they were not allowed to stand about in the old kitchen.) When the muse attacks Linda and she announces a dinner party, she will no longer be restricted in the number of dishes or serving courses or wine glasses. In the summer when life is oriented toward the deck and the lake, it will be easier to move food and dishes from deck to kitchen via the hall by the green floor in the photo.

 

We have sacrificed a very large, beloved teak china cupboard in order to make the new entrance to the dining room. Items from it will be stored in kitchen. China, silverware, napkins, etc. will live in the lower drawers on the left side of this photo. Hope it all fits! Tablecloths were supposed to go into these drawers, but now they are designated to hang in the half-closet that was former coat closet. Flower arranging gear also will go into this closet, which still has a full-sized door on it, but someday, we may redo it as a true built-in cupboard (with attic access still in its ceiling!).

 

All it takes is money, time, expertise, and resolve!

 

Additional comment: Sept 2010...It should be noted that we extended the tile floor across the entrance to the basement. There is a nice looking piece of oak perpendicular to the walkpath, then the oak flooring that runs parallel to the front of the house.

L'exposition permanente...

 

Certes les haltes plus ou moins longues font le bonheur dans l'attente et l'action.

 

Mais venez libérer un artiste de mes toilettes qui méritent mieux que ce contexte ou les déperditions du son sont grandes!

 

- Mike Muir

40cm X 40cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros

 

- Hubert Félix Thiefaine

40cm X 40cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros

 

- Kiko Ruiz - Bernardo Sandoval - Serge Lopez

30cm X 60cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros

 

- There must be a balance as a whole

40cm X 40cm / fine Art Canson Rag 310gr / Support Dibond : 150 euros

 

Visible en grand en cliquant sur les photos dans la photo... Je vais pisser tiens

 

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Vassily Nebenzia, Permanent Representative of the Russian Federation to the United Nations, is followed by journalists asking him questions ahead of the Security Council meeting on the maintenance of peace and security of Ukraine.

 

UN Photo/Mark Garten

5 May 2022

New York, United States of America

Photo # UN7932733

  

Based in Belgium as part of the CAI (Corpo Aereo Italiano) during the Battle of Britain.

Forced landed on the beach at Orfordness, Suffolk on 11th November 1940 when an oil pipe broke during a raid on Harwich. Taken to Martlesham Heath for repair and then flown to Farnborough.

In April 1941 it joined the Air Fighting Development Unit at Duxford and remained in use there until October 1942. It was then allocated for preservation by the Air Historical Branch and by mid 1943 it was dismantled and stored. In 1964 it had reached Biggin Hill, where it was then ‘restored’. Further restoration was carried out at St Athan in 1974 and in 1978 it went on permanent display in the Battle of Britain Hall where it remains today.

RAF Museum, Hendon, London, UK.

22-3-2015

 

Permanent Representative of the United States to the United Nations, Ambassador Samantha Power, toured the Yad Vashem Holocaust Museum in Jerusalem. She was given a guided tour of the exhibit by Dr. David Silberklang, laid a wreath at the Hall of Remembrance, and signed the guest book at the Children's Memorial.

 

HISTORY UPDATED - Permanently retired.

 

Replacing an earlier scanned photo with a better version 05-Dec-21 (DeNoise AI).

 

'go again' titles, left side ('lets go' titles on the right side).

 

Note: Go Fly Ltd was a 'low-cost' airline founded by British Airways in 1998 to compete with other low-cost airlines such as easyJet. It was based at London-Stansted. The company was sold by BA in a Management 'Buy Out' in 2001. It didn't help and Go Air was bought by it's rival, easyJet, in Dec-02 and was completely merged into easyJet's operations by 2005.

 

This aircraft was delivered to the GPA Group Ltd and leased to Philippine Airlines as EI-BZK in May-90. ownership was transferred to GECAS Technical Services in Jul-97. The aircraft was returned to GECAS in Jun-98 and leased to Go Fly (UK) as G-IGOA the following month.

 

Go Fly was merged into the easyJet Airline Company in Dec-02 and the aircraft was returned to the lessor in Jun-04 and stored. It was leased to AirAsia (Malaysia) as 9M-AAY in Sep-04.

 

It was returned to the lessor in May-08 and sold on the same day to Nordic Aviation Contractor A/S as OY-JTD and leased to JetTime A/S a few days later. It was fitted with blended winglets in Nov-08.

 

The aircraft was wet-leased to Arkefly (TUI Airlines Netherlands) in Jul-15 for two months, returning to JetTime at the end of Aug-15. It was returned to the lessor in Oct-17 and stored at Lasham, UK.

 

In Dec-17 it was sold to TAG Aviation (Stansted) Ltd as G-CKTH and remained stored at Lasham until it was sold to Maleth Aero (Malta) as 9H-ZAK in May-18.

 

It was fitted with a CIP interior and painted at Bournemouth, UK. The aircraft entered service in Jul-18 and operated on behalf of Orix Jet (UK). It was stored at Stansted, UK in Mar-20 due to the COVID-19 Pandemic.

 

It was returned to Vallair Ltd as N539CC in Oct-21 after 31 years in service and donated to the Nanchang Hangkong University, China in Nov-21 for use as a ground trainer. Updated 05-Dec-21.

Market Colonnade in Karlovy Vary’s pedestrian area Tržiště street, Karlovy Vary, Czech Republic

 

Some background information:

 

Colonnades are classical-looking structures with long sequences of columns joined by their entablature. Sometimes they’re free-standing and sometimes even parts of buildings.

 

In the 19th century colonnades used to be important elements of spa style and the most sophisticated spa towns adorned themselves with beautiful colonnades, which were roofing the healing springs and serving the wealthy spa guests as pump rooms.

 

Market Colonnade (Tržní kolonáda) is a white wooden building designed in Swiss style, which was built in 1883 just to cover two important healing springs for a couple of years. But since then it’s still covering the Charles IV and Market Springs, because the town was always deciding in favour of its preservation and reconstruction.

 

Like the plans for many other buildings in Karlovy Vary, also the plans for Market Colonnade came from the architectural office of Fellner and Helmer in Vienna. Market Colonnade has a gabled roof and wooden walls on three sides. The façade opens up to an arcade, which contains both healing springs and is still used as a pump room. It’s decorated with various motifs, which are carved in wood and renowned from lace embroidery. Above the well of the Charles IV Spring a relief depicting the legend of the discovery of Karlovy Vary can be seen. According to this legend, it was the Charles IV Spring, which contributed to the decision of the emperor Charles IV to build a spa at this spot.

 

Karlovy Vary (also known as Carlsbad in English-speaking countries and Karlsbad in Germany), is a spa city situated in Western Bohemia with about 55,000 residents. It’s located on the confluence of the rivers Ohře and Teplá, approximately 81 miles (130 km) west of Prague. Karovy Vary is named after Charles IV, Holy Roman Emperor and King of Bohemia, who founded the town in 1370.

 

There are 13 main hot springs in the urban area and another 300 smaller springs. The city’s health spa business was given a first boost in the years 1711 and 1712, when the Russian tsar Peter the Great paid it two visits. In this respect very useful were also the publications of the then well-known doctor David Becher, which purported spa treatments in Karlovy Vary and encouraged the administration of sodium sulfate.

 

However it was not until the 19th century that Karlovy Vary came to real fame as a health spa. The city’s positive development was moved up by the completion of the railway lines to Eger and Prague in 1870. While in the 1756 season only 134 families visited the spa town, at the end of the 19th century already 26,000 guests could be welcomed. During this time Karlovy Vary became a main venue of European aristocracy and was much affected by aristocrats from both Central Europe and tsaristic Russia. By 1911, the figure of visitors had reached 71,000, but World War I put an end to tourism and also led to the collapse of the Austro-Hungarian Empire by late 1918.

 

Nowadays Karlovy Vary is again a very popular tourist destination and spa town. Many German visitors can be seen (and heard) in the city centre, but it’s also very popular with tourists from the US and Asia. One of the biggest groups of visitors are wealthy people from Russia, whose number steadily increased since the fall of the Soviet Union and the end of Communist rule in the Czech Republic. That’s why many local tradespeople already adapted themselves to the new moneyed aristocracy from Eastern Europe.

 

Today’s Karlovy Vary of course is not only famous for its hot springs, but also for its beautiful uniform appearance with many buidlings from the classicism, the founding and above all the art noveau period. Famous goods include glass products from the manufacturer Moser Glass, the round and filled Carlsbad spa wafers as well as the popular Czeck liqueur Karlovarská Becherovka.

 

Finally it should be mentioned that Karlovy Vary has been used as a set for a number of films, such as "Casino Royal", the first James Bond film starring Daniel Craig. In "Casino Royal" Karlovy Vary’s Grandhotel Pupp appeared in different scenes.

Uno dei palazzi più belli, se non il più bello, di Cantù, situato nella piazza principale, purtroppo massacrata da uno sciagurato intervento dell'Amministrazione comunale.

This is 'Kitty', a performance character from a theater piece choreographed years ago called "Canticles". She has been shamed into life in the blur of peripheral vision, perpetually apologetic and trepidacious. But also, she may have something sharp hidden in her jacket...

 

"All your life you live so close to truth, it becomes a permanent blur in the corner of your eye and when something nudges it into outline, it's like being ambushed by a grotesque."

Tom Stoppard 'Rosencrantz and Guildenstern are Dead"

(I don't have the exact quote handy, but that's pretty close.)

Rafael Mariano Grossi, IAEA Director General met with Prof. James E. Mdoe, Deputy Permanent Secretary and Head of Delegation, during a bilateral meeting at the IAEA 66th General Conference held at the Agency headquarters in Vienna, Austria. 28 September 2022.

 

Photo Credit: Dean Calma / IAEA

 

IAEA:

Rafael Mariano Grossi, IAEA Director-General

Jacek Bylica, IAEA Chief of Cabinet

Diego Candano Laris, Senior Advisor to the Director-General

Toshio Kaneko, Special Assistant to the Director-General for Nuclear Energy, Nuclear Applications and Technical Cooperation

Sayed Ashraf, Senior Scientific Adviser to the Director-General

 

Lagss victorious saved the pakicetuses making fighter roar permanently female longest blue hair shiny triangle forehead mark evolved to whales at last ripped her clothes she are underwear bra panties now loves a blonde ryune zoldark with seolla schweizer super robot wars original generation ouka nagisa appears

Stock Shot | Far Cry 5

___________

 

Don’t expect much from this game over the next day. The reasons being, first I am currently trying to fix an issue on my Dell monitor, where if I look near the top left there looks to be a smudge. Only problem is it isn’t dirt.

 

Instead since the issue is tied to the pixels, I am playing some videos in full screen designed for trying to fix burn in or stuck/uneven pixels. And if they don’t work. Well one respected tech channel suggests, that using a soft object like a pencil’s rubber to gently rub the affected area might work.

 

Now the other reason, I don’t plan to upload many Far Cry 5 shots over the next week. Is down to me needing to work on a new FM7 - Stock update. Followed by maybe, starting work on another FM7 update, within a week or two after the other.

Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.

 

Izabela Uhl – Professional Beauty

Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.

 

Izabela Uhl – Professional Beauty

Walddörferstrasse 92

22041 Hamburg

Telefon: 040 60 53 48 01

Mobil: 0173 2 33 08 11

E-Mail: beauty@izabela-uhl.de

Internet: www.izabela-uhl.de

 

© 2011 Thomas Ulrich / LoboStudio Hamburg

zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!

Permanence de l'artiste dans son expo à l'Espace Caboch'Art, à Draguignan, en janvier 2016

 

Pour voir les images Gif tirées du film : herve-germain.blogspot.fr/2016/12/state-of-progress-14.html

 

Film en entier sur YouTube : www.youtube.com/watch?v=eQUALKP_YXA

 

1ère Partie : www.flickr.com/photos/monsieur-g/31372615520/in/photostream/

Max Pezzali

Mediolanum Forum - Assago - Milano

18 Novembre 2013

 

ph © Mairo Cinquetti

 

Massimo Pezzali insieme all'amico Mauro Repetto dà vita al progetto "883". La musica è la grande passione di entrambi.

Partecipano per gioco nel 1989 a “1,2,3 Jovanotti” con “Livin in the music” dove incontrano per la prima volta Claudio Cecchetto produttore del programma (e di Jovanotti)

 

Nel 1991 registrano una demo contenente il brano "Non me la menare"; il nastro viene lasciato nella portineria del noto talent-scout Claudio Cecchetto che, dopo aver ascoltato il pezzo, non tarda a contattare i due ragazzi. Non passa molto tempo e gli 883 esordiscono al Festival di Castrocaro con la canzone di quel nastro.

 

1992 - Pubblicano il loro primo album “HANNO UCCISO L'UOMO RAGNO” e raggiungono la prima posizione della Hit Parade con oltre 600.000 copie vendute. Gli 883 vengono premiati come rivelazione dell'anno a "Vota la Voce", il famosissimo referendum popolare di "Tv Sorrisi e Canzoni".

 

1993 - Rientrano in studio di registrazione per realizzare il singolo "Sei un mito", anteprima dell'album “NORD SUD OVEST EST” pubblicato nell'estate '93. E' un grande evento! L'album vende oltre 1.300.000 copie (130.000 copie in VHS, la videocassetta). E' un'ulteriore conferma del fiuto di Claudio Cecchetto e del suo team di produzione formato da Pier Paolo Peroni e Marco Guarnerio. Vincono il "Festivalbar 93". Poi il cambiamento! Mauro Repetto lascia l'Italia… e gli 883.

 

1995 - Partecipano (partecipa solo Max) al "Festival di Sanremo" con la canzone "Senza averti qui", anteprima del nuovo album “LA DONNA, IL SOGNO & IL GRANDE INCUBO”. L'album raggiunge la prima posizione della Hit Parade (grazie a brani come "Tieni il tempo", "Gli Anni" e "Una canzone d'amore") e gli 883 vincono per la seconda volta il "Festivalbar.

Al Festival Max Pezzali partecipa anche come autore del brano “Finalmente tu” cantato da Fiorello

Max Pezzali e la nuova Band, debuttano dal vivo nei palazzetti d'Italia con il primo 883Tour. Una Tournée che ha dato nuovo entusiasmo confermando anche dal vivo il successo di Max Pezzali.

 

1997 - Il 18 giugno e' pronto l'album “LA DURA LEGGE DEL GOL” (con mini-album delle figurine). L'estate e' tutta all'insegna de "La regola dell'amico", un brano premiato da “Vota la Voce” con il Telegatto come "Canzone dell'estate".

 

1998 - La Mondadori pubblica “STESSA STORIA, STESSO POSTO, STESSO BAR”, un libro che descrive il periodo pre-883 raccontato da Max Pezzali.

A luglio “GLI ANNI”, la raccolta dei piu' Grandi Successi degli 883 con l'inedito "Io ci saro'". E' il quinto album consecutivo degli 883 che raggiunge la posizione numero uno della Hit parade di vendite (Dati Ufficiali Nielsen). In ogni CD e' contenuta un'opera dell'artista Marco Lodola. "21 luglio 1998": oltre 100.000 persone al concerto degli 883 in Piazza Duomo a Milano, la prova generale del TOUR '98 degli 883 (TopTwentyTour). Nelle sale cinematografiche esce “JOLLY BLU” "il film degli 883" distribuito nei cinema d'Italia da Medusa Film. Il 1998 si conclude con il Concerto di Capodanno in diretta su Raiuno.

 

1999 - L'anno inizia con un riconoscimento internazionale: THE 1999 WORLD MUSIC AWARDS. Gli 883 di Max Pezzali sono premiati come "Best-selling Italian Artist/Group". Prima un riconoscimento internazionale e poi

anche una collaborazione internazionale: BOYZONE/MAX PEZZALI con la canzone "You Needed me / Tenendomi". A luglio viene realizzato nella citta' di Tokyo il video del nuovo CD-Single “VIAGGIO AL CENTRO DEL MONDO”, anteprima del nuovo album degli 883 e colonna sonora dello Spot Pubblicitario di Topolino. L'11 agosto 1999 a MONACO durante l'eclisse totale di sole viene realizzato il video del singolo dell'album “GRAZIE MILLE”.

 

2000 – L’inizio dell’anno viene festeggiato a Cagliari con Max Pezzali dal vivo in via Roma e in collegamento con Canale 5. A fine gennaio Max Pezzali e' l'ospite d'onore di Serena Dandini a Teatro 18 (Italia Uno). In quell'occasione e' stato presentato in anteprima il nuovo singolo degli 883 “NIENT'ALTRO CHE NOI”. Il brano è accompagnato da un Video-Cartoon in stile Manga-Western realizzato da un gruppo di giovani disegnatori raccolti sotto il nome di “STRANEMANI”.

L'11 marzo dal Palafiera di Genova parte il “GRAZIE MILLE Tour 2000”.

Una nuova avventura in Germania, Austria e Svizzera con un album dal titolo “MILLE GRAZIE” che raccoglie tutte le hit degli 883, comprese quelle dell'ultimo “GRAZIE MILLE”.

Da un sondaggio Abacus (anno 2000) in Italia Max Pezzali e gli 883 risultano i "più conosciuti e seguiti" dai giovani di età compresa tra i 14 ed i 24 anni.

Gli 883 sono conosciuti dal 97.8% del pubblico interpellato ( seguito da Madonna 97.4%).

 

2001 inizia la sua carriera solista con l’album “UNO IN PIU’” che conquista immediatamente la prima posizione della classifica vendite.

Il singolo “Bella Vera” anticipa l’uscita dell’album, mentre “Come deve andare” ne conferma il successo.

 

2004 - l’album della “svolta” (rappresentata anche dal disegno in copertina) è stato “IL MONDO INSIEME A TE” (2004). L’album è stato un grande successo grazie a canzoni come “Lo strano percorso”, “Il mondo insieme a te”, “Me la caverò” ed “Eccoti”.Riceve, infatti,due dischi di platino con le 250.000 copie venute.

Nel mese di settembre Max partecipa al festival di O’scia a Lampedusa chiamato da Baglioni con il quale duetta in “Come mai”.

 

Il “Tour Live” registra il tutto esaurito e, a grande richiesta, viene replicato anche l’anno successivo, nel 2005, accompagnato dalla pubblicazione dell’album “TUTTO MAX”. L’album ha registrato il record di permanenza al n°1 della TOP Nielsen (classifica vendite album) rimanendo in vetta per ben 10 settimane consecutive. MAX PEZZALI nel 2005 ha superato i 6 milioni di dischi venduti in carriera.

Il 25 novembre dello stesso anno esce anche TuttoMax video un dvd che contiene 34 dei video delle canzoni realizzate dal cantante con l'aggiunta delle domande poste più frequentemente a Max Pezzali. Il 24 dicembre 2005 viene mandato in onda su Italia 1 uno special di un'ora del concerto del cantante tenuto al Forum di Assago il 31 ottobre 2005. Apre inoltre un podcast nel quale inserisce piccoli filmati del tour, a disposizione di tutti i suoi fans. Il 2005 è anche l'anno in cui Max Pezzali torna al Festival di Sanremo, dopo 10 anni, nella giornata dei duetti, cantando con DJ Francesco il brano Francesca. Un ulteriore collaborazione lo vede partecipare all'album La fantastica storia del pifferaio magico di Edoardo Bennato, con il quale duetta nella canzone La televisione, che felicità.

Il 2006 è un anno di pausa per l'artista. Il 30 giugno 2006 esce l'album di cover di Lucio Battisti Innocenti evasioni per il quale Max Pezzali incide il pezzo La metro eccetera assieme al gruppo degli Stylophonic. Sempre nell'estate 2006 Max Pezzali collabora con i Flaminio Maphia nel singolo di lancio del loro album. Il pezzo si intitola La mia banda suona il rap, e lo stesso Max Pezzali è l'autore e l'esecutore del ritornello.

2007 - Dopo 2 anni di silenzio esce l’album “TIME OUT”, 11 brani inediti prodotti da Claudio Cecchetto e Pier Paolo Peroni, registrati e realizzati da Michele Canova. Disco di platino prima dell'uscita nei negozi per le 80.000 prenotazioni registrate, l'album è entrato direttamente al primo posto nella classifica italiana dei dischi più venduti.

All’album segue il “MAX 2007 TOUR”.

 

2008 – Pubblica il primo romanzo “Per prendersi una vita” per la Baldini Castoldi Editore.

È la storia di quattro ragazzi del 1988 e di come gli eventi di un'estate abbiano cambiato per sempre le loro vite: improvvisamente diventano adulti a causa di una scelta difficile da prendere. Il libro è stato presentato con un minitour per numerose librerie d'Italia riscuotendo molto successo.

A giugno ritira il premio alla carriera "TRL History" ai TRL Awards di MTV come artista che ha segnato la storia di Total Request Live, segnando la generazione degli spettatori del popolare show.

 

Il 23 maggio esce il cd live “MAX LIVE 2008” anticipato dal singolo ”Mezzo pieno o mezzo vuoto”. Segue un tour. Sempre nel 2008 viene pubblicato il 14 novembre “SHOWTIME 21.30”, un rockumentary di 100 minuti sulla tournèe di Max Pezzali dell’inverno 2007.

2009 - A marzo intraprende la collaborazione con i dARI col singolo Non pensavo. Il 21 aprile Max partecipa alla registrazione del singolo Domani 21/04.09 voluto da Jovanotti e dai Negramaro per sostenere la ricostruzione dell'Aquila a seguito del terremoto. Max nel mese di giugno partecipa anche al Wind Music Awards, in cui riceve il disco di platino per le vendite di Max Live 2008. Inoltre in quell'estate la Gazzetta dello sport pubblica gli album degli 883 in una raccolta intitolata Gli anni del mito. Inoltre il 31 dicembre si è esibisce a Rimini, assieme ad altri cantanti, per il programma televisivo L'anno che verrà andato in onda su Rai Uno per festeggiare il nuovo anno.

2010 - Max partecipa alla prima edizione del Moa a Cernobbio cantando sul palco di Villa Erba con Davide Van De Sfroos.

 

2011 - Max pezzali a febbraio 2011 torna sul palco della manifestazione canora più importante in Italia per l'edizione del Festival di Sanremo 2011 con “Il mio secondo tempo”. Il video è stato realizzato dai Manetti Bros con accurate “citazioni” della filmografia anni 70/80. Interpretato da Francesca Inaudi e Giampaolo Morelli (il famosissimo interprete dell'iispettore Coliandro) vede la partecipazione "speciale" delle mitiche Edwige Fenech e Gloria Guida.

Contemporaneamente esce l’album “Terraferma” (tra i più venduti del Festival di Sanremo) e parte il TERRAFERMA TOUR “LIVE 2011” che vede Max Pezzali esibirsi nei più grandi palazzetti d’Italia a partire dal 30 aprile.

Dal 15 aprile il secondo singolo CREDI.

 

2012 – Sono passati 20 dalla pubblicazione di “Hanno ucciso l’uomo ragno” e per l’occasione viene pubblicato “Hanno ucciso l’uomo ragno 2012” con tutti i brani reinterpretati dai rapper più famosi e da Pezzali. A questi si aggiunge un singolo inedito con J- Ax. L’album, come 20 anni prima, raggiunge la prima posizione in classifica.

A seguito di questa operazione Pezzali è il presentatore della festa Hip Hop TVB-Day Party per festeggiare i 4 anni di Rock tv al Forum di Assago (Milano).

 

2013 – Max conduce il programma tv, “Le strade di Max” su DeeJay tv ed è il giurato del programma tv MTV Spit. A giugno viene pubblicato “Max 20”. L’album, anticipato dal singolo “L’universo tranne noi” (con uno spettacolare video girato all’Arena di Verona), contiene 5 brani inediti e alcuni tra i suoi più grandi successi con l’amichevole partecipazione di Claudio Baglioni, Edoardo Bennato, Cesare Cremonini, Elio, Fiorello, Gianluca Grignani, Jovanotti, Nek, Raf, Eros Ramazzotti, Francesco Renga, Giuliano Sangiorgi, Davide Van De Sfroos e Antonello Venditti.

lovelife.typepad.com/my_weblog/2010/02/permanent-goventur...

 

All I could think, when I thought of the word PERMANENT was how UN-permanent everything really is. I was struggling to find something to photograph, and I didn't want to stoop to the very permanent stain on my white quilt. But I knew there had to be something. And then I thought of it. The connection we have with each other. We may not always be together, and we may not always like each other, but there is a permanent line of connection and love and knowing that runs between us and always will.

On 17th November 1985 "Generator" 47416 climbs the gradient on the slow line at Low Fell heading for Tyne Yard with a permanent way train. A mooch out with a camera on Sundays in those days was often quite productive.

I don't know why, but I have a real soft spot for old RV's and motorhomes. I'd probably collect and restore them if I had unlimited funds and a ten acre garage.

 

Here's the always dependable Dodge Tradesman 300. It's a shame this is being left to rot.

 

Found at the strange-in-a-good-way Mira Monte Landing, Novato, CA

 

Permanent Representative of India, H.E. Mr Venu Rajamony, at the 23rd Session of the Conference of States Parties to the Chemical Weapons Convention.

 

The Conference is held at the World Forum, The Hague, the Netherlands, from 19-20 November 2018.

 

part of the permanent exhibition of the Jewish Museum Berlin - "It was as simple as that" is one of my favorite rooms in this fascinating, modern and interactive museum. I´ve been there in August for the second time and I´ll go there the next time when I´m in Berlin. For more information click www.juedisches-museum-berlin.de/site/EN/01-Exhibitions/01...

Ravinatha P. Aryasinha, Permanent Representative of Sri Lanka to the United Nations Office at Geneva during the 24th Session of the Human Rights Council. 25 September 2013. Photo by Jean-Marc Ferré

Shackles very thick and heavy which are scary and degrading to think a person can be shackled and manacled like this

Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.

 

Izabela Uhl – Professional Beauty

Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.

 

Izabela Uhl – Professional Beauty

Walddörferstrasse 92

22041 Hamburg

Telefon: 040 60 53 48 01

Mobil: 0173 2 33 08 11

E-Mail: beauty@izabela-uhl.de

Internet: www.izabela-uhl.de

 

© 2011 Thomas Ulrich / LoboStudio Hamburg

zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!

Ford Model T Van

1914 American

The Model T is widely regarded as the car that brought motoring to the masses. Ford's mass production methods reduced costs which in turn lowered retail prices. The Model T chassis was easily adapted for a variety of different bodies and was ideal for use as a small commercial vehicle. Motorised delivery vans sped up deliveries and did away with the need to feed and stable horses.

Engine: 2,898cc, 4 cylinder, Side valve, 20bhp at 1,600rpm

Top Speed: 40mph

Price new: £130

Manufacturer: Ford Motor Company Limited

Owner: National Motor Museum Trust

 

Housing a collection of over 250 automobiles and motorcycles telling the story of motoring on the roads of Britain from the dawn of motoring to the present day, the award winning (Winner - The International Historic Motoring Awards of the Year 2012) National Motor Museum appeals to all age groups. From World Land Speed Record Breakers including Campbell’s famous Bluebird to film favourites such as the magical flying car, Chitty Chitty Bang Bang and rare oddities like the giant orange on wheels. Don’t miss exciting extra features such as the Motorsport Gallery, Wheels and Jack Tucker's Garage - A permanent, multi award-winning 1930's garage has been created within the Museum, complete down to the last nut and bolt and rusty drainpipe. Whilst the building is a complete fabrication, everything in it - all the fixtures, fittings, tools and ephemera - are genuine artefacts collected over a period of 25 years.