www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".

Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée.

Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.

Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.

www.twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ... museedelacartepostale.fr/blog/ -'être agent de gestion locative pour une office H.L.M. en 1958' , les Cités du soleil 1958 de Jean-Claude Sée- les films du MRU içi www.dailymotion.com/video/xgj74q présente les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie dla Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I

Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc 1956 en FRANCE - "Un jour on te demanda de servir de guide, à un architecte en voyage d etudes, ensemble vous parcourez la Françe visitant cité jardins, gratte ciel & pavillons d'HLM..." @ les archives filmées du MRU www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Villages de la Françe cité du Soleil

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).

Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon

Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.

En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».

Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture.

son site simonpaysage.free.fr/

file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.

www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,

A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture.

(from Art in America .. more info on sources below)

 

Chinati Foundation, Marfa

 

The Marfa plans had a long gestation. The initial contract for the work to fulfill Judd's conception of a museum of permanently installed work by him, Flavin and John Chamberlain was issued by the Dia Art Foundation in 1979. Flavin traveled to Marfa in the early 1980s, and models of the buildings and meeting notes suggest that he conceived his plans around that time. Nonetheless, he did not disclose his ideas completely until March 1996.[3]

 

The six buildings are U-shaped structures that have been renovated in the local vernacular architectural style with adobe walls and metal roofs. To accommodate Flavin's installation, all the windows except two at the end of each long wall have been closed over; entrances are on the inside of the U toward the ends of the long sides. Inside, two parallel corridors have been constructed at the bottom of the U, with walls--86 feet on the outside and 44 feet on the shorter courtyard side--that lean left, making a 76-degree angle with the floor.

 

Passage through the leaning corridors is blocked by eight back-to-back pairs of 8-foot-long fluorescent fixtures that extend from floor to ceiling, parallel to the walls. Gaps the width of the lamps are left between each pair of fixtures, allowing one to see through the color cast by the lamps on the fronts to the different color at the backs.

 

In three of the buildings, these light barriers are placed at the centers of the corridors' lengths, so that color is largely contained within the leaning walls. In the other three (they alternate from one building to the next), the lights are placed on both ends of the corridors, which allows color to flood into the long arms of the building as well as the inaccessible interiors of the corridors. The first two buildings contain pink and green lamps; in the second two, yellow and blue lamps are similarly placed; and the last two have both a pink/green and a yellow/blue corridor.

 

The repetition of arrangement and color in the Marfa corridors is characteristic of much of Flavin's art. As in the work of other Minimalists, such as Judd, Carl Andre or Sol LeWitt, an inherent systematic order distinguishes his art from the expressionism of the previous generation and takes on relevance with regard to many issues of the early '60s: handmaking versus industrial production, the nature of individuality, the importance of part to whole, and so on. For Flavin, the projection of a system was particularly important because it provided a kind of framework to work with and against. The repetition and regularity of his elements and his arrangements provided a structure within which he employed a strategy of systematic change.[4]

 

Although Marfa's tilting corridors were a striking new development for Flavin, the use of diagonals and other aspects of the piece derive from earlier works. Flavin's first solely fluorescent piece to be exhibited employed a diagonal element: the diagonal of May 25, 1963 (to Robert Rosenblum) was a single 8-foot fixture with a cool-white lamp placed on the wall at a 45-degree angle. The spacing of the parallel lamps at Marfa relates to untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968, a work in which a rank of single cool-white lamps is set vertically into a doorway.[5] In that work, the lamps face away from the viewer, illuminating an empty room while blocking passage into it, like the Marfa works that are barricaded at each end. In both cases, the architecture and lights operate in tension with each other. The walls invite passage but the lamps prevent it; the lights shine forth brilliantly only to be contained and framed by the walls. The Marfa works, however, are neither as blunt nor as austere as the 1968 work, with its cool, colorless light. Also in contrast, the exposed backs of the fixtures in the earlier piece suggest prison bars and give a vaguely political character to the work. At Marfa, the double-sided arrangement and the intensity of the paired, contrasting colors fill and complicate both the existing and constructed space. The physical experience of the work becomes dynamic and visually disorienting.

 

The Marfa installations in which lamps are midway down the passage recall an earlier corridor, untitled (to Barry, Mike, Chuck and Leonard), 1972-75, a hall 8 feet tall and wide, of a length dependent on the available space,[6] with back-to-back pink and yellow lamps placed floor to ceiling midway down its length. As in Marfa, to see the work completely, the observer is forced to walk around the construction (in Marfa, this means going outside and crossing the courtyard to reenter the building). This experience introduces some surprises, as the color and intensity of the lights change from side to side. The construction of the earlier work set up a square frame that tends to play with notions of perspective; one's gaze travels down the visually converging lines of the walls, much as in Renaissance perspectival painting, to meet a plane of light fixtures.[7] In the Marfa works, the angled walls and fixtures disrupt the expected order of right angles, subverting the sense of architectural proportion and balance. In this regard, they recall a corridor conceived and built around the time Flavin was first thinking about the Marfa works, untitled (to my dear bitch, Airily), 1981, in which diagonally placed blue lamps ran along the walls and ceiling of an 8-foot-high and -wide corridor.[8] The familiar structure encouraged one to pass through; while the lights did not block the passage, their placement warped one's sense of rectilinear order.

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The dynamic quality of the installation in Marfa is amplified by color. Though he utilized a limited range of commercially available hues, Flavin combined colored lights to very different effects, both expressive and spatial. In Marfa, he paired bright, contrasting colors: pink/green and blue/yellow. Green is the most luminous and intense of the fluorescent colors; when pink and green are mixed they seem to radiate yellow. As one looks into the corridor toward the green lamps, the color turns white as the eye compensates for the intensity of the green light. This physiological effect strengthens the pink light as seen from the green side. When one walks around to look at this light barrier from the other side, the yellow reflection on the barrack walls is seen to be the result of emanations of soft pink highlighted by green. These subtle transformations play against the predictability of the repeated structures.

 

... from

Dan Flavin, Posthumously

Art in America, Oct, 2000 by Tiffany Bell

 

----

 

Dan Flavin was born on April 1, 1933 in New York City. In the mid 1950s he served in the US Air Force as an air weather meteorological technician in Korea, after which he returned to New York and attended art history classes at the New School for Social Research and Columbia University. While he had an interest in art and drawing throughout his life, he never received formal art instruction.

 

In 1961 Flavin had his first solo exhibition at the Judson Gallery, New York City. Later that year he began experimenting with electric light in a series of works called 'icons,' which led him to his inaugural work in pure fluorescent light, the diagonal of May 25, 1963. Flavin married Sonja Severdija in 1961, and their son, Stephen Conor, was born in 1964. In 1965 Flavin moved from Manhattan to the shores of the Hudson River where he continued his drawings of water and landscape and developed his interest in nineteenth-century Hudson River landscape painters.

 

With a recommendation from Marcel Duchamp, Flavin received an award from the William & Norma Copley Foundation, Chicago, in 1964, the same year that he exhibited his 'icons' at the Kaymar Gallery and had his first exhibition in fluorescent light at the Green Gallery, both in New York City. He also began his nearly life-long series of monuments dedicated to the Russian Constructivist Vladimir Tatlin. Flavin became known as an originator of 'Minimal' art through inclusion in key group exhibitions such as "Black, White, and Gray" at the Wadsworth Atheneum, Hartford, Connecticut in 1964 and "Primary Structures" at the Jewish Museum in New York City in 1966.

 

Flavin's recognition began to spread to Europe in 1966 following his first solo exhibition at the Galerie Rudolf Zwirner, Cologne, and his first 'barrier' installation greens crossing greens (to Piet Mondrian who lacked green), created for the exhibition "Kunst Licht Kunst" at the Stedelijk van Abbemuseum, Eindhoven. He was featured in the "Minimal Art" exhibition at the Gemeentemuseum, The Hague, in 1968.

 

Flavin's first single large-scale installation, alternating pink and 'gold', was made for the Museum of Contemporary Art, Chicago, in 1967. In 1969 his retrospective exhibition "fluorescent light, etc. from Dan Flavin," opened at the National Gallery of Canada, Ottawa, before traveling to the Vancouver Art Gallery, British Columbia, and to the Jewish Museum in New York City.

 

Circular fluorescent lights entered Flavin's artistic vocabulary in 1972 in an installation at the Albright-Knox Gallery, Buffalo, New York, and were a key element of an important exhibition at the St. Louis Art Museum, Missouri in 1973.

 

From its inception in 1974, the Dia Art Foundation acquired numerous works by Flavin, and supported larger projects including: an outdoor work for the four corners of the courtyard of the Kunstmuseum Basel, in 1975; lighting several train platforms at New York's Grand Central Station in 1977; and a permanent installation of nine works in a former firehouse and Baptist Church in Bridgehampton, New York (The Dan Flavin Art Institute) in 1983.

 

Among Flavin's most important late large-scale installation was his project to light the entire rotunda of the Frank Lloyd Wright designed Solomon R. Guggenheim Museum in New York City to commemorate its restoration and reopening in 1992 (based on a smaller installation he had made there for the 1971 "Sixth Guggenheim International"). Flavin married Tracy Harris, at the Guggenheim, in 1992. He completed a major installation for the Kunstbau Lenbachaus, Munich, in 1974.

 

Flavin died in Riverhead, New York, on November 29, 1996, near his Long Island, New York home.

 

Three of Flavin's most ambitious permanent installations were completed after his death: the lighting of Santa Maria Annunciata in Chiesa Rossa, a 1920s designed Catholic Church in Milan, in 1997; a project for Richmond Hall at the Menil Collection in Houston, Texas in 1998; and the completion of an installation in six former army barracks at Donald Judd's Chinati Foundation in Marfa, Texas in 2000.

A Burned Area Emergency Response (BAER) team member inspects a soil sample after the Thompson Ridge Fire in the Sante Fe National Forest in New Mexico. The Thompson Ridge Fire in the Sante Fe National Forest approximately 10 miles north of Jemez, NM began on May 31, 2013 by human ignition consumed over 23, 965 acres. BAER is a rapid assessment of burned watersheds by a BAER team to identify imminent post-wildfire threats to human life and safety property and critical natural or cultural resources on National Forest System lands and take immediate actions to implement emergency stabilization measures before the first major storms. Fires result in loss of vegetation exposure of soil to erosion and increased water runoff that may lead to flooding increased sediment debris flows and damage to critical natural and cultural resources. BAER team members implement seeding and mulching installation to prevent erosion, erect temporary water run-off control structures that will protect recovering areas, and installation of warning signs, replace safety related facilities, remove safety hazards, prevent permanent loss of habitat for threatened and endangered species, and prevent the spread of noxious weeds and protect critical cultural resources. U.S. Forest Service photo.

Danza permanente - DD Dorvilliers

Closed due to environmental and safety concerns.

The Gallia Permanent Waving machine for hair styling was invented by Gaston Boudou around 1919 and in partnership with René Rambaud set about building up a business selling their Gallia machines. Over the years, the Gallia machine and reagents used had been improved and by 1929, there were many Gallia Hair Clinics operating throughout Europe and the US. The clinics also trained Gallia machine operators who were awarded their certificate and badge on successful completion of the course. Gallia was but one type of hair permanent waving machine available to hairstylists at the time.

 

A ‘permanent wave’ is commonly called a ‘perm and during the late 20’s a first class permanent wave would cost close to 300 Francs. Such a perm involved the use of chemical reagents to break down the keratin’s di-sulphide links and heat to re-form the hair into its new shape. A Permanent Wave could last up to six months before the hair outgrew it and a re-perm was required. Standard ‘non-permanent’ hair waving cost a fraction of that amount and at best, could last up to two weeks before it needed renewal.

 

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References:

 

Producing fashion: commerce, culture, and consumers by Regina Lee Blaszczyk (University of Pensylvania Press 2008, pp237-239).

 

golfgal.hubpages.com/hub/The-Permanent-Wave-That-Was-Only... (Interesting link about Permanent Waving with pictures of the types of machines involved, including one of Shirley Temple getting her curly locks renewed).

 

en.wikipedia.org/wiki/Perm_(hairstyle)

 

.

Enamels: 1 (blue).

Finish: Gilt.

Material: Brass.

Fixer: Pin.

Size: 1 ½” x ¾” (about 38mm x 20mm).

Process: Die stamped.

Makers: Thomas Fattorini Ltd, Regent St, Birmingham (1933-1961).

 

.

Thank you for reading.

Stuart.

 

Permanent resident of the pine oak area of Michoacán.

 

Read more here : www.allaboutbirds.org/guide/Painted_Redstart/idak highlands in Mexico. Seen at Patzcuaro Michoacán.

 

Don't use this image on websites, blogs or other media without explicit permission. © Barbara Dickie. All rights reserved.

 

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El monasterio de Santa María de Montserrat es un monasterio benedictino situado en España. Se encuentra en la montaña de Montserrat, perteneciente a la comarca catalana del Bages, provincia de Barcelona, a una altura de 720 metros sobre el nivel del mar. Es un símbolo para Cataluña y se ha convertido en un punto de peregrinaje para creyentes y de visita obligada para los turistas.

 

Dentro de las diferentes acciones que se desarrollan en Montserrat destaca la escolanía que es uno de los coros de niños cantores más antiguos de Europa.

 

El origen del monasterio es incierto. Se sabe que sobre el 1011 un monje procedente del monasterio de Santa María de Ripoll llegó a la montaña para encargarse del monasterio de Santa Cecília, quedando así el cenobio bajo las órdenes del abad Oliva de Ripoll. Santa Cecilia no aceptó esta nueva situación por lo que Oliva decidió fundar el monasterio de Santa María en el lugar en el que se encontraba una antigua ermita del mismo nombre. A partir del 1082, Santa María pasó a tener abad propio y dejó de depender del abad de Ripoll.

 

Esta ermita se había convertido en la más importante de todas las que existían en la montaña gracias a la imagen de la Virgen que en ella se veneraba desde el 880. El monasterio pronto se convirtió en santuario lo que le benefició, ya que los donativos y las limosnas recibidas le permitieron ir creciendo de forma constante. A finales del siglo XII, el abad regente solicitó que se permitiera ampliar la comunidad de monjes a 12, mínimo requerido para que se considerara abadía . El siguiente siglo fue el del inicio de la lucha de Montserrat para conseguir su independencia del monasterio de Ripoll. Esta independencia no llegó hasta el 10 de marzo de 1410 y fue concedida por el Papa Benedicto XIII.

 

En 1493, Montserrat perdió de nuevo su independencia. El rey Fernando el Católico envió al monasterio 14 monjes procedentes de Valladolid y Montserrat pasó a depender de la congregación de esta ciudad castellana. Durante los siglos siguientes se sucedieron los abades catalanes y castellanos. Ese mismo año de 1493, el fraile mínimo Bernat Boil, antes ermitaño de Montserrat, acompañó a Cristóbal Colón en uno de sus viajes a América lo que propició la expansión del culto a la virgen de Montserrat en ese continente.

 

El siglo XIX fue especialmente trágico para Montserrat: fue incendiado dos veces por las tropas napoleónicas, en 1811 y en 1812; y en 1835 sufrió la exclaustración debido a la desamortización de Mendizábal. El monasterio fue saqueado e incendiado y se perdieron muchos de sus tesoros.

 

La exclaustración duró poco y en 1844 se restableció la vida en el monasterio. La congregación de Valladolid había desaparecido por lo que Montserrat se convirtió de nuevo en independiente. El monasterio entero se tuvo que restaurar ya que no habían quedado más que las paredes. Desde entonces el monasterio de Santa María de Montserrat no ha dejado de crecer, contiene una de las mejores bibliotecas de España. La congregación actual está formada por unos 80 de monjes. Además, en el monasterio residen los niños que componen la Escolanía de Montserrat, considerada la escuela de canto de más antigüedad en Occidente ya que fue fundada en el siglo XIII.

 

El monasterio

 

El conjunto del monasterio está formado por dos bloques de edificios con funciones distintas: por un lado la basílica con las dependencias monacales; y por otro los edificios destinados a atender a peregrinos y visitantes. Estos últimos incluyen diversos restaurantes, tiendas y una zona de alojamiento.

 

Vida monástica

Claustro de la Santa Cueva.

 

El monasterio de Santa María de Montserrat, como cualquier otro conjunto religioso, consta de dos partes diferenciadas que se complementan. La parte arquitectónica y artística y la parte espiritual y religiosa. En Montserrat esta última parte está definida por la Orden de monjes que rige el monasterio, la Orden Benedictina, con una comunidad de unos 80 monjes que se mantiene al frente del monasterio por más de 1.000 años, que se basa su práctica en la Regla de San Benito y en la oración litúrgica, su lema es :"Ora et Labora". Para San Benito, como bien lo define en prólogo de su Regla, un monasterio es una escuela al servicio del Señor. Esto hace que "el monasterio" sea la base fundamental de la existencia de la comunidad cuyos vínculos deben llegar a ser afectivos al grado de familiares. El monasterio debe hacer fácil, natural y flexible la relación con Dios.

 

Los benedictinos practican la vida contemplativa, que es la que da prioridad y preferencia al ejercicio de la oración y se establece como un ideal puro de vida cristiana. La relación del hombre con Cristo, la que busca el monje de Montserrat, viene señalada en tres ocasiones en la Regla de San Benito;

Nada anteponer al amor de Cristo (Reg. cap. IV).

Los que nada estiman tanto como Cristo (cap. V).

Nada absolutamente prefiera a Cristo (cap. LXXII).

 

La relación debe ser muy personal, muy directa llegando a la intimidad. Los monjes benedictinos han de ser hombres de fe, disfrutando del gozo de la misma y hombres de oración, que se opongan al activismo y a la agitación, haciendo de la oración el más alto valor religioso. Se cultiva la caridad entendida como el amor a Dios y la convivencia fraternal.

 

Los monasterios benedictinos solo mantienen lo principal;

 

* Estabilidad, contra el peregrinar de los monjes andariegos.

* Vida en común, contra el egoísmo del aislamiento.

* Un Abad, como principio activo de autoridad.

* Un orden en la vida.

 

Junto a la caridad, la disciplina es una de las directrices importantes. La caridad, propiciada por la vida en común, es el amor al prójimo y lucha contra el egoísmo. La disciplina se eleva contra el protagonismo y la originalidad, concretándose en la obediencia y el cumplimiento de la Regla. De estas directrices nacen los tres votos que procesan los monjes benedictinos:

 

* Estabilidad: Permanencia y perseverancia en un monasterio.

* Conversión de costumbres: Que la entrega a Dios sea real y no una pura fantasía.

* Obediencia según la Regla: Sometiéndose a la autoridad de un jefe.

 

El voto de Obediencia según la Regla solo puede llevarse a cabo con la figura del abad. El abad debe ser la representación de Cristo en el monasterio. Gobierna el mismo en sus tres vertientes, la espiritual, la docente y la de gestión.

 

Para que estos objetivos que se persiguen en la vida monástica puedan llevarse a cabo es imprescindible el silencio. El silencio es el que permite, en la oración, oír a Dios.

 

La oración culmina con el Oficio Divino y la Sagrada Liturgia, donde el Sacrificio Eucarístico es el centro. La oración es el centro de la vida benedictina.

 

La vida de un monje está basada en la caridad fraterna, sin caridad no se pude mantener la relación fraternal de la vida monástica ni la entrega a Dios. La Regla dice:

Este es el celo que con ferventísimo amor ejercitarán los monjes, es decir: que se prevengan unos a otros con honores; súfranse pacientísimamente los defectos del alma y cuerpo; préstense a porfía obediencia mutua; ninguno busque su propia utilidad, sino más bien la del otro; tribútense una casta caridad fraterna.

 

La búsqueda de Dios por medio de Cristo pasa por la Pasión, por la mortificación que el monje debe seguir. Mortificación espiritual que significa la renuncia de voluntaria a la propia voluntad.

 

El rechazo de la riqueza, de los bienes materiales que estorban el camino de hacia Dios da como resultado la pobreza. La consecuencia de esta pobreza es el trabajo necesario para el mantenimiento de la vida. El trabajo es el elemento más contribuyente al equilibrio de la vida benedictina.

 

La dirección espiritual y la instrucción litúrgica son las formas de apostolado que una comunidad benedictina ejerce. Esto se concreta en la apertura de la iglesia monástica a quien quiera integrase en la oración colectiva y el monasterio a quien busque un ambiente de paz y serenidad.

 

La basílica de Montserrat

Fachada principal de la basílica.

 

La basilica de Montserrat es de una sola nave. Se comenzó a construir en el siglo XVI y fue reconstruida por completo en el siglo XIX (año 1811) después de la destrucción en la guerra de la Independencia. La fachada se realizó en 1901.

 

Alrededor de la única nave se sitúan diversas capillas. La nave está sostenida por unas columnas centrales, con tallas realizadas en madera por Josep Llimona. En la cabecera está situado el altar mayor y la zona del coro. En 1881 el papa León XIII le otorgó la condición de "basílica".

 

Justo encima del altar mayor se sitúa el camarín de la Virgen al que se accede después de atravesar una portalada de alabastro en la que aparecen representadas diversas escenas bíblicas.

 

El órgano

 

El órgano de la iglesia de Montserrat data de 1896 y en 1957 se trasladó al presbiterio. Este órgano esta muy deteriorado. El órgano nuevo que esta previsto inaugurar en el año 2007 es una obra importante que busca situar a Montserrat a un nivel musical internacional.

 

este órgano esta proyectado por Albert Blancafort, construido por Blancafort, orgueners de Montserrat y financiado por subcripción popular y la obra social de la Caixa de Penedes.

 

El órgano va ubicado en el lateral de la nave, como es tradicional en Cataluña, ofreciendo una muy buena sonoridad en todo el templo.

 

Las características del instrumento son:

 

* 63 registros.

* 4.230 tubos.

* 4 teclados manuales de 58 notas.

* 1 teclado de pedal de 32 notas.

* Transmisión mecánica.

* 12,5 m. de altura, 5,5 de anchura y 4 de fondo.

* 12.000 kg de peso.

 

El claustro

 

El claustro del monasterio es obra del arquitecto Josep Puig i Cadafalch. Es de dos pisos sostenidos por columnas de piedra. El piso inferior se comunica con el jardín y dispone de una fuente en su zona central. En las paredes del claustro se pueden ver piezas antiguas, algunas del siglo X.

 

El refectorio

 

El refectorio es del siglo XVII y fue reformado en 1925 por Puig i Cadafalch. La parte central cuenta con un mosaico que representa a Cristo mientras que en la zona opuesta se puede ver un tríptico con escenas de la vida de San Benedicto.

 

El museo

Artículo principal: Museo de Montserrat

 

El monasterio dispone de un importante museo dividido en tres secciones distintas:

 

* Pintura moderna, con obras de artistas de Cataluña como Rusiñol, Casas, Nonell, Mir, Picasso y Dalí; así como una representación del impresionismo] francés con autores como Renoir, Monet, Sisley y Degas.

 

* Arqueológia del oriente bíblico, donde se muestran objetos de Egipto, Chipre, Mesopotamia y Tierra Santa.

 

* Pintura antigua, donde se muestran obras de autores como el Greco, Caravaggio (de esta autor se exhibe un importante "San Jerónimo") y Berruguete.

 

Además se pueden ver otras colecciones como iconografía de Montserrat, orfrebrería religiosa, etc.

 

Espacio audiovisual

 

Espacio audiovisual con el título de Montserrat portes endins se expone mediante una serie de audiovisuales las actividades diarias de los monjes así como un paseo virtual por los espacios más representativos del complejo monacal.

 

El exterior

Plaza de Santa María.

 

En la parte exterior se distribuyen diversas plazas que sirven para ordenar el conjunto de edificios en la orografía escarpada de la montaña. Este espacio exterior, al que se han añadido diversas obras escultóricas, conforma un "museo al aire libre". Destaca especialmente el Rosario Monumental de Montserrat.

 

La plaza de Santa María es la plaza principal y la que da acceso al monasterio y es obra también de Puig i Cadafalch. Desde la plaza se puede observar la nueva fachada del monasterio, construida por Francesc Folguera con piedra de la propia montaña. A la izquierda se pueden ver los restos del antiguo claustro gótico.

 

En la plaza del abad Oliva se encuentran los edificios que dan albergue a los peregrinos. La plaza está presidida por una estatua dedicada al fundador del monasterio, realizada en 1933 en bronce por el escultor Manuel Xuclà.

 

La última de las plazas de Montserrat es la de la Santa Cruz, dedicada a San Miguel. La plaza recibe su nombre de la cruz que la preside, obra del escultor Josep Maria Subirachs.

 

La Santa Cueva de Montserrat es el lugar en el que apareció la Virgen. Para acceder a él, y al vía crucis que existe cerca se puede usar un funicular. También hay servicio de funicular para subir hasta Sant Joan desde donde se puede obtener una de las mejores vistas de lugar.

 

La Virgen de Montserrat

La moreneta

 

Según la leyenda, la primera imagen de la Virgen de Montserrat la encontraron unos niños pastores en el 880. Tras ver una luz en la montaña, los niños encontraron la imagen de la Virgen en el interior de una cueva. Al enterarse de la noticia el obispo, intentó trasladar la imagen hasta la ciudad de Manresa pero el traslado fue imposible ya que la estatua pesaba demasiado. El obispo lo interpretó como el deseo de la Virgen de permanecer en el lugar en el que se la había encontrado y ordenó la construcción de la ermita de Santa María, origen del actual monasterio.

 

La imagen que en la actualidad se venera es una talla románica del siglo XII realizada en madera de álamo. Representa a la Virgen con el niño sentado en su regazo y mide unos 95 centímetros de altura. En su mano derecha sostiene una esfera que simboliza el universo; el niño tiene la mano derecha levantada en señal de bendición mientras que en la mano izquierda sostiene una piña.

 

Con excepción de la cara y de las manos de María y el niño, la imagen es dorada. La Virgen, sin embargo, es de color negro, lo que le ha dado el apelativo popular de La Moreneta (la morenita). Aunque se ha afirmado en ocasiones que el origen de este ennegrecimiento está en el humo de las velas que durante siglos se han colocado a sus pies para venerarla, lo cierto es que en toda Europa se veneran vírgenes negras (p.e. la Virgen de Guadalupe, o la Virgen de la Peña de Francia, en Salamanca), que habría derivado de la cristianización del culto a las antiguas diosas de la tierra (Isis, Cibeles, Artemisa...)

 

El 11 de septiembre de 1884, el Papa León XIII declaró oficialmente a la Virgen de Montserrat como patrona de Cataluña. Se le concedió también el privilegio de tener misa y oficios propios. Su festividad se celebra el 27 de abril.

restaurant window from the outside - covent station, morristown, nj

CLUB BOUNCE PARTY PICS 6/27/14!

So many new peeps and our regs keep coming back for more!

Feel free to tag, save & share with your friends..

 

Our next event is Friday July 18th! 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

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.

Volle, sinnliche Lippen durch eine Permanent Make-up Lippenkontur in Zürich

Permanent Make-up Lippenkontur in Zürich

Sind Lippen so geformt, dass sie voll und sinnlich wirken, gilt dies für viele als Schönheitssymbol. Denn ein Lächeln mit vollen, sinnlichen Lippen wirkt einfach viel freu...

 

swiss-beauty-studio.ch/permanent-make-up-lippenkontur-in-...

Ko Chang (เกาะช้าง) is an island in Trat Province, Eastern Thailand. Ko Chang is Thailand's second largest island, and the biggest in Eastern Thailand. With about 5,000 permanent residents the island is not heavily populated, but tourism (and development) has increased dramatically over the last few years.

 

Ko Chang is one of Thailand's most beautiful islands with long white sandy beaches. The island is also home to a wide range of wildlife, including a good selection of birds, snakes, deer and a number of elephants. The island and its vicinity are great places for snorkeling, diving and jungle hiking. The "discovery" of the island as a tourist destination since 2000 has brought on a large amount of rapid development, and while still far quieter than places like Phuket or Ko Samui, it is far from quiet in high season. Regarding services and activities specifically aimed at tourists prices have reached such a level that the islanders are pricing themselves out of the market when compared to the other islands.

 

HISTORY

Prior to World War II, Ko Chang was little known to Westerners and was lightly-populated. The few families there made a living growing coconuts and fruit on the mainland. In January 1941, during the Franco-Thai War, the Thai Navy fought against a French surprise attack in in the waters to the south of Ko Chang.

 

The first backpacking foreigners started arriving on local fishing boats in the mid-1970s. In 1982, Ko Chang, along with surrounding areas, became part of Mu Ko Chang National Marine Park. Only very recently, in less than ten years, Ko Chang has turned into a major tourist destination, both for foreigners and local Thais.

 

This sudden tourism boom however, has been fraught with controversy concerning land use, etc. The government is trying to "develop" it from a backpackers' paradise to a top-level destination, and construction work is going on throughout the island, with basic huts torn down to make way for fancy resorts.

 

GEOGRAPHY

Ko Chang is the largest island in the Ko Chang Archipelago. The name means Elephant Island, named for the elephant shape of its headland, although elephants are not indigenous to the island.

 

Ko Chang has an area of approximately 429 square kilometres. The topography contains high mountains and complex stone cliffs. The highest mount is Khao Salak Phet which is 744 metres high, rich in fertile evergreen forest which is the main water source. Therefore, there are many waterfalls, beaches and splendid reefs in the west of the island.

 

Most accommodation is located on the western side of the island, where the sandy beaches are. On the eastern side of the island there are few sandy beaches; as such, this side is far less touristy. There are some nice waterfalls though.

 

70 percent of this undisturbed island is rainforest, steep hills, cliffs, waterfalls, and wildlife, fine beaches, coral reefs and an abundance of marine life. The island also offers tall mountains and rock cliffs.

 

CLIMATE

Ko Chang has the same seasons as Bangkok. The best season to go is the (comparatively) cool season between November and February. March to May are roasting hot and between June and October it rains, and a lot at that: 4,000 mm in an average year. Many guest houses close during this season, so accommodation is limited.

 

GET IN

BY PLANE

Bangkok Airways flies 3 times a day from Bangkok's Suvarnabhumi Airport (the "new" BKK) to Trat Airport. The flights depart at 08:30, 11:40 and 17:05, and take 1 hour exactly. Ticket prices are between 2,000B and 3,800B return trip depending on the time of year.

 

Direct door-to-door minibus transfers from Trat airport to Ko Chang resorts cost 500 Baht/person one way and 900 Baht/person return including the ferry crossing. The minibuses are air-conditioned.

 

From Bangkok's Suvarnabhumi Airport, take the free express shuttle bus from outside the arrivals concourse to the airport's own bus terminal, and from there the next available bus to either Trat or Chanthaburi, then proceed as described below.

 

BY BUS

From Bangkok the most economical way to get to Laem Ngop (where the Ko Chang ferry piers are) is to take a 1st class bus #999 from the Eastern (Ekamai) Bus Terminal direct to the Laem Ngop piers. The fare is 275 baht one-way (520 baht return) and takes just over five hours. Departures from Ekamai are at 07:45 & 09:45, and return at 14:00. Subject to seat availability, this bus can also be boarded at Chanthaburi and at Suvarnabhumi Airport. However, as of December 2009 there was a more comfortable way to travel from Bangkok Airport to Ko Chang: the new bus line # 392 starts from the airport bus terminus (make sure to take a free shuttle from main airport to airport bus terminus) at 07:30 and returns from Koh Chang at 12:30. Tickets can be bought online at the Suvarnabhumi Burapha Bus Company. As of 1 Nov. 2010 there are also express shared minibuses running from Suvarnabhumi airport non-stop to Lonely Beach on Ko Chang. Tickets are 308 baht for the big bus and 600 baht (800 baht round trip)for the Lonely Beach Express minibus which includes a ticket for the ferry. However, this service can be unreliable; jammed minivans with unsecure luggage and drivers breaking traffic rules. It is also not guaranteed that your return will be by minivan, but rather with a large bus carrying people for other destinations which requires lengthy stops along the way.

 

Alternatively, there are 1st class (approx. 5 hours, around 250 baht) and 2nd class services from both the Eastern Bus Terminal (Ekamai) and Northern Bus Terminal (Moh Chit) direct to Trat, and frequent songthaew services from Trat to Laem Ngop (approx. 30 minutes, 50 baht/person). Departures from Ekamai are more frequent than from Moh Chit. If coming by bus from the south, the #511 air-con bus can be used to connect directly between Bangkok's Southern (Sai Tai Mai) and Eastern (Ekamai) bus terminals.

 

Departures from Ekamai on the Cherdchai Private Bus company second class bus are 255 Baht to Trat (March 2015), with departures approximately every 2 hours during the day and advertised travel time being 4 hours.

 

There is a new government bus line 999 that travels between Ekamai station and the ferry to Ao Thammachart Pier. It is properly airconditioned and each traveller receives a refreshment pack. Unfortunately the travel times for bus 999 are limited. There are only 2 departure times per day, both in the morning.

 

The Cherdchai Private Bus company night sells seats on a first class airconditioned night bus that leaves Ekamai at 11.30pm and arrives in Trat town around 5am the next morning but it cannot be recommended as the bus was crowded, the airconditioning was almost non-existent, the toilet stank of urine and the bus itself was filthy. Be careful too that if the Cherdchai ticket booth at Ekamai charges you for a ferry ticket to Koh Chang as the ferry ticket is overpriced and puts you on a ferry to Centrepoint Pier, which is a 45 minutes trip compared to 25 minutes if you take the ferry to Ao Thammachart Pier.

 

Connection in Trat can also be used if coming from Pattaya (2nd class bus, 4 hours, around 200 baht).

 

There are direct minibus services to Laem Ngop from Pattaya, Ban Phe (gateway to Ko Samet), and Bangkok's Khao San Road and Victory monument (in front of the Payathai hospital). They, however, are less comfortable and spacious than public buses, and you may be charged significantly more by travel agencies selling tickets to these, as often with any tourist-oriented transportation in Thailand.

 

It may also be possible to proceed directly to Laem Ngop by minibus or songthaew from the Hat Lek / Koh Kong border crossing with southern Cambodia, depending on the time of year, time of day, etc - enquire locally. Price around 120 baht (one way) from the border to Trat bus station.

 

BY BOAT

Most ferries operate from Laem Ngop, which has three piers . The Laem Ngop (Tha Khrom Luang or Tha Laern Ngop) pier is approximately 700 metres west of Laem Ngop. The Centrepoint (Tha Centre Point) pier is located about 3.5 km north-west of Laem Ngop. These piers serve both vehicle and passenger ferries.

 

Koh Chang vehicle ferry pier is located in Thammachat Bay (Ao Thammachat), around 15 km west of Laem Ngop.

 

All piers on Ko Chang are situated on the eastern side of the island. The major piers are the two Dan Kao piers, Tha Dan Kao and Tha Ferry Dan Kao, who handles most of the traffic. To take a boat from Laem Ngop to the Dan Kao piers take around 45 minutes. The car ferry from Laem Ngop take around 1 hour and arrives at the Tha Ferry Dan Kao pier, situated 400 metres southeast of the Tha Dan Kao pier. The car ferry from Thammachat Bay stops at the Ko Chang Ferry Pier (Tha Ferry Ko Chang) in the Sapparot Bay (Ao Sapparot), 3 kilometres northwest from the Dan Kao piers.

 

Light meals, fruit, fruits and beverages are available at all the piers and on the car ferries.

 

There are two operators that provide daily speedboat services from Ko Kood to Ko Chang. One is based in Bang Bao, the other on Kai Bae Beach [6] Rates are the same but departures times can vary, so make sure to book ahead.

 

GET AROUND

In the daytime, you can catch a songtheaw on its route around the main road for 50 or 150 baht/person, depending how far you go. The rates are generally much higher than in other places, but the vehicles are almost new and in excellent condition. Starting from 5.00pm, many of them start to ask "taxi" price, telling you that they operate as a public transport only until that time, and may quote prices as high as say 500 baht from Lonely Beach to the Dan Kao pier (bargain if you choose to hire, do not support silly prices!). However, if you have some time and patience, you still can try and have a "shared" ride with some drivers, maybe for a higher rate if they expect little or no other passengers.

 

These taxis are also waiting at the Dan Kao Pier (50 baht/person to White Sand beach, 100 baht to Lonely Beach). At the Dan Kao Ferry-Pier there may be no taxis available. If you arrive without a vehicle you may have to walk the 400 metres to Dan Kao Pier. The prices have become unofficially fixed and there is little room for bargaining; however, the price you pay to return should be the price you payed to come in the first place (50B White Sands, 100B Lonely, 150B Bang Bao). If they try to add 50B to that, decline (not politely). There will be another taxi and accepting the price increase condones the practice and causes price increases over time.

 

Small motorcycles can be rented for 150-300B per day. The main road is sealed and almost circles the island and there are plans to complete the circuit in the near future. Cars are also available for rental, most hotels can help with it. 4x4 car recommended, since some roads might be in bad condition, especially near Lonely Beach.

 

To rent a motorbike at the center point pier is a good option to save money, as you are avoiding the expensive taxi rides. It further gives you the freedom to drive to more remote beaches where you most of the time fine lower rates for accommodation. [Update April 2014: Center Point motorbike rentals charging 250 baht/day daily rentals, 200 baht/day for 5 days, and 150 baht/day for monthly rentals. Price is (apparently) non negotiable. They also only provide you with ~.7L of fuel, so it's on you to fill the rest of the way up.]

 

If there are 2 or more people going with you, hiring a songtheaw may cost the same price, or even be cheaper than paying per each person in a "shared" songtheaw (there is no difference, an empty songtheaw can easily be hired). Just do not forget to bargain if their price sounds quite silly when compared, say, to Bangkok taxi-meter (on Ko Chang it can be difficult if not impossible to get the same price, but at least it should not cost double or even more). Generally most people just stay on the beach of their choice and walk to wherever they want to go.

 

Hitching on Ko Chang is also an alternative if you choose not to pay the often exorbitant fees of the songtheaw. Many islanders are more than willing to pick up a hitchhiker who happens to be going the same way they are. A Coke or cold bottle of green tea for the driver are always appreciated at the end of your journey.

 

SEE

Elephants - There are three or four places offering elephant rides. We checked them out and none of them are 'elephant friendly'. Please think carefully about wanting to sit on a chair on the back of an elephant. All you can see from the is trees and a long drop to the ground. Elephants for riding are 'broken' when they are babies. They are guided by a mahout with an 'ice pick'. The ice pick is not for show. It is used on the elephant. Perhaps not when you are there... Elephants under stress rock from side to side and actually look distressed. If you see this behaviour, or see that the animals are being chained with little or no shade, or see that they do 'tricks', they are being misused. This becomes your choice. Do you perpetuate a cruel practice for a bit of fun, or do you look elsewhere?

 

- The Mu Ko Chang National Park - National Marine Park comprising parts of Ko Chang and 46 other islands

- War memorial monument - in the very south of the island

 

WATERFALLS

- Klong Plu - the most popular waterfall, and the only one on the west side of the island

- Klong Nonsi - waterfall on the east side of the island

- Klong Nueng - said to be the most breathtaking waterfall

- Khiri Petch - medium sized waterfall, about 3 kilometres from Salak Petch village

- Kongoi - 5 waterfalls near Bang Bao

- The Thanmayom - near Thanmayom pier

 

DO

Scuba diving and fishing are the most popular activities, because there are many beautiful corals and many kinds of fish for fishing. Additionally, a jungle trekking is a great idea. Jungle trekking is divided in 2 parts- north and south. Jungle trekking of north is a nature walk that contains many kinds of fruit, and several of plants. On the other hand, jungle trekking of south includes visiting fishing villagse and offers you to see a variety of animals (monkeys, snakes, birds, lizards) You can also learn how to cook Thai food. The cost for each courses starts form 1200 baht. They will teach popular Thai food such as spicy salad (som-tum), chicken curry (kang keaw wan), spicy soup (tom yum), fried rice noodles (Pad Thai), and so on. Moreover, the main activity in koh chang is the island sightseeing. You can see a famous Chinese temple that everybody should visit and pray.

 

WIKITRAVEL

Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye

www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes

Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945

Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports

Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR

www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

   

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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In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.

de.wikipedia.org / wiki / Albertina_ (Vienna)

 

 

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

Which twin has the toni?

Harlem, Manhattan, New York City, United States

 

History of Harlem 1658-1920s'

 

Harlem, originally called Nieuw Haarlem, takes its name from the Dutch city of Haarlem. The first permanent non-native settlement in Manhattan's northern region, the village was established in 1658 by Gov. Peter Stuyvesant about ten miles north of New Amsterdam along the "Harlem Road" (Boston Post Road), a Lenape Indian trail widened by the enslaved black workers of the Dutch West India Company. Following the English takeover in 1664, the Harlem village ranked with New York (formerly New Amsterdam) as the second largest European immigrant community on Manhattan Island. From the colonial period through the nineteenth century the distance from lower Manhattan to Harlem - a three- to four-hour joumey by horse-drawn carnage -- shaped the region's development and prosperity as a fanning community of large estates, owned by some of New York's early wealthy families and labored upon by the city's black population.

 

Harlem suffered economic decline in the 1830s when many of the great farms failed and estales were sold at public auction. The area attracted those who sought cheap property and housing, including speculators and many poor immigrants who made homes in scattered shantytowns. The New York & Harlem Railroad was completed in 1837, but service was poor and unreliable Residential development in Harlem proceeded at a slow pace.

 

As the population of New York increased after the Civil War, development spread more rapidly. By 1881 three lines of the elevated railroad along Second, Third and Eighth Avenues opened new neighborhoods. In 1885, the introduction of electric cable car service on Amsterdam Avenue and along 125th Street made Harlem even more accessible. The Harlem Opera House was inaugurated in 1889 and new buildings were constructed, lining the newly paved avenues and streets. Elegant homes, such as the King Model Houses built in 1891 along 138th and 139th Streets (later known as Striver's Row, located in the St. Nicholas Historic District), helped establish Harlem as a fashionable community.

 

The character of Harlem again changed dramatically during the early years of the twentieth century. A proposed subway route to Harlem in the late 1890s ignited a new round of real estate speculation, leading to highly inflated market values. Many new residential buildings were constructed; however, excessive vacancies forced a collapse in the Harlem real estate market prior to the completion of the subway. Taking advantage of the deflated real estate market was Philip Payton, a black realtor who founded the Afro-American Realty Company in 1904. Promoting easy access to Harlem via the new West Side subway (I.R.T.) to 145th Street, Payton negotiated leases on white-owned properties and rented them to blacks.

 

Despite the fact that they were charged higher rents than were whites, New York's black middle class — long denied access to "better" neighborhoods -- seized the opportunity for decent new comfortable housing and moved uptown. In 1906, the demolition of homes in the Tenderloin District, a predominantly black neighborhood near 34th Street, for the construction of Pennsylvania Station uprooted hundreds of families, sending them north to Harlem where good housing was plentiful and affordable. Soon black immigrants from the Caribbean and the American South joined the migration to Harlem. By 1914, most of the major black churches which were once located in lower Manhattan and midtown had moved northward along with their congregations. By 1925, New York City's black population was over 250,000 and most lived in Harlem.

 

On July 26, 1820, led by Varick, all but sixty-one of Zion's 751 members voted formally to withdraw altogether from the white "Mother" Methodist Church denomination and form a separate "conference" of African Methodist Episcopal Zion Churches. Within a decade, more than a dozen affiliate Zion churches were formed in Pennsylvania, Rhode Island, Connecticut, and also Canada. In 1822, a branch, called "little Zion," was founded in Harlem to serve the local black population, and the founding church at Leonard Street began to be known as "Mother" Zion. The present name of the church was officially approved in 1848.

 

Early nineteenth-century Zion Church history was characterized by outspoken activism in the abolitionist movement,window and some of the most famous names in the struggle against slavery were members of the A.M.E. Zion denomination. Sojourner Truth, bom a slave in New York State and freed upon the state's Emancipation Day, July 4, 1827, was a member of Mother Zion, speaking often at the Leonard Street pulpit against human bondage. Nationally, the A.M.E. Zion Church Conference became popularly known as the "Freedom church." Harriet Tubman, a champion of the Underground Railroad, and abolitionist leader Frederick Douglass were both Zion Conference members, Douglass being a pastor of the A.M.E. Zion Church in Rochester, N.Y. Many Zion Conference churches were part of the network of Underground Railroad "stations," including Mother Zion.

 

After 1827, Mother Zion's location in a "free state" did not prevent the church from being attacked by local anti-abolitionist forces. In the aftermath of a three-day riot by a gang of anti-black demonstrators that left several windows smashed at Mother Zion, and five other black and white churches attacked and set ablaze, the Evening Pasf editorialized on July 12, 1834, that the assaults were a "disgrace.'

 

At the church's fiftieth anniversary (1846), ninety-nine churches located in the United States, Canada, and Caribbean were members of the Zion Conference of Churches. By the advent of the Civil War, "Old Zion," as the originating church was often called, was also known as the "'Mother' of African Churches."

 

By the conclusion of the Civil War, New York City's black population, always at the outermost edge of the city's expansion northward from lower Manhattan, was pushed further uptown. Mother Zion moved also, selling its valuable one-half block lot at Leonard Street in 1864 for $90,000 and purchasing an existing church edifice from the Dutch Reformed Church at West 10th and Bleecker Streets for $45,000; this was Zion's third home until 1904 (the building is no longer extant). During the late nineteenth century, termed the "The Flourishing Period" in a publication commemorating Mother Zion's 100th anniversary (1896), the Zion Conference of Churches had spread throughout the newly free black population of four million ex-slaves in the South, as well as to African and Caribbean countries. At the century's end, Zion's worldwide membership claimed nearly half a million members."

 

Meanwhile, as the twentieth century dawned, the European immigrant population grew even more, pushing the segregated black population further uptown. In 1904, Mother Zion was "pushed" further than ever before in its 108-year history, settling on a new plot of land on the Upper West Side where it constructed the fourth

 

"Mother" church at Columbus Avenue and West 89th Street (later demolished). However, by then, the attraction of northern Manhattan for African-Americans was so great that within ten years the church was forced to follow its own migrating congregation to Harlem. In 1914, Mother Zion purchased its fifth home, a former Episcopal church on West 136th Street, between Lenox and Seventh Avenues.'* And, during the pastorate of the Reverend James Walter Brown (tenure 1912-1936), Mother Zion moved in 1925 for a third time in the twentieth century to the church's sixth and present location at 137th Street.

 

On Monday, Sept. 21, 1925, the New York Times reported, "more than 7,000 negroes attended the opening yesterday of the new $450,000 church of the Mother African Methodist Episcopal Congregation at 140-146 West 137th Street." Mother Zion, which at the time claimed 3,000 members, had moved once more, continued the "each time moving further uptown with the negro colony.

 

The New Church Building and Its Architect

 

In 1914, when Mother Zion moved to Harlem, the black population of that community was centered on the streets of the West 130s, between Fifth and Eighth avenues. Not just Mother Zion, but others of New York's most prominent African-American churches followed their congregants to Harlem and opened new churches in the heart of this new black settlement. Among the prestigious congregations that moved to the area were St. Philip's Episcopal Church which erected a new building on West 134th Street between Seventh and Eighth avenues in 1910-11, and Abyssinian Baptist Church which moved to West 138th Street between Lenox and Seventh avenues in 1923.

 

In addition to the historic black churches that moved to Harlem, new congregations were founded in the community. Both the old and new congregations grew rapidly in Harlem and, as the number of congregants increased, larger sanctuaries were needed. As Mother Zion had done in 1914, many of the congregations purchased the imposing church buildings thai had been erected in the late nineteenth century by white congregations, but were being abandoned by those organizations as their members fled from Harlem."

 

In the early 1920s, Mother Zion purchased three buildings (a pair of small three-story rowhouses and a one-story frame building) on West 137th Street, immediately north of its 136th Street church. These buildings were demolished and architect George W. Foster, Jr., was commissioned to design a new church buiiding.'^ George Washington Foster, Jr. (1866-1923) was one of the first professional black architects registered in the United States and one of only 59 black architects (of a total of 16,613 architects) recorded in the 1910 United States census.'^

 

Very little about Foster's early life and career can be stated with certainty. His descendants believe that he was bom in Newark, New Jersey, the son of a carriage striper.^ Foster is said to have studied architecture at Cooper Union in New York in the late 1880s.He is then believed to have worked for some years as a draftsman in the office of Henry Hardenbergh, one of New York City's leading late nineteenth-century architects.

 

During that period, the Hardenbergh office was responsible for the design of such prominent buildings as the Waldorf (1890-93) and Astoria (1896) hotels on Fifth Avenue between 33rd and 34th streets (both demolished), the American Fine Arts Society Building (1891-92) on West 57th Street, the John Wolfe Building (1894-95; demolished) on Maiden Lane, and the Manhattan Hotel (1895-96; demolished) on East 42nd Street. He is also said to have worked, in 1903, for Daniel Bumham & Co. on the Flatiron Building.

 

Early in the twentieth century Foster apparently established his own architectural practice in New Jersey. In 1902, he moved into a house of his own design at 102 Colony Avenue in Park Ridge. In 1908, when New Jersey began registering architects, Foster became one of two black men to be so registered Foster was registered in New York in 1916.

 

From about 1908 to about 1915, Foster was in partnership with Vertner Tandy. Tandy, who was nineteen years younger than Foster, received his architectural degree at Cornell in 1907; he is generally considered to be the first black architect registered in New York Stated The most important building designed by the firm of Tandy & Foster was the neo-Gothic style St. Philip's Episcopal Church (1910-11) on West 134th Street. After the partnership with Tandy ended, Foster continued to work independently* Mother A.M.E. Zion Church was the most important commission of Foster's late career. Sadly, he died shortly after the design was completed.

 

For Mother A.M.E. Zion Church, Foster designed an impressive church building in the neo-Gothic style. The choice of a Gothic-inspired design reflects the popularity of this mode for early twentieth-century church design in America. In the mid-nineteenth century, many Protestant denominations in America had rejected the Gothic and its associations with Roman Catholic and Episcopal doctrine, in favor of designs based on Romanesque precedents. However, by the turn of the century, the popularity of the Romanesque Revival had waned and most Christian denominations returned to an exploration of the Gothic.^ Architects such as Ralph Adams Cram and Henry Vaughan promoted a return to the use of medieval design by all Christian denominations as the architectural means of reflecting a return to universal Christian values.

 

The new Gothic-inspired buildings, often referred to as neo-Gothic in style, adopted modem construction techniques, but incorporated traditional Gothic features modeled on forms found on twelfth- and thirteenth-century European churches and cathedrals. In New York City, among the many extant examples of churches in the neo-Gothic style erected by Protestant denominations are the Washington Heights Baptist Church (now Convent Avenue Baptist Church, Lamb & Rich, 1897-99) on the comer of Convent Avenue and West 145th Street; St. James Presbyterian Church (Ludlow & Valentine, 1904) on the comer of St. Nicholas Avenue and West 141st Street; South Reformed Church (now Park Avenue Christian Church, Cram, Goodhue & Ferguson, 1911) on Park Avenue and East 85th Street; the Park Avenue Baptist Church (now Central Presbyterian Church, Henry C. Pelton and Allen & Collens, 1920-22); the Abyssinian Baptist Church (Charles W. Bolton & Son, 1922-23); and Mother Zion.

 

Although these neo-Gothic Protestant churches are designed with traditional architectural detail, they are not always laid out with a traditional cross plan with a nave intersected by transepts and a deep chancel. Many of these churches retain the auditorium plan that became popular for Protestant churches (other than Episcopalian) in the mid-nineteenth century. In this type of plan, seats are arranged in arcs as in a theater; the focal point of the interior is the pulpit which is raised on a shallow platform.

 

This seating arrangement permitted all members of the congregation to see and hear the preacher, an indication of the central role played by the minister and the importance of the sermon in the service. Mother Zion is one of many Protestant churches erected in the first decades of the twentieth century with a street elevation in the neo-Gothic style and an auditorium plan. Since the sanctuary at Mother Zion is relatively shallow, the auditorium plan is somewhat modest. The auditorium has a central aisle and two side aisles, with the seats arranged in a subtle arc. Above the main floor of the sanctuary is a curving balcony.

 

The Contemporary Role of Mother A.M.E. Zion Church 1925-1993

 

In the late 1920s, economic and social conditions changed for the worse in Harlem.^ The demand for more housing continued; however, high rents for existing living spaces led to the subdivision of single-family homes into boarding houses and single-room-occupancy residences. Building ownership changed often and upkeep declined steadily. Thousands of residents who had been attracted to Harlem to enjoy a better life — "ordinary, hardworking people," as author and resident James Weldon Johnson wrote in 1930 — were soon struggling in the Depression. Unemployment and crime rose swiftly.

 

The Reverend James W. Brown, who served Zion between 1912 and 1936 both at 89th Street and in Harlem, is remembered for his many sermons against the emerging social "evils" which seemed to overtake Zion's Central Harlem community The pastor preached with frustration against crime, gambling, pool-playing, "improper" dancing, and alcohol abuse. Mother Zion's prominence as a leading religious and social institution continued. Brown and his successor, Dr. Benjamin C. Robeson, who served until 1963, appealed also to influential and notable Harlem citizens. Robeson's civil rights crusade attracted Langston Hughes, W.B.B. DuBois, Marion Anderson, Roland Hayes, and Joe Louis. Often, the Zion pulpit was a platform for the social and political activism of the pastor's more famous brother, Paul Robeson.

 

At Mother Zion's 150-year sesquicentennial (1946), two weeks of daily celebrations attracted national attention. A one thousand voice choir was assembled and a parade drew thousands of participants along Seventh Avenue. Commemorative events were held at several locations. New York Gov. Thomas E. Dewey addressed church members at Carnegie Hall, and at Madison Square Garden, congratulatory speeches were made by Mary McLeod Bethune and Congressman Adam Clayton Powell, Jr. (who was also the minister at neighboring Abyssinian Baptist Church). A Mother Zion delegation was also received at the White House by President Harry S. Truman.^

 

Harlem's economic and social downslide continued into the 1950s and '60s. Under the tutelage of the Reverend George W. McMurray, who took up the pastorate in 1963, the church began a sustained program of economic and social revival. In 1972, the James Varick Community Center, constructed on the site of the former church building on 136th Street, was completed at a cost of $1. 6 million. The center makes complete use of its four floors of facilities, from the full service kitchen and basketball courts in the basement to the rooftop (rubber matted) playground for children.

 

Through the Varick Center, Mother Zion administers day care, daily after-school youth programs, a relocation and education program for formerly homeless women, and mental health services and youth counseling under the auspices of the Graham-Windham Family Services Center. Today, a single-page handout to church visitors describes Mother Zion's Seven Day Ministry and Outreach Program as "continuing in the tradition of the founding fathers who sought to address not only the spiritual needs of their members, but their temporal needs as well. "3* Dr. Alvin T. Durant came to Mother Zion from East Chicago, Indiana, as the pastor on July 4, 1993.

 

Building Description

 

Mother A.M.E. Zion Church is a symmetrically designed building set on a smooth granite base above which rises a facade of rough blocks of gray stone laid in random ashlar; the building is trimmed with white terra cotta. ^ The building is set at the lot line and stretches for the entire length of its ninety-five-foot wide lot. To either side of a tall, wide central gable are pairs of narrow buttressed wings that step down from the height of the gable.

 

The openness of the central gabled section, which is pierced by a large pointed-arched window and a triple-arched entrance portico, contrasts with the austerity of the stone wings with modest window and door openings.

 

The central gabled section is the focal point of the church design. With its entrance porch and large window, this is the most ornate portion of the building. The church is entered through a shallow projecting terra-cotta entrance portico that is pierced by three pointed-arch entrances. Each entrance is reached by a short flight of granite stairs and is flanked by granite wing walls. Within each arch is a pair of multi-paneled wooden doors with Gothic-style hardware and a pointed-arch transom divided vertically into seven lights.

 

The spandrel panels of each entrance arch are ornamented with quatrefoils and the entire triple-arched ensemble is set below a long drip lintel. Above the lintel are a series of blind pointed arches with shield embellishments. The roofline of the porch is crenellated; the crenellated roofline has a projecting cap molding.

 

Above the entrance portico, the facade is pierced by a large pointed-arch window with ornate tracery. The window is filled with stained glass. The sides of the window are marked by keyed blocks of terra cotta, while the spandrel is a large terra-cotta expanse articulated by blind pointed arches. A projecting terra-cotta beltcourse extends above the spandrel panel, marking the base of the gable's pediment. The lower portion of the pediment is faced with rock-faced stone, while the peak is faced with terra cotta ornamented with blind pointed arches. Terra-cotta foliation caps the pediment. The steep sloping peaked roof, extending behind the gable, is clad in slate.

 

The end wings, which step down as they extend from the central gable, are far more austere than the gabled central section. The end wings are visually tied to the central section by three modest projecting beltcourses. The lower beltcourse is a continuation of the cap molding on the crenellated roofline of the entrance porch. A second beltcourse extends from the base of the spandrel panel of the large central window across the inner wings.

 

The third beltcourse is the terra-cotta cap stone running along the edge of the central gable and continuing along the stepped roofline of the end wings. The gable is flanked at each side by two buttresses; similar, but shorter, buttresses flank the end wings. Each of the six buttresses has a single step with terra-cotta coping. The four inner buttresses are further ornamented by terracotta panels with blind pointed arches. All six buttresses contain triangular terra-cotta panels with blind-arched ornament and crowning finials. Terra-cotta pinnacles, embellished with crockets and bouquets, rise A-om the four inner buttresses.

 

Each end wing has only one opening, located at or near the base. The inner wings are articulated by single pointed-arched openings set slightly above the base of the building. Each opening is divided into two windows; the openings have keyed terra-cotta enframements. Each end wing has a pointed-arched, street-level entrance with a wooden door and terra-cotta enframement.

 

To either side of the end buttresses on the front facade is a small stepped buttress that visually supports the comer of the side elevations and separates the church building from the apartment houses located to the east and west.

 

The Mother Zion Legacy in Today's Church

 

Upon entering the church, the recognition of Mother Zion's almost two-hundred year history is immediate. Exhibited in the vestibule are several of the church's historic plaques and mementos. High on the narthex walls are two large white marble tablets, dating from the nineteenth century, commemorating the founding church leaders and the first church edifice erected in 1800. On the walls of the spacious 1,000-seat sanctuary hang the portraits of the twenty-eight pastors who span the church's history. In the church basement a "Children's Chapel," seating one hundred, displays the wooden pulpit that served the Greenwich Village congregation on Bleecker Street.

 

In the church's administrative office is preserved the cornerstone of the 136th Street church. Beneath the sanctuary, entombed in a crypt, are the remains of James Varick, Mother Zion's first bishop. Buried in 1827 at the Colored Union Cemetery in New Windsor, N. Y., Varick's remains were moved and reinterred in 1926 shortly after completion of the present church.

 

- From the 1998 NYCLPC Landmark Designation Report

Permanent exhibition: The 1700s

Soul is permanent and no one has created it. Phases of Soul are temporary. Humans, animals, deities are phases of Soul. They are temporary, but Soul is permanent. Initially, Soul is under development, dormant stage i.e. no vision, no knowledge. Then it enters into this world and gets developed with one sense, two senses and so on till five senses. Once, it gets Self-Realization it becomes free from worldly bondages and then lastly it attains ultimate liberation.

 

To know more please click on the link below:-

 

To know more please click on:

English: www.dadabhagwan.org/path-to-happiness/spiritual-science/w...

 

Gujarati: www.dadabhagwan.in/path-to-happiness/spiritual-science/wh...

 

Hindi:https://hindi.dadabhagwan.org/path-to-happiness/spiritual-science/who-am-i-realize-your-true-self/

Lonely Trainstation Blues – Poetry for the Lost Boys, Kindle: www.amazon.com/dp/B07ZB6K2JX

Lonely Trainstation Blues – Poetry for the Lost Boys, Paperback: www.amazon.com/dp/1692495518

 

Howling at a Slutwalk Moon, a collection of previous blog posts:

Vol 1 Paperback: www.amazon.com/dp/107571074X

Vol 1 Kindle: www.amazon.com/dp/B07TZTPDPR

Vol 2 Paperback: www.amazon.com/dp/1075714184

Vol 2 Kindle: www.amazon.com/dp/B07TZR25NL

Vol 1 Illustrated Paperback: www.amazon.com/dp/1075717094

Vol 2 Illustrated Paperback: www.amazon.com/dp/1075723078

 

Other links:

Redbubble shop: www.redbubble.com/people/Moiret/shop

Blog: moiretallegiere.wordpress.com/

YouTube: www.youtube.com/channel/UC3IaCxAXE3pQd7PCdvHoaaA

Bitchute: www.bitchute.com/channel/EvbGZyTZSraY/

twatter: twitter.com/MAllegiere

Gab: gab.com/Moiret_Allegiere

Minds: www.minds.com/Moiret

Flickr: www.flickr.com/people/152465815@N04/

 

Montpelier, Vermont USA • The elaborate House Chamber of the state Capitol building. • After 140 years, the Vermont State House still commands the landscape of Montpelier, the smallest capital city in America. The House and Senate chambers are the oldest legislative chambers in their original condition anywhere in the country. – from the State of Vermont's website.

 

Between 1778 and 1808, Vermont had no permanent seat of government, and its legislature met 47 times in 13 different towns around the state. In 1805, Montpelier was established as the permanent seat of the legislature, contingent on the town erecting suitable buildings and conveying them and the land to the State by September, 1808. Subscriptions and pledges were made, and the land was donated by Thomas Davis, son of Jacob Davis, the first permanent settler of Montpelier. The first wooden State House, "whittled out of use" by representatives' pocket knives, was replaced in the late 1830s with a Barre granite building designed by Ammi B. Young. It looked similar to the present Capitol, but was smaller, In January 1857, fire destroyed the Capitol so that reconstruction was necessary, with only the Greek Revival portico remaining. For the third time, Montpelier raised the funds. Architects Thomas W. Silloway and Joseph R. Richards designed the exterior and interiors, respectively. Standing on a small rise with a spacious and carefully landscaped approach, this Renaissance Revival building combines dignity of purpose with grace and beauty. Ceres, the goddess of agriculture, stands atop a gold-leafed dome. – per Central Vermont Historic Walking Tour's Montpelier's State Street Tour list.

 

From Wikipedia: The dome is topped by a statue titled Agriculture though more commonly referred to as Ceres, the Roman goddess of agriculture. The original statue was carved by Vermont artist Larkin Goldsmith Mead, who carved the large bust of Lincoln in the Hall of Inscriptions on the State House's ground floor. The current statue is a replacement, and something of a piece of folk art, based on Mead's original. It was carved in 1938 by then 87-year old Dwight Dwinell, Sergeant-at-Arms (in Vermont this official position is similar in nature to the White House Chief Usher).

 

☞ On December 30, 1970, the National Park Service designated this structure a National Historic Landmark (#70000739); one of only 17 in Vermont.

 

National Historic Landmarks are nationally significant historic places designated by the Secretary of the Interior because they possess exceptional value or quality in illustrating or interpreting the heritage of the United States. Today, fewer than 2,500 historic places bear this national distinction. [And only 17 in Vermont.] Working with citizens throughout the nation, the National Historic Landmarks Program draws upon the expertise of National Park Service staff who work to nominate new landmarks and provide assistance to existing landmarks.

 

National Historic Landmarks are exceptional places. They form a common bond between all Americans. While there are many historic places across the nation, only a small number have meaning to all Americans--these we call our National Historic Landmarks. – from the National Park Service.

 

☞ This Statehouse has also been listed on the National Register of Historic Places (#70000739), since 1970.

– – – – – – – –

☞ Shot during a visit to Montpelier, Vermont, to participate in the Third Annual Worldwide Photo Walk, one of 1,000 locations around the world where photographers meet-up & shoot away, all on the same day. • Why? More info.

 

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

In July, 2010, I started a project to visit and document all seventeen Landmarks in Vermont. Here they are (in order of designation by the National Park Service):

 

[01] 09/22/60 – JUSTIN S. MORRILL HOMESTEAD, Strafford, Orange County

[02] 01/28/64 – TICONDEROGA (Side-paddle-wheel Lakeboat), Shelburne, Chittenden County

[03] 06/23/65 – CALVIN COOLIDGE HOMESTEAD DISTRICT, Plymouth Notch, Windsor County

[04] 12/21/65 – EMMA WILLARD HOUSE, Middlebury, Addison County

[05] 11/13/66 – ROBBINS AND LAWRENCE ARMORY AND MACHINE SHOP, Windsor, Windsor County

[06] 06/11/67 – GEORGE PERKINS MARSH BOYHOOD HOME, Woodstock, Windsor County

[07] 05/23/68 – ROBERT FROST FARM, Addison County

[08] 12/30/70 – VERMONT STATEHOUSE, Montpelier, Washington County

[09] 11/28/72 – MOUNT INDEPENDENCE, Addison County

[10] 12/20/89 – STELLAFANE OBSERVATORY, Springfield, Windsor County

[11] 11/04/93 – NAULAKHA (Rudyard Kipling House), Dummerston, Windham County

[12] 06/19/96 – OLD ROUND CHURCH, Richmond, Chittenden County

[13] 06/19/96 – ST. JOHNSBURY ATHENAEUM, St. Johnsbury, Caledonia County

[14] 12/09/97 – ROKEBY, Ferrisburgh, Addison County

[15] 05/16/00 – ROCKINGHAM MEETING HOUSE, Windham County

[16] 05/16/00 – SOCIALIST LABOR PARTY HALL, Barre, Washington County

[17] 01/03/01 – SHELBURNE FARMS, Shelburne, Chittenden County

Mehmet Ferden Cariki, Permanent Representative of Turkey to the United Nations Office at Geneva speaks after the voting of resolution on Syria L.38 during the 24th Session of the Human Rights Council. 27 September 2013. Photo by Jean-Marc Ferré

© ICC-CPI/Aleksandra Milic

North Atlantic Treaty Organization Permanent Representatives lay a wreath at the Tomb of the Unknown Soldier at Arlington National Cemetery, Jan. 14, 2016, in Arlington, Va. Dignitaries from all over the world pay respects to those buried at Arlington National Cemetery in more than 3000 ceremonies each year. (U.S. Army photo by Rachel Larue/Arlington National Cemetery/Released)

This is my UK permanent resident visa, which is the visa that allows me to be in the UK. It's current and has no expiration date so I've tried to spoil it so it would be harder for someone to copy.

 

Note that the visa does not have my name or even my photograph on it. There are quite legitimate criticisms of the UK immigration system, namely that it is ridiculously easy to forge visas and that they're insecure.

 

I disagree that it's easy to forge them, but it would be easy for someone to remove the visa from my passport and put it in their own. Since there's no name or photo, how would immigration know that the visa was stolen? I think the Home Office needs to get their act together regarding visas; they're just not secure enough.

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...

Danza permanente - DD Dorvilliers

This was obviously a permanent Christmas shop.

Peter Paul “Rupy” Ruplenas, age 97, died at the Martinsburg VA Hospice on Saturday, April 16, 2016.

 

Born Oct. 5, 1918, in South Boston, Massachusetts, also known as “Southie,” to John Ruplenas and Dorothy Warekojis.

 

He attended South Boston High School.

  

While living in South Boston, Rupy taught Sunday school and ran track. He received many track and field awards and ran events as long as a 20 mile road race.

 

In 1941, he met Hazel Elena Rice on a blind date and married her six weeks later. They remained happily married for 75 years, Hazel passed away in 1986 and Peter never remarried.

 

On their honeymoon in Washington, D.C., he raced, and beat, the elevator in the Washington Monument to the top, to the amazement of his young bride.

 

He also placed third in a race against Olympian Roger Bannister in England.

 

A reason for ‘Rupy’s’ longevity may be his love for running.

 

Rupy joined the United States Army Air Corps before Pearl Harbor on June 24, 1941.

 

He completed basic training in Dover, Delaware.

 

After basic training, Peter followed a two week course in the Photography School at Davis-Monthan Army Air Field.

 

He also served in Miami, Florida, with the 9th Anti Submarine Squadron.

 

He was then stationed in Sudbury Suffolk England with the 486th (Heavy) Bomb Squadron.

 

He was able to fly along on several bombing raids and capture some amazing photos.

 

During his service with the Mighty 8th Air Force, they, along with the British, helped change the tide of the war and weaken Germany through round the clock bombings.

 

Rupy flew on several bombing raids and made it back, by the grace of God.

 

After WWII, Peter went back to South Boston and made razor blades at Gillette, until re-enlisting in 1948.

 

He was deployed to Japan in 1949, where a few years later his first son, David, was born in Sendai.

 

During the Korean conflict, Rupy suffered from frostbite, was blown 20 feet in the air from a tank that exploded 50 feet in front of him.

 

He sustained permanent back damage from flying into a rock during another heavy battle.

 

He lost part of his hearing from the constant artillery shelling around him.

 

For two weeks, he worked covertly with “Rice’s Raiders” an anti-guerrilla team, belonging to the 7th Infantry Division (also known as the “Benedae Group”). They went behind enemy lines to destroy the enemy by destroying their weapons and incinerating any huts or houses that gave them shelter.

 

When the 7th Infantry Division reached the Manchurian border, Rupy reached the Yalu River as the third American.

 

He received a special medal for these actions.

 

Rupy recalled, “It went from 60-70 degrees when we first landed to 32 below. I worked day in and day out, hardly any days off because I loved my job.”

 

After the Korean war, he spent 10 years in Japan and the Far East photographing many generals, dignitaries and celebrities like Johnny Cash, Sugar Ray Robinson, Frank Sinatra, General MacArthur, Bob Hope and hundreds more.

 

He also taught medical photography and was the chief photographer at Murphy Army Hospital in Boston.

 

When the Vietnam war came, he was shipped off to Hawaii, joining the Department of Army Special Photographers Organization, otherwise known as DASPO. They were the very elite photographers of the Vietnam War.

 

Rupy was 50 while most of his fellow photographers that he trained were in their 20’s.

 

During this time, he served ‘in country’ in Vietnam, where a sniper’s bullet hit him and shattered his right knee.

  

He ended his career by serving at White Sands Missile Range and Fort Bliss in El Paso Texas.

 

He retired in 1970 as sergeant first class.

 

During his amazing career, he covered three wars: World War II, Korean, and Vietnam.

 

He may have been the only one to serve in all three of those wars as a combat photographer.

 

In Korea and Vietnam, his work was never judged lower than the top 3 percent of all combat photographers. On three different occasions, his work was judged the best of the month over all the other photographers.

 

He was injured many times and received many honors.

 

Peter continued to live a full and active life after his retirement.

 

He was the manager of the photography department at Kmart in El Paso, Texas.

 

He worked for the GPO in Washington, D.C., until retiring in 1980.

 

He lost his beloved wife, Hazel, in 1986; and his son, David, in 1994.

 

During the final two years of his life, Peter and his younger son, John, were best friends and did many things together. They went to several reunions and enjoyed life to its fullest.

 

He enjoyed sitting at the WWII Memorial on Saturday afternoons talking to people and going to the Men’s Mission in Martinsburg on occasion to help feed the men and talk with them.

 

His son has self published five books on Rupy.

 

In 2013, Rupy met R. Lee Ermey and rode in the Rolling Thunder parade and was the grand marshall in Brunswick Maryland on Veterans Day.

 

In 2014, when he was 95, he parasailed 800 feet in St. Maarten, breaking the record age of 89.

 

In August 2015, he sailed from New York City to Southampton, England, on the Queen Mary, and later he was given a parade through the streets of Edinburgh, Scotland, in a WWII jeep.

 

On Friday, Sept. 25, 2015, at Wrigley Field in Chicago, with 40,432 in attendance, Rupy was honored with a rousing standing ovation right before the National Anthem.

 

In October 2015, in Omaha, Nebraska, at the Mighty Eighth Force Reunion, he rode one final time inside a B25 Miss Mitchell bomber. They thanked him with a second flyover of Omaha.

 

A week later, he was the oldest person ever to be baptized by Phil Robertson on a Duck Dynasty cruise. He was given a standing ovation and was saluted by Lee Greenwood at his concert on that cruise. Si Robertson, Sammy L. Davis (Medal Of Honor recipient) and Rupy all saluted each other.

 

Peter loved to sail and went on many cruises with his son.

 

He loved to sit at the veterans get-togethers and swap war stories.

 

On Nov. 11, Veterans Day in Busan, South Korea, he was awarded the “Ambassador For Peace” medal.

 

He also revisited the DMZ in Panmunjom, where he had photographed the truce talks 52 years earlier.

 

One month later, on Dec. 10, Rupy was admitted to the VA Hospice.

 

“I feel pretty proud of what I’ve done. Without a camera, I’m nothing,” said Rupy.

 

Peter is survived by his son John; and his granddaughter, Elena.

 

“Greater love hath no man than this, that a man lay down his life for his friends” — John 15:13

 

In lieu of flowers, memorial contributions may be made to one of these charities he liked : Fisher House Foundation or Greenfield Children’s Home in Roatan, Honduras which he visited. These may be sent to P.O. Box 512, Gerrardstown, WV 25420.

 

A memorial service will be held at 2 p.m. Tuesday, May 3, 2016, at First Baptist Church, 634 Middleway Pike, Inwood, with Pastor Devin Ward officiating.

 

Later in the year, hopefully on his birthday, he will have a formal military service at Arlington National Cemetery, where his beloved wife, Hazel, is buried.

Nicolas de Rivière, Permanent Representative of France to the United Nations, briefs reporters 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 # UN7932737

[image: Inline image 2]

 

Corregidora, Qro., a 13 de marzo de 2013

 

CS 001/2013

 

LEALTAD E INSTITUCIONALIDAD PIDE ALONSO LANDEROS A SU EQUIPO DE TRABAJO

2013-2017

 

* *

 

**Con este equipo de trabajo todas las voces de los priistas en el estado

serán escuchadas, trabajando de manera incluyente y cercana en cada uno de

los municipios de Querétaro- Alonso Landeros Tejeida*

 

En la primer conferencia de prensa celebrada en la sede del Comité

Directivo Estatal del PRI y dando el inicio de actividades, el Presidente

Alonso Landeros Tejeida presentó el equipo de trabajo que estará

colaborando para tener un PRI cercano, incluyente, donde todas las voces

de la militancia serán escuchadas.

 

Las tres tareas fundamentales que va a desarrollar el Partido

Revolucionario Institucional, será en primer término una reestructuración

completa y efectiva de todos los 18 comités municipales en el estado, así

mismo una vez que se concluya la reestructuración de los comités se entrará

en una de las etapas de reestructuración de la base orgánica, es decir,

los seccionales, y la tercer tarea será la capacitación permanente de toda

la estructura orgánica del partido en el estado, destacó Alonso Landeros

Tejeida.

 

Alonso Landeros acompañado de la Secretaria General del partido Isabel

Aguilar Morales precisó que, los integrantes de las 18 Secretarias y

coordianciones que conforman el equipo de trabajo tienen de escuchar

personalmente a grupos y militantes como lo hace su dirigente.

 

Las secretarias, direcciones y coordinaciones del Comité Directivo Estatal

del PRI:

 

*Presidente *

 

*Alonso Landeros Tejeida*

 

*Secretaría General *

 

*Isabel Aguilar Morales*

 

*Secretaría de Operación Política *

 

*Daniel Trejo Trejo*

 

*Secretaría de Organización*

 

*Héctor González Flores*

 

*Secretaría de Acción Electoral*

 

*Francisco Hernández Velasco*

 

*Secretaría de Gestión Social*

 

*Belem Ledesma Ledesma*

 

*Secretaría de Finanzas*

 

*Jaime Sixtos De Jesús*

 

*Secretario Técnico*

 

*Jorge Reynaldo Sánchez Bayardo*

 

*Dirección de Análisis Político*

 

*Héctor Parra Rodríguez*

 

*Erasmo Alvízar Aguilar*

 

*Coordinador de Delegados*

 

*Abraham Gutiérrez Zarazúa*

 

*Coordinador Jurídico*

 

*Víctor Manuel Barrera Olvera*

 

* **Coordinador de Programas*

 

*Eva Hernández Olvera*

 

*Coordinador de Enlace Municipal*

 

*Mario Ulises Ramírez Altamirano*

 

*Secretaría de Acción Indígena*

 

*Jorge Campos Estrada*

 

*Secretaría de Comunicación Social *

 

*Edgar Arteaga Chávez*

 

*Secretaría de Transparencia y Acceso a la Información*

 

*María Elena Ortiz Alegría*

 

*Secretaría de Asuntos de las Personas con Discapacidad*

 

*Penélope Ramírez Manríquez*

 

*Representante ante el Instituto Electoral de Querétaro*

 

*José Reveriano Sánchez Cabrera*

 

*Coordinador de Registro Partidario*

 

*Alberto Lugo Ledesma*

 

*Secretario Particular *

 

*Esaú Sigala Gómez*

Secretary-General António Guterres is photographed by a UN photographer as he arrives at the Conference Building to attend a high-level event on United Nations Reform (organized by the Permanent Mission of the United States to the UN).

 

UN Photo/Rick Bajornas

18 September 2017

United Nations, New York

The coolest ebay experience I've ever had happened last Saturday night! I scored 8 JEM fashions Mint On Card for $25 each. Some of them are the ultra-rare 2nd year fashions too!

 

Here's "Permanent Wave." I still have the jacket from my childhood "Permanent Wave," but that's all I have left of the fashion. It's nice to finally have the whole set again. It's crazy seeing one so vivid and white and pristine. The card looks like it came brand new right off of the store shelf, so I think I'm going to keep this one sealed. It displays so nice.

 

Includes: pink and organe jumpsuit, belt, jacket, and pumps.

 

Yes, the package actually says organe. They misspelled orange.

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

Stirling Falls is one of permanent waterfalls on the Milford Sound. This one drops 155m below a hanging valley between mountains The Elephant and The Lion.

 

We left Queenstown to make our way to Milford Sounds. Stopped in Te Anau for morning tea and to buy some lunch for our day trip. We we will be staying at Te Anau for the night.

 

Arrived at Milford Sounds just in time for our boat trip on the 'Milford Sound Nature Cruise" on the 'Milford Marner': For More Info: www.realjourneys.co.nz/en/experiences/cruises/milford-sou...

Day five of our fast trip around the South Island with my friends from the UK. November 5, 2013 New Zealand.

  

Milford Sound (Māori: Piopiotahi) is a fjord in the south west of New Zealand's South Island, within Fiordland National Park, Piopiotahi (Milford Sound) Marine Reserve, and the Te Wahipounamu World Heritage site. It has been judged the world's top travel destination in an international survey (the 2008 Travelers' Choice Destinations Awards by TripAdvisor) and is acclaimed as New Zealand's most famous tourist destination. Rudyard Kipling had previously called it the eighth Wonder of the World.

 

Milford Sound is named after Milford Haven in Wales, while the Cleddau River which flows into the sound is also named for its Welsh namesake. The Māori named the sound Piopiotahi after the thrush-like piopio bird, now extinct. Piopiotahi means "a single piopio", harking back to the legend of Māui trying to win immortality for mankind - when Maui died in the attempt, a piopio was said to have flown here in mourning.

 

Milford Sound runs 15 kilometres inland from the Tasman Sea at Dale Point (also named after a location close to Milford Haven in Wales) - the mouth of the fiord - and is surrounded by sheer rock faces that rise 1,200 metres (3,900 ft) or more on either side. Among the peaks are The Elephant at 1,517 metres (4,977 ft), said to resemble an elephant's head, and The Lion, 1,302 metres (4,272 ft), in the shape of a crouching lion.

 

Milford Sound sports two permanent waterfalls all year round, Lady Bowen Falls and Stirling Falls. After heavy rain however, many hundreds of temporary waterfalls can be seen running down the steep sided rock faces that line the fiord. They are fed by rain water drenched moss and will last a few days at most once the rain stops.

 

With a mean annual rainfall of 6,813 mm (268 in) on 182 days a year, a high level even for the West Coast, Milford Sound is known as the wettest inhabited place in New Zealand and one of the wettest in the world. Rainfall can reach 250 mm (10 in) during a span of 24 hours. The rainfall creates dozens of temporary waterfalls (as well as a number of major, more permanent ones) cascading down the cliff faces, some reaching a thousand metres in length. Smaller falls from such heights may never reach the bottom of the sound, drifting away in the wind.

 

Accumulated rainwater can, at times, cause portions of the rain forest to lose their grip on the sheer cliff faces, resulting in tree avalanches into the sound. The regrowth of the rain forest after these avalanches can be seen in several locations along the sound.

Taken From and for More Info: en.wikipedia.org/wiki/Milford_Sound

 

Any one interested in following our trip around the South Island.. here is a map: <a href="http://www.wises.co.nz/l/lewis+pass/#c/-41.801671/172.516537/8/"

Payaso Pizarrín

 

Por Israel Serrano

Escrito el 16 de julio de 2012

 

Carlos Sandoval, más conocido como el payaso “Pizarrín”, posee una trayectoria artística de más de 30 años. Él marcó positivamente la infancia de muchos niños, jóvenes y adultos, tras su paso por el programa “Jardín Infantil”. Actualmente labora en la Secretaría de Cultura de la Presidencia (Secultura) como promotor cultural, cultivando la identidad salvadoreña en todos los rincones del país.

 

"Pizarrín" nació en un mundo rodeado de payados, su padre era propietario de un circo al estilo “Chinaca” (sin carpa o techo), pero asegura que él nunca quiso que se dedicara a ser payaso. Entonces, optó por trabajar en el sector público, específicamente, en el Instituto Salvadoreño del Seguro Social, en el área administrativa.

 

Un día de 1979, Sandoval decidió visitar a su papá y se dio cuenta que no tenía payasos y los necesitaba porque la función estaba por iniciar. Para sacarlo del apuro se vistió como uno de ellos, con el nombre improvisado de “Guacalito”, ese fue su primer nombre artístico, pero la verdad no le gustaba, dijo.

 

Después de la función se intereso tantó por el circo que se quedó trabajando y empezó a buscar un nombre para su personaje. Platicando con otros payasos, entre los que se encontraba su padre, y "Prontito" -personaje de Jardín Infantil-, estudiaron nombres como zapatín, chichita, zapatillo, tomatito, cebollita y de repente surgió “Pizarrín”.

 

Sus colegas le dijeron que no era un buen nombre debido a que, según ellos, los niños no lo recordarían con facilidad y lo confundirían con otros payasos.

 

Después, fue a la Biblioteca Nacional (la cual se ubicaba frente al Mercado exCuartel), donde buscó su significado y encontró que era “lápiz escribir en pizarra de piedra”, entonces decidió quedarse con el nombre y convertirse no solo en un personaje artístico, sino cultural y educativo.

 

Su vida en el circo

 

Su vida en el circo tenía altibajos: "ratos bien y ratos mal, pero era muy emocionante", dijo, y afirma que le gustaba mucho. Conoció casi todo el territorio nacional: "era una labor muy nómada, andaba por todos lados".

 

Trabajó en otros circos, grandes y pequeños, a veces tenían casa llena y otras no, comenta.

 

Pizarrín recuerda que una vez, en Cojutepeque, compartieron una temporada para los “choriceros”, pero aclara que "no los policías municipales" sino para la gente que hace chorizos en ese lugar. La población abarrotó el circo y fue un periodo exitoso.

 

Sobre los momentos difíciles recuerda cuando viajaron al cantón El Platanal, de Guaymango, en el departamento de Ahuachapán. Allí comenzaron cobrando un colón por la entrada y nadie llegó, bajaron los precios a 50 centavos y después a 25 centavos y la gente no llegaba. Después, solicitaban una libra de arroz por la entrada, llegaron a un punto de pedir un huevo por el ingreso al circo y "ni por un huevo la gente llegó", lamenta.

 

En ese lugar, nadie les quería brindar agua, energía eléctrica ni servicios sanitarios y pasaron 15 días así, hasta que se fueron a la Barra de Santiago, en Usulután, donde les fue muy bien, hasta aprendió a pescar y atrapar punches (especie de cangrejos) en los manglares de la zona: "ahí de hambre no nos moríamos".

 

Vida familiar

 

La esposa de "Pizarrín" también pertenecía al ambiente circense. Ella era contorsionista y tenía 10 años menos que él. Cuando la veía, él decía, “espérate que crezcas” y al hacerlo comenzaron los coqueteos hasta que se casaron.

 

Actualmente tienen casi 30 años de estar juntos y han procreado ocho hijos. Tres de ellos eran solos hijos de "Pizarrín" y ella acepto al artista con los dos niños y una niña. Ahora forman una gran familia de 10 miembros, aunque algunos ya se casaron y tienen sus propios hogares.

 

Al principio, solo él trabajaba mientras ella cuidaba a los niños. Afirma que han pasado momentos muy difíciles de pareja, pero han logrado superarlos gracias al perdón y el amor que ambos se tienen.

 

Ingreso a Jardín Infantil

 

"Pizarrín" afirma que en 1983 unos ejecutivos de Canal 2 lo invitaron a una fiesta de aniversario, pero no pudo asistir. Posteriormente lo invitaron nuevamente a una actividad similar, pero de canal 6... "Prontito" lo recomendó para que participara como extra grabando unos promocionales del programa y así pasó mucho tiempo. Luego, las autoridades del canal le pidieron que hiciera un casting para ver cómo se desempeñaba ante cámaras y les gusto, ahí comenzó su vida en la televisión.

 

El Tío Periquito se encargó de enseñarle muchas cosas de la televisión, él no sabía nada, y gracias al abuelito de Jardín Infantil asegura que ahora puede desempeñarse un poco mejor.

 

Lo de payaso ya lo traía como herencia de su padre. Reconoce que Jardín Infantil se convirtió en la casa de muchos payasos y los que pasaron por ahí se quedaron con grandes experiencias.

 

Relación con sus compañeros

 

"Dentro de la televisión éramos excelentes amigos, pero fuera de las cámaras pocos amigos", recuerda y explica que no compartían mucho, pero se colaboraban cuando le pasaba algo a alguno de ellos.

 

El Tío Periquito, Prontito y Chirajito llevaban una vida independiente, aunque Chirajito era un gran amigo de su papá y Prontito era como su hermano de crianza.

 

Según Pizarrín, una de las razones del porqué mantenía esa distancia era que cada uno cobraba 500 colones por su presentación y eran cuatro personajes y pocas empresas o entidades estaban dispuestas a pagar en aquella época 2,000 colones por el show que presentaban.

 

Pero cuando les llegaba el turno de trabajar juntos en fiestas patronales, carnavales, ferias nacionales e internacionales iban con mucho gusto, hasta que el 2002 el programa cerró y cada quien siguió su camino.

 

La televisora para la cual trabajaban les ofreció a los cuatro un contrato de exclusividad y pagarles un sueldo con la condición que no aceptaran propuestas de ningún otro canal de televisión. Sus compañeros aceptaron, pero él decidió seguir con su vida artística de forma independiente.

 

Promotor cultural

 

"Pizarrín" se fue a Estados Unidos donde laboraba como promotor cultural de El Salvador con los hermanos lejanos. Les recordaban palabras características como “chenga” para referirse a una tortilla, entre otros términos muy autóctonas y arraigadas de la tierra cuzcatleca.

 

No tenía un sueldo estable, sobrevivía con las colaboraciones del público y de algunas presentaciones infantiles que realizaba en esa nación.

 

En 2005, "Pizarrín" regresó a El Salvador y fue contratado por la entonces Consejo Nacional para la Cultura y Arte (Concultura), ahora Secretaría de Cultura de la Presidencia. Allí labora haciendo el mismo trabajo que realizaba en Estados Unidos, promoviendo la cultura, pero ahora en cada uno de los rincones del territorio nacional.

 

Ahora se encuentra destacado en la Casa de la Cultura de San Bartolomé Perulapía, departamento de Cuscatlán, desde donde ejecuta proyectos de promoción cultural a nivel local, departamental, regional e incluso internacional.

 

Afirma que también hace presentaciones independientes en los Estados Unidos como la que realizará desde el 31 de julio hasta el 15 de septiembre de 2012 en las ciudades de Nueva York, Boston y Washington, brindando identidad cultural a los salvadoreños desde las 9:00 am a 3:00 p.m., acompañado de su inseparable esposa Ana Leyda.

 

Finalmente, "Pizarrín" agradece a todos los niños de “la cosecha pasada” quienes andan por ahí trabajando en distintos ámbitos en la literatura, políticos, supermercados, vendiendo tomates, pan, entre otras profesiones u oficios.

 

Les da muchas gracias por creer en su personaje, su sonrisa y en su entretenimiento sano y siempre respetando al ser humano. Espera que todos sigan luchando por un futuro mejor.

 

Nota tomada de: Diario La Pagina

   

XIII FILCEN

Feria Internacional del Libro en Centroamerica El Salvador 2009

Del 29 de Agosto al 6 de Septiembre

 

Dirección: Avenida La Revolucion No. 222, Colonia San Benito San Salvador, El Salvador Centroamérica.

Teléfono: (503) 2501-0200

Fax: (503) 2243-3161, 2243-3185

www.cifco.gob.sv

e-mail : cifcosv@cifco.gob.sv

 

Presentación

 

A iniciativa del Centro Regional para el Fomento del Libro en América Latina y el Caribe (CERLALC), en el año 1996 se logra configurar en Guatemala el Grupo de Cámaras del Libro y Asociaciones del Libro en Centro América (GRUCAL).

 

Surge la propuesta de realizar actividades en torno al libro, que permitan proyectarlo como región a nivel internacional. Resultado de ese esfuerzo conjunto de los profesionales del libro, surge en 1997 la I Feria Internacional del Libro en Centroamérica, FILCEN, celebrada en San José de Costa Rica.

 

El proyecto FILCEN está diseñado como un circuito de ferias internacionales itinerantes que se desarrollan anualmente en cada nación centroamericana.

 

La IX edición de FILCEN se realizó por segunda vez en San Salvador, República de El Salvador, como un espacio ILIMITA, en el Año Iberoamericano de la Lectura.

 

La organización de esta feria es responsabilidad de la Cámara Salvadoreña del Libro (CSL), con el apoyo del Consejo Nacional para la Cultura y el Arte (CONCULTURA) y el respaldo de GRUCAL y de CERLALC.

 

La Cámara Salvadoreña del Libro es una asociación de empresarios, que promueve el libro y la cultura, desde su fundación en 1974. Aglutina a los sectores librero, distribuidor y editor. Su labor permanente ha sido la promoción del libro, la lectura, la educación, la cultura a nivel nacional y la literatura e industria editorial salvadoreña en eventos internacionales.

A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.

 

Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.

 

HISTORY

Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).

 

During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.

 

In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.

 

Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.

 

TECHNIQUE

In the history of mural several methods have been used:

 

A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.

 

Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

 

Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

 

MATERIAL

In Greco-Roman times, mostly encaustic colors applied in a cold state were used.

 

Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.

 

In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.

 

A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.

 

Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.

 

As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.

 

The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.

 

Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.

 

SIGNIFICANCE OF MURALS

Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.

 

Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.

 

Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.

 

Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.

 

The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.

 

Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.

 

WIKIPEDIA

Scenes from the side event “Peace Building and Well-Being Processes to Contribute to the Eradication of Violence Against Indigenous Women” held during the UN Permanent Forum on Indigenous Issues at UN Headquarters on 28 April 2017.

 

Participants included:

 

Cristiane Juliao Pankararu, Brazil (moderator)

 

Monica Michelana (spiritual ceremony)

 

Joan Carling, Board Member FIMI

 

Nwe Oo, Bangladesh Indigenous Women’s Network (BIWN)

 

Celerina Sanchez, Alianza de Mujeres Indegenas de Centro America y Mexico

 

Victoria Tauli-Corpuz, UN Special Rapporteur on the Rights of Indigenous Peoples

 

Buba Balkisou, Network for Indigenous and Local Communities for Sustainable Management of Forest Ecosystems in Central Africa (REPALEAC Cameroon)

 

Rune Fjelheim, Director General of Samediggi - Sami Parliament

 

Maria Noel Vaeza, Director, Programme Division, UN Women

 

Photo: UN Women/Ryan Brown

 

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

 

Crew members thread strands of the permanent cables through saddles in the tower pylons. The project's recent BridgeView episodes explain this process. You can view them here -- www.trimet.org/pm/library/videos.htm

  

Licensed for all uses by TriMet.

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

  

Fonte Official Skindred web page :

The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.

 

Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.

 

With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.

 

“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”

  

“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”

 

In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.

 

“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”

 

On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.

 

“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”

 

While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.

  

“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”

 

“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”

 

Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…

 

“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”

 

“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”