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155mmりゅう弾砲FH70
155mm Field Howitzer FH70
陸上自衛隊 中部方面隊 中部方面特科連隊 第1特科大隊 第3射撃中隊 / 姫路駐屯地
JGSDF Middle Army, Middle Army Field Artillery Regiment, 1st Field Artillery Battalion, 3rd Firing Company / Camp Himeji
2024年11月23日 陸上自衛隊 姫路駐屯地（駐屯地創立73周年記念行事予行行事）にて撮影
November 23, 2024 at JGSDF Camp Himeji (Rehearsal of Camp Himeji 73th Anniversary Commemorative Event).
Guys take ur posiiton, we have to move another place. We have to discover hedonism .Lets move..........
A clearly marked route links the mainland to the island across the sands and mud. Newcomers are cautioned against using this route unless accompanied by a person with local knowledge. Open times are NOT published anywhere for the Pilgrims' Way, so there are safety boxes on stilts positioned along the route in case you are cut off by the rising tide.
This line going back to the Alamo was held by David Crocketts men. Protected by only a man made wall of logs, it was considered the most vulnerable position.
San Antonio, TX
Jo improved so much in Ireland. Thanks to Becky for all the pictures of Jo and I on horseback. © Andy Withers
Day #1 - Make sure you know your current financial position
Bills to be paid – check
Money owing – check
Expenses – check
Income – check
Just the basics but something that as a business owner you should be across at least on a weekly basis. Leave it longer than a week you and it will be harder to change it if you need to. If you are in a bit of a muddle or don’t really understand these things ask someone for help. You will be surprised by how many people would be happy to give you a hand.
VS series E/P positioner:
Linear & rotary type; IP66 enclosure; EExdIICT6 and EExiaIICT6, integral mounted air filter regulator design is available upon request, also provide PTM(input & output signal: 4-20mADC) or micro-switch output.
2022 View from the Lobby - RCA - GE Building 30 Rock Rockefeller Plaza Center in New York City - winter - 11/16/2022 NYC - large mural by the Catalan artist Josep Maria Sert entitled - American Progress - depicting a vast allegorical scene of men constructing modern America in the Grand Lobby - The ceiling figures appear to change leg position depending where you're standing in the lobby below optical illusion of perspective
Well prepared machine gun nests - reinforced with corrugated metal matting taken from Stanley Harbour
Name: MaiThanhHuyen Bui.
UCAS ID: 1099368714.
The name/title of the piece: Position .
The date: November-December 2012.
Description: I explored many way to create a painting and mix colour from food, material of stuff,...to make new form and interesting works.
Greenpoint, Brooklyn, New York City, New York, United States
About the historic district:
The Greenpoint Histrict District occupies a unique position among Brooklyn's historic districts. Unlike the middle-class neighborhoods of Brooklyn's "brownstone belt,âBrooklyn Heights, Fort Greene, Clinton Hill, and Park Slopeâ whose residents commuted to professional and white collar jobs in downtown Brooklyn or Manhattan, Greenpoint was intimately linked to Brooklyn's industrial development. Its residents worked in nearby factories, and its architecture reflects the varied nature of the neighborhood's occupants. The buildings include substantial rowhouses built for the owners and managers of nearby businesses and factories, more modest rowhouses and numerous flathouses for the factory laborers, as well as a variety of commercial buildings on the streets where the residents shopped.
Residential development of the area followed the advent of industry, the first of which was shipbuilding, located on the waterfront. The residential area grew inland from the waterfront. Perhaps because of the industrial character of the area, real estate developers were much less active in Greenpoint than in many other Brooklyn sections where it was common to find long rows of houses erected by developers for resale to middle-class occupants. Although there are examples of this in the district, particularly on the land originally owned by James R. Sparrow and his son , more often it was a single individual who bought one lot and had the house he intended to live in built on it. This is particularly so during the earliest period of growth in the area, prior to the Civil War.
The buildings within the district also reflect the importance of the builder tradition in nineteenth-century American architecture. The role between the builder and the architect was not clearly defined until about the time of the Civil War. When the American Institute of Architects was founded in 1857, its members were the most prominent men in the field in the country. This professionalism did not filter down to less well-known practitioners until later in the century.
The usual practice in Greenpoint and elsewhere in Brooklyn was for the owner of a piece of property to hire a builder, i.e., a mason or carpenter, to erect the house on the site. If the owner made particular design requirements, the builder might hire a draftsman to produce plans from which to work. But, because the vast majority of rowhouses have similar plans and construction, a practiced builder needed little outside aid. Also widely used were builders' guidebooks which gave practical advice on construction techniques to those in the building trade and often included plans for houses and designs for architectural details. Moreover, architectural elements such as foliate brackets, window and entrance enframements, and wooden doors, sashes, and shutters could be mass produced at local lumberyards and foundaries. Hence, many buildings within the district have nearly identical window and door lintels, cornices and iron railings.
The ambiguous distinction between builder and architect is illustrated by two men who lived in the area: Thomas C. Smith and Frederick Weber. Smith, an important figure in the history of the district, had been trained as a builder and worked in that trade for nearly thirty years before retiring to Greenpoint where he had come into possession of a bankrupt porcelain factory. He purchased a large tract of land on Milton Street and over a period of years built on it. Since he retired from tne trade because of ill health, it is improbable that Smith acted as mason or carpenter on these houses but it is evident by comparision of interiorand exterior features that he was the architect who designed them. Frederick Weber, who is responsible for a number of buildings, is listed as a carpenter in the directories of the 1870s but, ten years later, he signs Brooklyn Buildings Department permits as an architect.
Within the designated boundaries for the area, the buildings exhibit the architectural styles popular between 1850 and the end of the centuryT often executed in the vernacular builder tradition. The first buildings were erected in the early 1850s and were designed in the then current Italianate style or in a transitional style that combined elements of both the Greek Revival and the Italianateâa not uncommon practice in the builder tradition. The mixture of stylistic elements is particularly evident in the early tenements with"commercial ground floors on Franklin Street. The ground floors are trabeated granite and brick, based on the prototypical Tappan Store on Pearl Street in Manhattan that had set the standard for commercial architecture for twenty years. The upper floors are pierced by square-headed windows with two-over-two or six-over-six double-hung sash and cap molded lintels. The roof entablatures are simple, with plain fascias, dentils and diminutive curvilinear brackets carrying the cornice.
The early frame houses were also built in this transitional style. Sheathed with clapboards, they had square-headed windows, possibly with six-over-six sash, and were topped with cap-molded lintels. The simple cornices were carried on delicate curvilinear brackets. Some had erosseted enframements at the windows and entrance. The single, panelled door was enframed by square colonettes carrying an entablature above which was a transom, as can be seen at No. 100 Milton Street. A few of these houses still retain their squared, columned porches. These early frame structures occupy an important place within the district and in the city. Some were built individually by shipwrights and shipcarpenters connected with the nearby shipyards. Although most have now been resurfaced with modern materials, the original mass, size, scale and window arrangement remain as does the underlying framing which tangibly link them with one of New York's most romantic eras, the age of the graceful wooden ships.
The Italianate style, free of elements from the earlier Greek Revival, Is by far the most prevalent mode in the historic district and remained popular with builders in Greenpoint for over twenty years. The typical Italianate rowhouse is usually masonry, either brick or brownstone-faced, rising three or four stories above a basement, and approached by a high stoop. Arched doorway enframements with pilasters topped by triangular or segmental pediments supported on ornate foliate brackets, window enframements with bracketed lintels ana wide projecting sills, plate glass one-over-one or two-over-two window sash and deep wooden cornices with heavy foliate brackets are common on the Italianate houses found throughout New York City. Other typical forms include floor-length parlor windows, rusticated basements with arched openings, deeply inset double doors, heavy cast-iron balusters ana newel posts, and areaway railings with bold curving forms.. Nos. 144 and 146 Kent Street are good examples of the mode.
In Greenpoint, characteristic elements of the style are brick facades, unenframed round-arched doorways topped by round-arched lintels carried on foliate brackets, segmental-arched windows with eyebrow lintels, two-over-two window sash, and roof cornices with foliate brackets and arched fascias. Rows of these houses on Noble Street and Kent Street create rhythmically massed and unified block-fronts of great dignity.
A variant of the Italianate is the far less common Anglo-Italianate style. Whereas most Italianate style houses have high stoops leading to ornate doorways, Anglo-Italianate dwellings have low stoops or English basement entrances. The stoops lead to simple round-arched door enframements set into rusticated brownstone ground floors. These houses are often faced with brick above the ground floor and frequently have segmental or round-arched windows. No. 128 Kent Street is an example of the style, and two rows of houses on Milton Street and Noble Street are designed with English basements.
Much more common than the Anglo-Italianate is the French Second Empire style, most strongly identified with the decade of the 1860s. As the name implies, this style originated in Paris during the Second Empire period of the 1850s. As interpreted in the builder tradition, French Second Empire style uses all of the forms and details common to typical Italianate rowhouses but has the added feature of a full-story mansard roof placed above the cornice line of the house. These steeply pitched mansards are clad with slate shingles. The mansards are pierced by dormer windows and are frequently crowned by ornate cast-iron crestings. In many areas French Second Empire houses are more ornate than Italianate style residences, but this is not the case in Greenpoint where the two styles co-exist. Usually the Second Empire house displays the features of an Italianate house but is crowned by a mansard as at Nos. 94-100 Kent Street.
In the 1870s, a new style, the neo-Grec, replaced the Italianate and Second Empire in popularity. The basic form for neo-Grec rowhouses is very similar to that for Italianate rowhouses but in its detailing the neo-Grec house differs from those built in earlier styles. The neo-Grec reflects a movement away from the fluid, curvacous forms of the mid-century period to a sharper, more angular and geometric taste, evident not only in architecture, but also in the decorative arts produced in the 1870s.
The most notable attributes of the neo-Grec style are the extensive use of angular forms and stylized incised carving, which are indicative of the machine technology which became prevalent in America in the last half of the nineteenth century. Innovations in technology led to the advent of machines that could cut decorative elements in stone more cheaply than hand carving. Thus the naturalistic foliate detailing of hand-carved Italianate brackets was replaced by crisply cut angular foliate forms or more abstract geometric designs. Also reflecting the advent of mechanization is the replacement of wooden cornices by pressed, galvanized iron ones. The cornices also reflect the new taste for angularity with stylized brackets cut with incised details. There are particularly fine examples of the style at Nos. 110-114 Milton Street, which are also notable for their exceptional ironwork, Nos. 122-130 Calyer Street, and Nos. 1093-1103 Lorimer Street.
The Queen Anne and Romanesque Revival were contemporary styles popular in the 1800s and both are freer in their design than earlier nineteenth-century styles. Picturesque Queen Anne buildings gain their individuality from a sense of asymmetry, subtle textural relationships, and rich, though often eccentric, ornament. Much of the ornament is classical in derivation, but forms such as triumphal arches, pediments, and swags are used in a distinctive unclassical manner. A recurrent motif is the sunflower, a symbol of homevness. The Queen Anne style originated in England during the 1860s when architects led by Richard Norman Shaw began to design houses which combined Classical, Medieval, Renaissance, Flemish, and other forms in a new and highly original manner.
This style became popular in the United States during the 1800s, particularly for freestanding houses. In the district, examples of this style may be seen at No. 143 Kent Street and the pair of houses at Nos. 122 and 124 Milton Street, all designed by architect Theobald Engelhardt. There is also a long row at Nos. 139-151 Milton Street in a late, modified version of the style. Many of the clapboard, frame houses erected in the 1850s and 1860s during the early phases of residential development were re-sided with shingles in the 1880s. These shingles, known as novelty shingles, were cut and laid up in a picturesque manner in keeping with the tenets of the Queen Anne style. Good examples of this siding may be seen at Nos. 109 and 126 Noble Street and No. 156 Cayler Street.
The American Romanesque Revival was initiated by Henry Hobson Richardson in Boston in 1873 and the style quickly spread throughout the United States and Canada becoming the most wide-spread design mode in the 1880s. The Romanesque Revival style broke away from the smooth monochromatic work of the decades between the 1850s and 1870s, developing highly textured and frequently subtle polychromatic designs. Many Romanesque Revival buildings combine rough-faced and smooth-faced stone with Roman brick and terra cotta. The facades are further enlivened by stained-glass windows, galvanized-iron cornices, bays, oriels, and slate-covered sloping roofs. The buildings tend to be massive, but this is tempered by a picturesque asymmetry. Ornament includes round arches, dwarf columns, stone piers, L-shaped stoops, heavy stone transom bars, and elaborate foliate carving modeled after the ornament found in Byzantine structures.
The colors vary from house to house and within each facade, but they are generally limited to earth tones such as red, orange, brown, gray, and buff. The style was not widely used in the district but there are examples at Nos. 168-172 Franklin Street, No. 112 Noble Street, and No. 128-132 Greenpoint Avenue.
The 1800s had been the heyday of romanticism and the picturesque; in the 1890s there was a reawakening interest in a correct classicism. The World's Columbian Exposition of 1893 in Chicago introduced Americans to the grandeur of the architecture and planning of the ancient world and of the Renaissance, and this resulted in a return to classicism. Architecture in this new style ranged from buildings designed in the most academically correct classical manner to the freest interpretation of Renaissance styles. Two excellent examples of the style are represented in the district; the Mechanics and Traders Bank at 144 Franklin Street, and the Greenpoint Savings Bank at 807 Manhattan Avenue. Within the district, there are a number of flathouses and rowhouses in this style including Nos. 159-163 and Nos. 140-144 Milton Street.*
As the population of Brooklyn increased and as residential neighborhoods developed, a need arose for new institutional buildings, particularly churches, to serve the growing communities and to add a requisite moral tone to each neighborhood. As each rural area grew into a new residential section, new church societies were founded, each having the desire to build an imposing church edifice. Greenpoint was no exception to this trend and in the mid-nineteenth century a number of churches of different denominations were erected in the district. Today, there are six church edifices in the district. They range in style from the Gothic Revival Church of the Ascension built in 1866 on Kent Street to the Victorian Gothic Church of St. Anthony of Padua on Manhattan Avenue to the Early Romanesque Revival Union Baptist Church of 1863 on Noble Street.
Three other important institutions are the St. Elias Greek Rite Catholic Church on Kent Street, originally built in 1869 and 1879 as the Greenpoint Dutch Reformed Church, St. John's Evangelical Lutheran Church of 1897 on Milton Street, and the Greenpoint Home for the Aged of 1887 on Oak Street.
Fortunately, the architectural quality of Greenpoint has been largely undisturbed since its development. The streets present vistas unchanged since the turn of the century. The district has so far largly avoided the rapid pace of rebuilding and alteration so typical of much of the city. Many of the fine old row-houses and flathouses have been preserved with little change. The graceful Italianate, Second Empire and neo-Grec rows create a unified architectural composition that continues to reflect their appearance in the third quarter of the nineteenth century. A cause for concern today is the "modernization" of houses by the application of spurious veneers. The occasional addition of a roof parapet has almost invariably resulted in the loss of a fine cornice. Stoops have sometimes been removed to provide basement entrances. Such changes and "improvements" create jarring notes in otherwise harmonious rows of houses. Ill-conceived improvements almost always result in an erosion of architectural quality.
Historic district designation of Greenpoint will help to insure the protection of the area's distinctive architectural character.
- From the 1982 NYCLPC Historic District Designation Report