View allAll Photos Tagged postwar
1946 Ford Super Deluxe, at Big M Auto Dismantlers in Williams, California. Visit the set page for more information. Shot during me and Joe's top secret Night Photography and Light Painting workshop, last weekend.
Night, 120 second exposure. Full moon, natural LED flashlight.
Reprocessed and replaced, August, 2024.
In his 1945 autobiographical novel, “Christ Stopped at Eboli,” he described the peasants of Italy’s extreme south as living “in a world that rolls on independent of their will, where man is in no way separate from his sun, his beast, his malaria.” During his exile, Levi visited Matera only briefly, but his sister, also a doctor, passed through on her way to see him, and his book incorporated her observations of children “sitting on the doorsteps, in the dirt, while the sun beat down on them, with their eyes half-closed and their eyelids red and swollen” from trachoma. She described boys and girls trailing her down a path, begging for quinine.
Levi was a gifted polemicist, and his concise retelling of his sister’s experience changed Matera’s destiny. “Christ Stopped at Eboli” was widely translated, and the Sassi became notorious. Italian newspapers started calling Matera a national embarrassment. There were many villages in bad shape across southern Italy, but, as Toxey notes, the “mere idea of a cave, with its subhuman associations, offended the progressive mentality of the designers and leaders of the postwar world.”
French actor Jean-Paul Belmondo, one of postwar French cinema's biggest stars, whose charismatic smile illuminated the screen for half a century, has died aged 88 in his Paris home.
When I was 11 Mum bought a house in the town and we moved to Ventspils. New friends, new life style, new interests..
Not far away was a cinema theatre and twice a week we were allowed to go to the cinema. That was a Soviet period in our country but apart from Russian and Latvian movies we could see something else. Especially popular were French, Indian and Italian movies. Jean Paul Belmondo was among my favourites...RIP now
www.facebook.com/groups/bolderai/permalink/4596898213655856/
Bethlehem Steel Corporation, former American corporation (1904–2003) This company’s history traces to 1857, when a group of railroaders and investors of the city of Bethlehem, Pa., founded the Saucona Iron Company,
The major founder of the corporation in 1904–05 was Charles M. Schwab, who had earlier been one of the major figures in the creation of United States Steel Corporation (1901). The corporation thrived, partly as a result of the expanding orders for guns, munitions, and naval vessels from European powers both before and during World War I. In the first four decades of its existence, the corporation absorbed a number of iron-ore, coal, and steel-producing properties from coast to coast. During World War II and the postwar years, it continued to expand. Like other American steel companies, Bethlehem began to diversify during the 1970s in the face of strong competition from foreign steel-makers.
It filed for bankruptcy in 2001 and now is in the process of converting into as casino complex
Postwar "Advanced Design" Chevy at Pearson's, March 2009. Never online before. 2 minutes of full moon with red and green gelled LED.
adding images of roots and sky to a textbook I had in 1989. The book explains postwar history from a GDR perspective.
E507
3.168 cc
V8
150 hp
Zoute Concours d'Elégance 25
Class : Steel & Speed - Post War '50 - '60
Entrant : H.M.G. Van Den Anker
Approach Golf - Het Zoute
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
Street photographer, postwar and contemporary artist, Ted Pushinsky (1946 -2018) has been called the “elder statesman” of San Francisco street photography. Pushinsky brought a photojournalist’s eye to crafting crisp, well-composed shots of complex, sometimes gritty, occasionally ambiguous street scenes. Pushinsky's candid images captured everyday moments of tenderness, bravado, youth culture, and urban change in the Mission District of SF — often focusing on Latino communities, street scenes, and the neighborhood's evolving character from the 1980s onward.
The postwar Studebaker was in its third model year in 1949. The 5-seat coupes were renamed as the Starlight series with a 3-seat business utility variation also available. The Champion had the 169.6 cubic inch six with 80 HP.
15,746 Champion Starlight Coupes (5-seat) coupes were built in the 1949 model year, with 5,917 in Deluxe trim and 9,823 as Regal Deluxe trim at $1,683 and $1,757 respectively (FOB South Bend, Hamilton or Los Angeles).
A first-generation British-built Ford Anglia [E04A] 2-door, 4-passenger saloon, in wonderful overall condition, fitted w/ authentic six-character, London-area October 1946 black plate registration; “MMT 493”. Painted in typical black paint of the era. This particular car is intriguing as it is a remarkably well-preserved example of the first series of “sit-up-and-beg” Anglias - the E04A series, which - although quite a common car when new in postwar Britain, is indeed a very, very rare sight nowadays. The later E494A, 100E, 105E/106E/123E and Prefects are generally much more frequent sights at most car shows, but not the E04A. This example has some old black-and-white photographs displayed in the window of a very similar car which would’ve been from the owner’s personal family album. Another nice period-authentic touch is the original ‘Tops’ petroleum pump head globe prop in front of the car. Spotted at Malton agricultural show 2024.
Levi’s book caused an uproar in postwar Italy, and the Sassi became notorious as la vergogna nazionale, the disgrace of the nation. After a visit in 1950, Italian Prime Minister Alcide De Gasperi was so appalled that he set in motion a draconian plan to relocate the Sassi’s entire population to new housing developments.
Italy was flush with funds from the Marshall Plan, and American experts such as Friedrich Friedmann, a philosophy professor at the University of Arkansas, arrived with Italian academics who had studied the mass rural relocation programs of the Tennessee Valley Authority in the 1930s. The new public houses were designed by Italy’s most avant-garde architects, in a misguided utopian vision that would actually isolate families in dismal, claustrophobic boxes.
NIGHT OUT (YURAKUCHO)
Yurakucho provides a glimpse of Japanese life from the early postwar period, with its many izakaya (Japanese-style bars, denoted by their red lanterns known as akachochin) and outdoor yakitori restaurants ('yakitoriya'), many of which are located under the train tracks serving Tokyo's JR Yamanote Line. Because of its many traditional Japanese-style eating establishments, as well as its location on the Yamanote Line with easy access to Tokyo Station, Yurakucho is a favorite drinking spot for businessmen on their way home from work.
no rules, no limitations, no boundaries it's like an art™
© All Rights Reserved by ajpscs
Postwar, former bombsite housing.
Camera : Mamiya Super 23 (6x9cm Back)
Lens : 100mm f 3.5
Film : 120 Rollfilm, Kodak Portra 400
Handheld
LR4284 © Joe O'Malley 2019
Herz Jesu Kirche
Schildgen
Bergisch Gladbach
Germany
Gottfried Böhm, arch. 1960
Theo Heiermann, sculptor
Probably my favorite view within the church. Complex and layered. One leaves the (relatively dark except for the lantern over the altar) sanctuary and enters a light-filled path surrounding an interior courtyard with vegetation and water. The stations of the cross (Theo Heiermann) are integrated into the stained-glass windows which, in their diagonal pattern and suspended behind the thin iron columns, feel more like a veil than a window.
Incredibly well done.
Built on land that had been bombed in the Second World War, Golden Lane Estate in the City of London is an example of the post-war modernist social housing ideal that blossomed in the UK through to the 1970s.
This building (Crescent House) was one of the final parts of the estate, and was completed in 1962. Designed by architects Chamberlin, Powell and Bon.
3.800 cc
6 in-line
265 hp
Class III : Post-War "1945 - 1965"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2022
Knokke - Zoute
België - Belgium
October 2022
Restored postwar diesel locomotive stored at Niles Canyon Railway.
Night, full moon, 2 minute exposure, sodium and mercury vapor lights, yellow and blue-gelled strobe flash.
In the postwar years, Fiat was working on an eight-cylinder engine which was internally known as Tipo 106. Dante Giacosa originally designed the engine for a luxury sedan, but then that project stopped. Rudolf Hruska, at the time working at S.I.A.T.A., was given the task to design a car around the V8 engine. Development took place in absolute secrecy. To not stress the experimental department of Fiat, S.I.A.T.A took up the production of the chassis. Styled by chief designer Fabio Luigi Rapi, the Fiat 8V or OttoVù was presented to the Italian press in February 1952 and first exhibited in the following March at the Geneva Motor Show.
The Fiat 8V prototype used an art deco grill that extended into the hood. A second series was made featuring four headlights with some of the later cars have a full-width windscreen. A high-performance coupé destined to compete in the GT class, the 2-litre 8V model, was a departure from the usual Fiat production. It was well accepted by Italian private drivers and tuners and was the car to beat in the 2-litre class, also thanks to the unique versions built by Zagato or Siata. The Fiat V8 had a 70-degree V configuration of up to a 1996 cc of volume, at 5600 rpm the engine produced 105 hp (78 kW) in standard form with two two-barrel Weber 36 DCS carburettors giving a top speed of 190 km/h (118 mph). Some engines were fitted with substantial four-throat Weber 36 IF4/C carburettors offering 120 bhp, but the intake manifold was very rare. The Fiat 8V is the only eight-cylinder built by Fiat. The engine was connected to a four-speed gearbox. The shapes of the car have seen several changes over time: the prototype had an art deco grille that extended into the bonnet. A second series was made with four headlights; finally, some of the latest cars had a large windshield without divisions. Only 114 of this high-performance coupé were produced, 63 of which with a “Fiat Carrozzerie Speciali” body, 34 first-series and 29 second-series. It was made available in different body styles, offered by the factory and by various coachbuilders like Zagato, Pinin Farina, Ghia and Vignale. The production ceased in 1954.
Text from:
www.carrozzieri-italiani.com/listing/fiat-8v-carrozzerie-...
Postwar Contax III with an East-German CZJ 50mm/1.5 Sonnar
A beautiful camera that I borrowed for a few days
Postwar/Modernist Catholic Church still displaying Christmas decorations.
I'm seeing St.Joseph loading a large gourd into a shopping trolley, he and Mary are sensibly PPE'd up for Covid-19.
LR3865 © Joe O'Malley 2020
adding images of roots and sky to a textbook I had in 1989. The book explains postwar history from a GDR perspective.
Coachwork by Zagato
Class III a : Post-War Closed Cars "The most elegant ones"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2021
Knokke - Zoute
België - Belgium
October 2021
E507
3.168 cc
V8
150 hp
Zoute Concours d'Elégance 25
Class : Steel & Speed - Post War '50 - '60
Entrant : H.M.G. Van Den Anker
Approach Golf - Het Zoute
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
This forward-looking “everyman” car from the postwar UK was designed with a uniquely British flair. Featuring chrome fenders and character elements, a distinctive grille shaped like an upside-down “T,” and a raked rear windscreen, it helped workers keep their daily commutes punctual and stylish.
More photos available in the build album. Thank you to The Lego Car Blog and The Brothers Brick for their humorous posts about this build and the peculiarities of 1950s British cars!
©2022 Chris Elliott, All Rights Reserved.
Find me also on:
This little barracks are from the Second Postwar. Made for the infantries "sticking point department", they were appointed to keep an eye on the strategical points all around that location, and placed in the War Paths near two villages called Pinzano and Campeis in Friuli Venezia-Giulia (Italy).
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...
Postwar Leica IIIc - F=5cm 1:35 - I need to sell this one, if you're interested, check it out at my auction on ebay. (elpanadave). Taken with my Nikon D3200. If by any means I'm breaking any rules here, PLEASE let me know, so I can remove the Photograph or Description. Peace & Love!.
Chassis n° B26BH
Coachwork by Franay
Class II b : Post-War Open Class "Fresh Air for 4"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2021
Knokke - Zoute
België - Belgium
October 2021
This forward-looking “everyman” car from the postwar UK was designed with a uniquely British flair. Featuring chrome fenders and character elements, a distinctive grille shaped like an upside-down “T,” and a raked rear windscreen, it helped workers keep their daily commutes punctual and stylish.
More photos available in the build album. Thank you to The Lego Car Blog and The Brothers Brick for their humorous posts about this build and the peculiarities of 1950s British cars!
©2022 Chris Elliott, All Rights Reserved.
Find me also on:
4,0 Litre
6 In-line
150 hp
Class III : Post War "1945-1965"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2022
Knokke - Zoute
België - Belgium
October 2022
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...
1.089 cc
4 In-Line
32 hp
Class III : Post War "1945 - 1965"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2022
Knokke - Zoute
België - Belgium
October 2022
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...
Postwar Japan had started on 15 August 1945. And so I often think about Japan when summer has come, though I was born after the war… Now I resume uploading this series. But I don't find out the way of the representation.
The de Havilland DH 112 Venom was a British postwar single-engined jet aircraft developed from the de Havilland Vampire. It served with the Royal Air Force as a single-seat fighter-bomber and two-seat night fighter. The Venom was an interim between the first generation of British jet fighters – straight-wing aircraft powered by centrifugal flow engines such as the Gloster Meteor and the Vampire and later swept wing, axial flow-engined designs such as the Hawker Hunter and de Havilland Sea Vixen. The Venom was successfully exported, and saw service with Iraq, New Zealand, Sweden, Switzerland and Venezuela.
The Sea Venom was a navalised version for carrier operation.
The RAF fighter-bomber Venoms saw service during the Malayan Emergency which took place between 1948 and 1960, although they did not begin operations until the mid-1950s with Nos. 45 and 60 Squadrons RAF. While there, the Venom supported operations against Communist guerrillas as part of Operation Firedog, the codename for Royal Air Force operations in Malaya. Venoms were lent to the Royal New Zealand Air Force for use in the same conflict where they operated with No. 14 Squadron RNZAF.
The Venom also saw service during the Suez Crisis being operated by Nos. 6, 8 and 249 Squadrons RAF flying from RAF Akrotiri, Cyprus. The Anglo-French invasion, codenamed Operation Musketeer, took place in response to the nationalisation of the Suez Canal by Egypt's leader, General Nasser. The air war began on 31 October 1956 signalling the beginning of the Suez War. The Venoms launched a number of sorties, attacking a variety of military installations on the ground. They also saw much action in the Middle East, supporting operations against terrorists in Aden and Oman, losing some aircraft in the process. Venoms additionally saw service during the Mau Mau insurgency in Kenya.
All Venoms in RAF service were withdrawn from first-line service in 1962, having proven their worth in a variety of locations across the world, in peace and war, and in some of the most difficult climates the RAF has ever faced. The last non-RAF Venoms to leave active service were Swiss Air Force Venoms which retired in 1983.
About 20 Venoms continue to fly as of 2004, performing at various air shows, while a number of examples are preserved in museums in the United Kingdom and abroad, in non-flying, static display condition.
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
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en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...