View allAll Photos Tagged precise
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
The first locomotive turntable at Machynlleth had been installed by September 1862 and was much used from the outset, although some tender-first running was unavoidable when the service was extended to Borth in July 1863. The precise location of the first table is not known although a Minute of the Board, dated 31 July 1868 provides a clue, whilst requesting the provision of an additional siding at Machynlleth;
By making use of the old stone siding at the back of the station. This, however, would necessitate the removal of the turntable, which apart from the requirements of greater accommodation, might be placed in a better position in as much as at present goods trains are continually shunting over it causing it to get out of repair and as a necessary consequence, the engine has to run tender first.
This suggests that the original turntable was located somewhere in the area later occupied by the single-compound crossing. The Engineer's suggestion had been adopted by 1870 and the first Edition O.S. Map (1887) confirms a new location beyond the pump house, on the eastern side of the locomotive shed and beyond the coal storage platform. The second table served until the turn of the century when a new 50ft turntable was installed where the existing brick-built enginemen's mess room was later located. This third turntable was brought into use in December 1899. The introduction of larger locomotives introduced by the Great Western some forty years later necessitated the installation of Machynlleth's fourth and final turntable. The initial intention was to transfer a table from Old Oak Common but construction of a reversing triangle at Aberystwyth released the GW's standard 55ft table at this location. This was valued at £350. installation cost a further £1890. whilst the Aberystwyth triangle cost £3085. The work was carried out during the autumn of 1939 and the GW turntable at Machynlleth survived until the end of steam. it was scrapped on site in 1967.
This rare photograph shows GWR 2301 class 0-6-0 Dean Goods No 2358 on Machynlleth's third turntable (installed 1899) in the summer of 1933. No 2358 was withdrawn in 1934.
First the precise fit, then the curve is cut and shaped.
RIPTIDE was built in 1927 by Frank E and William J Schertzer, owners of Schertzer Brothers Boat and Machine Company, which was then located at 1115 Northlake Avenue on the north end of Lake Union near the foot of Stone Way in Seattle. Tantalizing hints in her lines suggest she may have been designed by the Seattle firm of Lee, Brinton and Wayland. Her original owners are as yet unknown.
RIPTIDE is 47 feet 1-inch long with a beam of 11 feet 10-inches and a draft of four feet. She is planked in port orford cedar riveted to white oak frames over an apitong backbone with western red cedar houses. She displaces about 10 tons, relatively light for a boat this size.
A Coast Guard documented vessel, RIPTIDE carries documentation number 226242 carved into the interior face of both port and starboard bilge stringers.
RIPTIDE is powered by remanufactured Cummins B210 5.9 liter turbo-charged diesel of 210hp. While her top speed is over 14 knots at 2400 rpm, her cruising speed is a much more sedate 9 knots at 1500 rpm. She carries 300 gallons of diesel fuel.
She was overhauled by the Port Townsend Shipwright's Co-Op in Port Townsend WA in 2015, completely recaulked by John Zimmer of Palouse Boatworks, and painted and varnished by Diane Salguero of Salguero Marine Services. 2017 work included replacing the aft portion of the pilothouse and adding six new portlights forward and repainting the boat, in addition to her annual painting. 2018 Work included replacing the forward portion of the pilothouse, overhauling the transom seat area, and adding a water system and head. Shipwrights Jeff Galey and Paul Stoffer have done the majority of work on the boat. Salguero Marine will paint RIPTIDE after she emerges from the shipyard in early July, 2018.
RIPTIDE's hailing port is Port Ludlow WA. She is usually moored in Port Madison, on Bainbridge Island, WA.
Port Townsend Shipwright's Co-Op:
www.facebook.com/PortTownsendShipwrightsCoOp?fref=ts
Salguero Marine:
a href="http://salgueromarine.com/" rel="nofollow">salgueromarine.com/
www.facebook.com/marinefinishes
Mystery Bay Sails and Canvas:
Speech of a real leader in wartime
One of my cards with the most striking text about war. I don't think she would have gone to censorship but she traveled under letter and it's a officer who writes. This text speaks of the reality of war without lying. There will still be 4 years of conflict to endure. This officer worries about these men and does not persevere them just like objects which was unfortunately very widespread in the French army at the beginning of the war with unnecessary massacres.
If the name is well huijer I cannot find a match in the file of the dead for France.
The traduction :
Village devastated by German artillery
In the trenches of Bucy along the 23 September 1914 battlefield of Soisson
Dear friend,
Am still amazed to be alive without a single scratch, I wonder how I could have passed intact in the midst of the rain of bullets and shells that assaulted us. Nothing moved me ..... There are all the same ... unforgettable, I spoke loudly (at the highest moment of the battle) to my men, I encouraged them and so much that I have had from the beginning only one man injured, so they have in me immense confidence and sometimes say to me: << If you get killed what will we do >> I assure you that I am happy to have been able to inspire such confidence and I am happy with the affection they have for me, it is true that I am attached to them terribly. Those who have not seen the war will never be able to ... get even a rather vague idea of the desolation of the looting, of the death and of the devastation of the region which suffers it. The shells are raining down right now, but we are so overwhelmed that we risk nothing. The Germans ... we will pursue them the victory follows us. Courage to all. Best memory to our Parents and M ^ lle Jeanne. Cordial handshake
Huijer
I do not have the card currently with me and the scan is not precise enough for me to reread certain passages of the text I would put them as soon as possible. The text in parentheses is a precision for understanding because I have trouble to translate this passage. The 02 is a mark of collection that I do not delete.
The original text :
"Village dévasté par l'artillerie allemande"
"Dans les tranchées de Bucy le long le 23 sept^bre 1914 champ de bataille de Soisson
Chère amie,
Suis encore tout étonné d'être vivant sans une seule égratignure, je me demande comment j'ai pu passé intact au milieu de la pluie de balles et d'obus qui nous ont assaillis. Rien ne m'a émotionné .... . Il y a tout de même des ... inoubliables, je parlais au plus fort à mes hommes, je les ai encouragés et tellement que je n'ai n'ai eu depuis le début qu'un homme de bléssés, aussi ont-ils en moi une confiance immense et me disent parfois : << Si vous vous faites tuer que ferons nous >> Je vous assure que je suis heureux d'avoir pu inspirer une telle confiance et je suis heureux de l'affection qu'ils ont pour moi, il est vrai que je me suis attaché à eux terriblement. Ceux qui n'ont pas vu la guerre ne pourront jamais ... faire une idée même assez vague de la désolation dupillage, de la mort et de a dévastation de la région qui la subit. Les obus pleuvent en ce moment, mais nous sommes tellement terrès que nous ne risquons rien. Les allemands ... nous les poursuivrons la victoire nous suit. Du courage à tous. Meilleur souvenir à nos Parents et à M^lle Jeanne. Cordiales poignée de mains
Huijer"
03.04 - 93/365
A tiny speck against the blue vault, yet a powerful force dismantling a concrete titan. This precise work is a dance of destruction that irreversibly shifts the skyline. The industrial past dissolves into dust, clearing space for a new narrative.
The Wandra was wrecked on the night of 15th December 1915 at a location known as the Drumsticks, or Drum and Drumsticks. The image, taken from Google Maps, shows the Beecroft Peninsula and Point Perpendicular. The Peninsula forms the Northern entrance to Jervis Bay, NSW. The precise location of the wreck is contained on this website: www.michaelmcfadyenscuba.info/viewpage.php?page_id=118
This report has been prepared by Chris Borough, Graham Nicholson and Philip Pope
DETAILS
Name: WANDRA (Originally Wandy)
Official Number: 121183
Type: Steamer – ketch rigged
Register: Sydney 31/1907 - 31st July 1907
Builder: Denis Sullivan, Coopernook
Materials: North Coast Hardwood - Blackbutt, Ironbark & Flooded Gum as well as Oregon (for the deck).
Launch: Coopernook, Saturday 1st June 1907
Length: 120.5 ft.
Breadth: 26.0 ft.
Depth in Hold: 5.8 ft.
Tonnage: (n.b. 1 shipping ton = 100 cubic ft. or 2.83 cubic metres)
Gross: 163.66 tons
Nett or Register: 71.07 tons (201.13 cu. m.)
Engines: Two-cylinder Compounding Surface Condensing – Campbell and Calderwood, Paisley, Scotland.
Propeller: two
OWNERS: Allen Taylor and Company Limited of Pyrmont, NSW
LAUNCH OF THE WANDY
Despite being launched as the Wandy she was registered as the Wandra
Launching at Coopernook.
THE S.S. WANDY.
The fourteenth boat built by Mr. D. Sullivan was successfully launched at his Coopernook yards on Saturday last [1st June 1907], in the presence of several hundred spectators— the christening ceremony being performed by Miss Vera Sullivan (a grand-niece of Mr. Sullivan), who gracefully named the steamer "Wandy" as she left the ways. As is usual with Mr. Sullivan's launchings, not the slightest hitch occurred. The name Wandy is derived from Wandyan, on the South Coast, where Messrs. Allen Taylor & Co. are opening up the timber trade at St. George's Basin, near Jervis Bay. The firm has a mill there, and is working what is practically a virgin forest.
The new boat, which is of ordinary build, with a round bilge, is owned by Messrs. Allen Taylor and Co., and is to be placed in the timber trade. She is 125 feet long overall, and 120 feet between perpendiculars, with a 26ft. beam, and has a capacity for 60,000 feet of timber — this being equivalent to 180 tons dead weight, or 1800 bags of maize. The timber will be carried in a large hatch amidships. With the exception of that in the deck, which is Oregon, all the timber used in the construction of the vessel was obtained locally. The keel and keelsons are ironbark, the planking blackbutt and flooded gum, and the frames hardwood. Two masts, each 65ft. in length, will be fitted. The vessel will be of the twin-screw type, and will be electrically-lighted throughout. Accommodation will be provided for a crew of 12—the captain's cabin being on the bridge, and the officers' quarters aft, whilst the sailors will be accommodated for'ard. The engines will be of the compound type, 10-in. and 20-in. stroke, and will be placed aft. They are to be fitted by Messrs. Begg and Grieg [Greig], of Sydney. This firm also fitted the engines in the Pyrmont. A speed of 9 knots will be attained.
Copper fastenings have been used to the water line and galvanised above it. The keel of the Wandy was laid in September of last year, and since then 25 men have been employed by Mr. Sullivan in the yard and bush. The vessel will probably be towed to Sydney on Saturday by one of Messrs. J. and A. Brown's tugs [Alice].
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) - Wed 5 Jun 1907
TOWED TO SYDNEY
The Wandy.— The hull of the steamer Wandy, , which was launched at Coopernook on the 1st inst.,arrived in Sydney on Wednesday night last in tow of Messrs. J. and A. Brown's tug Alice.
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) Wed 19 Jun 1907
ENTERED INTO THE CAPE HAWKE TRADE
The Cape Hawke Trade.— The new steamer Wandra, recently launched at Coopernook by Mr. D. Sullivan, has taken up the Cape Hawke trade for Messrs. Allen Taylor & Co. while the bar and crossing remain in their present shallow condition, and the S.S. Tuncurry is putting in the time elsewhere. The Wandra, when launched, was christened " Wandy" by mistake, but the correct name was registered by the company. She has been nicely fitted, and carries a good cargo on a light draught. Her speed is about 8 knots.
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) - Sat 31 Aug 1907
DAMAGE TO PROPELLER
Grounding and damage to propellers was a common problem for vessels trading along the NSW Coast.
ACCIDENT TO THE WANDRA.
The Navigation Department received a telegram to-day stating that while coming down the Manning River yesterday, the steamer Wandra, owned by Messrs, Allen Taylor and Co., lost two blades of her [starboard] propeller. Repairs will have to be effected at Sydney.
The Sun (Sydney, NSW : 1910 - 1954) - Wed 5 Feb 1913
WANDRA'S PROPELLER INJURED.
A telegram received by the Department of Navigation from the pilot at Bellingen yesterday stated that the steamer Wandra left there for Port Stephens and Newcastle with two blades of her propeller injured.
The Sydney Morning Herald (NSW : 1842 - 1954) - Thu 26 Feb 1914
WANDRA ASSISTS IN RESCUE OF TRAMP
Wandra and Tug to the Rescue.
It fell to the lot of the coasting steamer Wandra, one of Messrs. Allen Taylor and Company's fleet to rescue the Tramp from her dangerous position off the coast.
When the report was received from Captain Thomson of the Wyandra, Captain Hacking, the Superintendent of the Department of Navigation, notified Captain Kerkin at the Manning River of the dismasted schooner's position, and he was instructed to take steps to have the derelict removed from the track of navigation. The steamer Wandra happened to be off the Manning River, and she was signalled to proceed to the wreck. A message had meanwhile been received giving the position of the Tramp as five miles to the southward of Crowdy Head. The Wandra came across the derelict shortly before noon on Monday, and Pilot Kerkin telegraphed to the Navigation Department during the afternoon: "Wandra proceeded as instructed, and secured the derelict. She is now steaming towards the bar, with the derelict in tow."
There was a heavy sea at the Manning River entrance when the Wandra and the derelict arrived off the bar, and the subsidised tug, John Gollan, put out and picked up the Tramp from the Wandra, and towed her inside, the tug and the dismasted vessel entering the river at 3.55 p.m.
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) Sat 2 Aug 1913
WRECKED ON ROCKS NORTH OF JERVIS BAY – 15th December 1915
FOUNDERING OF THE STEAMER WANDRA.
Twelve members of the crew of the steamer Wandra, one of the small coasters belonging to Messrs. Allen Taylor and Co., reached Jervis Bay, on the South Coast, at 1.30 o'clock yesterday morning and reported the loss of the vessel. The Wandra foundered off the Drumsticks, about seven miles north of Point Perpendicular.
The Wandra was bound from Moruya to Sydney, timber-laden, in charge of Captain Rueben Lucey. North of Jervis Bay, the vessel became unmanageable, and subsequently foundered, the crew escaping in the boat with only what they stood in. Captain Lucey telephoned to Messrs. Allen Taylor and Co., yesterday morning news of the disaster, and the company is arranging for the crew to return overland via Nowra.
The Wandra was specially designed for the timber trade on the coast, and she had been running both north and south since she was built in 1907. She was a wooden vessel, of 164 tons gross and 71 tons net, with a length
of 120ft. 5in., beam of 26ft., and depth of 5ft. 8in. The vessel and cargo were covered in the United Insurance Co.
STATEMENT BY THE CAPTAIN.
Nowra, Thursday. — Captain Lucey, of the Wandra, states that the vessel left Moruya yesterday morning with cargo of 48,800 superficial feet of timber, mostly girders, and everything went well until she got five or six miles north of Jervis Bay Lighthouse. At about 10 o'clock at night, wind and sea being moderate, the Wandra suddenly filled up on the lee side, and did not recover. She went in towards Drumsticks at Currarong. The captain let go the anchor quickly, but she foundered almost immediately in from eight to ten fathoms of water. All hands were landed without any flurry or excitement, and proceeded to Jervis Bay lighthouse, where they received every attention. Captain Lucey says there is no chance of salving the Wandra.
The Daily Telegraph (Sydney, NSW : 1883 - 1930) Fri 17 Dec 1915
CREW'S EXPERIENCES AFTER SHIPWRECK.
NOWRA, Sunday 19th.
Captain Lucey, of the wrecked steamer Wandra, and all his crew, arrived at Nowra from Jervis Bay Lighthouse at 12.30 p.m. on Friday [17th]. They left the lighthouse at 6 o'clock in the morning, and a horse and cart having been provided by the lighthouse-keeper, they took it in turns to walk and ride towards Nowra. After covering some 12 miles in this manner they were met by vehicles sent out from Nowra, 16 miles away. From here they proceeded to Sydney.
The captain, who is suffering from a slight injury to one of his knees, sustained whilst landing at the Drumsticks, further states that immediately the sea was shipped and the steamer was in difficulties the ship's pumps were got to work, with the hope of pumping her out, but she never recovered the list received after shipping the sea, and sank with pumps working almost up to the last. The night was clear when she went down, and her masts were showing when they landed.
After landing rain set in, and being a cold night they all suffered considerably in their six-mile tramp to the lighthouse. The captain expressed his gratitude to the lighthouse-keeper and staff, who gave all the assistance in their power to himself and the crew, and provided them with a few pairs of boots, together with caps and tobacco.
The Sydney Morning Herald (NSW : 1842 - 1954) Mon 20 Dec 1915
THE WANDRA FOR SALE
Mr F R Strange advised that he is selling by public auction to-day at 28 Market street, at 11.30 a.m., the wreck of the steamer Wandra as she now lies at The Drumsticks, near Jervis Bay Heads, including a cargo of hardwood, consisting of hardwood sleepers.
The Sydney Morning Herald (NSW : 1842 - 1954) Fri 14 Jan 1916
Further details on the wreck and information on Scuba Diving can be found at
www.michaelmcfadyenscuba.info/viewpage.php?page_id=118
Acknowledgements: The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated.
Image Source: Unknown
Image Enhancement - Philip Pope
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
1. Unto Viljami Terho is a satyr, or to be more precise, kind of earth elemental, specialiced in plants. He can communicate with spirits an plants and earth, engouraging plants to grow or even causin small earthquakes in 5 metre radius. the more natural state ground is, further he can sense movements on the ground. This all sounds awesomly cool, but Untti is very prone to fall asleep as soon as he has used his powers a bit more flashy way, if he even sees any reason to use them. Usually he just chills.
2. Unto is constantly on a state where you wounder if he has eaten some magic mushrooms or smoked somethiong he shouldn't have. He has been like that trough his life, and so far no one has seen him take anything extra, he doesn''t even drink alcohol. Sometimes it seems he lives in whole another reality, and he gets facinated by the wierdest things. ("Hey duuude,look, funny shaped stone! It looks like bunny which rides a rhino in a desert!" "... Eh...?" "See! it even has a pink ribbon!" "okay... *takes few seps back*") But he is very harmless and loves people, so usually people just get used to him by time.
3. Unto sways like a grass on the wind all the time. His way to move reminds me of reeds. With his sleepy smile and funky way to move he seems like somesort of wierd sleepwalker. And he is really cute while doing that. Or really creepy. Your pick. xD
5. He seems very scattered brained and airheaded, not to meantion stupid most of the time. Until discussion turns into botany, and he suddenly turns in to wikipedia. Unto knows Amazing amounts about plants, mushrooms, weeds and anything living-yet-not-animal. He can easily name hundreds of palnts in their latin names, knows how they can be used and where they grow. He loves plants, and acctually works as a florist in his family shop. He rarely breaks this to people he meets the first time, because he rather wouldn't like ladies to get impression that he is gay.
6. Speaking of ladies, Unto loves pretty ladies. He consideres himself quite a charmer, and seems to be only one thinking so. He isn't worst kind of guy, it usually stays with bad punchlines and few adoring, sleepy winks on Unto's side, and when girls run from the sitution laughing themselfs to near death, satyre seems even more convinced that he is a real find. Saku is trying find a way to break it to him that they are laughing to him, not with him.
7. Saku and Unto hadjust met, when he asked Unto to be Minttu's godfather. Unto is very proud of this honor, and likes little Minttu very dearly. They often make up several funny stuff to do together and give daddy a big headache.
8. Unto has several friends, but Saku has been his dearest ever since he met him. Unto has strange way of 'adopting' people - he just comes and desited that, hey, you will be mu bestest buddy for now on! And Saku, unlike others, never tried to squirm of the honor. He likes having him around, and Saku works as Unto's brain, while Unto keeps pushin Saku out of his shell.
9. It's isn't acctually phobia, but Unto can't stand birds. They make him really nervous.
10. Unto is sucker for anything sparkly. He just loves all the things shiny. And colorful. No, You don't wanna see his appartment. Your eyes would bleed, trust me.
The Postcard
A postally unused carte postale that was published by Phot-Express and printed by Baudinière of Nanterre. Someone has used a pencil in order to write the following on the divided back of the card:
'Ruins of the château in
Vermelles where the French
nearly captured "Little Willie"'.
Little Willie (named by the British after Kaiser Wilhelm) was a trench at the southern end of the Hohenzollern Redoubt. The trench at the northern end was nicknamed Big Willie.
The Redoubt was considered to be the strongest German defensive-work on the whole of the Western Front.
Abba Eban
"History teaches us that men and nations
behave wisely when they have exhausted
all other alternatives".
This was said during a speech in London UK on the 16th. December 1970 by Abba Eban (1915-2002), an Israeli diplomat and writer.
Visé Paris 518
The card bears the imprimatur 'Visé Paris.' This means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.
'Visé Paris' indicates that the card was published during or soon after the Great War.
Vermelles
Vermelles is a village that was just behind the British lines on the Western Front. The château was used as an Advanced Dressing Station during the Battle of Loos which took place from the 25th. September to the 8th. October 1915.
The Use of Chlorine Gas
The battle represented the largest British attack of 1915, and was the first time that the British used poison gas. Prior to the attack, about 140 tons (140,000 kg) of chlorine was released with mixed success - in places the gas was blown back into British trenches (Friendly Gas - a ghastly variation of the term Friendly Fire).
Due to the inefficiency of the available gas masks, many British soldiers removed them as they could not see through the fogged-up eyepieces or could barely breathe with them on. This led to many casualties when the gas blew back.
'Goodbye to All That"
In 'Goodbye to all That', Robert Graves describes Vermelles as having been '...taken and re-taken eight times last October' (i.e. October 1914).
When he was billeted there in 1915 he records that not a single house remained undamaged.
At the time Vermelles was only about 1300 yards from the British front line, and yet Graves and his fellow soldiers played cricket in the village, screened from enemy observation by the ruined houses.
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
If the 170m rounds were on average two feet long, and if they were laid end to end, they would stretch for 64,394 miles (103,632 kilometres); the line would go round the equator over two and a half times. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of explosives was fired for every square metre of territory on the Western front. As many as one in every three shells fired did not detonate. In the Ypres Salient alone, an estimated 300 million projectiles that the British and the German forces fired at each other were "duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
Robert Graves
Captain Robert von Ranke Graves, who was born on the 24th. July 1895, was an English poet, historical novelist and critic.
His father was Alfred Perceval Graves, a celebrated Irish poet and figure in the Gaelic revival; they were both Celticists and students of Irish mythology.
Robert Graves produced more than 140 works in his lifetime. His poems, his translations and innovative analysis of the Greek myths, his memoir of his early life — including his role in the Great War — Good-Bye to All That (1929), and his speculative study of poetic inspiration The White Goddess have never been out of print.
Robert is also a renowned short story writer, with stories such as The Tenement still being popular today.
He earned his living from writing, particularly popular historical novels such as I, Claudius; King Jesus; The Golden Fleece; and Count Belisarius.
He also was a prominent translator of Classical Latin and Ancient Greek texts; his versions of The Twelve Caesars and The Golden Ass remain popular for their clarity and entertaining style.
Graves was awarded the 1934 James Tait Black Memorial Prize for both I, Claudius and Claudius the God.
-- Robert Graves - The Early Years
Robert Graves was born into a middle-class family in Wimbledon, then part of Surrey, now part of south London. He was the eighth of ten children born to Alfred Perceval Graves (1846–1931), who was the sixth child and second son of Charles Graves, Bishop of Limerick, Ardfert and Aghadoe.
Robert's father was an Irish school inspector, Gaelic scholar and the author of the popular song "Father O'Flynn."
Robert's mother was his father's second wife, Amalie Elisabeth Sophie von Ranke (1857–1951), the niece of the historian Leopold von Ranke.
At the age of seven, double pneumonia following measles almost took Graves's life, the first of three occasions when he was despaired of by his doctors as a result of afflictions of the lungs, the second being the result of a war wound, and the third when he contracted Spanish influenza in late 1918, immediately before demobilisation.
At school, Graves was enrolled as Robert von Ranke Graves, and in Germany his books are published under that name, but before and during the Great War the name caused him difficulties.
In August 1916 an officer who disliked Robert spread the rumour that he was the brother of a captured German spy who had assumed the name "Karl Graves". The problem resurfaced in a minor way in the Second World War, when a suspicious rural policeman blocked his appointment to the Special Constabulary.
Graves's eldest half-brother, Philip Perceval Graves, achieved success as a journalist, and his younger brother, Charles Patrick Graves, was a writer and journalist.
-- Robert Graves' Education
Graves received his early education at a series of six preparatory schools, including King's College School in Wimbledon, Penrallt in Wales, Hillbrow School in Rugby, Rokeby School in Wimbledon, and Copthorne in Sussex, from which last in 1909 he won a scholarship to Charterhouse.
There Robert began to write poetry, and took up boxing, in due course becoming school champion at both welter- and middleweight. He claimed that this was in response to persecution because of the German element in his name, his outspokenness, his scholarly and moral seriousness, and his poverty relative to the other boys.
Robert also sang in the choir, meeting there an aristocratic boy three years younger, G. H. "Peter" Johnstone, with whom he began an intense romantic friendship, the scandal of which led ultimately to an interview with the headmaster.
However, Graves himself called it "chaste and sentimental" and "proto-homosexual," and though he was clearly in love with Peter (disguised by the name "Dick" in Good-Bye to All That), he denied that their relationship was ever sexual. Robert was warned about Peter's proclivities by other contemporaries.
Among the masters, Robert's chief influence was George Mallory, who introduced him to contemporary literature and took him mountaineering in the holidays. In his final year at Charterhouse, he won a classical exhibition to St. John's College, Oxford, but did not take his place there until after the Great War.
-- Robert Graves and the Great War
At the outbreak of the Great War on the 4th. August 1914, Graves enlisted almost immediately, taking a commission in the 3rd. Battalion of the Royal Welch Fusiliers as a second lieutenant on the 12th. August.
He received rapid promotion, being promoted to lieutenant on the 5th. May 1915 and to captain on the 26th. October 1915.
Robert published his first volume of poems, Over the Brazier, in 1916. He developed an early reputation as a war poet, and was one of the first to write realistic poems about the experience of frontline conflict.
In later years, he omitted his war poems from his collections, on the grounds that they were too obviously "part of the war poetry boom."
At the Battle of the Somme, he was so badly wounded by a shell-fragment through the lung that he was expected to die, and was officially reported as having died of wounds. However Robert gradually recovered and, apart from a brief spell back in France, spent the remainder of the war in England.
One of Graves' friends at this time was the poet Siegfried Sassoon, a fellow officer in his regiment. They both convalesced at Somerville College, Oxford, which was used as a hospital for officers. Sassoon wrote to him in 1917.:
"How unlike you to crib my idea of
going to the Ladies' College at Oxford,"
At Somerville College, Graves met and fell in love with Marjorie, a nurse and professional pianist, but stopped writing to her once he learned that she was engaged. About his time at Somerville, he wrote:
"I enjoyed my stay at Somerville. The
sun shone, and the discipline was easy."
In 1917, Siegfried Sassoon rebelled against the conduct of the war by making a public anti-war statement. Graves feared Sassoon could face a court martial, and intervened with the military authorities, persuading them that Sassoon was experiencing shell shock, and that they should treat him accordingly.
As a result, Sassoon was sent to Craiglockhart, a military hospital in Edinburgh, where he was treated by W. H. R. Rivers and met fellow patient Wilfred Owen. Graves was treated here as well. Graves also had shell shock, or neurasthenia as it was then called, but he was never hospitalised for it:
"I thought of going back to France, but realized
the absurdity of the notion. Since 1916, the fear
of gas obsessed me: any unusual smell, even a
sudden strong scent of flowers in a garden, was
enough to send me trembling.
And I couldn't face the sound of heavy shelling
now; the noise of a car back-firing would send
me flat on my face, or running for cover."
The friendship between Graves and Sassoon is documented in Graves' letters and biographies. The intensity of their early relationship is demonstrated in Graves's collection Fairies and Fusiliers (1917), which contains many poems celebrating their friendship.
Sassoon remarked upon a "heavy sexual element" within it, an observation supported by the sentimental nature of much of the surviving correspondence between the two men. Through Sassoon, Graves became a friend of Wilfred Owen, who often used to send him poems from France.
In September 1917, Graves was seconded for duty with a garrison battalion. Graves's army career ended dramatically with an incident which could have led to a charge of desertion. He wrote:
"Having been posted to Limerick in late 1918,
I woke up with a sudden chill, which I recognized
as the first symptoms of Spanish influenza.
I decided to make a run for it. I should at least
have my influenza in an English, and not an Irish,
hospital."
Arriving at Waterloo with a high fever but without the official papers that would secure his release from the army, he chanced to share a taxi with a demobilisation officer also returning from Ireland, who completed his papers for him with the necessary secret codes.
-- Robert Graves After the Great War
Immediately after the war, Graves with his wife, Nancy Nicholson had a growing family, but he was financially insecure and weakened physically and mentally:
"I was very thin, very nervous, and with about four
years' loss of sleep to make up, I was waiting until
I got well enough to go to Oxford on the Government
educational grant.
I knew that it would be years before I could face
anything but a quiet country life. My disabilities were
many: I could not use a telephone, I felt sick every
time I travelled by train, and to see more than two
new people in a single day prevented me from
sleeping.
I felt ashamed of myself as a drag on Nancy, but had
sworn on the very day of my demobilization never to
be under anyone's orders for the rest of my life.
Somehow I must live by writing."
In October 1919, Robert took up his place at the University of Oxford, soon changing course to English Language and Literature, though managing to retain his Classics exhibition.
In consideration of his health, he was permitted to live a little outside Oxford, on Boars Hill, where the residents included Robert Bridges, John Masefield (his landlord), Edmund Blunden, Gilbert Murray and Robert Nichols. Later, the family moved to Worlds End Cottage on Collice Street, Islip, Oxfordshire.
Robert's most notable Oxford companion was T. E. Lawrence, then a Fellow of All Souls', with whom he discussed contemporary poetry and shared in the planning of elaborate pranks. By this time, he had become an atheist. His work was part of the literature event in the art competition at the 1924 Summer Olympics.
While still an undergraduate Robert established a grocers shop on the outskirts of Oxford but the business soon failed. He also failed his BA degree, but was exceptionally permitted to take a Bachelor of Letters by dissertation instead, allowing him to pursue a teaching career.
In 1926, Robert took up a post as a professor of English Literature at Cairo University, accompanied by his wife, their children and the poet Laura Riding, with whom he was having an affair. Graves later claimed that one of his pupils at the university was a young Gamal Abdel Nasser.
Robert returned to London briefly, where he separated from his wife under highly emotional circumstances (at one point Laura Riding attempted suicide) before leaving to live with Riding in Deià, Majorca.
There they continued to publish letterpress books under the rubric of the Seizin Press, and wrote two successful academic books together: A Survey of Modernist Poetry (1927) and A Pamphlet Against Anthologies (1928). Both works had great influence on modern literary criticism.
-- Robert Graves' Literary Career
In 1927, Robert published Lawrence and the Arabs, a commercially successful biography of T. E. Lawrence. The autobiographical Good-Bye to All That (1929, revised by him and republished in 1957) proved a success, but cost him many of his friends, notably Siegfried Sassoon.
In 1934, Robert published his most commercially successful work, I, Claudius. Using classical sources, he constructed a complex and compelling tale of the life of the Roman emperor Claudius, a tale extended in the sequel Claudius the God (1935).
I, Claudius received the James Tait Black Memorial Prize in 1934. Later, in the 1970's, the Claudius books were turned into the very popular television series I, Claudius, with Sir Derek Jacobi shown in both Britain and United States.
Another historical novel by Graves, Count Belisarius (1938), recounts the career of the Byzantine general Belisarius.
Graves and Laura Riding left Majorca in 1936 at the outbreak of the Spanish Civil War, and in 1939 they moved to the United States, taking lodging in New Hope, Pennsylvania.
Their volatile relationship and eventual breakup was described by Robert's nephew Richard Perceval Graves in Robert Graves: 1927–1940: the Years with Laura, and T. S. Matthews's Jacks or Better (1977). It was also the basis for Miranda Seymour's novel The Summer of '39 (1998).
After returning to Britain, Graves began a relationship with Beryl Hodge, the wife of Alan Hodge, his collaborator on The Long Week-End (1940) and The Reader Over Your Shoulder (1943).
Graves and Beryl (they were not to marry until 1950) lived in Galmpton, Torbay until 1946, when they re-established a home with their three children, in Deià, Majorca. The house is now a museum.
The year 1946 also saw the publication of Robert's historical novel King Jesus. He published The White Goddess: A Historical Grammar of Poetic Myth in 1948; it is a study of the nature of poetic inspiration, interpreted in terms of the classical and Celtic mythology he knew so well.
He turned to science fiction with Seven Days in New Crete (1949), and in 1953 he published The Nazarene Gospel Restored with Joshua Podro.
Robert also wrote Hercules, My Shipmate, published under that name in 1945 (but first published as The Golden Fleece in 1944).
In 1955, he published The Greek Myths, which retells a large body of Greek myths, each tale followed by extensive commentary drawn from the system of The White Goddess. His retellings are well respected; many of his unconventional interpretations and etymologies are dismissed by classicists.
Graves in turn dismissed the reactions of classical scholars, arguing that they are too specialised and prose-minded to interpret ancient poetic meaning, and that:
"The few independent thinkers are
the poets, who try to keep civilisation
alive."
He published a volume of short stories, ¡Catacrok! Mostly Stories, Mostly Funny, in 1956. In 1961, he became Professor of Poetry at Oxford, a post he held until 1966.
In 1967, Robert Graves published, together with Omar Ali-Shah, a new translation of the Rubaiyat of Omar Khayyam. The translation quickly became controversial; Graves was attacked for trying to break the spell of famed passages in Edward FitzGerald's Victorian translation.
L. P. Elwell-Sutton, an orientalist at Edinburgh University, maintained that the manuscript used by Ali-Shah and Graves, which Ali-Shah and his brother Idries Shah claimed had been in their family for 800 years, was a forgery. The translation was a critical disaster, and Graves' reputation suffered severely due to what the public perceived as his gullibility in falling for the Shah brothers' deception.
In 1968, Graves was awarded the Queen's Gold Medal for Poetry by Queen Elizabeth II. His private audience with the Queen was shown in the BBC documentary film Royal Family, which aired in 1969.
From the 1960's until his death, Robert Graves frequently exchanged letters with Spike Milligan. Many of their letters to each other are collected in the book Dear Robert, Dear Spike.
On the 11th. November 1985, Graves was among sixteen Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner. The inscription on the stone was written by friend and fellow Great War poet Wilfred Owen. It reads:
"My subject is War, and the pity
of War. The Poetry is in the pity."
Of the 16 poets, Graves was the only one still living at the time of the commemoration ceremony, though he died less than a month later.
UK government documents released in 2012 indicate that Graves turned down a CBE in 1957.
In 2012, the Nobel Records were opened after 50 years, and it was revealed that Graves was among a shortlist of authors considered for the 1962 Nobel Prize in Literature, along with John Steinbeck (who was that year's recipient of the prize), Lawrence Durrell, Jean Anouilh and Karen Blixen.
Graves was rejected because, even though he had written several historical novels, he was still primarily seen as a poet, and committee member Henry Olsson was reluctant to award any Anglo-Saxon poet the prize before the death of Ezra Pound, believing that other writers did not match his talent.
In 2017, Seven Stories Press began its Robert Graves Project. republishing fourteen of Graves' out-of-print books.
UK government documents released in 2023 reveal that in 1967 Graves was considered for, but then passed over for, the post of Poet Laureate.
His religious belief has been examined by Patrick Grant, "Belief in anarchy: Robert Graves as mythographer," in Six Modern Authors and Problems of Belief.
-- Robert Graves' Sexuality
Robert Graves was bisexual, having intense romantic relationships with both men and women, though the word he coined for it was "pseudo-homosexual." Graves noted:
"I was raised to be prudishly innocent,
as my mother had planned I should be."
In fact his mother, Amy, forbade speaking about sex, save in a "gruesome" context, and insisted That:
"All skin must be covered."
During his days in Penrallt, he had "innocent crushes" on boys; one in particular was a boy named Ronny:
"Ronny climbed trees, killed pigeons with
a catapult and broke all the school rules
while never seeming to get caught."
At Charterhouse, an all-boys school, it was common for boys to develop amorous but seldom erotic relationships, which the headmaster mostly ignored.
Graves described boxing with a friend, Raymond Rodakowski, as having a "a lot of sex feeling", and although Graves admitted to loving Raymond, he would dismiss it as "more comradely than amorous."
In his fourth year at Charterhouse, Graves met "Dick" (George "Peter" Harcourt Johnstone) with whom he would develop "an even stronger relationship".
Johnstone was an object of adoration in Graves's early poems. Graves's feelings for Johnstone were exploited by bullies, who led Graves to believe that Johnstone was seen kissing the choir-master.
Graves, jealous, demanded the choir-master's resignation. During the Great War, Johnstone remained a "solace" to Graves. Despite Graves's own "pure and innocent" view of Johnstone, Graves's cousin Gerald wrote in a letter that:
"Johnstone is not at all the innocent
fellow I took him for, but as bad as
anyone could be".
Johnstone remained a subject for Graves' poems despite this. Communication between them ended when Johnstone's mother found their letters and forbade further contact with Graves. Johnstone was later arrested for attempting to seduce a Canadian soldier, which removed Graves's denial about Johnstone's infidelity, causing Graves to collapse.
In 1917, Graves met Marjorie Machin, an auxiliary nurse from Kent. He admired her "direct manner and practical approach to life". However Graves did not pursue the relationship when he realised that Machin had a fiancé at the Front.
This began a period where Graves would begin to take interest in women with more masculine traits. Nancy Nicholson, his future wife, was an ardent feminist: she kept her hair short, wore trousers, and had "boyish directness and youth."
Her feminism never conflicted with Graves's own ideas of female superiority. Siegfried Sassoon, who felt as if Graves and he had a relationship of a fashion, felt betrayed by Graves's new relationship, and declined to go to the wedding. Graves apparently never loved Sassoon in the same fashion that Sassoon loved Graves.
Graves's and Nicholson's marriage was strained, with Graves living with "shell shock", and having an insatiable need for sex, which Nicholson did not reciprocate. Nancy forbade any mention of the war, which added to the conflict.
In 1926, he met Laura Riding, with whom he would run away in 1929 while still married to Nicholson. Prior to this, Graves, Riding and Nicholson attempted a triadic relationship called "The Trinity."
Despite the implications, Riding and Nicholson were most likely heterosexual. The triangle became the "Holy Circle" with the addition of Irish poet Geoffrey Phibbs, who himself was still married to Irish artist Norah McGuinness. This relationship revolved around the worship and reverence of Laura Riding.
Graves and Phibbs both slept with Riding. When Phibbs attempted to leave the relationship, Graves was sent to track him down, even threatening to kill Phibbs if he did not return to the circle. When Phibbs resisted, Riding threw herself out of a window, with Graves following suit to reach her.
Graves' commitment to Riding was so strong that he entered, on her word, a period of enforced celibacy, which he did not enjoy.
By 1938, no longer entranced by Riding, Graves fell in love with the then-married Beryl Hodge. In 1950, after much dispute with Nicholson (whom he had not yet divorced), he married Beryl.
However despite having a loving marriage with Beryl, Graves took on a 17-year-old muse, Judith Bledsoe, in 1950. Although the relationship was described as "not overtly sexual", Graves later in 1952 attacked Judith's new fiancé, getting the police called on him in the process.
Robert later had three successive female muses, who came to dominate his poetry.
-- The Death and Legacy of Robert Graves
During the early 1970's, Graves began to experience increasingly severe memory loss. By his 80th. birthday in 1975, he had come to the end of his working life.
He lived for another decade, in an increasingly dependent condition, until he died from heart failure on the 7th. December 1985 at the age of 90 years.
He was laid to rest the next morning in the small churchyard on a hill at Deià, at the site of a shrine that had once been sacred to the White Goddess of Pelion.
His second wife, Beryl Graves, died on the 27th. October 2003, and her body was interred in the same grave.
Three of Robert's former houses have a blue plaque on them: in Wimbledon, Brixham, and Islip.
Graves had eight children. With his first wife, Nancy Nicholson (1899-1977), he had Jennie (who married journalist Alexander Clifford), David (who was killed in the Second World War), Catherine (who married nuclear scientist Clifford Dalton at Aldershot), and Sam.
With his second wife, Beryl Pritchard Hodge (1915–2003), he had William (author of the well-received memoir Wild Olives: Life on Majorca with Robert Graves), Lucia (a translator and author whose versions of novels by Carlos Ruiz Zafón have been successful commercially), Juan (addressed in one of Robert Graves' most famous and critically praised poems, "To Juan at the Winter Solstice"), and Tomás (a writer and musician).
OUR CLIENT'S CHEVROLET CORVETTE C6 GRAND SPORT WITH 19/20" COR PRECISE CONCAVE WHEELS. WWW.WHEELSPERFORMANCE.COM
The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.
The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.
The Borghese (or Pauline) Chapel
The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].
The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.
I am not sure of the precise location of this view yet (if you know, please let me know). The following text is from "Old Kinson" by S J Lands:
"Next door the pretty three-gabled cottage of the same period took over the name of Ensbury Cottage when its neighbour was elevated. There were a few more cottages for the estate and farm workers which remained until the area was developed after the war. Watts Nursery Garden occupied the land between Ensbury Cottage and Thresher’s Farm where we now have parades of shops. The first and only shop for a long while at Ensbury was that belonging to Davies Tarrant, farmer, baker and grocer. Mr. Tarrant was burgled in 1840, the thieves carrying off a griskin of pork, a shoulder and three sides of pork, three bladders of lard a piece of beef and a barrel of mead. This took place on December 24th! There was a shop at Ensbury from Tarrant’s time onwards in a cob cottage opposite Ensbury Farm."
www.blsp.jp137.com/index_htm_files/Old.Kinson.pdf
T White, Post Office, Kinson.
Postally unused.
The precise identity of this Valentine Mark IX is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh (later known as the Maze Prison) in Northern Ireland for many years, subsequently moving to Lisanelly Camp, Omagh. It was acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from the Museum’s Valentine Archer. In due course it was offered to the Museum on loan and ultimately, in March 2002, was gifted to the Museum. It carries the number “T123358” on the turret which is correct for the type but not necessarily for this actual vehicle. (Source: Museum Vehicle Record).
This Valentine is in running order and has taken part in various events including the Tanks in Action display in August 2000, and Tankfests 2002, 2004, 2006 and 2008. In about 2010/11 it appeared briefly in new markings, then was repainted in a sand and brown camouflage scheme and with a new registration number painted on the turret.
T67003: “T67003” painted on forward turret sides. “T123358” previously painted on left turret side.
info from preservedtanks.com/Locations.aspx?LocationCategoryId=3000
White lion Hotel
The precise age and character of the tiled mosaic pub sign is currently not public knowledge. But the city council has already promised to clean the sign and preserve it.
Councillor Jim O’Boyle, Cabinet Member for Jobs and Regeneration, has been quoted as saying: “Officers are currently working to see if we can lift the mosaic in one piece, and if we can, we want to incorporate it in some way as part of the final design for the Upper Precinct.”
The White Lion building that was finally demolished in 1955, with its distinctive mock-Tudor frontage, appears to have been first constructed in 1921. It replaced an older building of the same name, on the same site, which would have been the meeting place of Joseph Levi and his friends.
Arthur Roessler, 1910
Schwarze Kreide/Black chalk
Albertina
Egon Schiele met the writer and collector Arthur Roessler in 1909. These two portrait studies testify to the artist's interest in his subject's precise physiognomy. Like in the portrait of Eduad Kosmack, the subtly worked eyes lend the portrayed subject a penetrading gaze. The tree-quarter pencil portrait drawing shows Schiele's paternal friend and patron as a person self-confidently at peace with himself with his hands places proudly on his hips: a kind of portrait traditionally characterizing a determined man of action.
Schiele lernt den Publizisten und Sammler Arthus Roessler im Jahr 1909 kennen. Die zwei Porträtstudien zeigen das Interesse des Künstlers an der präzisen Physiognomie. Wie beim Bildnis Eduard Kosmacks sind bei der Kopfstudie die Augen fein herausgearbeitet und geben dem Porträtierten einen eindringlichen Blick. Die dreiviertelfigurige Bleistiftzeichnung zeigt Schieles väterlichen Freund und Förderer als eine selbstbewusst in sich ruhende Persönlichkeit, die stolz die Arme in die Hüften stemmt. Ein Porträttypus, der in der traditionellen Auffassung einen entschlossenen Tatmenschen charakterisiert.
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.
1974 Chevy Caprice w/ 26" COR Precise Wheels.
Contact Info
Web: www.corwheels.com/precise-super-concave/
Phone: 305.477.5850
Email: info@corwheels.com
Stay in the loop
The precise identity of this Valentine Mark IX is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh (later known as the Maze Prison) in Northern Ireland for many years, subsequently moving to Lisanelly Camp, Omagh. It was acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from the Museum’s Valentine Archer. In due course it was offered to the Museum on loan and ultimately, in March 2002, was gifted to the Museum. It carries the number “T123358” on the turret which is correct for the type but not necessarily for this actual vehicle. (Source: Museum Vehicle Record).
This Valentine is in running order and has taken part in various events including the Tanks in Action display in August 2000, and Tankfests 2002, 2004, 2006 and 2008. In about 2010/11 it appeared briefly in new markings, then was repainted in a sand and brown camouflage scheme and with a new registration number painted on the turret.
T67003: “T67003” painted on forward turret sides. “T123358” previously painted on left turret side.
info from preservedtanks.com/Locations.aspx?LocationCategoryId=3000
I'm guessing a lot, because I can't read the emblem on the side. Ii think it says the word CUSTOM and then something else. Obviously, from the tailgate; it's a Ford, but could someone please help me with year and model so I can place this picture in the correct group/pool. I'm just making guesses so far.
I was invited to post it in Ford Trucks 1973 - 1979 (pool), which I gladly did, but I would like to know more precisely what model and year it was.
Thanks, Delina
(DSCN0844FordPickupTruckF150QFlickr121316)
Pub History
THE ORIGINS OF THE FAT CAT
Part 1: The Earliest Records
The precise date of the opening of the pub now known as The Fat Cat is not known. The first lease of the land in our possession, which covers "various premises and dwelling houses on land next to Cotton Mill Walk" was dated October 1st 1832. It covered the land now occupied by the pub and the beer garden. Perhaps there was a pub included in that description, but we do not know. What is known is that the original pub did not have a toilet block and that land as well as the beer garden contained a number of houses.
Cotton Mill Walk still exists, it is the narrow cobbled lane by the side of the pub.
A later lease of 1852 makes mention of the "beerhouse known as The Kelham Tavern", the name by which the pub was originally known.
Alma Street appears to have been built in early 1855.
It was named after the Battle of the Alma, a major battle in the Crimean War that took place on 20th September 1854.
The first name of a beerhouse keeper that can be traced to the premises was Abraham Cook in 1852.
In Melville & Co's Commercial Directory of Sheffield for 1859 the name had changed to Alma Hotel and Abraham Cooke was still the victualler, or licensee as we would call him today.
The name Alma was retained until 21st August 1981. The designation of 'hotel' had been removed, but in 1981 all of the upper rooms were numbered and had operating locks, suggesting that it had remained as a commercial hotel for many years.
From the many historical documents in our possession (including 17 leases) we know that William Stones Brewery purchased The Alma in 1912.
Part 2: 1914 - 1981
In August 1914 Messrs Wm Stones applied for planning permission to extend The Alma Hotel.
The extension (which now includes the ladies toilet) was diagrammed to include a scullery, pantry and coal room. Up to that point there was only one toilet, which was outside. (No gender discrimination then!)
At that time the room that is now the bar room was divided into a Public Bar (with a door on the corner) and a Smoke Room next to the toilet.
The room, which is now the No Smoking Room, was known as the Tap Room.
The upstairs room was known as The Club Room.
Adjoining the end of the existing corridor and storeroom was a row of houses.
Therefore the current wall to the beer garden, which looks quite ancient, was built after this date. So was the gateway that is now across Cotton Mill Walk.
On 23 December 1952 Wm Stones got planning permission to further extend The Alma Hotel. Two floors were to be built above the current toilets, a new toilet was to be built in what is now the beer garden and the room which is now the No Smoking Room was to be extended into the room which is now the kitchen. The then four hotel bedrooms would have been extended to eight..
Although approval was granted these work were never undertaken.
Toute aide pour une identification précise serait appréciée.
Any help for identification will be much appreciated.
...not any more .....Agriculture it appears should be more precise than that for good yields. Check out this charity which is making a difference in Africa to ordinary subsistance farmers
check out their website for more details
www.farming-gods-way.org/FGW_files/Overview.htm
This is going to make a huge difference to many peoples lives and incomes in Africa, probably more than a whole host of NGOs
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 @ URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur 50ans.apur.org/#intro @ 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 - dailymotion.com/video/xxi0ae?playlist=x34ije … Trente ans d’histoire de l’habitat : de la
Reconstruction à l’urbanisation intensive, puis raisonnée. La région parisienne connaît alors un développement
exceptionnel façonnant le paysage de l’Îlede-France actuelle.
Réalisée à l’initiative de la DRAC Île-deFrance, une exposition regroupant une quarantaine de photographies d’ensembles de logements édifiés en Île-de-France entre 1945 et 1975 et sélectionnés pour la qualité de leur forme urbaine, leur valeur d’usage ou leurs spécificités techniques, a été présentée, du 5 juillet au 15 septembre 2011, à La Maison de l’architecture en Île-de-France. Cette exposition a fait l’objet d’une publication dans la revue Beaux Arts Editions. @ 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.Le thème du logement. « Il s’agit du premier label Patrimoine XXe siècle attribué en Île-de-France. La DRAC, qui l’a mise en œuvre, a choisi de s’intéresser en tout premier lieu à cette production de
logements de masse d’une ampleur inégalée construits dans notre région après la guerre. Ce sont des créations emblématiques d’une architecture contemporaine dépréciée ; à ce titre, elles sont au premier chef concernées par les recommandations du Conseil de l’Europe. De plus, par l’ampleur des programmes, les étendues qu’ils recouvrent, ces ensembles sont sont plus éloignés du champ
traditionnel des monuments historiques. L’outil label a semblé approprié. Le choix de labelliser les ensembles de logements est donc audacieux : nous espérons que le regard porté sur ces immeubles Change. » Valérie Gaudard, Conservation régionale des monuments historiques, DRAC-Île-de-France.
(extrait d’un entretien publié dans Beaux Arts éditions « 1945-1975, Une histoire de l’habitat – 40 ensembles « patrimoine du XXe siècle »). Créé en 1999 par le ministère de la Culture et de la Communication, le label Patrimoine du XXe siècle
vise à signaler au public, aux décideurs et aux aménageurs, "les édifices et ensembles urbains qui sont autant de témoins matériels de l’évolution technique économique, sociale, politique et culturelle de notre société". Liens Le label patrimoine XXe - www.culturecommunication.gouv.fr/Regions/DRAC-Ile-de-Fran... La Maison de l'architecture - www.maisonarchitecture-idf.org/spip.php
www.twitter.com/Memoire2cite www.beauxarts.com/produit/une-histoire-de-lhabitat/ @ LES GRANDS ENSEMBLES @ L EXEMPLE DE DIJON «LE BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE»Sylvain TABOURY, sociologue, enseignant à l’école d’architecture de Versailles. Co-auteur avec Karine Gougerot, photographe, de Billardon, histoire d’un grand ensemble, paru aux éditions Créaphis en 2004. Texte communiqué à partir de la rencontre-débat du 20 mai 2005 Organisée par le Centre de Ressources Politique de la Ville en Essonne en partenariat avec Maison de Banlieue et de l’Architecture, le CAUE 91 et CINEAM dans le cadre de l’exposition «Des ensembles assez grands: mémoire et projets en Essonne». Cet ouvrage retrace l’histoire de la cité Jean-Billardon, barre de 14 étages et de 250 logements, à Dijon, premier grand ensemble de la ville, construit entre 1953 et 1955, démoli en 2003. Sélectionné parmi les immeubles significatifs de l’architecture du XXe siècle par la direction de l’Architecture et du Patrimoine (DAPA) du ministère de la Culture, Billardon était un symbole incontournable de l’histoire du quartier des Grésilles et de l’agglomération dijonnaise, ainsi qu’un formidable témoin de l’architecture novatrice de l’après-guerre. Sollicités par le service Inventaire de la Direction régionale des affaires culturelles de Bourgogne (Drac) et par l’Office public d’aménagement et de construction de Dijon (Opac), dans le cadre de l’opération de renouvellement urbain (ORU) du quartier des Grésilles, nous avons collecté et rassemblé, de janvier à juillet 2003, les traces de cette histoire, les archives, mais aussi les témoignages, recomposant des trajectoires familiales, professionnelles, des documents iconographiques et sonores. La restitution auprès des habitants et des partenaires du projet en octobre 2004, accompagnée d’une table ronde avec différents intervenants et acteurs du quartier, a été un moment fort, inscrit dans le processus de transformation engagé sur le quartier des Grésilles. Une exposition, intitulée «Mémoires de Billardon, fragments de vies», a également été présentée dans les locaux prestigieux du musée de la Vie bourguignonne de Dijon, du 14 octobre 2004 au 31 janvier 2005.Garder une trac De fait, la démolition de la Cité Billardon, le 4 juillet 2003, restera sans aucun doute un événement sensible dans la mémoire de nombre d’habitants de l’agglomération dijonnaise. Cette barre fut la première construction d’un tout nouveau quartier – le quartier des Grésilles –, à Dijon, où près de 4000 logements ont été construits Centre de Ressources Politique de la Ville en Essonne entre 1953 et 1966 – 14970 habitants en 1968, 8263 en 2003 – sur un terrain agricole demeuré nu, à l’est du territoire communal. Les 14 étages et 250 logements de l’immeuble, élevés au milieu des champs et des jardins familiaux, où un écriteau «Chasse interdite» était encore visible quelques années auparavant, faisaient alors l’admiration des très nombreux badauds venus visiter cette toute nouvelle Cité radieuse, construite tel un
Meccano de béton et d’acier. « Immeuble révolutionnaire», «Meccano géant à l’échelle du monde moderne», les titres de la presse de l’époque donnent un aperçu de l’impact national et international de l’événement. «Des visiteurs étaient venus de toute la France et même de l’étranger, jeter un coup d’œil au chantier», rappelait un article de la presse locale le jour de la démolition. Cette « barre » de 14 étages et de 250 logements, desservis par des coursives placées tous les trois niveaux, était une déclinaison appauvrie du modèle de la Cité radieuse du Corbusier, inaugurée le 14 octobre 1952. Les appartements étaient de deux types: les uns de deux et trois pièces, situés dans les ailes, de disposition traditionnelle, orientés au sud et pourvus de loggias; les autres, de cinq pièces, situés au centre du bâtiment, du type « duplex ». Huit espaces commerciaux avaient été aménagés en rez-dechaussée. Cependant, en dépit des ressemblances et de la qualité architecturale de l’édifice, l’immeuble n’était pas une unité d’habitation au sens où Le Corbusier l’entendait. L’originalité de la Cité Billardon tient en réalité au procédé constructif qui fut utilisé lors de son édification. Elle fut la toute première à expérimenter en France le procédé de préfabrication Estiot, réutilisé par la suite pour la construction de plusieurs grands ensembles, comme le Noyer-Renard à AthisMons, la Cité des 4000 à la Courneuve, la Grâce-de-Dieu à Caen, la Croixdes-Oiseaux et Champ-Fleury à Avignon, le Gros Buisson à Épinay, SainteBarbe à Metz, le Haut-du-Lièvre à Nancy, les tours du Lancy à Genève ou encore des bâtiments d’habitation à Alger. Le mode constructif, repris sur celui des gratte-ciel américains, associait l’acier en ossature et le béton en pré-enrobage avec une majeure partie réalisée en atelier. Le procédé donnait des résultats évidents: précision remarquable, rapidité d’exécution, peu ou pas d’installations de chantier – suppression des coffrages, des étayages, des échafaudages – et surtout économie considérable de main-d’œuvre. Il s’agissait des prémices d’industrialisation dite lourde du bâtiment. Forte de cette première expérience, la commune avait ensuite réalisé deux autres cités de même type, Épirey, puis Lochères. Mais le modèle de Billardon fut perverti: dans une logique de réduction des coûts de production et de rapidité d’exécution, tous les espaces peu productifs comme les logements en duplex, les cellules commerciales, ou les très grands halls, ont été supprimés. Les deux cités comprennent 348 logements, relativement mal desservis et sans attrait, des petits logements sur un seul niveau La démolition de Billardon n’a donc évidemment pas la même signification, Centre de Ressources Politique de la Ville en Essonne « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne ni les mêmes conséquences que celles d’Épirey ou des Lochères, déjà démolies en 1992 et 2000. Cet immeuble possédait une fonction symbolique incontestable, une place à part dans la vie des résidents qui s’y sont succédé, comme dans la mémoire des habitants du quartier. Les récits que nous avons pu recueillir auprès d’une trentaine d’anciens résidents de l’immeuble nous offrent différentes représentations de l’histoire de
Billardon, et des personnes qui y ont vécu ou travaillé d’avril 1955 à décembre 2002. Les témoignages des plus anciens, arrivés parmi les premiers, en 1955, répondent aux histoires des plus jeunes, derniers occupants du rafiot, aujourd’hui démoli. Ils sont venus d’horizons divers, de Côte-d’Or, de Bretagne, d’Alsace, de la région parisienne, du Maroc, d’Algérie, du Portugal, du Cambodge ou d’ailleurs et leurs paroles traduisent l’enracinement profond de leurs souvenirs de Billardon, que certains n’auraient jamais voulu quitter. Bien sûr, la mémoire n’est pas «objective». Le discours s’élabore toujours à partir d’un présent et la disparition engendre certainement une nostalgie conduisant à magnifier les bons moments et à tempérer les plus pénibles. Mais en faisant imploser Billardon, c’est bien tout un pan de leur vie que l’on a réduit en poussière. Chaque témoin traduit avec ses mots ces petits faits de la vie quotidienne, souvent jugés sans importance, petits riens ou traumatismes, anecdotes ou événements tragiques, qui ont marqué leur sensibilité.« Une verrue dans le quartier»C’est pour ces différentes raisons esthétiques, historico-culturelles – témoignage de l’histoire des villes – et socio-symboliques – mémoire des hommes – que la Direction de l’Architecture et du Patrimoine (DAPA) du ministère de la
Culture avait décidé de répertorier la Cité Billardon parmi les immeubles représentatifs de l’architecture du XXe siècle. L’immeuble avait reçu le label «Patrimoine du XXe siècle» à la fin des années 1990. Or, ce processus de «patrimonialisation» était inconcevable pour de nombreuses personnalités locales, voire de nombreux habitants du quartier. Stigmatisé comme une «verrue» dans le quartier, l’immeuble était devenu un véritable cauchemar: dégradations, violence, difficultés et «mal-vivre» constituaient le quotidien de locataires excédés, souvent «assignés à résidence». Bagarres, agressions, cambriolages, drogue, vitres brisées, ascenseurs en panne, alimentaient manchettes de journaux et témoignages, décrivant le naufrage d’un immeuble à la dérive, devenu symbole de tous les maux. La démolition paraissait donc inéluctable, comme une délivrance, la promesse d’un avenir meilleur. Les partenaires institutionnels se devaient de mettre en scène leur capacité à changer la vie des habitants du quartier, réparer les erreurs d’une période de l’urbanisation contemporaine, dont Billardon était l’un des symboles les plus représentatifs. L’idée d’une enquête ethnographique sur l’édifice et ses locataires avait donc « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne du mal à passer dans la réflexion de certains décideurs. La mise en œuvre du projet, initié par le service Inventaire de la Direction régionale des affaires culturelles (Drac) de Bourgogne, sur les budgets de l’opération de renouvellement urbain du quartier, fut bloquée administrativement pendant plusieurs mois. Entre-temps, tous les locataires de l’immeuble avaient été relogés… (la dernière famille quitte son logement le 23 décembre 2002).
Une histoire des grands ensembles? Le travail de recherche historique sur les grands ensembles est rendu aujourd’hui d’autant plus difficile à faire comprendre que la ville issue des Trente Glorieuses est souvent considérée, avec la politique publique qui l’a programmée, comme une vaste erreur collective (A. Fourcaut). L’architecture des «tours» et des «barres», du «chem« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne. Photographie, histoire et sociologie, de monographies locales – Saint-Étienne, Villeurbanne, etc. – publiés ces dernières années sur ce thème en témoigne clairement.Cependant, on est encore loin du compte. Si plusieurs urbanistes, historiens, géographes ou sociologues1 ont récemment contribué à une meilleure connaissance du sujet au niveau national et international, l’histoire de ces quartiers d’habitat collectif reste un terrain largement méconnu, à peine exploré par les historiens locaux. En Essonne, à quelques exceptions près – Draveil, Viry-Châtillon, les Ulis, Athis-Mons ou Grigny –, rares sont les monographies ou les études locales à accorder une place de choix à l’analyse et à la présentation de ces bouleversements. Les mauvaises volontés, auxquelles nous avons parfois été confrontés dans le cadre de nos recherches dans le département témoignent des réticences que continue de susciter toute démarche d’enquête et d’analyse sur la mémoire et le devenir des grands ensembles.
La transformation en cours ou à venir d’une vingtaine de sites en Essonne dans le cadre du Programme national de rénovation urbaine, institué par la loi Borloo du 1er août 2003, et la priorité donnée à la démolition-reconstruction,
sur fond de crise du logement social, devraient pourtant poser avec plus d’acuité la question de l’appréciation de ce patrimoine départemental. De nombreuses communes mobilisées dans des programmes d’intervention n’ont qu’une vision très partielle de l’histoire de ces quartiers, de leurs évolutions, dont les conséquences ne sont envisagées le plus souvent qu’à travers le prisme d’une crise sociale impossible à juguler. Or, n’est-il pas singulier, voire dangereux, d’entreprendre des opérations de transformation urbaine aussi radicales, sans même commencer par chercher à comprendre comment, par qui et pour quelles raisons ces espaces ont été construits ou transformés, sans évaluer dans certains cas l’impact des politiques précédemment engagées?Richesse patrimoniale ou héritage encombrant, définir une nouvelle vision de la ville exige un travail d’enquête, d’expertise, une capitalisation des expériences, rarement mis en œuvre.Et c’est sans doute là le talon d’Achille d’une politique de transformation
urbaine menée dans l’urgence, qui ne peut se nourrir de capitalisation critique, et occulte le rôle crucial de l’accompagnement qualitatif et de la sensibilisation et/ou de la formation des élus, des services de l’État et des collectivités, des opérateurs et des aménageurs, des bailleurs.Ces images devenues presque ordinaires de parpaings, pans de bétons fracassés, vitres brisées laissent songeur: quel regard les résidents – et notamment
les plus jeunes – pourront-ils bien porter à l’avenir sur un environnement si violemment rejeté? Pourquoi respecter ce qui n’est bon qu’à être démoli?
Pour n’en citer que quelques-uns : FORTIN J-P., Grands ensembles. L’espace et ses raisons, Plan Urbanisme Construction Architecture (PUCA), 1997 ; PEILLON P., Utopie et désordre urbains. Essai sur les grands ensembles d’habitation, La Tour d’Aigues, Editions de l’Aube, 2001 ; DUFAUX F., FOURCAUT A., SKOUTELSKY R., Faire l’histoire des grands ensembles. Bibliographie 1950-1980, ENS éditions, 2003 ; TOMAS F., BLANC J-N., BONILLA M., Les grands ensembles, une histoire qui continue…, Publications de l’université de Saint-Etienne, 2003 ; DUFAUX F., FOURCAUT A. (dir.), Le monde des grands
ensembles, Créaphis, 2004.« Pour une histoire des grands ensembles en Essonne », Les Cahiers de la Maison de Banlieue et de l’Architecture, n° 11, mai 2005« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
Les enjeux du projet
À Dijon, le projet a mis de long mois à se concrétiser. L’enjeu de ce travail était double:
■ Un enjeu de connaissance et d’analyse de l’histoire et des différentes étapes de l’évolution urbaine et sociale de l’immeuble et du quartier, des vécus, trajectoires résidentielles et familiales des habitants de la cité. Il a été réalisé à travers:
– une recherche historique dans les archives du bailleur, de la commune, des journaux locaux, de l’agence d’urbanisme, etc., replaçant l’étude dans le contexte général de l’histoire de la France de la Reconstruction et des quarante dernières années;– une écoute, dévoilant les différentes représentations de ce quartier, non plus
à partir de critères ou de théories de spécialistes, mais en suivant pas à pas(mot à mot) les trajets, les images qu’y déposent les habitants et les acteursdu quartier. Le travail artistique – photographies, textes – ayant alors pour fonction de réintroduire ces regards croisés dans la circulation de la ville,d’en faire des éléments de partage, de réflexio« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »Centre de Ressources Politique de la Ville en EssonneCes recherches ont permis de retracer les différentes étapes de construction et de transformation de cet immeuble dans son territoire, ainsi que l’évolution d sa composition socio-démographique. Une iconographie importante a pu être collectée et répertoriée sur CD-Rom. Une présence longue – deux à trois jours par semaine pendant cinq mois – a été assurée sur le terrain, favorisant notre immersion et l’observation du quotidien des habitants du quartier, le recueil d’une parole informelle, permettant d’expliciter notre démarche, ses objectifs, son intérêt, l’instauration d’une quotidienneté, de relations de confiance. Pour cela, une présence régulière aux différentes manifestations, aux réunions et aux événements publics liés au quartier et une fréquentation de lieux de rencontre et d’échanges préalablement identifiés ont été nécessaires.Des rencontres collectives et individuelles ont été organisées avec les partenaires – associations, structures et personnes-relais sur le quartier – nous permettant d’être rapidement identifiés et de baliser précisément notre rôle – le rôle de chacun – dans le projet, de recueillir leur connaissance du terrain, leurs représentations et leurs réflexions sur le projet. Les ateliers avec les techniciens, les élus et les associations concernées devaient définir précisément: ● les objectifs à court, moyen et, le cas échéant, long terme;
● les actions à court, moyen et long terme;
● les modalités de leur déroulement.
Ces rencontres avaient également pour objectif de faire fonctionner le«bouche-à-oreille», qui demeure bien souvent le principal vecteur d’information pour ce type de démarche. Elles nous permettaient également de nouer des premiers contacts avec les habitants et les personnes-relais impliqués dans la vie du quartier. Ont été mis en œuvre:
● un moment de rencontre-discussion avec les habitants sous la forme d’une soirée projection-débat: présentation du travail de recueil de mémoire, personnes et structures porteuses, méthodes, finalités; définition en commundes modalités de leur participation au projet.
● sollicitation et information de la presse locale (journaux, radio, télévision), des bulletins associatifs, de la communication institutionnelle (ville, communauté
d’agglomération, bailleur, etc.) pour relayer et présenter le plus précisément possible la démarche entreprise et les personnes en charge de ce travail;
● des entretiens compréhensifs, individuels, en couple ou en petits groupes sous la forme d’entretiens semi-directifs de type «récits de vie(s)», recueillisauprès d’habitants ou d’anciens habitants du quartier, de professionnels travaillant ou ayant exercé leur activité dans le quartier, d’élus ou de responsables associatifs.
« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
Les entretiens ont été enregistrés et traités sur support numérique – mini-disc –, et les documents et les objets soigneusement inventoriés et/ou scannés.Ces entretiens avaient pour objectifs d’enregistrer non pas l’histoire de ce quartier, mais la manière qu’avaient nos interlocuteurs de dire leur propre histoire, cequi faisait mémoire pour ces personnes en contact étroit avec le quartier, natifs ou de passage, enracinés ou nouveaux venus. Il s’agissait de souvenirs, d’impressions d’enfance, de petits faits de la vie quotidienne parfois jugés sans importance, d’événements heureux ou tragiques, qui ont marqué leur sensibilité. Cela supposait donc que l’on prenne le temps, précisément de parler et d’écouter. Les entretiens se sont déroulés de préférence au domicile des personnes, pas dans la rue ou une salle impersonnelle, mais dans la sphère privée plus à même de laisser subvenir ces épopées de l’intime. L’objectif n’était pas de faire une archéologie du quartier, ni même d’enfermer nos interlocuteurs dans la norme de la personne-type qui habite un grand ensemble, mais bien de montrer que cet immeuble était composé de fragmentsde vies, de destins d’hommes et de femmes singuliers. Il s’agissait de montrer
comment, à un moment donné, ces personnes, venues parfois d’horizons lointains, se sont arrêtées là et ont enrichi ce lieu de leurs histoires et de leurs trajectoires particulières.
Nous avons donc insisté sur les trajectoires familiales et professionnelles de chacun: origines, parcours résidentiels, étapes et ruptures de vies – mariage, naissances, emplois successifs, divorces, décès, etc. –, points de repères autour desquels chacun construit «son temps», étapes qui organisent la durée, le vécu familial, domestique, les faits d’une vie et les événements de l’histoire. Le souvenir trouve également un support concret dans l’espace et les multiplesbouleversements du bâti et du cadre de vie. Démolitions, reconstructions,aménagements, suscitent une perte de repères, et invitent d’autant plus à faireun travail de mémoire. Dans cette perspective, ont été évoqués les souvenirs attachés plus précisément au quartier des Grésilles et à l’immeuble Billardon.Les personnes interrogées ont été invitées à s’appuyer le plus largement possible sur des descriptions détaillées (déménagement, logements successifs, accessibilité au travail ou aux équipements et services, nombre et identité des commerces, relations de voisinage, espaces collectifs), leurs pratiques (loisirs, vie scolaire, pratiques commerciales, etc.), les événements (fêtes, accidents, etc.) ou personnes marquantes; leurs perceptions du quartier et de son évolution – qu’ils y habitent toujours ou pas –, leurs projections éventuelles dans l’avenir (liste de thèmes non exhaustive).De février à juin 2003, une quinzaine d’entretiens ont pu être réalisés auprès d’une trentaine d’anciens locataires de l’immeuble, des premiers résidents de
Billardon dans les années 1950 aux derniers occupants, récemment relogés. « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne Des outils pour l’action: la restitution Tout au long de l’étude, nous avons rencontré et consulté régulièrement l’ensemble des institutions et des partenaires concernés par la démarche, afin de leur soumettre les premiers éléments de notre travail, recueillir leurs commentaires, leurs suggestions et critiques. Ces rencontres ont été l’occasion de partager une réflexion, d’élaborer des propositions de restitution aux différents publics.Malgré nos craintes initiales, une restitution de qualité a pu être proposée aux habitants, grâce à l’implication très forte de l’Opac de Dijon, véritable porteur du projet, et dans une moindre mesure du service Inventaire de la Direction régionale des affaires culturelles de Bourgogne. Leur implication a permis de trouver différents partenaires financiers, comme la Caisse des Dépôts et Consignations ou la communauté d’agglomération.
De notre côté, sur la base du rapport et du reportage photographique que nous avions remis à nos commanditaires, nous avons pu convaincre les éditions
Créaphis, reconnues pour la qualité de leurs publications de documents d’histoire, de sciences sociales et de photographie, de formuler une proposition éditoriale de qualité. Sur la base de nos recommandations, deux pistes de restitution ont été privilégiées:
● une exposition, événement fort et fédérateur, pouvant susciter des échanges,des moments de rencontre entre habitants du quartier et résidents extérieurs,
dans une optique d’ouverture du quartier au reste de la ville, les productions de certains groupes d’habitants pouvant être également valorisées, ainsi que les objets ou films recueillis dans le cadre du projet;
● une publication, associant textes et documents d’archives sur l’histoire du quartier, une sélection de témoignages et de photographies professionnelles
et amateurs, et accompagnant cette exposition, pour une diffusion plus large des résultats de l’opération, et une appropriation durable du projet par les habitants du quartier et les autres résidents de l’agglomération.Cette restitution avait également pour objectif de mettre en lumière les différentes préoccupations des habitants, permettant aux acteurs de terrain de disposer d’une base de connaissances pour définir et programmer leurs interventions, à court, moyen et long terme. Un tel travail fait émerger des représentations collectives, des divergences, des tensions qu’il faut savoir analyser et traiter pour améliorer les rapports sociaux et les conditions de vie des habitants.Encore faut-il que ces paroles soient prises en compte pour permettre aux institutions de redéfinir leurs modes d’intervention sur la ville: vaste chantier… Sylvain TABOURY,sociologue, enseignant à l’école d’architecture de Versailles 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... - - 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 --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses
En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. 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.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.
Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.
La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.
- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.
- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France13.
Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)
14Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.
- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
I can't remember the precise chronology now, but by 1980 FLF Lodekkas were getting thin on the ground. I would think that, in Bristol, only the Gloucester Road services and the 87/88 were still worked by these vehicles. On Friday 2nd May I walked the route from Kingswood into the city, snapping as I went. I had spent seven years working on this route, the busiest of the Bristol city services, but since I had moved on to new pastures it had been extended at either end. The extension to California Farm had followed the ending of the Bristol Joint Services agreement with Bristol Corporation. This had led to the disappearance of the Hanham Local Services, and city services in the east Bristol suburbs were revised to "fill the void". Here we are looking citywards along Church Road, Redfield, from the Blackswarth Road traffic lights. Chalks Road off left. By 1984 the 87/88 had become the last bus route anywhere in the country still worked by FLF Lodekkas.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
These are some of the sights I saw on my fabulous double-decker bus tour of Arequipa.
The 28th of July is the precise date of Peru's official declaration of independence from Spain in 1821. However, all of July is given over to celebrating Peru and Peruvians in the context of the country's independence.
The sign here is interesting for its exhortation ¡Viva Peruanidad, which I translate as "Long Live Peruvian Pride!"
A search for the usage of Peruanidad reveals many emblems of Peruvian pride, some of them tangible others conceptual: pisco, the Peruvian Paso Horse, the lúcuma fruit, illustrious Peruvians, Peruvian cuisine, Peruvian birth or nationality, knowledge of Peruvian history, defending the fatherland, ethnic and linguistic diversity, respect for cultural diversity and common traditions and customs.
On July 28, 1821, General José de San Martín made the following proclamation in Lima: "From this moment on, Peru is free and independent by the general will of the people and by the justice of its cause, which God defends. Long live the Fatherland! Long live freedom! Long live independence!"
Interestingly, San Martín is known as the liberator of southern South America. He was the first champion of freedom for Peru, but within a year of declaring Peru's independence, San Martín had gone into exile and Simón Bolivar, the liberator of Venezuela, Panama, Colombia, Ecuador and Bolivia, finished what San Martín had started.
Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
[Attracting a mate in the animal kingdom often involves a bit of showing off, but for the Waved Albatross (Diomedea irrorata), securing a future for your genes comes down to one thing: a slap in the face. The dance includes a precise sequence of moves: rapidly circling and bowing, clacking beaks, mouth gaping, and finally raising their beaks skyward whilst letting out a "whoo-ooo" call to seal the deal. Once mated, a pair will lay just one egg per year, which they will guard vigilantly for two months.] The Waved Albatross (Phoebastria irrorata), also known as Galapagos Albatross, is the only member of the family Diomedeidae located in the tropics. When they forage, they follow a straight path to a single site off the coast of Peru, about 1,000 km (620 miles) to the east. During the non-breeding season, these birds reside primarily on the Ecuadorian and Peruvian coasts. The entire colony leaves Isla Española by January to fish for three months before returning. The juvenile albatrosses remain at sea for about five years to reach maturity before returning to Isla Española to seek a mate / Punta Suárez on Isla Española has an amazing variety and quantity of wildlife. Lazy sea lions may greet visitors at the rocky landing site, forcing visitors to step over or around them to get to the trail. Groups of young sea lions are often found nearby playing in the shallow water, waiting for their mothers to return with food. Brightly-colored red and green marine iguanas can be found lining the coastal areas near the landing site. They are the only marine iguanas that remain brightly colored throughout the year. The trail passes by a small beach occupied by more sea lions and large and colorful Española Lava Lizards. It then cuts through some saltbush, where Galapagos Hawks, Española Mockingbirds, three species of Darwin’s finches, and Galapagos Doves all go about their business. Visitors then come upon the impressive nesting colonies of Blue-footed and Nazca boobies, who make their nests right along the visitor trail near the western cliffs of the island. Swallow-tailed Gulls and Red-billed Tropicbirds dash in and out of the cracks in the cliffs. Continuing inland, the trail leads to a cliff on the southern side of the island overlooking the ocean. Waves crash into a lava fissure, creating a blowhole that sprays water nearly 30 m into the air at high tide. The highlight of this visitor site — and perhaps one of the highlights of the Galapagos Islands — is strolling along the edge of the Waved Albatross breeding colony. With a population of 25,000 to 30,000, nearly the entire world population of the adult birds can be found on Española between April and December. They mate for life and perform an elaborate mating dance, a spectacle that can last five days and may include stumbling, honking, and beak-fencing. Waved Albatross pairs produce a single egg each year and share responsibility for its incubation. Their grace in the air is sharply contrasted by their comic clumsiness on land. Lucky visitors will observe Waved Albatrosses wobble awkwardly to the cliff’s edge before launching themselves into the wind to take flight—many of them for the very first time in December. The entire colony leaves Española by January to fish for three months before returning.
Montage of a visualization of a model of temperature changes from 2014 to 2099. The left image is 2014 and the center is (gratuitously precise) 31 December 2099. The right image is the delta between the two images.
Original caption: On June 9, 2015, NASA released data showing how temperature and rainfall patterns worldwide may change through the year 2100 as a result of growing concentrations of greenhouse gases in Earth’s atmosphere. The 11-terabyte data set is freely available to the public and shows projected changes in response to different scenarios of increasing carbon dioxide. The high-resolution data—which can be viewed at the spatial scale of individual cities and towns, and at time scales down to a single day—will help scientists and civic planners conduct climate risk assessments to better understand the local effects of global change.
“NASA is in the business of taking what we’ve learned about our planet from space and creating new products that help us all safeguard our future,” said Ellen Stofan, NASA chief scientist. “With this new global data set, people around the world have a valuable new tool to use in planning how to cope with a warming planet.”
The maps above show model projections of maximum air temperatures near the ocean and land surface on the June solstice in 2014 and 2099. The maps were constructed from the NASA Earth Exchange Global Daily Downscaled Projections (NEX-GDDP) data set, which combines historical measurements with data from 21 general circulation model simulations in the Coupled Model Intercomparison Project Phase 5 (The CMIP5 model runs were developed in support of the Fifth Assessment Report of the Intergovernmental Panel on Climate Change.) Shades of red depict temperatures up to 48 degrees Celsius (118 degrees Fahrenheit) above zero, with blue shades representing temperatures down to 48°C below zero (-54°F). Turn on the image comparison tool and note how some regions are significantly warmer in 2099 than in 2014.
The new NEX-GDDP model projections show how global temperature (above) and precipitation (not shown) might change under different greenhouse gas emissions scenarios, including a “business as usual” scenario based on current trends and an extreme case with a significant increase in emissions. The projections provide a detailed view down to a resolution of 0.25 degrees (25 kilometers or 16 miles) and cover the time period from 1950 to 2100.
The new data set is a product of the NASA Earth Exchange (NEX), a big-data research platform within the NASA Advanced Supercomputing Center at the Ames Research Center. NEX pulls together state-of-the-art supercomputing, Earth system modeling, workflow management, and NASA remote-sensing data. NEX data and analysis tools are available to the public through the OpenNEX project on Amazon Web Services. OpenNEX is a partnership between NASA and Amazon, Inc., to enhance public access to climate data.
“This is a fundamental data set for climate research and assessment with a wide range of applications,” said Ramakrishna Nemani, NEX project scientist. “NASA continues to produce valuable community-based data products on the NEX platform to promote scientific collaboration, knowledge sharing, and research and development.”
NASA Earth Observatory maps by Joshua Stevens, using Global Daily Downscaled Climate Projections from the NASA Earth Exchange (NEX). Caption compiled by Mike Carlowicz from a NASA news release.
Instrument(s):
Model
Original images source: earthobservatory.nasa.gov/IOTD/view.php?id=86027
In West Houston. Kickerillo Street, to be precise. This neighborhood was one of the many designed by ____ Kickerillo (Houstonians? What's that guy's first name?). He was like our very own Donald Trump but with more of a naming mania. All the streets in his various subdivisions had names like Candywood and Cindywood and Marywood and Kellywood after the various women/offspring in his family.
Also, he had some weird obsession with England because some of the subdivisions had names like Nottingham Forest (ours) or Sherwood Forest or Wilcrest Forest. Then there was that one called Gaywood. Not sure what was up with that.
Aside from all that, they were actually really beautiful neighborhoods in that soullessly comfortable Houston way. This one was one of the oldest (maybe 20 years old) so it had big old trees covered in Spanish Moss. No sidewalks though because who walks? No one is who.
This is walking & talking (well, it is screaming to be precise) Real Action Godzilla series Godzilla vs. Megaguirus version kit from Bandai in 2000. In short, the attempt was great, walking and screaming and thin rubber skin with movable frame and what not. However, the result was disaster! The outer rubber skin is too thick but weak, inside frame material is too brittle….. I did not play with it too long before it fell apart!! Now it is not walking but only screaming. It is a real pity that the kit could’ve been real swell but it is just hell.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Find the precise Tiger's Eye Mine location using the "Map" option of this photo.
The Mines are located 2 miles to the west of the Griquatown.
For a long time Tiger's Eye was considered to form via replacement of fibrous mineral crocidolite with silica. In other words it was assumed to be a pure pseudomorph agate.
However, recent research [i] claims Tiger's Eye to be not an agate but a mineral formed by the so called "crack seal vein filling process", i.e. when crocidolite fibers were repetitive engulfed and encapsulated by the quartz instead of being replaced.
In effect, each band of glowing color represents a different crack that opened and was filled. Each band contains a new orientation of embedded crocidolite fibers that record minute rotations of the rock as it formed.
With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
The Colt SAA is featured on a black powder style frame, grips are one piece ivory carved with 'TR' monogram on right grip & carved buffalo on left grip. The engraving is a Nimschke style pattern based on the original gun. Engraving done by John Adams & Son. Gold plated hammer, cylinder & ejector rod housing, with the balance of gun in silver plate. 44-40, 7-1/2" barrel.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Would you say that I'm also creating the behaviors of those that I interact with?
Let me explain, the accurate response to that question is yes and no. For you are not creating the expressions or behaviors or choices of another individual, but you are creating that individual being in your experience. And you are creating the participation with the other individual. You do not create another individual's reality, but in your reality it is all very precise. And in that, every individual that you interact with or that you come into contact with is very precisely placed there, in a manner of speaking. For you have very precisely in every situation attracted or drawn to you every other individual that you interact with in any capacity.
Elias Audio Session 2755