Rhythm

Fatehpur Sikri is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km W.S.W on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born.[citation needed] Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.

According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.

The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.

ARCHITECTURE OF FATHEPUR SIKRI

Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.

Some of the important buildings in this city, both religious and secular are:

- Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".

- The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.

- Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (A.D. 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.

- Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.

- On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.

- Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.

- Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.

- Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.

- Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.

- Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.

- Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.

- Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.

- Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.

- Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.

- Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.

Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort coimplex.

Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.

I picked this dress up in the Debenhams sale a few weeks ago and this was the first chance to wear it. I'm really pleased with it and how it hangs (it is a fluid silky jersey type fabric with mesh sleeves) and also was a bargain (just £16.50 from £55!)

bit.ly/1gT7spq February 21, 2014 at 02:01PM Principles of Accounting - Clearly related to bending reality // #logo #icon #design #graphicdesign #designlife #symbol bit.ly/1cyZYq1 via Tumblr bit.ly/1d5spOz bit.ly/16tMqGV

Above the bronze doors on each side is the inscription "To vindicate the principles of peace and justice in the world."

Inscribed on the doors are the words, "Spirit", "Life", "Light", and "Truth".

The Indiana World War Memorial stands on a raised terrace approached by a wide monumental staircase. The structure has four identical faces. On each face an Ionic screen of six columns, behind which are tall banks of windows, and is surmounted by symbolic standing figures designed by Henry Hering: Courage, Memory, Peace, Victory, Liberty, and Patriotism. The sculptures are repeated on each façade.

On the south side, standing on a pink granite base in the center of the grand access stairs, is Hering's colossal exultant male nude bronze Pro Patria (1929); it is 24 feet (7.3 m) high, weighs seven tons, and was the largest cast bronze sculpture in the United States.

The north and south entrances are guarded by shield-bearing limestone lions, and on each corner of the terrace sits an urn. The pyramidal roof is stepped and has a lantern on top.

The Indiana World War Memorial Plaza is an urban feature located in Indianapolis, Indiana, originally built to honor the veterans of World War I. The five-city-block plaza was conceived in 1919 as a location for the national headquarters of the American Legion and a memorial to the state's and nation's veterans. At the north end of the plaza is the American Legion Mall, which is the site of the administration buildings of the Legion, as well as a memorial cenotaph. South of that is the Veterans Memorial Plaza with its obelisk.

In 1949 a local newspaper reported that the memorial was already deteriorating, its limestone scaling, paint peeling, leaks forming, and plaster cracking; further reports were published in 1961. Despite proposals to instead develop the area, the memorial and surrounding landscaping were finally finished in 1965.

Virtiual Tour of Indiana War Memorial Museum

Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.

HISTORY

The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.

CHARACTERISTIC

Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.

Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.

Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.

Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.

Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.

Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.

All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.

Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.

FAMOUS HAVELIS IN INDIA

The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.

Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.

The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.

The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.

FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)

"Nadine Le Prince Haveli"

FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore

The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.

The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.

The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.

FAMOUS HAVELIS OF PAKISTAN

There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.

Below is a list of some of the historically and architecturally significant havelis in Pakistan:

Kapoor Haveli in Peshawar

Fakir Khana Haveli and Museum, in Lahore

Mubarak Haveli in Lahore

Haveli Asif Jah in Lahore

Haveli Wajid Ali Shah in Lahore

Choona Mandi Haveli in Lahore

Haveli Nau Nihal Singh in Lahore

Haveli Barood Khana in Lahore

Lal Haveli or Chandu Di Haveli in Lahore

Haveli Man Singh in Jhelum

Lal Haveli in Rawalpindi

Saad Manzil in Kamalia

Khan Club in Peshawar

Waziristan Haveli in Abbottabad, home of Osama bin laden

Janjua Haveli in Malowal, Gujrat, Pakistan

Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi

HAVELIS IN POPULAR CULTURE

Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.

WIKIPEDIA

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The Fort Carré is a military fort built during the reign 'of Henri II to xvi th century . The fort is located on the peninsula of Saint Roch in Antibes , along the road from the seafront and is built on a rock rising 26 meters above the sea .

History

Fort Square was built mid- xvi th century under Henri II by Monsieur de Saint-Rémy. Two characters were designated as François de Saint-Rémy Mandon and Jean Renaud de Saint-Rémy , both with ties to Saint-Rémy-de-Provence . Jean de Saint-Rémy built the St. Lawrence turn around which has developed strong square. It has been slightly retouched end xvii th century under Louis XIV by Vauban .

Context

The xvi th century , the Provence belongs to the Kingdom of France while the County of Nice depends on the Duchy of Savoy , the boundary is located at the river Var . Tensions between the Kingdom of France and the Duchy of Savoy are due to the latter's alliance with Spain Habsburg . During the wars of Italy , the Spaniards put Antibes sacked in 1524 and 1536, showing the fragility of this region.

Southeast of Provence is a border area that the kings of France from the reign strengthen François I er . Henri II decided to build Fort Carré in a strategic location: the building is a sentinel for by point panoramic view to monitor the border with the Duchy of Savoy.

Construction

It has long been attributed to the construction of the Fort Carré François de Saint-Rémy Mandon who called himself Monsieur de Saint-Rémy. In fact, the military engineer who built the first Fort Carré is Jean Renaud de Saint-Rémy also called Monsieur de Saint-Rémy. Both came from Saint-Rémy-de-Provence . Jean Renaud was also "M. de Saint-Remy," and the family of Renaud de Saint-Rémy has its own chapel inside the church of Saint-Martin . The common name for the two men led to an error on the allocation of the ramparts of Saint-Paul-de-Vence in the late xix th century by Henri-François de Madon designer ramparts.

Saint-Laurent chapel which stood on the hill was destroyed on this occasion to give way to the military building and the name of St. Lawrence was retained for the central tower of Fort Carré which still bears the name "tower St. Lawrence. "

The construction begins with the St. Lawrence turn a truncated keep repeating the plan " torrionne "Italian. This is an annular building surrounding a courtyard 23 meters in diameter with embrasures outside, at the top, armed with 6 protected by a wall 4 meters thick guns.

At the end of the construction of the tower, it was found that the book could not resist when important seat. Between 1544 and 1546, King François I er gives letters of commission to Jean de Saint-Rémy to study the fortifications of Provence. It applies to the existing building principles bastion fortification as it did for the ramparts of Saint-Paul-de-Vence. He added four bastions tapered allowing to place 21 guns. Access to the building is still medieval, perched with a door under the fire orillons .

The construction of Fort Carré left no plan, no real archive. The various elements collected in the later works agree to place the work begins in the early 1550s, probably in 1553.

The entire building was completed and operational in 1585 .

Defensive function

over three centuries. Apart from its role of surveillance and deterrence, the Fort Carré was attacked twice:

- In 1591, during the Wars of Religion , Duke Charles Emmanuel I st of Savoy made ââa breakthrough in Provence and took the fortress of Antibes no need to fight. The French Army initiated by Henri IV to reconquer Provence is the seat of Antibes and its high in 1592. Epernon Duke leading the seat eventually retake the city and the fort. This is the only known military take Fort Carré;

- In 1746/1747, during the War of the Austrian Succession , the Fort Carré and Antibes are bombarded by artillery Austro-Sardinian and the English fleet, but the stronghold holds the seat.

The intervention of Vauban

Vauban is very little intervention on Fort Carré. Visiting Antibes in the 1680s, he drew several plans and establishes a list of work to be done for defenses Antibes, its port, and Fort Carré. He tells the engineer Antoine de Niquet the task of supervising the work. On the Fort Carré, few of these studies have actually been carried out, particularly include general repair equipment to ensure comfort of the troops, and the creation of outer defenses. The silhouette of the building has been modified in any way by Vauban, the current form of Fort Carré has remained pretty much the one he already had the xvi th century .

Military decommissioning

The xix th century marked a turning point with the annexation of Nice to France in 1860 and a significant modification of weapons that make the Fort Carré obsolete. The strong position and Antibes Fort Carre are decommissioned at the end of the xix th century , thus resulting in the leveling of the city walls. Last used in a military context, during the Second World War, the Fort Carré served during the occupation of foreign assembly center for all the Alpes-Maritimes .

Military Schools Sports

The site of Fort Square with its stadium built in 1920 and barracks Reille welcomes the xx th century several schools sports and military vocation:

- 1920 - 1939: Regional Physical Training Centre, providing training for teachers of physical education in schools;

- 1940 - 1945: National College instructors and athletes, which has the same function as the CRIP;

- 1945 - 1953: Military School fencing and combat sports (EMESC) forming military athletes.

It was at this time that the Fort Carré is refitted with the installation of an obstacle course and track risk using buildings as a training site for climbing, balance and abseiling .

- 1953 - 1967: School of military physical training (EEPM), which is actually the merger between Antibes and EMESC ENEPM Pau;

- 1967: closing the EEPM d'Antibes and the creation of the Joint Sports School Fontainebleau 3 .

The Regional Centre for Popular Education (CREP)

In 1968 the Fort Carré is assigned to the Ministry of Youth and Sports. Management is entrusted to the Regional Director of Youth and Sports for the Academy of Nice (M.PERRIER) . So as not to compete with the CREPS Boulouris Fort Carré is rather dedicated to the youth sector (CREP) without in any way prevent the various training courses (Shooting Centre, diving and sailing with Stuppa , Gymnastics with Bernard Brochart , Judo with Bernard Midan , Wrestling with Christian Joly and cooperation with Antibes for training local clubs. Until 1979 various cultural events like "living book" (Christine De Toth) are initiated by the DRJS in the fort.

Restoration [ edit | edit the code ]

Between 1979 and 1985, the Fort Carré is restored by volunteers Club du Vieux Manoir . Working during spring break and summer youth club restore facades, roofs, create access ... allowing the tour of the building.

The public opening

Property of the City 'of Antibes since 1997, the Fort Carré is open to the public since 1998.

Classified as a historic monument by successive decrees of November 7, 1906 and August 20, 1913, amended by decree of 17 October 1937 and 19 October 1976.

The former Mulhouse tram #2011 still carries its Mulhouse number above the windscreen..... Australia could easily have been a French colony, but the country now restricts itself to competing with their wine and buying their trams.

The building in the background was the grand office of the Melbourne Tramway and Omnibus Company - one of the key principles of whom was an American, Francis Boardman Clapp, who brought cable trams to the boom city of "Marvellous Melbourne" in the 1880s.

Another Australia Day 2014 scene captured by MAL ROWE.

Image source: www.archivessearch.qld.gov.au/items/ITM436066

Boggo Road Gaol in Brisbane, Australia, was Queensland’s main jail from the 1880s to the 1980s, by which time it had become notorious for poor conditions and rioting. Located on Annerley Road in Dutton Park, an inner southern suburb of Brisbane, it is the only surviving intact gaol in Queensland that reflects penological principles of the 19th century. After closing in 1992, the larger 1960s section was demolished, leaving the heritage listed section (built as a women’s prison in 1905), which is open to the public through guided tours run by Boggo Road Gaol Pty Ltd.

It was officially known as "Brisbane Gaol" but was commonly known as "Boggo Road" after the original name of the Annerley Road. A new street formed after 1996 now has the name Boggo Road.

In the 1850s, the district where the gaol was subsequently located was known unofficially as 'Boggo', and by the 1860s the track through the area was known as Boggo Road.

It has been suggested that the name came about because the area was very boggy in wet weather. Another theory is that Boggo (or 'Bloggo' or 'Bolgo') was a corruption of an Aboriginal word meaning 'two leaning trees', and that the road was named after two prominent trees at either One-Mile Swamp or what is now Wilkins Street, off Annerley Road. Another possibility is that Boggo Road was an unofficial and unmaintained short-cut between Ipswich Road and Stanley Street that became very boggy after rain. Boggo Road was officially renamed Annerley Road in 1903, but the colloquial name for the gaol that had long been in use stayed.

In 1863, land off Boggo Road was set aside as a government reserve, finally proclaimed a gaol reserve in 1880. The first cellblock opened on 2 July 1883, built by Robert Porter, contained 57 cells, and was constructed using materials from the demolished Petrie Terrace Jail. In 1903, a new prison was built to hold female prisoners. This later became known as the No.2 Division, and is now the only section still standing, and is listed on the Queensland State Heritage Register. The 'No.1 Division' built in 1883 was the scene of 42 hangings, including the hanging of Ernest Austin in 1913—the last execution in Queensland. A new prison was built around the perimeter of No.1 prison during the 1960s and No.1 prison was demolished leaving area for an oval and recreational facilities for the newly built prison, which had running cold water and toilet facilities in all cells. Under the oval was the facility that became known as the "black hole" where prisoners were subjected to "punishment". The "black hole" continued in use until the late '80s. A new women’s gaol was also built at this time. The gaol was originally designed to cater for 40 male prisoners serving as a holding place for prisoners heading to St Helena Island in Moreton Bay. However, by 1989 there were 187 male prisoners and the women's facility had around 200 additional prisoners.

Boggo Road Gaol Complex, comprising the former State Prison for Women (later No. 2 Division, 1903) and remnants of No. 1 Division (opened 1883, rebuilt 1960s-1980s), is important in demonstrating the evolution of prison design and policy in Queensland.

The former State Prison for Women (No. 2 Division) is important as Queensland’s first women’s prison complex and the only women’s prison designed to incorporate the ‘separate system’ in Queensland.

As one of only three gaol complexes designed on the ‘separate system’ in Queensland, No. 2 Division is a rare and exceptional example of 19th century penological principles. Designed as a complex of buildings to punish and rehabilitate its prisoners through separation, its built and plan form, fabric, and layout reflect the conditions under which prisoners were incarcerated. Converted to a male prison in 1921, the complex continued to serve as part of Queensland’s most populous prison until its closure in 1989.

The remnants of No. 1 Division (watchtower incorporating staircase of former hospital building (c.1969-72) and overhead walkway (c.1975-78); section of former workshop building (c.1974); and detention cells (1988)); and the Visitors Centre (1987) are important in demonstrating the evolution in prisoner accommodation and prison facilities in the latter part of the 20th century. The remnants of No. 1 Division are the only part of that complex to remain and as such they are reflective of the use of the much larger site as a gaol from 1883 and demonstrate its continuity of use for over 100 years.

Features added to the gaol complex during the 1970s and 1980s – including chain-wire and barbed-wire fences and roofs in the exercise yards (c.1970-1984), prisoners’ graffiti (c.1970s-1992), and detention cells (1988) – are important in demonstrating both the deteriorating conditions and the increasing political unrest and civil rights activism associated with the gaol. The gaol complex achieved notoriety for the inadequate conditions and treatment of those inside its walls, and was a focus for protests by prisoners and civilians, part of a broader social and political movement which occurred in Queensland in the late 20th century.

Boggo Road Gaol is significant as part of a network of late 19th and early 20th century institutions in Queensland which were designed to control and discipline. Through the gaol complex’s design, form and layout, it demonstrates the control exerted by the government over those interned.

Boggo Road Gaol Complex (No. 2 Division) is rare as the only surviving intact gaol complex in Queensland reflecting 19th century penological principles, being one of only five such gaol complexes built (including Brisbane men’s prisons at Petrie Terrace (1860, no longer extant) and Boggo Road (1883, no longer extant), Rockhampton (1884, no longer extant) and Townsville (1878, rebuilt 1893, not intact as a complex)).

As a rare Australian example of a prison complex purpose-built for women, the Boggo Road Gaol Complex (No. 2 Division) demonstrates rare aspects of Queensland's cultural heritage.

Boggo Road Gaol Complex (No. 2 Division) is important as a highly intact and rare example of a separate system prison complex established in Queensland during the 19th and early 20th centuries. It demonstrates the principal characteristics of this type through its: collection of robust masonry buildings, forming a purpose-built facility for the incarceration of prisoners; tall perimeter walls/fences to prevent escape; defined, highly-secured areas for prisoners and semi-secured areas for staff and visitors; front, imposing gatehouse; tall observation (sentry) towers and open spaces for surveillance of prisoners; large cell blocks with separate prisoner accommodation cells, organised in a radiating plan form around a central observation point (Parade Ground); cells with curved ceilings, heavy cell doors locked from the outside, and purpose-built fixtures (metal shelves, and bed/hammock hooks), accessed via central galleries with central stairs and large banks of windows to their front and rear end walls; outdoor, fenced exercise yards with shelter sheds and amenity blocks; sanitation facilities (sanitation yard, and drains); ancillary buildings for administration, hospital, kitchen and laundry services and resident staff accommodation; and the use of robust materials (namely brick, stone, concrete and metal) throughout the complex.

The complex is also important in demonstrating the principal characteristics of the architectural work of the Queensland Department of Public Works (DPW), retaining an extensive range of excellent, highly-intact examples of DPW-designed buildings from the early 20th century. The principal characteristics of the DPW’s architectural work demonstrated at the prison complex include: well-designed, fit-for-purpose buildings with a dignified civic character; use of high-quality materials and construction detail; and provision of natural light and ventilation of interiors (except to cells).

Highly intact, Boggo Road Gaol Complex (No. 2 Division) has aesthetic importance for its expressive and evocative attributes, high architectural quality, and strong landmark presence.

Through the grand scale, imposing form and robust material palette of the Cell Blocks, Gatehouse, Matron’s Quarters (former) and Warders’ Quarters (former), the tall Perimeter Walls, the observation towers, and the barred and gated openings, the place expresses the power exercised by the State in applying law, order and social regulation during the 19th and early 20th centuries. The foreboding presence of the buildings, and the complex’s high level of security and surveillance (facilitated by sentry towers, open spaces, and visual observation alignments) conveys the sense of incarceration, punishment, and deterrence.

The imposing appearance of the Gatehouse, and the connections between the prison’s spaces (revealing a sequence of movement through the Gatehouse vestibule, into the Quadrangle for processing in the administration buildings, through the Parade Ground and into the secured Cell Blocks and Exercise Yards), are evocative of the sense of restraint and coercion experienced by former prisoners on admission to the gaol complex. The size and scale of the buildings, and the use of solid materials throughout the complex to enforce compliance and deter escape, reflect the lived experience of the prisoners both on arrival and during their terms of incarceration.

Accentuated by high-quality and durable materials, elegant formal compositions (most using symmetry), assertive massing, and decorative treatments and refined finishes (such render details, dressed stone, and tuck pointing to brick walls), the architectural quality of the buildings reflects an ordered and moralistic approach to incarceration at the time of construction, the functional robust material requirements of a prison, and affords the complex a dignified townscape presence.

Graffiti to Cell Blocks and Exercise Yards, largely dating to the later period of the prison’s use, expresses the sense of confinement, seclusion, political and social ideologies, and sentiment of anti-establishment of former prisoners of Boggo Road Gaol around the time of its closure, and the sub-standard conditions to which they were subjected.

The complex is a landmark in its setting due to the strong physical presence and visual dominance of its elevations (particularly those fronting Boggo Road (north), Annerley Road (west) and Peter Doherty Street/Boggo Road Gaol Park (south)), prominent siting on the rise of Annerley Road, tall Perimeter walls and unified material palette of face brick, concrete and stone.

Boggo Road Gaol Complex is important for its social significance as a place of confinement within the community and has a strong association with those groups connected to the place, including ex-prisoners and their families, ex-prison warders and others employed within the complex.

Protests at the gaol during the 1970s saw inmates undertake hunger strikes, roof-top protests, and rioting over the poor conditions and treatment. The prison was constantly in the headlines and became notorious around Australia. Cells in the No. 2 prison did not have any form of sanitation, and facilities for washing were lacking. Prisoners were required to use a bucket through the evening for toilet breaks and empty it, or 'slop out', in the morning. A Queensland Government inquiry into the living conditions of State prisons found Boggo Road to be outdated and inadequate for prisoners' needs. No. 2 Division was closed in 1989. No. 1 division was closed in 1992 and was demolished in 1996 (a small section of what was "C5" and guard tower still remain). The women’s prison operated until 2000 and was demolished in 2006.

Since 1992, the No. 2 Division was home to the Boggo Road Gaol Museum, which featured displays of prison-related artefacts. Throughout the 1990s, ex-officers conducted guided tours of the site, and from 2003 the museum and tours were operated by the Boggo Road Gaol Historical Society, a non-profit incorporated association of volunteers. Since December 2012, Boggo Road Gaol became a tourist attraction for Queensland, with guided tours being conducted by Boggo Road Gaol Pty, who are now officially licensed to run tours and events at the gaol. Like many other similar places around the country, the site also hosts guided ghost tours.

Redevelopment of the surrounding site began in 2006, leading to the temporary closure of the Boggo Road Gaol historical site. Since 2012 the gaol has been re-opened to the public. Boggo Road has since been turned into an urban village called Boggo Road Urban Village and was completed in 2010.

Information sources:

apps.des.qld.gov.au/heritage-register/detail/?id=601033

en.wikipedia.org/wiki/Boggo_Road_Gaol

John Bell, Principles of Surgery (Edinburgh, 1801). John Bell (1763-1820) dedicated this book to the surgeons of London, particularly mentioning Matthew Bailly and Astley Cooper, amongst others.

The tinted drawing by Bell shows aneurysm of the thigh in a shipmaster following a fall, whose leg was amputated four weeks later, and died a few days after the operation.

SPEC M1.20/oversize from Medical Books collection, Special Collections & Archives, Liverpool University Library.

Images from Special Collections & Archives, the University of Liverpool.

WINSTON-SALEM —The N.C. Department of Transportation has named the winner of the Brent Hamilton Excellence Award. NCDOT Division 9 Business Officer Willie Bradwell, Jr. was recognized by his peers during today’s Board of Transportation meeting as this years’ honoree.

Division 9 Engineer Pat Ivey said, “Bradwell was the perfect choice for the reward in part because of his thorough knowledge of financial and accounting principles and the highest level of professional competence and ethical standards.”

Bradwell began his career at NCDOT in November 1995 as the Division 9 accounting technician and has served as the division business officer since 2000. Prior to coming to NCDOT, he worked with the Florida Department of Agriculture and Florida State University.

Division 9 Board Member Jake Alexander said, "His commitment to the highest integrity has been noticed by all who work with him, myself included. Mr. Bradwell is consistently a good steward of taxpayer dollars. He helps counties keep a balanced inventory by researching issues himself and works to help the field achieve the goals set in place by our Division and by the staff in Raleigh. Willie is indeed an excellent choice for this Award."

While Mr. Bradwell’s main focus is on Division 9, his expertise is sought out on many statewide projects and various workgroups. He provides guidance and assistance to other Divisions and is held in very high regard by many of his colleagues across the state as evidenced by the following comments compiled for this nomination:

•Kathy Walker (Division 7) - “After I became the business officer, Willie physically came to Division 7 and showed me how to research to see where we had funds. He walked me through the process of creating funding documents. He showed me how to reconcile the overdrafts. He walked me through the process of allocating funds. He brought copies of his personal notes that he thought would be helpful. He has assisted me when I had inventory questions. He has shared excel spreadsheet formats that he has come up with that he thought would be beneficial to me. He has always been very patient and kind. Willie always has time for me and I will forever be thankful for him.”

•Melissa Dorman (NCDOT Financial Services Division) - “I think Willie is an excellent candidate for the Brent Hamilton award. In Fiscal, Willie is viewed as a business officer who is always on top of things. He is well respected and knowledgeable and always asks questions to ensure that his Division is operating properly. I have heard several Highway Division business officers make the statement that if they needed to know how to tackle a new situation; they would contact Willie for advice and to see how he would handle the same matter in his Division.”

•Fred Little (Division 6) - “Going back to my days as an accountant in the State Project Funding Unit (SPFU) of Accounting Operations (AO), I worked with and came to know all 14 Business Officers (BO), one of whom was Willie Bradwell. Although each had his/her own unique way of doing business in a unique division office, Willie stood out as the business officers’ business officer. Anytime I wanted to contact all B.O.s as a group, I would ask Willie to proof what I had to say for accuracy, clarity and relevance. And, when I sought the opinion of any one B.O., I would always seek out Willie for his candor and insight. Seven years ago, I became a B.O. myself, here in Fayetteville with Division 6. I immediately reached out to Willie for guidance. He took me in like he had gotten a new job, too, i.e. training Fred. I drove the two-plus hours to Winston-Salem twice to work hands-on with Willie and his uncommonly-capable Accounting Tech, Joy Ogburn. Together, they went over literally everything I would come to know as duties of a B.O. After that, I have continued (to this day) to call or email Willie for help or advice. If he is unavailable, I know he will get back to me ASAP. When I joined the SPFU, I got to know Brent Hamilton as she was preparing to leave AO, and working only part time. Because of my deep admiration for Brent’s integrity and dedication, her tireless efforts on behalf of our stakeholders, and her cheerful spirit, I take seriously an award in her memory. While there will not be another Brent Hamilton, I can truly say that Willie Bradwell’s traits of character model those set forth by Brent. I sincerely appreciate the opportunity to wholeheartedly endorse the nomination of my mentor and friend, Willie Bradwell Jr.”

•Keith Rudd (NCDOT Fiscal) “You may know, I work in the State Project Funding Unit of Fiscal in Raleigh. Willie and I have worked together for years. Willie has helped me countless times (too numerous to mention) with Division 9 financial issues concerning WBS elements, overdrafts, funding, etc. Some of our problems resolved through the years have been very complex, and required working together through several steps before the issue can be resolved. Willie has always been very courteous, friendly, and professional in all of our communications. Not only that his knowledge and experience are a value and asset to me and surely his fellow Division 9 coworkers. To be quite honest, Willie is so knowledgeable in his work, that whenever he calls with a question or a problem, it sort of worries me, because I think, ‘What can I possibly know that he doesn’t already know, to be asking me about it?’. Ha, ha, ha. But, when he does, we always work through it, and come up with a solution/answer to his question. I truly enjoy working with him, and it is always a pleasure to do so. I think Willie is very deserving of this award.”

The Brent Hamilton Excellence in Financial Management and Integrity Award is intended to recognize significant dedication and hard work to the betterment of financial services and operations within business units throughout the Department. Someone worthy of this award embodies NCDOT’s commitment to trustworthiness, always tries to do what’s right, even in difficult circumstances, and demonstrates integrity in all dealings, personal and professional.

The award will be given annually to an NCDOT employee demonstrating exemplary dedication to financial services and functions, increasing financial accountability, providing excellent stewardship of public dollars, and a being role model for adherence to ethical standards.

The award is named in honor of former Fiscal Manager Brent Hamilton. Brent was admired for her dedication to financial work and for her courage and strength during her long battle with cancer.

The seven planes of the Cosmic Physical Planes with Principles related to each plane

In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.

Speakers included:

Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations

H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations

Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union

Ms. Laura Trevelyan, BBC Anchor/Correspondent

Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women

Ms. Lise Kingo, CEO and Executive Director, ‎United Nations Global Compact

Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar

Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women

Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS

Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America

Ms. Katherine Lucey, Founder and CEO, Solar Sister

Ms. Luz Maria Jaramillo, President, Pavimentos Colombia

Ms. Joanne Farrell, Managing Director, Rio Tinto

Keynote Remarks

Ms. Padma Lakshmi, Author, actress, model, television host, executive producer

Photo: UN Women/Ryan Brown

...bt David Holmgren, co-founder of the permaculture movement .

en.wikipedia.org/wiki/David_Holmgren

Country Road Scenic Drive! California Spring Wildflowers Superbloom Carrizo Plains National Monument! God Spilled the Paint Desert Wildflowers Super Bloom! Temblor Range! Elliot McGucken Fine Art Landscape & Nature Photography! Spring Flowers Superbloom!

Wikipedia reports on the Carrizo Plain National Monument: "Carrizo Plain National Monument

Aerial-SanAndreas-CarrizoPlain.jpg

Aerial view of the Carrizo Plain.

The San Andreas Fault is on the right.

Map showing the location of Carrizo Plain National Monument Map showing the location of Carrizo Plain National Monument

LocationSan Luis Obispo & Kern counties, California

Nearest cityCalifornia Valley, California

Coordinates35.1913582°N 119.7929080°W[1]Coordinates: 35.1913582°N 119.7929080°W[1]

Area246,812 acres (998.81 km2)[2]

EstablishedJanuary 17, 2001

Governing bodyBureau of Land Management

WebsiteCarrizo Plain National Monument

Carrizo Plain Rock Art Discontiguous District

U.S. National Register of Historic Places

U.S. National Historic Landmark District

Area1215

NRHP reference #01000509[3]

Significant dates

Added to NRHPMay 23, 2001

Designated NHLDMarch 2, 2012

"Superbloom" in the Temblor Range, April 2017

The Carrizo Plain is a large enclosed grassland plain, approximately 50 miles (80 km) long and up to 15 miles (24 km) across, in southeastern San Luis Obispo County, California, about 100 miles (160 km) northwest of Los Angeles.[4] It contains the 246,812-acre (99,881 ha)[2] Carrizo Plain National Monument, and it is the largest single native grassland remaining in California. It includes Painted Rock in the Carrizo Plain Rock Art Discontiguous District, which is listed on the National Register of Historic Places. In 2012 it was further designated a National Historic Landmark due to its archeological value. The San Andreas Fault cuts across the plain."

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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.

Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!

John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.

This room will be used as a store room for our wool and finished garments, it will also be used for lots of other things no doubt.

So, I spent a lot of time coming up with these, how am I going to use them in my work?

For real this time.

Read more here: thesustainabilitist.com/

and see more sustainable-graphic-design-as-sculpture here: www.flickr.com/photos/bjornmeansbear/sets/72157616632905413/

3.2.2010

Brisk, rainy weather couldn't deter JHC members and friends from coming out to the Jay Estate on the first day of May for a program aptly called "Views from Our Veranda." First steps towards a significant and thoughtful rehabilitation of the grounds have been discussed for almost twenty years and now have clear definition as well as an enthusiastic groundswell of support.

Over 70 people came to hear presentations by Landscape Architect Thomas Woltz and Meadow Designer Larry Weaner. On arrival, everyone saw gorgeous planters brimming with native species like baptisia and butterfly weed. Large color banners and a vibrant slideshow illustrated the exciting impact of work planned for the landmark site. Weaner and Woltz both explained the guiding principles in this multi-year endeavor: increasing biodiversity and providing greater access to open space and cultural heritage for the community.

JHC President Suzanne Clary introduced the speakers and explained how the dynamic private-public partnership between the Jay Heritage Center, NY State Parks and Westchester County was integral to the success of the landscape restoration. She explained how JHC had already raised over $500,000 in funds to match an additional $500,000 REDC grant from NY State Parks to apply to the revitalization of the gardens.

Woltz next framed the discussion first with a synopsis of the gardens' timeline of ownership and described the dominant features of the 3 "garden rooms" under design which include parterre plantings, vegetable beds, a reflecting pool, and pollinator panels anchored by a rose arbor. He noted that there is no one fixed point in history that the spaces can or should be restored to; instead known historic features and plantings will inform a modern and sustainable interpretation rather than a period style recreation. The stories of resilience and strength of enslaved women and men like Mary, Clarinda and Caesar Valentine will be especially highlighted in the first "classroom" where performances of Striving for Freedom will take place.

Weaner followed with his own scientific observations of the site having studied the inventory of invasive and native species rooted there. Seeing what he called a "Confluence of Centuries," Weaner explained the importance of preserving the imprints of many natural and human inhabitants from the Indigenous era through an estate period that included slave ownership up to contemporary usage. Etched memorial stones telling these stories will be installed in both the gardens and the through the meadow.

NY State Assemblyman Steve Otis applauded the efforts and perseverance of the JHC Board. Many of the guests then headed outdoors in slickers and wellies to see the landscape up close and ask follow-up questions. Afterwards they returned back to the mansion to study gorgeous planters filled with pollinator-attracting plants and enjoy refreshments provided by Rye's own Rosemary & Vine.

JHC is currently hoping to raise enough money to plant the upland part of the Jay meadow by October 2016.

(Photos by Cutty McGill)

Jay Heritage Center

210 Boston Post Road

Rye, NY 10580

(914) 698-9275

Email: jayheritagecenter@gmail.com

Follow and like us on:

Instagram @jayheritagecenter

Twitter @jayheritage

Facebook www.facebook.com/jayheritagecenter

Pinterest www.pinterest.com/jaycenter

Happy 4th of July from 45SURF 45EPIC Hero's Odyssey Mythology Photography! Black Surfboard & Pretty Blonde Hair & Blue Eyes Bikini Model! July Fourth USA Flag Bikini Swimsuit Model! Pretty American Flag Swimsuit Bikini Model! Red, White, Blue USA Flag Swimsuit Model on Malibu Beach! Happy 4th of July Bikini Surf Girl! Stars & Stripes 4ever Swimsuit Model! Nikon D800 & 70-200 F2.8 VR2 Lens!

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Exalt your photography with Golden Ratio Compositions!

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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

Epic Landscape Photography:

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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q

Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.

New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!

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Join my new 45EPIC fine art landscapes page on facebook!

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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

More on my golden ratio musings: facebook.com/goldennumberratio

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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

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Let me know in the comments if you would like a free review copy of one of my photography books! :)

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

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And I am also working on a book on photographing the goddesses! :) More goddesses soon!

Best wishes on your epic hero's odyssey!:)

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I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

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An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.

In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.

However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.

Anti-establishment in the United States began in the 1940s and continued through the 1950s.

Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.

Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".

"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.

Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."

As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.

The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".

As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.

In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.

The Albertina

The architectural history of the Palais

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

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

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

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

Image: The Old Albertina after 1920

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Image: The restored suburb facade of the Palais Albertina suburb

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

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

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

Christian Benedictine

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

www.wien-vienna.at/albertinabaugeschichte.php

In the spirit of advancing the crucial role of the private sector to achieve Goal 5 "Gender Equality", UN Women, United Nations Global Compact (UNGC) and United Nations Office for Partnerships (UNOP) joined forces to to organize the Annual Women’s Empowerment Principles Forum. The Forum took place in New York on 15 March 2018 and provided a platform for presenting ongoing, successful business initiatives that aim at women’s empowerment, economic inclusion and entrepreneurship globally.

Speakers included:

Ms. Amina J. Mohammed, Deputy Secretary-General, United Nations

H.E Mrs. Geraldine Byrne Nason, CSW62 Chair, Permanent Representative of Ireland to the United Nations

Ambassador Mara Marinaki, Principal Advisor on Gender and on the Implementation of UNSCR 1325 on Women, Peace and Security, European Union

Ms. Laura Trevelyan, BBC Anchor/Correspondent

Ms. Phumzile Mlambo-Ngcuka, United Nations Under-Secretary-General and Executive Director of UN Women

Ms. Lise Kingo, CEO and Executive Director, ‎United Nations Global Compact

Ms. Laura Stachel, Co-Founder and Executive Director,We Care Solar

Ms. Michèle Sabban, Honorary President of R20 and President of the Green Fund for Women

Mr. Eduardo Martinez, President, The UPS Foundation and Chief Diversity & Inclusion Officer, UPS

Mr. Scott N. Mitchell, President & CEO, Sumitomo Chemical America

Ms. Katherine Lucey, Founder and CEO, Solar Sister

Ms. Luz Maria Jaramillo, President, Pavimentos Colombia

Ms. Joanne Farrell, Managing Director, Rio Tinto

Keynote Remarks

Ms. Padma Lakshmi, Author, actress, model, television host, executive producer

Photo: UN Women/Ryan Brown

Provia 400x X | Mamiya 6

The Albertina

The architectural history of the Palais

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

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

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

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

Image: The Old Albertina after 1920

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Image: The restored suburb facade of the Palais Albertina suburb

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

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

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

Christian Benedictine

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

www.wien-vienna.at/albertinabaugeschichte.php

Venice Beach California Windward & Venice Long Exposure Fuji GFX100 Night Sunset Dusk! McGucken Master Medium Format Fine Art Landscape Nature Photography! dx4/dt=ic Venus Optics Laowa 17mm f/4 GFX Zero-D Lens for FUJIFILM GFX Medium Format

Golden Gate Bridge Spencer Battery San Francisco Bay Fine Art Landscape Nature Fuji GFX100! California Ocean Art Seascape Photography! Dr. Elliot McGucken dx4/dt=ic Master Fine Art Fuji GFX 100 Medium Format Photographer!

All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .

Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q

"Between every two pine trees there is a door leading to a new way of life." --John Muir

Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism

“The clearest way into the Universe is through a forest wilderness.” --John Muir

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

“The mountains are calling and I must go.” --John Muir

Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:

geni.us/9fnvAMw

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

Some of my epic books, prints, & more!

geni.us/aEG4

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)

The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

Season of mists and mellow fruitfulness

Close bosom-friend of the maturing sun

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats

New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!

www.facebook.com/epiclandscapephotography/

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

Let me know in the comments if you would like a free review copy of one of my photography books! :)

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

Best wishes on your epic hero's odyssey!:)

instagram.com/45surf

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

www.facebook.com/lightimedimensiontheory/

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

Follow me on instagram!

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!

www.facebook.com/epiclandscapephotography/

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

Let me know in the comments if you would like a free review copy of one of my photography books! :)

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

Best wishes on your epic hero's odyssey!:)

instagram.com/45surf

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

www.facebook.com/lightimedimensiontheory/

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

Follow me on instagram!

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

The workshop presents The Right to Share Principles, prepared by ARTICLE 19, that sets out a framework to ensure that freedom of expression and the ability to share knowledge and culture are fully protected, and not unduly restricted, by copyright interests in the digital age. They also seek to promote positive measures to foster the free flow of information and ideas and greater access to knowledge and culture on the Internet and beyond.

Day 4

16 May 2013

ITU/ Claudio Montesano Casillas

A selection from the Headshift library

Surfing is Poetry in Motion! Beautiful & Talented Professional Surf Girl Goddess! Alana Blanchard! Athletic Bikini Swimsuit Wetsuit Models Surfing Trestles Beach, San Clemente California! Nikon D810 + Tamron SP 150-600mm f/5-6.3 Di VC USD G2! Catching Waves Surf's Up!

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

Follow me my good friends!

Facebook: geni.us/A0Na3

Instagram: geni.us/QD2J

Golden Ratio: geni.us/9EbGK

45SURF: geni.us/Mby4P

Fine Art Ballet: geni.us/C1Adc

Some of my epic books, prints, & more!

geni.us/aEG4

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q

Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.

from www.theworldcafe.com/principles.htm

May Day at Audley End

Roll up, roll up and see May Day fun as it used to be!

Enjoy our Victorian side shows and brass band, and marvel at our incredible displays of Victorian falconry. Then watch as your little ones learn circus skills or take part in a play. All of which, coupled with the spectacular house and grounds at Audley End, is sure to make this a day out to remember for all the family!

Enjoy a great day out at one of England’s grandest stately homes; Audley End House.

The doors of our restored historic stables recently opened, complete with resident horses and a Victorian groom. Our stables experience includes an exhibition where you can find out about the workers who lived on the estate in the 1880s, the tack house and the Audley End fire engine. Try our dressing up clothes in the stables and meet our horses, Duke and Jack, too.

Children can let loose in our fun themed play area next to our Cart Yard Café which is always very popular with visitors.

Audley End House itself is a magnificent house, built to entertain royalty, and includes a Victorian Service Wing complete with kitchen, laundries and a dairy.

With beautiful grounds to explore, including an impressive formal garden and the working Organic Kitchen Garden, there’s so much to see and do at Audley End House.

Originally adapted from a medieval Benedictine monastery, the house and gardens at Audley End were amongst the largest and most opulent in Jacobean England. Today Audley End is set in a tranquil landscape with stunning views across the unspoilt Essex countryside. Visitors can enjoy the painstakingly restored parterre with its eye-catching bedding scheme and a walled kitchen garden run entirely on organic principles. It's possible to see elements of English gardening on a grand scale at Audley End carried out by the most influential designers of the day such as Lancelot ‘Capability’ Brown.

New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!

www.facebook.com/epiclandscapephotography/

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

Let me know in the comments if you would like a free review copy of one of my photography books! :)

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

Best wishes on your epic hero's odyssey!:)

instagram.com/45surf

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

www.facebook.com/lightimedimensiontheory/

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

Follow me on instagram!

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

I love October!

New Epic Landscape Photography Guide book page!

www.facebook.com/epiclandscapephotography/

Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography

instagram.com/elliotmcgucken

facebook.com/mcgucken

Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!

Join my golden ratio groups!

www.facebook.com/goldennumberratio/

www.facebook.com/groups/1401714589947057/

instagram.com/goldennumberratio

Dr. Elliot McGucken Fine Art Landscape & Nature Photography

New book page!

www.facebook.com/epiclandscapephotography/

Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography

instagram.com/elliotmcgucken

facebook.com/mcgucken

Ansel Adams used the golden ratio in his photography too:

www.youtube.com/watch?v=WFlzAaBgsDI

www.youtube.com/watch?v=zrOUX3ZCl7I

The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!

I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)

The famous mathematician Jacob Bernoulli wrote:

The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.

Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.

The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!

Ask me anything about the golden ratio! :) I will do my best to answer!!

Enjoy my Fine Art Ballet instagram too!

instagram.com/fineartballet

Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!

www.instagram.com/goldennumberratio/

"The paramount question of the day is not political, is not religious, but is economic. The crying-out demand of today is for a circle of principles that shall forever make it impossible for one man to control another by controlling the means of his existence."

“Anarchism, to me, means not only the denial of authority, not only a new economy, but a revision of the principles of morality. It means the development of the individual as well as the assertion of the individual. It means self-responsibility, and not leader worship.”

"I would rather, much rather, be illegitimate according to the statutes of men, than illegitimate according to the unchanging law of nature."

“If this is the price to be paid for an idea, then let us pay. There is no need of being troubled about it, afraid, or ashamed. This is the time to boldly say, “Yes, I believe in the displacement of this system of injustice by a just one; I believe in the end of starvation, exposure, and the crimes caused by them; I believe in the human soul regnant over all laws which man has made or will make; I believe there is no peace now, and there will never be peace, so long as one rules over another; I believe in the total disintegration and dissolution of the principle and practice of authority; I am an Anarchist, and if for this you condemn me, I stand ready to receive your condemnation.”

“We are bound first to imform ourselves concerning so great a matter as the revolt of millions of people - what they are struggling for, what they are struggling against, and how the struggle stands- from day to day...as best you can; and second, to spread this knowledge among others, and endeavor to do what little you can to awaken the consciousness and sympathy of others.”

“But what the working-class can do, when once they grow into a solidified organization, is to show the possessing class, through a sudden cessation of all work, that the whole social structure rests on them; that the possessions of the others are absolutely worthless to them without the workers' activity; that such protests, such strikes, are inherent in the system of property and will continually recur until the whole thing is abolished -- and having shown that effectively, proceed to expropriate. ”

"For it must needs that offences come, but woe to him through whom the offence cometh." The crimes of the future are the harvests sown of the ruling classes of the present. Woe to the tyrant who shall cause the offense!

Sometimes I dream of this social change. I get a streak of faith in Evolution, and the good in man. I paint a gradual slipping out of the now, to that beautiful then, where there are neither kings, presidents, landlords, national bankers, stockbrokers, railroad magnates, patentright monopolists, or tax and title collectors; where there are no over-stocked markets or hungry children, idle counters and naked creatures, splendor and misery, waste and need. I am told this is farfetched idealism, to paint this happy, povertyless, crimeless, diseaseless world; I have been told I "ought to be behind the bars" for it.

Remarks of that kind rather destroy the white streak of faith. I lose confidence in the slipping process, and am forced to believe that the rulers of the earth are sowing a fearful wind, to reap a most terrible whirlwind. When I look at this poor, bleeding, wounded World, this world that has suffered so long, struggled so much, been scourged so fiercely, thorn-pierced so deeply, crucified so cruelly, I can only shake my head and remember: The giant is blind, but he's thinking: and his locks are growing, fast."

• (In the first line presented here de Cleyre quotes an admonition of Jesus Christ, and in the last line, the giant she refers to is the blinded Samson.)

“I die, as I have lived, a free spirit, an Anarchist, owing no allegiance to rulers, heavenly or earthly.”

Quote Source -> secure.wikimedia.org/wikiquote/en/wiki/Voltairine_de_Cleyre

www.voltairine.org/

sunsite.berkeley.edu/goldman/Writings/Essays/voltairine.html

dwardmac.pitzer.edu/Anarchist_Archives/bright/cleyre/Cley...

Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری‎) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.

According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.

The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.

ARCHITECTURE OF FATEHPUR SIKRI

Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.

Some of the important buildings in this city, both religious and secular are:

Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".

The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.

Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.

Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.

On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.

Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.

Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.

Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.

Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.

Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.

Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.

Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.

Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.

Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.

Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.

Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.

Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.

DEMOGRAPHICS

Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.

ADMINISTRATIVE ESTABLISHMENT

Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.

The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:

Agra Rural

Fatehpur Sikri

Kheragarh

Fatehabad

Bah

In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.

TRANSPORT

Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.

WIKIPEDIA

New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!

www.facebook.com/epiclandscapephotography/

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

Let me know in the comments if you would like a free review copy of one of my photography books! :)

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

Best wishes on your epic hero's odyssey!:)

instagram.com/45surf

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

www.facebook.com/lightimedimensiontheory/

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

Follow me on instagram!

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!

www.facebook.com/epiclandscapephotography/

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

Let me know in the comments if you would like a free review copy of one of my photography books! :)

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

Best wishes on your epic hero's odyssey!:)

instagram.com/45surf

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

www.facebook.com/lightimedimensiontheory/

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

Follow me on instagram!

instagram.com/elliotmcgucken

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

VIDEO, Rocking Christmas Songs - youtu.be/Q5IF6iWf5W4

The VanDusen Garden Festival of Lights is a Christmas event that many nature-lovers have been waiting for to start the holiday season.

One of the guiding principles of the VanDusen Garden has always been to connect people to plants and the natural environment. Year-round, visitors have come here to appreciate and learn about conservation, gardening, plant lives and stories, nutrition, pollination, adopt a tree, birding in the garden and many more.

The VanDusen Garden is also a popular spot for wedding couples getting hitched.

Although there are more than 100 events happening all year, don’t think that during winter the garden would be in hibernation. No, December happens to be the busiest time of the year.

To celebrate Christmas and the Yuletide season, the garden comes alive with more than a million light bulbs illuminating all vegetation and the surrounding enclave. 1.4 million lights to be exact.

Nancy Wong, VanDusen Garden’s Public Relations Director, proudly pointed out that volunteers counted each light bulb every year and made sure they were working before putting them on.

The Festival of Lights is an extremely popular event. Families come in droves.

On the first day of the festival (Dec 02), there was a long lineup of people wanting in before the garden officially opened at 4:30 PM. In fact, visitors were advised to purchase tickets in advance at Tickets Tonight or in person at the Garden Shop at VanDusen Garden as early as Nov 1st.

Once visitors entered the garden, many of them seek out the popular Dancing Lights at Livingstone Lake in which a continuous series of strobe lights was synchronized to rock versions of familiar Christmas songs that reverberated with the audience, adults and kids alike.

Music is the universal language, no loss in translation there. It signifies the joyous season and everyone is excited to be there. Dancing Lights plays every half-hour and it has become one of the main attractions of the Festival of Lights experience.

After the light show, visitors began to explore different areas of the garden and there were plenty for them to see and enjoy - Santa’s Living Room, Gingerbread Wood, Make-a-Wish Candle Shrine, Sparkling Spruce in the centre court, Candy Cane Express model train etc.

Roaming along the brightly-illuminated Candy Cane Lane, you would likely hear a singing choir that draws you nearer or encounter two Christmas Gnomes, Svend and Jens eager to entertain.

Svend joked often in a heavy Swedish accent while Jens played his quiet and abiding partner. Their routine worked out very well I must say.

It’s the Winter Light season (not Lights, in honor of director Ingmar Bergman) and with Svend and Jens close by, you are reminded of the Swedish filmmaker’s world-famous troupe of actors including Liv Ulman, Max Von Sydow, Gunnel Lindblom and others. Ja!

After an hour or two, you just might feel hungry and it is a perfect time to have dinner at the garden. Both light fare and full meals are available at the VanDusen Garden. Dinner is also served every night at the Shaughnessy Restaurant during the Festival of Lights. Reservations are recommended.

Ho-Ho-Ho, Santa’s rocking in his chair too!

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Ray Van Eng is an award-winning photographer, journalist, online publisher, screenwriter and movie & TV producer. One of his videos is currently on view at the Hava Nagila Exhibit, Museum of Jewish Heritage – A Living Memorial to the Holocaust in New York City. from Sep 2012 to May 2013.

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