Realtor Photos

 

All images are for educational purposes and are under copyright of creators and owners.

 

From the LA Times:

 

The four-bedroom Midcentury classic reflects the actor's love for entertaining guests, including Ronald Reagan, at home.

 

The Beverly Hills Midcentury classic, with many of the original features and décor from the time of the comedian's purchase nearly a half-century ago, has a '60s vibe.

 

The single-story house was a place where guests could feel at home.

 

" Ronald Reagan would stop by to visit, and Dad would tell him jokes standing in the kitchen," said son Gregory Amsterdam, who lived there through his college years and beyond. "There were people popping in and out all the time."

 

The Amsterdams often entertained at home, throwing dinner parties in the formal dining room for 10 to 15 guests. Other times the area around the kidney-shaped swimming pool in the backyard was used for parties of 50 to 60, Amsterdam said.

 

"My father loved the sun," Amsterdam said, to the point where he would walk backward on a golf course to face it. The senior Amsterdam sometimes wrote jokes while lounging in the pool area. "If there was any hint of sun, he would be out there getting a suntan."

 

The family made additions to the house during their ownership, changing the footprint from a T-shape to a J by adding what they called a play room with large picture windows, a television, a card table and a desk, where the comic also worked on material.

 

The 5,854-square-foot house has walls of glass that open to the backyard, a living room with a fireplace and a step-down bar, a breakfast room, a den with a fireplace, four bedrooms and 4 1/2 bathrooms. There is a three-car garage and large motorcourt.

 

Morey Amsterdam, who died in 1996 at age 87, played fellow office worker Buddy Sorrell on "The Dick Van Dyke Show" (1961-66). The gregarious actor was in show business for more than seven decades years.

 

"My father really loved people," Gregory Amsterdam said. "He'd go out to get the mail, and Starline Tour would go by and he'd stop to talk."

 

- June 19, 2010 - Lauren Beale, Los Angeles Times

Hong Kong Transport - Trucks

 

The Hong Kong Truck Culture

 

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

 

*Vans are classified as Light Goods Vehicles and are not shown in this album

 

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

 

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

 

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

 

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

 

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

 

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

 

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

 

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

 

Isuzu is the market leader in terms of sale volume for all types of trucks.

 

(Source - The Transport Department, Hong Kong Government)

 

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

 

✚ www.j3consultantshongkong.com/j3c-blog

 

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

St Mary, Worlingworth, Suffolk

 

North Suffolk is a lattice of lanes, which meander as if they are so ancient they have forgotten their purpose. Worlingworth is a large village, and it comes as a surprise. The church of St Mary rears its 15th Century head above the pretty cottages, and you step through a gate into the tight, verdant graveyard, so tight that external shots are near impossible without a bit of trickery.

 

From the churchyard, the sheer scale of the Perpendicular windows is accentuated by the lack of a clerestory. You can see straight away that this is not going to be a dark church. The porch disguises the size of the church, being large in proportion. In fact, as there are no aisles, this is the second largest span of any church roof in Suffolk, after Laxfield.

 

As is usual in this part of the county, St Mary is open every day, and it is always a pleasure to step into the charming and interesting interior, with much to see. Simon Jenkins famously described the parish churches of England as one vast folk museum, and he might well have been thinking of Worlingworth in particular. Here, there is a real sense of the life of ordinary people in this parish over six centuries or more.

 

Best of all is quite the loveliest set of 17th century box pews in the county. Their doors are carved with the familiar arch, the wood burnished with the patina of age. The date 1630 can be seen at the front. Their sheer quality is perhaps a mark of burgeoning Laudian piety, but undoubtedly they serve their purpose so well that no later century has seen a reason to replace them. The effect of standing among them beneath that great roof is a little like being in a forest.

 

Some medieval fragments of glass survive in the nave windows. Those in the north side of the nave look so similar to some of the fragments incorporated into the east window at Yaxley that I wondered if they might have come from the same collection. On the south side are a series of familiar 15th Century Saints from the Norwich workshops, including St Apollonia, St Margaret, St Mary Magdalene and St Anne teaching the Blessed Virgin to read. Curiously, all are headless, as if the 16th Century iconolasts had felt it sufficient to, quite literally, deface them.

 

But perhaps the most interesting survivals here are more recent. In the south aisle, a huge picture shows the Worlingworth feast on the occasion of the Golden Jubilee of George III in 1810. The church you are standing in can be seen to the left. If you look closely, you'll see an ox being roasted on a great spit. Turning to the north west, you can see the spit itself leaning up in the corner. In recent years the painting has been joined by another, depicting Worlingworth's Golden Jubilee feast for Elizabeth II in 2002. How's that for continuity?

 

In front of the spit is the famous Worlingworth fire engine, dating from the year of George III's accession, 1760. Once, these were a common sight, in churchyards or in the yards of stately homes. Mortlock says that this one was last used on Guy Fawkes Night, 1927. On it is the name of the makers, Newsham and Ragg of Cloth Fair, in the city of London. Sir John Betjeman spent the most creative years of his life living in a house in Cloth Fair, so I wonder if he knew of the Worlingworth fire engine?

 

The font cover is famous for its size and decoration. Only Ufford and Sudbury St Gregory surpass it, although there is something particularly lovely about its mannered early-18th Century restoration. The Victorians seemed to think that it had been brought here from Bury Abbey after the Reformation, but there is no evidence for this - in fact, surely the evidence points to exactly the opposite. It must have been designed for the space it now fills.

 

There are so many fascinating little details at Worlingworth. On the north wall, part of the St Christopher wall-painting survives. Prayers to St Christopher asked for him to intervene to preserve the supplicant from sudden death, an urgent priority in the years after the Black Death when so many had died unshriven. Once, almost every church had one of these. The painting was usually opposite the main entrance, so parishioners could pause in the open doorway to offer their prayers before going about their daily business. At Worlingworth the Saint has gone, but you can still see the fish, going about their business around his feet.

  

The chancel is made grand with memorials, several to the Major and then Henniker family of Thornham Hall, including one to the Dowager Duchess of Chandos, a Major daughter, depicting Faith and Hope. The royal arms consist of nothing other than the charged shield, with no supporters, crest or motto, of George III. There are some charming and poignant ledger stones around the font. The grandly named William Nelson Buckle, second son of the Rev. Charles Buckle, died on the 6th of August 1787, aged just five months, Relieved from Woe, Disease and anxious Care, with all those Passions which perplex us here... Next to him, James Barker to his dearest wyfe Susanna doth this last office of love, for she was Religious, Chaste, Discreet, Loveing... underneath, added almost as an afterthought, he observes that Her rest gives me a rest-lesse life, because she was a vertuous wyfe. But yet I rest in hope to see that Daye of Christ, and then see thee.

 

A more recent century has given brass plaque memorials to two men of the French family, rich patrons of this parish, who were killed in action during the First World War. Reverend Frederic French was the Rector of this church, and he lost a son and a grandson, less than a fortnight apart. Noel Lee French, the only son of the Rector's oldest son, Edward, who might one day have been heir to the French family fortunes, was killed in Egypt on the 27th of February 1915. As if this was not unbearable enough, the Reverend French's youngest son, William Cotton French, was killed near Neuve Chapelle thirteen days later, on the 12th of March. The plaques are set apart in the chancel, a large medieval consecration cross keeping one of them company. Other French memorials on the south side of the chancel include one to another son of the Rector, Hugh Davis Day French, a Conservator of Forests for the Indian Forestry Service, who died in Lucknow in 1903, and another to his brother Thomas Harvey French, who also died in India five years later.

 

One quiet medieval survival might be easily missed. This is the original dedicatory inscription on the font. It asks us to help ease the passage through Purgatory of Nicholas Moni, a request that may have gone unanswered in these last 450 years or so, but which has survived as he intended. It begins Orate pro Anima..., 'Pray for the Soul of...'

 

William Godbold gave the almsbox in 1622, and his inscription also survives.

What do you mean?

via Trends Today bit.ly/RmWgaX

 

bit.ly/Sjc2hC

 

10 greatest Aircraft in the World | The aircraft is an aircraft that is heavier than air, fixed-winged and can fly with his own power . In general the term aircraft often called by airplane or airplanes or simply a plane with the same pendefenisian purpose as a vehicle that is capable of flying in the atmosphere or air. But in aviation, the term contrasts with fixed-wing aircraft aircraft aircraft, the term is much broader sense because fleet includes aircraft and helicopters.

 

There are some of the many aircraft that have a very large size. Here are the 10 greatest Aircraft in the World that have a large size:

 

Antonov An-225

 

Largest aircraft ever created Mankind Antonov An-225 Mriya is a strategic airlift cargo aircraft, designed by air design Bureau in the Soviet Antonov. This is the heaviest plane winged in the world. The design, built to transport the Buran Orbiter. The name of the An-225 Mriya means “Dream” (Inspiration) from Ukraine. The An-225 is commercially available for flying payloads overload due to the unique size of deck cargo. Currently there is only one aircraft in operation.

 

10 greatest Aircraft in the World

 

Hughes H-4 Hercules

 

is the largest flying boat ever built, and holds the record for longest wingspan till date. Built for the second world war, the craft made of wood due to shortage of aluminum. The purpose of the flight was to transport the materials of war and the army for the United Kingdom because of the way water is threatened by U-boats to Germany. The aircraft was not completed in time for use in World War II and never advanced beyond the prototype produced. It survives in good condition at the Evergreen Aviation Museum in Oregon, USA.

 

Airbus Beluga

 

10 planes largest ever created human airbus a300-600st ( super transporters ) or beluga was the version of standard plane a300-600 businessman width termodifikasi bring parts plane and size overgrowth or cargo lumpish. At first officially called transporters super-villain, but the name of beluga become popular and now has officially adopted.

 

An-124

 

An-124 is a strategic airlift jet aircraft were introduced in 1986. These aircraft were used by Russia’s military as well as civilian airlines. This is the world’s largest aircraft ever produced and the second series of the world’s largest aircraft in operation. The aircraft is called the C-5 Galaxy Russia because of the close resemblance between the two giants. More than 40 An-124 are currently in service around the world.

 

Airbus A380

 

The Airbus A380. Slash first time, April 27, 2005, and were flown commercially first on 25 October 2007 by Singapore Airlines with routes Singapore-Australia.

 

Boeing 777-300ER

 

Boeing 777 wide-body aircraft is a twin-engine airliner manufactured by Boeing Commercial Airplanes. He can carry between 305-550 passengers and have a range of 5,600 nautical miles to 8.870 (10.400 up 16.4 thousand km). First flight of the 777 in 1994. The unique characteristics of the 777 include the six landing gear per set on each main landing gear, fuselage, and a perfectly round ‘ tailcone ‘ back that resemble blades. In 2005 his unit price of around US $ 213 million, even though the price for the airline are kept secret and can vary greatly. The Boeing 777 was made to be a replacement for the Boeing 747, but more efficient. Therefore, the Boeing 777, which is designed to replace the 747, a plane bijet (double machine) in the world. The largest Edition of the 777 is the 777-300 and the furthest distance is the 777-200LR. Emirates, the national airline of the UAE was the largest operator of 777s aircraft.

 

10 greatest Aircraft in the World

 

Airbus A340

 

Airbus A340 is commercial passenger plane supersized produced by airbus. Having the design similar to type airbus a340 but using four-engine not only two like a330. Meant to replace plane earlier generations as boeing 747 but variant past now compete with boeing 777. More than 370 a340 operated worldwide in september 2010. Production a340 officially dead upon the beak third 2011.’

 

Boeing 747

 

The plane’s four engines, manufactured by Boeing Commercial Airplanes, using a two-deck configuration where the upper deck was used for business class. 3-configuration class (first class, business class and economy class) capable of accommodating 400 passengers and configuration 1-class (economy class only) can hold up to 600 passengers. 747 can fly at high speeds (typically 0.85 Mach or 909 kilometers per hour) and capable of flying between continents (with maximum distance 13.570 miles to 15,000 miles). In 1989, Qantas flew non-stop from London to Sydney, a distance of the flight is so far 18,000 miles and finished in a time of 2 hours 9 minutes. But the flight was not carrying passengers as well as cargo aircraft (empty). In May 2004, 1382 Boeing 747, with various configurations, has been improved or enhanced, making Boeing 747 is one of the most successful products

 

Boeing 314 Clipper

 

10 largest aircraft ever created Mankind Boeing 314 Clipper flying boat was produced by long-haul Boeing aircraft Company between 1938 and 1941. One of the largest aircraft of the time, using the wings of the prototype before the Boeing XB-15 bomber to reach the range necessary for flights across the Atlantic and Pacific oceans. Twelve Clippers were built for Pan Am, three of which have been sold to BOAC in 1941 before delivery.

 

Boeing 377 Stratocruiser

 

10 largest aircraft ever created Mankind Boeing 377 Stratocruiser, also called, is a large aircraft built after World War II. The aircraft was developed from the C-97 Stratofreighter, a military derivative of the B-29 Superfortress was used to transport troops. First flight of the Stratocruiser was on July 8, 1947. Released in the late 1940s, the plane powered by four piston engines, driving a tractor propeller. The aircraft is able to cruise at about 32,000 feet. It also features a pressurized cabin, which is a relatively new feature for transporting the aircraft at the time, and two decks. Airlines are able to make the flight across the ocean is easier and faster with the new aircraft, which allows international travel easily to places like Hawaii.

 

The post 10 greatest Aircraft in the World appeared first on Trends Today.

Hong Kong Transport - Trucks

 

The Hong Kong Truck Culture

 

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

 

*Vans are classified as Light Goods Vehicles and are not shown in this album

 

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

 

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

 

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

 

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

 

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

 

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

 

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

 

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

 

Isuzu is the market leader in terms of sale volume for all types of trucks.

 

(Source - The Transport Department, Hong Kong Government)

 

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

 

✚ www.j3consultantshongkong.com/j3c-blog

 

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Historic Environment Record for H BUILDING, Malvern, UK

The building, having military purposes and designated locally as H building, sits on a former Government Research site in Malvern, Worcestershire at Grid Ref SO 786 447. This site was the home of the Telecommunications Research Establishment (TRE) from 1946. It has been owned by QinetiQ since 2001 and is in the process (October 2017 to February 2018) of being sold for redevelopment.

This unique building has at its heart a ‘Rotor’ bunker with attached buildings to house radar screens and operators as well as plant such as emergency generators. Twenty nine Rotor operational underground bunkers were built in great urgency around Britain to modernise the national air defence network, following the Soviet nuclear test in 1949. Two factors make H building’s construction and purpose unique; this prototype is the only Rotor bunker built above ground and it was the home to National Air Defence government research for 30 years.This example of a ROTOR bunker is unique instead of being buried, it was built above ground to save time and expense, as it was not required to be below ground for its research purpose.

H Building was the prototype version of the Rotor project R4 Sector Operations Centre air defence bunkers. Construction began in August 1952 with great urgency - work went on 24 hours a day under arc lights. The main bunker is constructed from cross bonded engineering bricks to

form walls more than 2 feet thick in a rectangle approximately 65ft x 50ft. The two internal floors are suspended from the ceiling. The original surrounding buildings comprise, two radar control and operator rooms, offices and machine plant.

 

The building was in generally good order and complete. The internal layout of the bunker remains as originally designed. The internal surfaces and services have been maintained and modernised over the 55 years since its construction (Figure 3). The first floor has been closed over.

There are some later external building additions around the periphery to provide additional accommodation.

In parts of the building the suspended floor remains, with 1950s vintage fittings beneath such as patch panels and ventilation ducts.

The building has been empty since the Defence Science & Technology Laboratories [Dstl] moved out in October 2008

 

As lead for radar research, RRE was responsible for the design of both the replacement radars for the Chain Home radars and the command and control systems for UK National Air Defence.

Project Rotor was based around the Type 80 radar and Type 13 height finder. The first prototype type 80 was built at Malvern in 1953 code named Green Garlic. Live radar feeds against aircraft sorties, were fed into the building to carry out trials of new methods plotting and reporting air activity

 

A major upgrade of the UK radar network was planned in the late 1950s – Project ‘Linesman’ (military) / ‘Mediator’ (civil) – based around Type 84 / 85 primary radars and the HF200 height finder. A prototype type 85 radar (Blue Yeoman) was built adjacent to H Building in 1959. live radar returns were piped into H Building.

Subsequently a scheme to combine the military and civil radar networks was proposed. The building supported the research for the fully computerised air defence scheme known as Linesman, developed in the 1960s, and a more integrated and flexible system (United Kingdom Air Defence Ground Environment or UKADGE) in the 1970s.

The building was then used for various research purposes until the government relinquished the main site to QinetiQ in 2001. Government scientists continued to use the building until 2008. Throughout its life access was strictly controlled by a dedicated pass sytem.

Notable civil spin-offs from the research in this building include the invention of touch screens and the whole UK Civil Air Traffic Control system which set the standard for Europe.

 

Chronology

 

1952 - Construction work is begun. The layout of the bunker area duplicates the underground version built at RAF Bawburgh.

 

1953 - Construction work is largely completed.

 

1954 - The building is equipped and ready for experiments.

 

1956-1958 - Addition of 2nd storey to offices

 

1957-1960 - Experiments of automatic tracking, novel plot projection systems and data management and communications systems tested.

 

1960-1970 - Project Linesman mediator experiments carried out including a novel display technique known as a Touch screen ( A World First)

 

TOUCHSCREEN

 

A team led by Eric Johnson in H building at Malvern. RRE Tech Note 721 states: This device, the Touch Sensitive Electronic Data Display, or more shortly the ‘Touch Display’, appears to have the potential to provide a very efficient coupling between man and machine. (E A Johnson 1966). See also patent GB 1172222.

 

Information From Hugh Williams/mraths

  

1980-1990 - During this period experiments are moved to another building and H building is underused.

 

1990-1993 - The building was re-purposed and the bunker (room H57) had the first floor closed over to add extra floor area.

 

2008- The bunker was used until late 2008 for classified research / Joint intelligence centre

 

2019 - Visual Recording of the buildings interior by MRATHS. Be means of a LIDAR scan and photographs being taken. The exterior was mapped with a drone to allow a 3D Image of the building to be created via Photogrammetry. This was created in Autodesk Photo Recap.

 

2020 - Building demolished as part of the redevelopment of the site.

 

Information sourced from MRATHS

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

© This photograph is a copyrighted image. Please do not download this image to use or distribute for any other purpose without my expressed consent.

Use without permission is ILLEGAL.

 

Re-purposed tires transformed into ottomans. Lid is removable for storage within the tire.

 

Designer: Kirk Kempker Jr

Materials:

Re-purposed tire

Wooden legs

Re-purposed coffee sacks

Plywood

Three65

Vietata la riproduzione, anche parziale, con qualsiasi mezzo.Tutti i diritti sono Riservati. "Mostre e Pubblicazioni Amando Cattolica Edizioni Fotografiche © Copyright2003/2015".© RIPRODUZIONE RISERVATA.

© Copyright Antonio Barbieri NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

 

© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

 

"Sensazioni la Voce delle Immagini. . . .le tracce di Guglielmo Marconi hanno il profumo del mare " citata tra le principali pubblicazioni come 《iniziative rivolte alla conoscenza e alla diffusione dell'attività scientifica di Guglielmo Marconi》.

 

“Le tracce di Guglielmo Marconi, a Cattolica, hanno il profumo del mare; non era soltanto il turista, ma un uomo di mare, capace di navigare gli oceani e di conoscere il mare, che del panfilo Elettra aveva fatto la sua casa, la sede di rappresentanza e il suo laboratorio. Guglielmo Marconi a Cattolica è stato marinaio fra i marinai e per questo egli resta così presente nella nostra cultura e continuiamo a sentirlo come nostro; in lui vediamo le caratteristiche che hanno fatto grande la Romagna: tenacia, forza di volontà, abilità, ospitalità, genialità, capacità di non arrendersi.

 

“Sensazioni la Voce delle Immagini”

 

Mi preme ringraziare per la fattiva collaborazione e la stesura dei testi tutti coloro che hanno contribuito, ad ogni livello e a vario titolo, alla realizzazione del volume; un impegno durato un anno. Un sentito grazie alla “Fondazione Guglielmo Marconi” per i testi e il materiali forniti: in particolare ai suoi autori Mario Giorgi e Barbara Valotti, al suo consulente scientifico Maurizio Bigazzzi e al suo Presidente Gabriele Falciasecca. Si ringrazia inoltre Franco Basile, Alberto Venturi, Domenico Pascuzzi, Piero Cecchini, Matteo Ricci, Maurizio Gambini, Marina Andruccioli, Wilma Galluzzi.

 

Una particolare citazione e ringraziamento è rivolto alla Banca Popolare Valconca per il suo mecenatismo, Desa, Augusto Gabellini Auto, Staccoli Caffè, Avangard Look, Impresa Edile Foronchi, Casa del Pescatore, G.T.Comis, Afa Arredamenti, l'Erbavoglio, Tennis Villa Carpena, Museo Magi, Aspim Europa..per l'interesse che da sempre hanno dimostrato per gli eventi culturali.

 

“Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" è la VII° Edizione nasce dalle mostre e realizzazioni grafiche della ideale collana di "Amando Cattolica"; questo volume, ampliato, sia come numero di pagine che di territorio, partendo dalle città di Cattolica, Gabicce Mare, Gradara, vuole essere un affascinante viaggio alla scoperta di nuovi orizzonti, e testimonianza del mio amore per queste terre ed il nostro Paese.

 

Tema pregnante l’acqua come elemento insostituibile che dona vita; le fontane espressione di armonia; i giardini e i fiori anima dell’esistenza.

 

I colori diventano espressione dei sentimenti: l'azzurro e il celeste sono legati alla spiritualità, il verde colore della meditazione.

 

La macchina fotografica diventa mezzo e fonte di espressione. Il percorso artistico/fotografico partendo dalla città di Cattolica illustra le città delle Regioni dell’Emilia Romagna, Marche, Toscana, Lazio, Umbria, Veneto, Lombardia..

 

Omaggiando con immagini su Autorizzazione lo Stato città del Vaticano, Roma, Firenze, Rimini, Cesena, Verona, Modena, Bologna, Urbino, Pesaro...

 

©Antonio Barbieri2003/2015-All rights reserved-

 

Mostre Pubblicazione fotografica "Amando Cattolica“

 

“Amando Cattolica” “Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" Mi preme ringraziare per la fattiva collaborazione e la stesura dei testi tutti coloro che hanno contribuito, ad ogni livello e a vario titolo, alla realizzazione del volume; un impegno durato un anno. Un sentito grazie alla “Fondazione Guglielmo Marconi” per i testi e il materiali forniti: in particolare ai suoi autori Mario Giorgi e Barbara Valotti, al suo consulente scientifico Maurizio Bigazzzi e al suo Presidente Gabriele Falciasecca. Si ringrazia inoltre Franco Basile, Alberto Venturi, Domenico Pascuzzi, Piero Cecchini, Matteo Ricci, Maurizio Gambini, Marina Andruccioli, Wilma Galluzzi.

 

Una particolare citazione e ringraziamento è rivolto alla Banca Popolare Valconca per il suo mecenatismo, Desa, Augusto Gabellini Auto, Staccoli Caffè, Avangard Look, Impresa Edile Foronchi, Casa del Pescatore, G.T.Comic, Afa Arredamenti, Erbavoglio, Tennis Villa Carpena, Museo Magi, Aspim Europa..per l'interesse che da sempre hanno dimostrato per gli eventi culturali.

 

“Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" è la VII° Edizione nasce dalle mostre e realizzazioni grafiche della ideale collana di "Amando Cattolica"; questo volume, ampliato, sia come numero di pagine che di territorio, partendo dalle città di Cattolica, Gabicce Mare, Gradara, vuole essere un affascinante viaggio alla scoperta di nuovi orizzonti, e testimonianza del mio amore per queste terre ed il nostro Paese.

 

Vietata la riproduzione, anche parziale, con qualsiasi mezzo.Tutti i diritti sono Riservati. "Mostre e Pubblicazioni Amando Cattolica Edizioni Fotografiche © Copyright2003/2014".

 

© Copyright Antonio Barbieri NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

 

© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

   

notizie: www.facebook.com/pages/Cattolica-Fotografie-di-Amando-Cat...

   

www.facebook.com/antonio.barbieri

   

Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva diwww.antoniobarbieri.org ewww.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qualsiasi contenuto senza l'approvazione scritta dell'Autore. Chi ne farà utilizzo senza il consenso si assume la responsabilità per l’uso improprio o non autorizzato delle immagini, in violazione delle suddette disposizioni che devono considerarsi assolutamente inderogabili. Ogni violazione verrà perseguita legalmente secondo i termini della vigente legge italiana.

   

“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” VI° Edizione del Progetto “Amando Cattolica”; in collaborazione e partecipazione con la prestigiosa “Fondazione Marconi”, dedicato al Premio Nobel Guglielmo... Marconi. (Italiano/inglese) “Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. VI° Edizione progetto "Amando Cattolica". ©Antonio Barbieri -All rights reserved- Pubblicazione "Amando Cattolica"

 

Dalla città di Cattolica il percorso del libro fotografico continua, inedite immagini, un abbraccio alle città italiane e straniere. “Amando Cattolica 2012” “Attimi, emozioni nel tempo infinito.. sulle tracce di Guglielmo Marconi”

 

Con il Patrocinio della Regione Emilia Romagna, ENIT Agenzia Nazionale del Turismo, Comune Roma Capitale, Provincia di Rimini, Provincia di Pesaro-Urbino, Provincia di Forlì Cesena, Comune Gradara, Comune Gabicce Mare, Comune Ferrara, Comune Cattolica, Comune Urbino, Comune Pesaro, Comune Fano

 

Le iniziative di “Amando Cattolica” sono state definite realizzazioni con finalità prettamente divulgativa a carattere culturale e di promozione turistica con il linguaggio universale delle immagini percorre un viaggio ideale rappresentando luoghi, persone, paesaggi, emozioni; che con il cuore racconta la nostra identità più profonda. Il progetto è riconosciuto come iniziativa che costituisce interesse, sotto l’aspetto dell’accoglienza e della promozione turistica a livello Nazionale e Internazionale per il contenuto, per il messaggio, per il sentimento che tramite le immagini desidera trasmettere riguardo il nostro territorio Italia anche all’estero.

 

Oltre ad essere stata definita a carattere umanitario rivolto al sociale per l’Edizione del volume 2011 dal titolo “Sguardi espressioni di un sentimento”. “Per aver onorato la memoria di un grande cittadino di Cattolica l’oncologo di fama mondiale, che fu ordinario di Pediatria, direttore dell’Istituto di Clinica Pediatrica e del Centro Interdipartimentale della ricerca sul cancro dell’Università degli Studi di Bologna Prof. Guido Paolucci, fondatore dell’A.G.E.O.P, Associazione per l'assistenza e l'accoglienza dei bambini affetti da patologie leucemiche e tumorali.

 

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Con immagini tra le quali:

 

città di Cattolica, città S.Giovanni in Marignano, città Morciano di Romagna, San Clemente, città Montescudo, città Sant'Arcangelo di Romagna, città Saludecio, città Mondaino, città Montegridolfo, città Coriano, città Montefiore Conca, città Montecolombo, Trarivi, città Misano Adriatico, Portoverde, città Riccione, città Rimini, città Cesena, città Cesenatico, città Verghereto, Bagno di Romagna, S.Piero in Bagno, Alfero, città di Ravenna, città Faenza, Repubblica di San Marino; città di Ancona, città Gabicce Mare, Fiorenzuola di Focara, Parco Monte San Bartolo, città Gradara, città Sant'Angelo di Lizzola, città Corbordolo, città Pesaro, città di Senigallia, città Urbino, città Urbania, Fermignano, città Sassocorvaro, città Tavullia, città Fano, città Bologna, città Reggio Emilia, città Modena, città Parma, città Ferrara, città Milano, Città del Vaticano, città di Roma, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Nettuno, città di Firenze. Città di Bruxelles, Parigi, Londra…

 

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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.

 

Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.

 

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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

 

With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris

   

“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

   

“Amando Cattolica 2012” nuova pubblicazione fotografica VI° Edizione 2012 del Progetto "Amando Cattolica"

 

dal titolo:

 

“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” in collaborazione con la prestigiosa Fondazione Marconi, dedicato al Premio Nobel Guglielmo Marconi.

 

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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.

 

Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.

 

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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

 

With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris

 

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Tra la moltitudine di città interessate da questo nuovo percorso fotografico,emerge un prezioso itinerario che collega le diverse città in cui Guglielmo Marconi ha vissuto la sua vita.

 

Un nuovo viaggio fotografico, tra cui immagini che rendono omaggio al grande inventore italiano Guglielmo Marconi, padre della radio e Premio Nobel per la fisica nel 1909. Bolognese di nascita, Marconi passò molto del suo tempo nella sua casa di Cattolica. Chissà cosa penserebbe oggi, affacciato alla finestra di Villa Marconi, delle persone in spiaggia collegate a internet con computer e cellulari wireless, persone in contatto con il mondo ventiquattro ore al giorno. Su quella stessa spiaggia dove lui ha passeggiato e guardato il mare immerso nei suoi pensieri e nei suoi esperimenti. Forse tutta questa comunicazione l’avrebbe fatto sorridere, lui che fu il padre della comunicazione con telegrafia senza fili. Di una cosa però siamo sicuri, sicuramente affacciato alla finestra della sua camera, avrebbe rivolto lo sguardo all’Adriatico e avrebbe atteso uno di quei meravigliosi tramonti di Cattolica, in cui il sole diventa una palla di fuoco che scompare lentamente all’orizzonte. Uno spettacolo di colori che soltanto Lei può regalare. Attimi, si prefigge l’obiettivo di raccontare attraverso un percorso di immagini e racconti, il legame che la città romagnola conserva con il suo illustre personaggio. testo di Alessandra Fabri

 

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Regione Emilia Romagna Il Presidente

 

Con questo nuovo libro fotografico prosegue il progetto “Amando Cattolica” e con la VI Edizione, dal titolo “Attimi, EMOZIONI NEL TEMPO INFINITO…sulle tracce di Guglielmo Marconi”, Antonio Barbieri è , ancora una volta, riuscito a catturare, nelle sue fotografie, l’anima più intima di Cattolica e dei paesaggi vicini.

 

L’attaccamento alla propria terra, la passione e la sensibilità artistica sono evidenziate in queste immagini che mostrano con chiarezza la trasformazione nel tempo di questo territorio, facendone riaffiorare con emozioni intese l’essenza più vera.

 

L’obiettivo dell’artista si allarga su scorci suggestivi di altre città italiane, cogliendone particolari che ben delineano la ricchezza artistica, culturale architettonica della nostra Italia.

 

Il mio particolare apprezzamento va ancora una volta rivolto a questo lavoro, alla dedizione particolare e scrupolosa con cui Antonio Barbieri ha saputo mostrate la genuinità e la semplicità di un territorio in continua evoluzione ma sempre attento a rinnovare la propria cultura dell’accoglienza.

 

Vasco Errani

 

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Pubblicazioni Fotografiche collana "Amando Cattolica".

   

© Copyright Antonio Barbieri Show and Pubblications NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

   

Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

   

Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva di /www.antoniobarbieri.org" e www.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qual

 

Secretly snapped this guy from around a corner in the San Marco area of Venice. Obviously a local, who definitely knew where he wanted to go.

apparently due to be repaired, renovated, and re-purposed

At the Funky Pirate in New Orleans. This was a shot from the summer of 2011.

 

Prints at my website

Hong Kong Transport - Trucks

 

The Hong Kong Truck Culture

 

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

 

*Vans are classified as Light Goods Vehicles and are not shown in this album

 

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

 

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

 

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

 

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

 

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

 

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

 

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

 

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

 

Isuzu is the market leader in terms of sale volume for all types of trucks.

 

(Source - The Transport Department, Hong Kong Government)

 

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

 

✚ www.j3consultantshongkong.com/j3c-blog

 

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Copyright © 2014 Ruggero Poggianella Photostream

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Il bacino di Arcachon è un bacino di acqua salata, comunicante con l'Oceano Atlantico, situato in Francia nel dipartimento della Gironda, tra le città di Arcachon e Lège-Cap-Ferret. Fa parte delle Landes della Guascogna. A differenza degli stagni delle Landes, il bacino comunica con l'Oceano Atlantico tramite un passaggio, attraverso il quale la marea oceanica sposta quotidianamente una quantità considerevole d'acqua. L'alta marea si produce regolarmente ogni 12 ore circa. Durante la bassa marea, il bacino si riduce ad un'unione di canali navigabili. I canali ed i banchi di sabbia evolvono nel tempo sotto l'influenza della marea: circa 370 milioni di metri cubi d'acqua sono scambiati quotidianamente tra bacino e oceano, con una velocità media di circa 2 m/s, portando con sé molta sabbia. I sedimenti sabbiosi mobili che caratterizzano questo bacino sono distribuiti principalmente delle correnti di marea, che formano canali e barre secondo una tipica configurazione di piana di marea. Il passaggio con l'Oceano, la cui navigazione è resa problematica dalle numerose correnti, è dominato a sud dalla duna del Pyla e a nord dal Cap Ferret. La duna è imponente e ben visibile da gran parte dei comuni che si affacciano sul bacino: Arcachon, Lège-Cap-Ferret, Arès, Andernos-les-Bains, La Teste-de-Buch, Gujan-Mestras. Al centro del bacino si trova l'île aux oiseaux (isola degli uccelli): l'isola, che non ha corrente elettrica, ospita soltanto alcune palafitte e case in legno usate dagli ostricoltori. L'estensione dell'isola aumenta considerevolmente con la bassa marea.

Il bacino è inoltre alimentato di acqua dolce dal fiume Leyre, che è all'origine della sua formazione. Il bacino attira ogni estate un numero considerevole di turisti, che vi praticano la pesca e numerosi sport nautici. La principale attività del bacino (ed anche risorsa economica, assieme al turismo) è però l'ostricoltura: la presenza regolare della marea infatti permette di costruire delle strutture in cui coltivare le ostriche che, nel corso della giornata, vengono periodicamente sommerse dall'acqua. A sud-est del bacino vi è inoltre la riserva ornitologica del Teich, parco visitabile, che offre la possibilità di osservare da vicino, nel loro habitat naturale, una gran quantità di uccelli marini e non, stanziali e migratori.

 

Le bassin d’Arcachon (Laca d'Arcaishon en gascon) est une lagune mésotidale située dans les Landes de Gascogne, en Gironde, entre les villes de La Teste-de-Buch au sud, Lège-Cap-Ferret à l’ouest et le delta de la Leyre à l’est. Lui seul interrompt le cordon dunaire de 250 km de la Côte d’Argent, qui s'étend de l’estuaire de la Gironde au fleuve Adour. À la différence des grands lacs landais, il est largement ouvert sur l’océan Atlantique par l’intermédiaire des passes du bassin d’Arcachon et constitue une petite mer intérieure de 155 km² à marée haute et de 40 km² à marée basse. On y pratique l’ostréiculture, la pêche et la navigation de plaisance. Depuis le 8 juin 2014, il abrite le parc naturel marin du bassin d'Arcachon. Le bassin d'Arcachon fait partie du Pays de Buch, il est situé au cœur des Landes de Gascogne, à mi-chemin entre la pointe de Grave et Capbreton, au sud-ouest du département de la Gironde à une cinquantaine de kilomètres de Bordeaux. Le bassin est de forme triangulaire, délimité par plus de 80 km de côtes plates ou dunaires boisées. Le pourtour du bassin commence, dans le sens trigonométrique (antihoraire) au Pyla-sur-Mer puis remonte au nord vers Arcachon oblique à l'est puis au sud et à nouveau à l'est au niveau de La Teste-de-Buch. Il remonte au nord-ouest au niveau du delta de la Leyre puis à partir de Lège descend au sud-ouest jusqu'au Cap-Ferret, en face du Pyla-sur-Mer. Au centre du bassin se trouve « l'île aux oiseaux » et ses cabanes tchanquées. En plus de recevoir à La Hume de l'eau en provenance du lac de Cazaux (via le canal de Cazaux), à Lège celle venant du lac de Lacanau (via le canal des Étangs) et sur tout son pourtour des eaux de ruissellement via plusieurs ruisseaux ou quelques crastes, le Bassin est aussi alimenté en eau douce par l'Eyre. Ce petit fleuve côtier de 80 km de long, issu de la forêt des landes, est à l'origine de la formation du bassin d'Arcachon. En apportant un flux continu d'eau, il contribue à empêcher l'obstruction des passes par les sables venus de l'océan. L'ouverture sur l'océan Atlantique se fait par un accès unique, les « passes », un ensemble de chenaux d'environ trois kilomètres de large permettant la circulation de l'eau entre le bassin et l'océan. La force des courants de flux et de reflux rendent délicats les franchissements de ces passes, surtout aux marées de grands coefficients pour la navigation ; des accidents mortels de marins expérimentés sont régulièrement constatés. La localisation et la structure des passes suivent une évolution cyclique dont la période est d'environ 80 ans: les passes sont en fait deux chenaux grosso modo parallèles (la Passe sud et la Passe nord) dont le tracé se déplace en direction du sud-est (du Cap-Ferret vers la dune du Pilat). Quand la passe la plus au sud atteint la plage au pied de la dune, elle se rétrécit puis « disparait » alors qu'une nouvelle passe se forme vers le nord, du côté du Cap, transformant ainsi l'ancienne « Passe nord » en une nouvelle « Passe sud ». Le balisage (bouées de navigation) est sans cesse corrigé et les cartes marines nécessitent une mise à jour permanente. À la différence des grands lacs landais (Hourtin et Carcans, Lacanau, Cazaux et Sanguinet, Biscarosse et Parentis) cet écosystème original est largement ouvert sur le golfe de Gascogne et la marée fait pénétrer et sortir deux fois par jour des masses d'eau considérables. Le bassin est partiellement isolé de l'océan par un cordon dunaire comprenant notamment le Cap Ferret, la dune du Pilat et le banc d'Arguin (classé réserve naturelle). Des bancs de sable mobiles charriés par les courants marins en modifient sans cesse le tracé et favorisent les organismes aquatiques non fixés dans les passes et sur les bancs de sable qui évoluent au cours du temps particulièrement lors de fortes tempêtes mais aussi plus simplement et inexorablement sous l'effet des marées (environ 370 millions de mètres cubes d'eau sont échangés entre le bassin et l'océan chaque jour, à une vitesse moyenne d'environ 2 m/s, emportant le sable se trouvant sur les bords des passes) et du courant marin (longeant le littoral du nord vers le sud, il charrie environ 600 000 mètres cubes de sable par an). Localement les herbiers de zostères (Zostera noltii) accueillent, accueillaient ou pourraient accueillir une riche faune ou microflore épiphyte. Le en tant que vaste zone humide et pour son caractère original, ce bassin occupe une place importante dans la Trame verte et bleue nationale, mais le bon état écologique n'y est pas atteint. En particulier des algues vertes prolifèrent anormalement et les zostères, pour des raisons mal comprises et probablement multifactorielles y sont en forte régression ce qui est préoccupant car en tant qu'herbier aquatique elles fixent le fond et sont un abri et une source de nourriture pour un grand nombre d'autres espèces. L'azote et les pesticides agricoles et urbains apportés par les pluies et eaux de ruissellement10, ainsi que les biocides des antifoolings sont suspectés. Le bassin d'Arcachon jouit d'un climat doux avec un ensoleillement important tout au long de l'année (2100 heures en moyenne sur le bassin). Les hivers y sont pluvieux mais rarement rigoureux. Il neige toutefois une ou deux fois par an en général. En revanche, les tempêtes d'automne et d'hiver soufflent souvent avec force sur le bassin, rendant les passes impraticables. On a relevé plus de 170 km/h lors du passage des tempêtes Klaus en 2009 et Martin en 1999. Les étés y sont secs et chauds, et rarement caniculaires. La brise thermique se lève en effet souvent l'après-midi, les épisodes de fortes chaleurs ayant du mal à persister dans la durée. De violents orages venus du golfe de Gascogne touchent épisodiquement le bassin (juin 1987, juillet 2003, septembre 2004), occasionnant parfois d'importants dégâts. Les températures maximales moyennes varient de 11 ou 12 °C en hiver à 25 ou 26 °C l'été. La température de la mer dans le bassin est de 13 ou 14 °C alors qu'elle est en moyenne de 10 ou 11 °C dans l'océan en hiver. En été, le bassin se réchauffe pour atteindre jusqu'à 22 ou 23 °C alors qu'elle atteint 19 à 21 °C sur l'Atlantique.

 

Arcachon Bay (in French, the Bassin d'Arcachon, and known locally simply as "le Bassin") is a bay of the Atlantic Ocean on the southwest coast of France, situated between the Côte d'Argent and the Côte des Landes, in the region of Aquitaine. The bay covers an area of 150 km² at high tide and 40 km² at low tide. Some of its geological features are natural preservation areas. The general shape of the Bassin d'Arcachon is that of an equilateral triangle pointing north, the southwest corner of which is open to the sea, between Cap Ferret and the town of Arcachon (more specifically, its suburb Pyla-sur-Mer), through a 3 km narrow channel (Les Passes). On the north shore is the town of Arès, then Andernos-les-Bains on the northeast. Just south of the entrance is The Great Dune of Pyla. Nearly in the middle of the bay is a very particular island: L'île aux Oiseaux (Isle of the Birds). The Bassin still has a link to the sea perhaps because of the Eyre river that runs from the Landes forest and has its mouth (Delta de l'Eyre) in its southeast corner. Otherwise the Bassin would have become blocked by the sandbanks built up by the tides. In the past, similar areas became lakes (called in French lacs or étangs) and are nowadays filled with fresh water. On the French Atlantic coast, running north-south between the Gironde estuary to the Adour river mouth, are the Lac d'Hourtin-Carcans, the Lac de Lacanau, the Étang de Cazaux et de Sanguinet, the Étang de Biscarrosse et de Parentis, the Étang d'Aureilhan, the Étang de Léon, the Étang de Soustons, the Étang Hardy, the Étang Blanc and the Étang de Garros. Arcachon Bay is the last water area that remains open to the ocean.

Purpose-built base for Tampa's TECO Line system, operational since 2002.

Multi-purpose room in the Education Center of the Bath County Agricultural Education and Marketing Center, Owingsville, KY, on Friday, July 15, 2011. The Center was the recipient of a $400,000 Rural Business Enterprise Grant. It has given farmers and producers from Bath and surrounding counties the opportunity to manufacture and market their locally grown and locally produced value-added and “Kentucky Proud” branded products, including but not limited to, fresh produce, artisan crafts and specialty food products. The Center is open year-round and allow residents to sell products in four different retail categories, including Kentucky products, regional crafts, “green” groceries and bakery/deli. Several producers expressed their gratitude for Rural Development’s assistance in making the center a reality. The project was made possible through American Recovery and Reinvestment Act of 2009 funding enacted by the 111th United States Congress in February 2009 and signed into law on February 17, 2009, by President Barack Obama. USDA photos by Lance Cheung.

 

Hong Kong Transport - Trucks

 

The Hong Kong Truck Culture

 

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

 

*Vans are classified as Light Goods Vehicles and are not shown in this album

 

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

 

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

 

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

 

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

 

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

 

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

 

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

 

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

 

Isuzu is the market leader in terms of sale volume for all types of trucks.

 

(Source - The Transport Department, Hong Kong Government)

 

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

 

✚ www.j3consultantshongkong.com/j3c-blog

 

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Messerschmitt Me 262 F was a series of multi-purpose jet planes designed by Messerschmitt for the Luftwaffe that entered service during the final phase of the Second World War in Europe. The aircraft’s design was begun in the summer of 1943 under the project handle P.1099, intended as an improvement to the successful Messerschmitt Me 262 jet fighter and also as a replacement for the Arado Ar 234 bomber/reconnaissance aircraft. The primary focus was on more payload, being either usable for more fuel (since early jet engines had poor mileage and therefore range and endurance) or for weapons, including bombs in an internal bomb bay that would enable the aircraft to fulfil a similar tactical role as the British de Havilland Mosquito. Beyond this high-speed bomber (Schnellbomber) variant, the P.1099 would also be a suitable basis for a fast reconnaissance plane, interceptors and night fighters, and trainer versions were also planned.

 

The Messerschmitt P.1099 was a 12 m long, conventional-looking aircraft with a wingspan of 12.6 m. It had a much wider fuselage than the Messerschmitt Me 262. It had a circular shape with a diameter of 1.7m (5 ft 6¾ in) and the cockpit was now moved closer to the aircraft’s nose, above the front landing gear well. The baseline aircraft featured a side-by-side cockpit for a crew of two, even though different layouts were envisioned for the specialized variants, including single-seaters. To save development time and to use existing jigs and tools as much as possible, the P.1099 retained the wings and the tail section of the Me 262A-2a. Despite a higher total weight (the P.1099’ MTOW was about 3 tons higher), the planned powerplants were initially two uprated Junkers Jumo 004 turbojet engines, later to be replaced by more powerful Heinkel HeS 011 turbojets.

 

In January 1944 the P.1099 was accepted by the RLM and received, despite the aircraft’s different structure, the designation “Me 262 F”. The first variant, the Me 262 F-1 (internally designated P.1099A), was the baseline aircraft under the handle “Jäger I”, a jet-powered single seat daytime fighter. There were three planned versions, differing mainly in armament: Version F-1a was armed with four MK 108 30 mm cannon in the lower fuselage, comparable with the earlier Me 262 A fighter, just with more fuel and ammunition. Version F-1b carried two MK 103 30 mm cannon with longer range, firepower and ammunition supply, and Version F-1c was a heavy daytime fighter with two MK 108 and two MK 103 cannon in the nose.

In parallel the Me 262 F-2 was developed as a more heavily armed and armored variant, as a dedicated heavy bomber interceptor (“Pulkjäger” or “Zerstörer”) under the handle “Jäger II”. Again, three versions were foreseen: Version F-2a would be armed with a single MK 108 cannon and a heavy MK 112 55 mm cannon in the nose. Version F-2b was the same, but it was armed with a MK 114 50 mm cannon instead of the Mk 112. Both were single seaters with a heavily armored cockpit and canopy.

The F-2c was a more thoroughly modified two-seater version; it was armed with a single MG151/20 in a small nose turret, a pair of Mk 103 in the rear of the cockpit firing up- and backwards and two defensive MG 131 in remote-controlled FDL 151 barbettes in the tail. Due to the significant changes this model had the internal project designation P.1099B.

Another two-seater, the F-2d, remained very close to the original baseline aircraft with a crew of two in a side-by-side cockpit. This aircraft was armed with the standard four MK 108 in the nose, plus one launch rail under each wing for Ruhrstahl X-4 guided missiles, which were launched and steered by the second crewman via a wire connection with the mothership. This variant did not come to fruition, however, after the X-4 missile project had been cancelled in early 1945.

 

All P.1099 fighters also had hardpoints under the outer wings for racks with twelve 55mm R4M unguided air-to-air missiles each, a detail taken over from the Me 262 A, even though the fuel load had to be reduced to carry them. The radio equipment of all these versions would be a FuG 16, Peil G6, FuG 101 radio altimeter, FuBl 2 blind landing equipment, as well as the FuG 25a Erstling identification friend or foe transceiver.

 

Beyond these initial day fighter variants, further types based on the P.1099 airframe were envisioned, too. The F-3 was a dedicated night fighter version, developed in parallel to the Me 262 G. It was based on the F-2a heavy day fighter, but it carried a crew of two (the pilot and a rearward-facing radar operator) and was equipped with a FuG 240 “Berlin” radar set and a rotating dish antenna under a streamlined plywood cover in the nose. The armament consisted of four MK 108 under the nose, similar to the F-1a day fighter, plus two additional, upward-firing MK 108 cannon (“Schräge Musik”) in the rear fuselage.

Other proposed variants (with less priority, though) were the F-4 and the F-5, which were to become the basis for fast bombers and reconnaissance aircraft with only light defensive armament, typically only a pair of MG 131 in remote-controlled tail barbettes was to be carried. The F-4 resembled the baseline P.1099A, with two bomb bays in front of and behind the main landing gear wells and a crew of two seated side-by-side in a pressurized cockpit. Two MK 108 were carried in the nose, plus the MG 131 tail barbettes. The F-5 was similar but featured a glazed bomb aimer/navigator station in the nose instead of the MK 108’s and the glazing above the pilot’s station was reduced and asymmetrical. In both bomber variants the fuselage tanks were re-arranged to make room for a single SC 1.200 in the front bomb bay, but combinations of smaller bombs could be carried, too. Alternatively, mounts for up to three cameras or a 1.350 l auxiliary tank for extended range could be carried in the bays, too.

 

Initial flight tests of the Me 262 F in late 1944 showed severe directional instability: especially after fuel and ammunition had been depleted and the center of gravity shifted the aircraft tended to become nose-heavy and ditch down if it was not carefully monitored and trimmed by the pilot. To cope with this problem, the engine mounts were modified, so that the CoG was shifted back. Compared with the original Me 262 the engines were placed roughly 900 mm (35.5 in) further back under the wings. The emptying sequence of the fuselage tanks was also changed, and this mostly mended the problems. Another measure to mend the directional instability issues was the enlargement of the tail surfaces, even though later production aircraft frequently had smaller Me 262 A stabilizers fitted due to material shortages and simple lack of parts.- However, due to the higher weight the Me 262 F’s handling and agility were very limited – but most of its intended roles rather relied on speed, anyway, so that dogfights could be avoided.

 

From 1944 on the war situation worsened considerably, and production of the new Me 262 F superseded the A variant only on selected production lines. A disused mine complex under the Walpersberg mountain was adapted for the production of complete aircraft. These were hauled to the flat top of the hill where a runway had been cleared and flown out. Between 20 and 30 Me 262 Fs were built here until early 1946, primarily fighters, the underground factory being overrun by Allied troops before it could reach a meaningful output. Wings were produced in Germany's oldest motorway tunnel at Engelberg, to the west of Stuttgart. At B8 Bergkristall-Esche II, a vast network of tunnels was excavated beneath St. Georgen/Gusen, Austria, where fully equipped fuselages for the Me 262 at a planned monthly rate of 450 units on large assembly lines were to be produced from early 1945.

 

After the type’s introduction to frontline units in early 1945 further handling problems arose through the aircraft’ weight, resulting from its high wing load. Both starting and landing run were excessive, so that the number of airfields from which it could be operated was relatively small. No real short-term solution could be found without fully re-designing the wings, so that RATO bottles were frequently used to get a fully loaded Me 262 F up into the air from standard airfields. These were typically fitted to racks which were mounted under the fuselage, flanking the rear bomb bay.

The Me 262 F’s landing speed was dangerously high, too. A retrofittable brake parachute, housed in a simple tubular fairing under the tail, was developed to reduce the landing distance and save brakes, which frequently overheated and could set the landed aircraft aflame.

 

From the Me 262 F-2a “Pulkzerstörer I”, only a small number were built and eventually entered service. Its main armament, the MK 112, was a heavy German machine cannon produced by Rheinmetall-Borsig from 1945 on – in fact, the MK 112 was basically a scaled-up MK 108, a very compact weapon with relatively low weight. The MK 112 had a caliber of 55 mm and thus fired much larger shells than the 30 mm MK 108, but the rate of fire was significantly lower (300 rounds / min compared to about 600-660 rounds / min of the MK 108). This large-caliber gun was designed primarily to combat heavy bombers, its rate of fire would have been too slow for effective aerial battles with escort fighters – but the Me 262 F would not have been a dogfighter, anyway, so that the “hit-and-run” mission profile suited the aircraft well. Fire tests showed that a single MK 112 hit with mine grenades could destroy a bomber, and with a rate of fire of five shells per second this weapon could inflict considerably higher losses on the incoming streams of Allied bombers compared to other on-board weapons used on the German side. Only the unguided R4M missiles were as effective, but the MK 112 offered considerably higher accuracy and the opportunity to execute more than just a single attack run on an incoming bomber formation.

The MK 112 was mounted in the lower starboard section of the Me 262 F-2a’s nose, its barrel protruded more than 2 m (7 ft) from its nose. The gun’s drum magazine with sixty rounds partly took up the rear space of the cockpit behind the pilot and the gun mount even used up space of the weapon bay on port side, so that only a single MK 108 with 100 rounds as an additional weapon was mounted in the lower port side weapon bay.

Its sister, the Me 262 F-2b, remained on the drawing board, because its main weapon, the 50 mm MK 114 autocannon that had been derived from the 5 cm Pak 38 anti-tank gun, had turned out to be over-complicated, overweight and unreliable. A refined version was developed as the MK 214A, though, but after flight test from February 1945, but the weapon was not deployed operationally.

 

Only a handful Me 262 F-2a Pulkzerstörer were eventually fielded and operated before the end of hostilities – beyond the low production numbers the lack of fuel and loss of suitable airfields highly limited the aircraft’s potential. Probably less than ten were used by operational units, including JG 53 “Pik As”, in which they served alongside other interceptors, including other Me 262 variants. Typically, bomber formations were approached from the side of a bomber formation, where their silhouettes were widest, and while still out of range of the bombers' machine guns. This broadside-attack tactic was very effective, and the aircraft’s high speed allowed the interceptors to turn around 180° and make at least a second attack run from the opposite side, before the machines dashed off and returned to their bases.

  

General characteristics

Crew: One

Length: 14,32 m (46 ft 11 in) overall

12,00 m (39 ft 3¾ in) fuselage only, w/o brake parachute housing

Wingspan: 12,61 m (41 ft 3¾ in)

Height: 4,43 m (14 ft 6 in)

Wing area: 24,2 m² (236 sq ft)

Empty weight: 5.061 kg (11,148 lb)

Loaded weight: 8.762 kg (19,300 lb)

Max. take-off weight: 10.062 kg (22,163 lb)

 

Powerplant:

2× Junkers Jumo 004 C turbojets with 12 kN (2,697 lb st) each

 

Performance

Maximum speed: 930 km/h (577 mph, 505 kn)

Cruising speed: 805 km/h (500 mph, 438 kn) at 6.500 m (21,290 ft)

Range: 1.340 km (830 ml, 728 nm) at 6000 m with internal fuel only

Service ceiling: 11,450 m (37,570 ft)

Rate of climb: 18 m/s (3,540 ft/min) at max. weight

 

Armament:

1× 55 mm (1.96 in) MK 112 machine cannon with 60 rounds

1× 30 mm (1.18 in) MK 108 machine cannon with 100 rounds

Hardpoints under the outer wings for racks with twelve 55mm R4M unguided air-to-air missiles

  

The kit and its assembly:

This became a submission to the late 2021 “Gunships” group build at whatifmodellers.com – what would such a competition be without at least one gun-toting German Luft ’46 interceptor? The Messerschmitt P.1099 lent itself for such a build. Since 1996 Revell offers a 1:72 IP model kit of this paper aircraft, depicting more or less the two planned versions: a basic single-seat day fighter and a heavy two-seater Zerstörer, both based on the same basis.

 

This what-if model was based on Revell’s interpretation of the P.1099A, and the kit goes together well. Fit is very good, even though some designs are IMHO a bit dubious. The kit’s weakest point: Revell unfortunately missed the important detail of the modified engine nacelles: the kit comes with standard Me 262 wings and engines, but due to CoG reasons the P.1099 would have had its engines moved back by about 900 mm, as mentioned in the background. I corrected this on this build with some PSR – sounds simple, but since the nacelles are not expected to be stuck to the wings in their new position roughly 1 cm further back, some serious bodywork had to be done.

 

Otherwise the kit was basically built OOB. I just left away the inner wheels from the main landing gear because I found the twin wheels to be “too much” for this upgraded Me 262. The P.1099 might have been heavier than the Me 262, but…? And the wheels’ tractor-like tread design looks IMHO out of place, too, so that I replaced them with a pair of MiG-21 wheels, left over from a KP kit.

 

The cockpit was taken OOB, even though I have doubts concerning the canopy. And when you look at mockup pictures of the P.1099 you realize that cockpit access had been facilitated through a side door at starboard, similar to the D. H. Mosquito. The cockpit tub does not consider this hatch at all, and the engraved door on the fuselage (it’s actually there!) is so tiny that only a Halfling might use it?

Well, I stuck with it “as is” and just added a pilot figure (specifically from a Matchbox Hawker tempest, because it is one of the rare cases that you get a WWII pilot wearing an oxygen mask) and a “barrel” behind the bulbous pilot seat because there’s a lot of free space in this single seat variant that is otherwise occupied by a rear gunner in Revell’s P.1099B kit. I also have doubts concerning the kit’s canopy, since the original P.1099 had a cockpit for two seated side-by-side, with a canopy that resembled the D.H. Mosquito’s a lot. I am also not certain about the stabilizers – the kit comes with standard Me 262 parts, but trustworthy sources I consulted suggest that not only the fin had been enlarged (depicted well in Revell’s kit), but also the stabilizers? To improve this, I implanted a pair of modified stabilizers that came from a Heller PZL P.23 light bomber. Sounds odd, but they were a very good match in size, shape and thickness!

 

The only major modification concerns the armament, even though it became just a “graft-on” solution. On the lower left side, the upper gun port was PSRed away. On the right side I added a bulged fairing for the MK 112. It was sculpted from a Matchbox Saab J29 drop tank and blended into the hull with PSR. Protruding spent cases fairings were added for both guns. The MK 112 gun barrel is a resin piece, left over from a ModelTrans tank conversion set and actually depicts a German 55 mm gun, so that this became a perfect donor piece.

 

Since the airframe still looked rather clean and boring I finally added a pair of JATO bottle racks to the rear fuselage (scratched from styrene profile but left empty) and a brake parachute fairing under the fin, carved from a piece of sprue.

 

Furthermore, a display adapter was installed into the fuselage for in-flight pictures.

  

Painting and markings:

This became a challenge, because I wanted a rather unusual livery, neither a standard RLM 81/82/76 late-war combo nor an improvised-cammo-over-bare-metal finish. After some research I settled upon something that was actually carried by some He 177 bombers around 1944: a uniform RLM 74 (Graugrün, Humbrol 245) upper surface with “cloudy” mottles in RLM 76 (Humbrol 247). This appears like a winter camouflage, but it’s actually quite effective at medium altitude, esp. over a cloudy landscape. The original bombers had light blue (RLM 65) undersides, but for the P.1099 from a later period and as a fighter I rather used a darker shade of RLM76 in the form of Tamiya XF-23 (Light Blue). The model received a black ink washing and some post-panel-shading.

 

The cockpit interior became RLM 66 (Schwarzgrau, Humbrol 67) while the landing gear and the well were painted in uniform RLM 02 (I used Revell 45, a slightly more greenish tone), with wheel discs in RLM 66, too.

 

Unit markings became minimal and quite sober. I gave the aircraft a typical late-war “Reichsverteidigung” fuselage band, and in JG 53’s case it is plain black. The black band was deliberately chosen because it is a good, much darker contrast to the murky RLM 74, so that the latter appears lighter than it actually is, lowering the contrast to the RLM 76 spots.

 

The decals were puzzled together from various sources. As an aircraft of the 3rd group the unit’s ID color would be yellow, reflected in the tactical code and the fin tip. For some contrast and to emphasize the long gun barrel I gave it white and black stripes – as a security measure for ground handling. For some more variety I painted one air intake in very dark grey (Revell 06, Anthracite) and the other one in steel Metallizer, simulating replacement parts. The Balkenkreuze come from various sheets – I used simplified “low viz” versions all around. The undulating yellow bar for the 3rd group comes from a TL Modellbau sheet, while the yellow “4” came from a Fw 190 A sheet from Sky Models. A small “4” on the nose was added as a wacky detail, too, the “Pik As” unit markings came IIRC from a Hobby Boss Bf 109 sheet. Since they turned out to have poor contrast/opacity I only used a few stencils from the P.1099A sheet, but due to the disruptive paint scheme this is not apparent.

 

Finally, the model was sealed with a coat of matt acrylic varnish (Italeri) and a wire antenna, scratched from heated black sprue material, was added between cockpit and fin.

  

Well, this modified Messerschmitt P.1099A looks simple, but the modified engine nacelles as well as the gun fairing under the nose called for serious PSR. The result looks quite natural, though, and AFAIK this weapon configuration was actually on German drawing boards. However, I am not certain about the cockpit canopy and other details on Revell’s kit, reference information is contradictive.

The paint scheme looks good, even though it was lent from a heavy bomber, and the poor Humbrol enamels did not yield a finish that I had hoped for – the paintwork could certainly have been better, but the overall impression of a late-war Pulkzerstörer is O.K., and this eventually counts.

Hong Kong Transport - Trucks

 

The Hong Kong Truck Culture

 

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

 

*Vans are classified as Light Goods Vehicles and are not shown in this album

 

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

 

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

 

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

 

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

 

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

 

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

 

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

 

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

 

Isuzu is the market leader in terms of sale volume for all types of trucks.

 

(Source - The Transport Department, Hong Kong Government)

 

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

 

✚ www.j3consultantshongkong.com/j3c-blog

 

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Realtor Photos

 

All images are for educational purposes and are under copyright of creators and owners.

 

From the LA Times:

 

The four-bedroom Midcentury classic reflects the actor's love for entertaining guests, including Ronald Reagan, at home.

 

The Beverly Hills Midcentury classic, with many of the original features and décor from the time of the comedian's purchase nearly a half-century ago, has a '60s vibe.

 

The single-story house was a place where guests could feel at home.

 

" Ronald Reagan would stop by to visit, and Dad would tell him jokes standing in the kitchen," said son Gregory Amsterdam, who lived there through his college years and beyond. "There were people popping in and out all the time."

 

The Amsterdams often entertained at home, throwing dinner parties in the formal dining room for 10 to 15 guests. Other times the area around the kidney-shaped swimming pool in the backyard was used for parties of 50 to 60, Amsterdam said.

 

"My father loved the sun," Amsterdam said, to the point where he would walk backward on a golf course to face it. The senior Amsterdam sometimes wrote jokes while lounging in the pool area. "If there was any hint of sun, he would be out there getting a suntan."

 

The family made additions to the house during their ownership, changing the footprint from a T-shape to a J by adding what they called a play room with large picture windows, a television, a card table and a desk, where the comic also worked on material.

 

The 5,854-square-foot house has walls of glass that open to the backyard, a living room with a fireplace and a step-down bar, a breakfast room, a den with a fireplace, four bedrooms and 4 1/2 bathrooms. There is a three-car garage and large motorcourt.

 

Morey Amsterdam, who died in 1996 at age 87, played fellow office worker Buddy Sorrell on "The Dick Van Dyke Show" (1961-66). The gregarious actor was in show business for more than seven decades years.

 

"My father really loved people," Gregory Amsterdam said. "He'd go out to get the mail, and Starline Tour would go by and he'd stop to talk."

 

- June 19, 2010 - Lauren Beale, Los Angeles Times

Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting. ©2021 SDPB

[The purpose of life is a life of purpose]

| Robert Byrne

Vietata la riproduzione, anche parziale, con qualsiasi mezzo.Tutti i diritti sono Riservati. "Mostre e Pubblicazioni Amando Cattolica Edizioni Fotografiche © Copyright2003/2014".© RIPRODUZIONE RISERVATA.

 

© Copyright Antonio Barbieri NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

 

"Sensazioni la Voce delle Immagini. . . .le tracce di Guglielmo Marconi hanno il profumo del mare " citata tra le principali pubblicazioni come 《iniziative rivolte alla conoscenza e alla diffusione dell'attività scientifica di Guglielmo Marconi》.

 

“Le tracce di Guglielmo Marconi, a Cattolica, hanno il profumo del mare; non era soltanto il turista, ma un uomo di mare, capace di navigare gli oceani e di conoscere il mare, che del panfilo Elettra aveva fatto la sua casa, la sede di rappresentanza e il suo laboratorio. Guglielmo Marconi a Cattolica è stato marinaio fra i marinai e per questo egli resta così presente nella nostra cultura e continuiamo a sentirlo come nostro; in lui vediamo le caratteristiche che hanno fatto grande la Romagna: tenacia, forza di volontà, abilità, ospitalità, genialità, capacità di non arrendersi.

 

“Sensazioni la Voce delle Immagini”

Mi preme ringraziare per la fattiva collaborazione e la stesura dei testi tutti coloro che hanno contribuito, ad ogni livello e a vario titolo, alla realizzazione del volume; un impegno durato un anno. Un sentito grazie alla “Fondazione Guglielmo Marconi” per i testi e il materiali forniti: in particolare ai suoi autori Mario Giorgi e Barbara Valotti, al suo consulente scientifico Maurizio Bigazzzi e al suo Presidente Gabriele Falciasecca. Si ringrazia inoltre Franco Basile, Alberto Venturi, Domenico Pascuzzi, Piero Cecchini, Matteo Ricci, Maurizio Gambini, Marina Andruccioli, Wilma Galluzzi.

Una particolare citazione e ringraziamento è rivolto alla Banca Popolare Valconca per il suo mecenatismo, Desa, Augusto Gabellini Auto, Staccoli Caffè, Avangard Look, Impresa Edile Foronchi, Casa del Pescatore, G.T.Comis, Afa Arredamenti, l'Erbavoglio, Tennis Villa Carpena, Museo Magi, Aspim Europa..per l'interesse che da sempre hanno dimostrato per gli eventi culturali.

 

“Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" è la VII° Edizione nasce dalle mostre e realizzazioni grafiche della ideale collana di "Amando Cattolica"; questo volume, ampliato, sia come numero di pagine che di territorio, partendo dalle città di Cattolica, Gabicce Mare, Gradara, vuole essere un affascinante viaggio alla scoperta di nuovi orizzonti, e testimonianza del mio amore per queste terre ed il nostro Paese.

 

Tema pregnante l’acqua come elemento insostituibile che dona vita; le fontane espressione di armonia; i giardini e i fiori anima dell’esistenza.

I colori diventano espressione dei sentimenti: l'azzurro e il celeste sono legati alla spiritualità, il verde colore della meditazione.

La macchina fotografica diventa mezzo e fonte di espressione. Il percorso artistico/fotografico partendo dalla città di Cattolica illustra le città delle Regioni dell’Emilia Romagna, Marche, Toscana, Lazio, Umbria, Veneto, Lombardia..

Omaggiando con immagini su Autorizzazione lo Stato città del Vaticano, Roma, Firenze, Rimini, Cesena, Verona, Modena, Bologna, Urbino, Pesaro...

 

©Antonio Barbieri2003/2015-All rights reserved-

Mostre Pubblicazione fotografica "Amando Cattolica“

 

“Amando Cattolica” “Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" Mi preme ringraziare per la fattiva collaborazione e la stesura dei testi tutti coloro che hanno contribuito, ad ogni livello e a vario titolo, alla realizzazione del volume; un impegno durato un anno. Un sentito grazie alla “Fondazione Guglielmo Marconi” per i testi e il materiali forniti: in particolare ai suoi autori Mario Giorgi e Barbara Valotti, al suo consulente scientifico Maurizio Bigazzzi e al suo Presidente Gabriele Falciasecca. Si ringrazia inoltre Franco Basile, Alberto Venturi, Domenico Pascuzzi, Piero Cecchini, Matteo Ricci, Maurizio Gambini, Marina Andruccioli, Wilma Galluzzi.

Una particolare citazione e ringraziamento è rivolto alla Banca Popolare Valconca per il suo mecenatismo, Desa, Augusto Gabellini Auto, Staccoli Caffè, Avangard Look, Impresa Edile Foronchi, Casa del Pescatore, G.T.Comic, Afa Arredamenti, Erbavoglio, Tennis Villa Carpena, Museo Magi, Aspim Europa..per l'interesse che da sempre hanno dimostrato per gli eventi culturali.

“Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" è la VII° Edizione nasce dalle mostre e realizzazioni grafiche della ideale collana di "Amando Cattolica"; questo volume, ampliato, sia come numero di pagine che di territorio, partendo dalle città di Cattolica, Gabicce Mare, Gradara, vuole essere un affascinante viaggio alla scoperta di nuovi orizzonti, e testimonianza del mio amore per queste terre ed il nostro Paese.

Vietata la riproduzione, anche parziale, con qualsiasi mezzo.Tutti i diritti sono Riservati. "Mostre e Pubblicazioni Amando Cattolica Edizioni Fotografiche © Copyright2003/2014".

© Copyright Antonio Barbieri NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

 

notizie: www.facebook.com/pages/Cattolica-Fotografie-di-Amando-Cat...

 

www.facebook.com/antonio.barbieri

 

Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva diwww.antoniobarbieri.org e www.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qualsiasi contenuto senza l'approvazione scritta dell'Autore. Chi ne farà utilizzo senza il consenso si assume la responsabilità per l’uso improprio o non autorizzato delle immagini, in violazione delle suddette disposizioni che devono considerarsi assolutamente inderogabili. Ogni violazione verrà perseguita legalmente secondo i termini della vigente legge italiana.

 

“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” VI° Edizione del Progetto “Amando Cattolica”; in collaborazione e partecipazione con la prestigiosa “Fondazione Marconi”, dedicato al Premio Nobel Guglielmo... Marconi. (Italiano/inglese) “Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. VI° Edizione progetto "Amando Cattolica". ©Antonio Barbieri -All rights reserved- Pubblicazione "Amando Cattolica"

Dalla città di Cattolica il percorso del libro fotografico continua, inedite immagini, un abbraccio alle città italiane e straniere. “Amando Cattolica 2012” “Attimi, emozioni nel tempo infinito.. sulle tracce di Guglielmo Marconi”

Con il Patrocinio della Regione Emilia Romagna, ENIT Agenzia Nazionale del Turismo, Comune Roma Capitale, Provincia di Rimini, Provincia di Pesaro-Urbino, Provincia di Forlì Cesena, Comune Gradara, Comune Gabicce Mare, Comune Ferrara, Comune Cattolica, Comune Urbino, Comune Pesaro, Comune Fano

Le iniziative di “Amando Cattolica” sono state definite realizzazioni con finalità prettamente divulgativa a carattere culturale e di promozione turistica con il linguaggio universale delle immagini percorre un viaggio ideale rappresentando luoghi, persone, paesaggi, emozioni; che con il cuore racconta la nostra identità più profonda. Il progetto è riconosciuto come iniziativa che costituisce interesse, sotto l’aspetto dell’accoglienza e della promozione turistica a livello Nazionale e Internazionale per il contenuto, per il messaggio, per il sentimento che tramite le immagini desidera trasmettere riguardo il nostro territorio Italia anche all’estero.

Oltre ad essere stata definita a carattere umanitario rivolto al sociale per l’Edizione del volume 2011 dal titolo “Sguardi espressioni di un sentimento”. “Per aver onorato la memoria di un grande cittadino di Cattolica l’oncologo di fama mondiale, che fu ordinario di Pediatria, direttore dell’Istituto di Clinica Pediatrica e del Centro Interdipartimentale della ricerca sul cancro dell’Università degli Studi di Bologna Prof. Guido Paolucci, fondatore dell’A.G.E.O.P, Associazione per l'assistenza e l'accoglienza dei bambini affetti da patologie leucemiche e tumorali.

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Con immagini tra le quali:

città di Cattolica, città S.Giovanni in Marignano, città Morciano di Romagna, San Clemente, città Montescudo, città Sant'Arcangelo di Romagna, città Saludecio, città Mondaino, città Montegridolfo, città Coriano, città Montefiore Conca, città Montecolombo, Trarivi, città Misano Adriatico, Portoverde, città Riccione, città Rimini, città Cesena, città Cesenatico, città Verghereto, Bagno di Romagna, S.Piero in Bagno, Alfero, città di Ravenna, città Faenza, Repubblica di San Marino; città di Ancona, città Gabicce Mare, Fiorenzuola di Focara, Parco Monte San Bartolo, città Gradara, città Sant'Angelo di Lizzola, città Corbordolo, città Pesaro, città di Senigallia, città Urbino, città Urbania, Fermignano, città Sassocorvaro, città Tavullia, città Fano, città Bologna, città Reggio Emilia, città Modena, città Parma, città Ferrara, città Milano, Città del Vaticano, città di Roma, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Nettuno, città di Firenze. Città di Bruxelles, Parigi, Londra…

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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.

Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.

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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris

 

“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

 

“Amando Cattolica 2012” nuova pubblicazione fotografica VI° Edizione 2012 del Progetto "Amando Cattolica"

dal titolo:

“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” in collaborazione con la prestigiosa Fondazione Marconi, dedicato al Premio Nobel Guglielmo Marconi.

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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.

Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.

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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris

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Tra la moltitudine di città interessate da questo nuovo percorso fotografico,emerge un prezioso itinerario che collega le diverse città in cui Guglielmo Marconi ha vissuto la sua vita.

Un nuovo viaggio fotografico, tra cui immagini che rendono omaggio al grande inventore italiano Guglielmo Marconi, padre della radio e Premio Nobel per la fisica nel 1909. Bolognese di nascita, Marconi passò molto del suo tempo nella sua casa di Cattolica. Chissà cosa penserebbe oggi, affacciato alla finestra di Villa Marconi, delle persone in spiaggia collegate a internet con computer e cellulari wireless, persone in contatto con il mondo ventiquattro ore al giorno. Su quella stessa spiaggia dove lui ha passeggiato e guardato il mare immerso nei suoi pensieri e nei suoi esperimenti. Forse tutta questa comunicazione l’avrebbe fatto sorridere, lui che fu il padre della comunicazione con telegrafia senza fili. Di una cosa però siamo sicuri, sicuramente affacciato alla finestra della sua camera, avrebbe rivolto lo sguardo all’Adriatico e avrebbe atteso uno di quei meravigliosi tramonti di Cattolica, in cui il sole diventa una palla di fuoco che scompare lentamente all’orizzonte. Uno spettacolo di colori che soltanto Lei può regalare. Attimi, si prefigge l’obiettivo di raccontare attraverso un percorso di immagini e racconti, il legame che la città romagnola conserva con il suo illustre personaggio. testo di Alessandra Fabri

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Regione Emilia Romagna Il Presidente

Con questo nuovo libro fotografico prosegue il progetto “Amando Cattolica” e con la VI Edizione, dal titolo “Attimi, EMOZIONI NEL TEMPO INFINITO…sulle tracce di Guglielmo Marconi”, Antonio Barbieri è , ancora una volta, riuscito a catturare, nelle sue fotografie, l’anima più intima di Cattolica e dei paesaggi vicini.

L’attaccamento alla propria terra, la passione e la sensibilità artistica sono evidenziate in queste immagini che mostrano con chiarezza la trasformazione nel tempo di questo territorio, facendone riaffiorare con emozioni intese l’essenza più vera.

L’obiettivo dell’artista si allarga su scorci suggestivi di altre città italiane, cogliendone particolari che ben delineano la ricchezza artistica, culturale architettonica della nostra Italia.

Il mio particolare apprezzamento va ancora una volta rivolto a questo lavoro, alla dedizione particolare e scrupolosa con cui Antonio Barbieri ha saputo mostrate la genuinità e la semplicità di un territorio in continua evoluzione ma sempre attento a rinnovare la propria cultura dell’accoglienza.

Vasco Errani

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Pubblicazioni Fotografiche collana "Amando Cattolica".

 

© Copyright Antonio Barbieri Show and Pubblications NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

 

Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

 

Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva di /www.antoniobarbieri.org" e www.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qual

   

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Saturn IB SA-209

 

Dominating the Rocket Garden is a Saturn IB, SA-209. This booster, designated as the booster for a Skylab rescue mission should it prove necessary and later as a backup booster for the ASTP mission, it was never used for its intended purpose and today is one of two remaining Saturn IBs.

 

•General Specifications

oFunction: Apollo spacecraft development; S-IVB stage development in support of Saturn V; Skylab crew launcher

oManufacturer: Chrysler (S-IB); Douglas (S-IVB)

oCountry of Origin: United States

•Size

oHeight141.6 ft (43.2 m) without payload

oDiameter: 21.67 ft (6.61 m)

oMass: 1,300,220 lb (589,770 kg) without payload

oStages: 2

•Capacity

oPayload to LEO: 46,000 lb (21,000 kg)

•Launch History

oStatus: Retired

oLaunch Sites: LC-37 & LC-34, Cape Canaveral; LC-39B, Kennedy Space Center

oTotal Launches: 9

oSuccesses: 9

oFailures: 0

oFirst Flight: February 26, 1966

oLast Flight: July 15, 1975

oNotable Payloads: Unmanned Apollo CSM; Unmanned Apollo LM; Manned Apollo CSM

•First Stage – S-IB

oLength: 80.17 feet (24.44 m)

oDiameter: 21.42 feet (6.53 m)

oEmpty mass: 92,500 pounds (42,000 kg)

oGross mass: 973,000 pounds (441,000 kg)

oPropellant mass: 880,500 pounds (399,400 kg)

oEngines: 8 × Rocketdyne H-1

oThrust: 1,600,000 lbf (7,100 kN)

oSpecific impulse: 272 seconds (2.67 km/s)

oBurn time: 150 seconds

oFuel: RP-1/LOX

•Second Stage – S-IVB-200

oLength: 58.42 feet (17.81 m)

oDiameter: 21.42 feet (6.53 m)

oEmpty mass: 23,400 pounds (10,600 kg)

oGross mass: 251,900 pounds (114,300 kg)

oPropellant mass: 228,500 pounds (103,600 kg)

oEngines: Rocketdyne J-2

oThrust: 200,000 lbf (890 kN)

oSpecific Impulse: 420 seconds (4.1 km/s)

oBurn Time: 480 seconds

oFuel: LH2 / LOX

 

The Saturn IB (pronounced “one B”, also known as the Uprated Saturn I) was an American launch vehicle commissioned by the National Aeronautics and Space Administration (NASA) for the Apollo program. It replaced the S-IV second stage of the Saturn I with the much more powerful S-IVB, able to launch a partially fueled Apollo Command/Service Module (CSM) or a fully fueled Lunar Module (LM) into low Earth orbit for early flight tests before the larger Saturn V needed for lunar flight was ready.

 

By sharing the S-IVB upper stage, the Saturn IB and Saturn V provided a common interface to the Apollo spacecraft. The only major difference was that the S-IVB on the Saturn V burned only part of its propellant to achieve Earth orbit, so it could be restarted for trans-lunar injection. The S-IVB on the Saturn IB needed all of its propellant to achieve Earth orbit.

 

The Saturn IB launched two unmanned CSM suborbital flights, one unmanned LM orbital flight, and the first manned CSM orbital mission (first planned as Apollo 1, later flown as Apollo 7). It also launched one orbital mission, AS-203, without a payload so the S-IVB would have residual liquid hydrogen fuel. This mission supported the design of the restartable version of the S-IVB used in the Saturn V, by observing the behavior of the liquid hydrogen in weightlessness.

 

In 1973, the year after the Apollo lunar program ended, three Apollo CSM/Saturn IBs ferried crews to the Skylab space station. In 1975, one last Apollo/Saturn IB launched the Apollo portion of the joint US-USSR Apollo–Soyuz Test Project (ASTP). A backup Apollo CSM/Saturn IB was assembled and made ready for a Skylab rescue mission, but never flown.

 

The remaining Saturn IBs in NASA’s inventory were scrapped after the ASTP mission, as no use could be found for them and all heavy lift needs of the US space program could be serviced by the cheaper and more versatile Titan III family.

 

History

 

In 1959, NASA’s Silverstein Committee issued recommendations to develop the Saturn class launch vehicles, growing from the C-1. When the Apollo program was started in 1961 with the goal of landing men on the Moon, NASA chose the Saturn I for Earth orbital test missions. However, the Saturn I’s payload limit of 20,000 pounds (9,100 kg) would allow testing of only the Command Module with a smaller propulsion module attached, as the Apollo Command/Service Module would have a dry weight of at least 26,300 pounds (11,900 kg), in addition to service propulsion and reaction control fuel. In July 1962, NASA announced selection of the C-5 for the lunar landing mission, and decided to develop another launch vehicle by upgrading the Saturn I, replacing its S-IV second stage with the S-IVB, which would also be modified for use as the Saturn V third stage. The S-I first stage would also be upgraded to the S-IB by improving the thrust of its engines and removing some weight. The new Saturn IB, with a payload capability of at least 35,000 pounds (16,000 kg), would replace the Saturn I for Earth orbit testing, allowing the Command/Service Module to be flown with a partial fuel load. It would also allow launching the 32,000-pound (15,000 kg) Lunar Excursion Module separately for unmanned and manned Earth orbital testing, before the Saturn V was ready to be flown. It would also give early development to the third stage.

 

On May 12, 1966, NASA announced the vehicle’s name would be changed to the “Uprated Saturn I”, at the same time the “Lunar Excursion Module” was renamed the Lunar Module. However, the “Uprated Saturn I” name was reverted to Saturn IB on December 2, 1967.

 

By the time it was developed, the Saturn IB payload capability had increased to 41,000 pounds (19,000 kg). By 1973, when it was used to launch three Skylab missions, the first-stage engine had been upgraded further, raising the payload capability to 46,000 pounds (21,000 kg).

 

Specifications

 

Launch vehicle

 

ParameterS-IB 1st StageS-IVB-200 2nd StageInstrument Unit

Height80.17 ft (24.44 m)58.42 ft (17.81 m)3.00 ft (0.91 m)

Diameter21.42 ft (6.53 m)21.67 ft (6.61 m)21.67 ft (6.61 m)

Structural mass92,500 lb (42,000 kg)23,400 lb (10,600 kg)4,400 lb (2,000 kg)

PropellantRP-1 / LOXLH2 / LOXN/A

Propellant mass880,500 lb (399,400 kg)228,500 lb (103,600 kg)N/A

EnginesEight - H-1One - J-2N/A

Thrust1,600,000 lbf (7,100 kN) sea level200,000 lbf (890 kN) vacuumN/A

Burn duration150 s480 sN/A

Specific impulse272 s (2.66 kN·s/kg) sea level420 s (4.12 kN·s/kg) vacuumN/A

ContractorChryslerDouglasIBM

 

Payload Configurations

 

ParameterCommand/Service ModuleApollo 5AS-203

Launch Escape System mass9,200 lb (4,200 kg)N/AN/A

Apollo Command/Service Module mass36,400 lb (16,500 kg) to

46,000 lb (21,000 kg)N/AN/A

Apollo Lunar Module massN/A31,650 lb (14,360 kg)N/A

Spacecraft LM Adapter mass4,050 lb (1,840 kg)4,050 lb (1,840 kg)N/A

Nose cone heightN/A8.3 ft (2.5 m)27.7 ft (8.4 m)

Payload height81.8 ft (24.9 m)36.3 ft (11.1 m)N/A

Total space vehicle height223.4 ft (68.1 m)177.9 ft (54.2 m)169.4 ft (51.6 m)

Payload Configurations

 

Command/Service ModuleApollo 5AS-203

Parameter: Launch Escape System mass

Command/Service Module 9,200 lb (4,200 kg)N/AN/A

Parameter: Apollo Command/Service Module mass36,400 lb (16,500 kg) to

46,000 lb (21,000 kg)N/AN/A

Parameter: Apollo Lunar Module massN/A31,650 lb (14,360 kg)N/A

Parameter: Spacecraft LM Adapter mass4,050 lb (1,840 kg)4,050 lb (1,840 kg)N/A

Parameter: Nose cone heightN/A8.3 ft (2.5 m)27.7 ft (8.4 m)

Payload height81.8 ft (24.9 m)36.3 ft (11.1 m)N/A

Total space vehicle height223.4 ft (68.1 m)177.9 ft (54.2 m)169.4 ft (51.6 m)

 

S-IB Stage

 

The S-IB stage was built by the Chrysler corporation at the Michoud Assembly Facility, New Orleans. It was powered by eight Rocketdyne H-1 rocket engines burning RP-1 fuel with liquid oxygen (LOX). Eight Redstone tanks (four holding fuel and four holding LOX) were clustered around a Jupiter rocket LOX tank. The four outboard engines were mounted on gimbals, allowing them to be steered to control the rocket. Eight fins surrounding the base thrust structure provided aerodynamic stability and control.

 

•Height: 80.17 ft. (24.44 m)

•Diameter: 21.42 ft. (6.53 m)

•Number of fins: 8

•Finspan: 39.42 ft. (12.02 m)

•Engines: 8 Rocketdyne H-1

•Thrust: 1,600,000 lbf (7,100 kN)

•Fuel: RP-1 (Refined kerosene) 41,000 US gal (155 m3)

•Oxidizer: Liquid oxygen (LOX) 66,277 US gal (251 m3) nominal capacity including 1.5% ullage volume (43,284 US gal/163 m3 in four outer tanks plus 22,993 US gal/87 m3 in center tank)

•Burn time: 2.5 min

•Burnout altitude: 37 nmi (69 km)

 

S-IVB-200 Stage

 

The S-IVB was built by the Douglas Aircraft Company at Huntington Beach, California. The S-IVB-200 model was similar to the S-IVB-500 third stage used on the Saturn V, with the exception of the interstage adapter, smaller auxiliary propulsion control modules, and lack of on-orbit engine restart capability. It was powered by a single Rocketdyne J-2 engine. The fuel and oxidizer tanks shared a common bulkhead, which saved about ten tons of weight and reduced vehicle length over ten feet.

 

•Height: 58.42 ft. (17.81 m)

•Diameter: 21.67 ft. (6.61 m)

•Engine: single J-2

•Thrust: 200,000 lbf (890 kN)

•Fuel: Liquid hydrogen (LH2) 64,000 US gal (242 m3)

•Oxidizer: Liquid oxygen (LOX) 20,000 US gal (76 m3)

•Burn time: approx. 7 min

•Burnout altitude (for Saturn IB): orbit

 

Instrument Unit

 

Main article: Saturn V Instrument Unit

 

IBM built the Instrument Unit at the Space Systems Center in Huntsville, Alabama. Located at the top of the S-IVB stage, it consisted of a Launch Vehicle Digital Computer (LVDC), an inertial platform, accelerometers, a tracking, telemetry and command system and associated environmental controls. It controlled the entire rocket from just before liftoff until battery depletion. Like other rocket guidance systems, it maintained its state vector (position and velocity estimates) by integrating accelerometer measurements, sent firing and steering commands to the main engines and auxiliary thrusters, and fired the appropriate ordnance and solid rocket motors during staging and payload separation events.

 

As with other rockets, a completely independent and redundant range safety system could be invoked by ground radio command to terminate thrust and to destroy the vehicle should it malfunction and threaten people or property on the ground. In the Saturn IB and V, the range safety system was permanently disabled by ground command after safely reaching orbit. This was done to ensure that the S-IVB stage would not inadvertently rupture and create a cloud of debris in orbit that could endanger the crew of the Apollo CSM.

 

Launch Sequence Events

 

•Launch Event: Ignition Command

oTime (s): -3.02

•Launch Event: First Motion

oTime (s): -0.19

•Launch Event: Liftoff

oTime (s): 0.00

•Launch Event: Initiate Pitch Maneuver

oTime (s): 10.0

•Launch Event: Initiate Roll Maneuver

oTime (s): 10.0

•Launch Event: End Roll Maneuver

oTime (s): 38.0

•Launch Event: Mach One

oTime (s): 62.18

oAltitude (km): 7.63

•Launch Event: Max Q

oTime (s): 75.5

oAltitude (km): 12.16.

•Launch Event: Freeze Tilt

oTime: 134.40..

•Launch Event: Inboard Engine Cutoff

oTime (s): 140.65..

•Launch Event: Outboard Engine Cutoff

oTime (s): 144.32

•Launch Event: Ullage Rockets Ignition

oTime (s): 145.37

•Launch Event: S-IB / S-IVB Separation

oTime (s): 145.59

•Launch Event: S-IVB Ignition

oTime (s): 146.97

•Launch Event: Ullage Rocket Burnout

oTime (s): 148.33

•Launch Event: Ullage Rocket Jettison

oTime (s): 156.58

•Launch Event: Jettison LES

oTime (s): 163.28

•Launch Event: Start Pitch Over

oTime (s): 613.95

•Launch Event: S-IVB Cutoff

oTime (s): 616.76

•Launch Event: Orbit Insertion

oTime (s): 626.76

•Launch Event: Start S/C Sep Sequence

oTime (s): 663.11

•Launch Event: Spacecraft Separation

oTime (s): 728.31

 

Saturn IB Vehicles and Launches

 

The first five Saturn IB launches for the Apollo program were made from LC-34 and LC-37, Cape Kennedy Air Force Station.

 

The Saturn IB was used between 1973 and 1975 for three manned Skylab flights, and one Apollo-Soyuz Test Project flight. This final production run did not have alternating black and white S-IB stage tanks, or vertical stripes on the S-IVB aft tank skirt, which were present on the earlier vehicles. Since LC-34 and 37 were inactive by then, these launches utilized Kennedy Space Center’s LC-39B. Mobile Launcher Platform No. 1 was modified, adding an elevated platform known as the “milkstool” to accommodate the height differential between the Saturn IB and the much larger Saturn V. This enabled alignment of the Launch Umbilical Tower’s access arms to accommodate crew access, fueling, and ground electrical connections for the Apollo spacecraft and S-IVB upper stage. The tower’s second stage access arms were modified to service the S-IB first stage.

 

SA-201

 

•Mission: AS-201

oSpacecraft Mass (kg): 20,820

oLaunch Date: February 26, 1966

oNotes: Unmanned suborbital test of Block I CSM (Command/Service Module).

 

SA-203

 

•Mission: AS-203

oSpacecraft Mass (kg): None

oLaunch Date: July 5, 1966

oNotes: Unmanned test of unburned LH2 behavior in orbit to support S-IVB-500 restart design

 

SA-202

 

•Mission: AS-202

oSpacecraft Mass (kg): 25,810

oLaunch Date: August 25, 1966

oNotes: Unmanned suborbital test of Block I CSM

 

SA-204

 

•Mission: Apollo 1

oSpacecraft Mass (kg): 20,412

oNotes: Was to be first manned orbital test of Block I CSM. Cabin fire killed astronauts and damaged CM during dress rehearsal for planned February 21, 1967 launch.

•Mission: Apollo 5

oSpacecraft Mass (kg): 14,360

oLaunch Date: January 22, 1968

oNotes: Unmanned orbital test of Lunar Module, used Apollo 1 launch vehicle.

 

SA-205

 

•Mission: Apollo 7

oSpacecraft Mass (kg): 16,520

oLaunch Date: October 11, 1968

oNotes: Manned orbital test of Block II CSM.

 

SA-206

 

•Mission: Skylab 2

oSpacecraft Mass (kg): 19,979

oLaunch Date: May 25, 1973

oNotes: Block II CSM ferried first crew to Skylab orbital workshop

 

SA-207

 

•Mission: Skylab 3

•Spacecraft Mass (kg): 20,121

•Launch Date: July 28, 1973

•Notes: Block II CSM ferried second crew to Skylab orbital workshop

 

SA-208

 

•Mission: AS-208

oNotes: Standby Skylab 3 rescue CSM-119; not needed.

•Mission: Skylab 4

oSpacecraft Mass (kg): 20,847

oLaunch Date: November 16, 1973

oNotes: Block II CSM ferried third crew to Skylab orbital workshop.

 

SA-209

 

•Mission: AS-209

oNotes: Standby Skylab 4 and later Apollo-Soyuz rescue CSM-119. Not needed, currently on display in the KSC rocket garden.

•Mission: Skylab 5

oNotes: Planned CSM mission to lift Skylab workshop’s orbit to endure until Space Shuttle ready to fly; cancelled.

 

SA-210

 

•Mission: ASTP

oSpacecraft Mass (kg): 16,780

oLaunch Date: July 15, 1975

oNotes: Apollo CSM with special docking adapter module, rendezvoused with Soyuz 19. Last Saturn IB flight.

 

SA-211

 

•Notes: Unused. First stage at the Alabama Welcome Center on I-65 in Ardmore, Alabama. S-IVB stage rests with Skylab underwater training simulator hardware and is on display outdoors at the U.S. Space and Rocket Center in Huntsville, Alabama.

SA-212

 

•Notes: Unused. First stage scrapped. S-IVB stage converted to Skylab space station.

 

SA-213:

 

•Notes: Only first stage built. Unused and scrapped.

 

SA-214

 

•Notes: Only first stage built. Unused and scrapped.

 

For earlier launches of vehicles in the Saturn I series, see the list in the Saturn I article.

 

Saturn IB Rockets on Display

 

Currently there are three locations where Saturn IB vehicles (or parts thereof) are on display:

 

•SA-209 is on display at the Kennedy Space Center Visitor Complex, with the Apollo Facilities Verification Vehicle. Due to severe corrosion, the first stage engines and Service Module were replaced with fabricated duplicates in 1993–1994.

•The SA-211 first stage is on display with the S-IVB-S “Battleship” static test stage stacked in a launch-ready condition at the Alabama Welcome Center on Interstate 65 in Ardmore, Alabama. 34.954548°N 86.89193°W

•The SA-211 S-IVB stage was mated with the Skylab underwater training docking adapter and Apollo Telescope Mount and is on display in the Rocket Garden of the U.S. Space & Rocket Center in Huntsville, Alabama.

 

Cost

 

In 1972, the cost of a Saturn IB including launch was US$55,000,000 (equivalent to $315,000,000 in 2016).

 

AS 209

 

Black-and-white picture from inside a tall building with a space capsule being lifted from the top of a rocket

 

The Skylab Rescue CSM is removed from its Saturn IB Launch vehicle following the successful recovery of Skylab 4.

 

After the Skylab 4 launch, another rescue flight was assembled as a backup contingency. The Saturn IB rocket AS 209 was assembled in the Vehicle Assembly Building at Launch Complex 39 for possible use. It also used the CSM 119 Command Module that was to be launched with Brand and Lind.

 

There were also plans for a short 20-day Skylab 5 flight that would use this backup CSM. The crew, likely consisting of Brand, Lind, and Skylab backup Science Pilot William B. Lenoir, would have performed some scientific research and closed out the station until the Space Shuttle was operational. However, the extension of Skylab 4 from fifty-six to eighty-four days obviated the need for the additional mission.

 

AS 209 and CSM 119 were later used as a backup to the ASTP mission. Both are now on display at the Kennedy Space Center Visitor Complex. CSM 119 is located in the Apollo/Saturn V Center. The Saturn IB booster for AS 209 is currently located in the Visitor Complex’s Rocket Garden. It is displayed horizontally, mated to an Apollo FVV (Facilities Verification Vehicle) which was formerly displayed at the VAB’s Visitor Complex c. October 1968. In 2007, after sitting untouched for over 30 years, NASA engineers used the command module for studies on the spacecraft’s life support adapter assembly—the projecting aerodynamic fairing that allows oxygen, water, and electricity to flow from the Service Module to the Command Module. This was in support of the design and construction of a similar system on the new Orion spacecraft, which resembles the Skylab Rescue configuration.

Foster General Purpose Engine (1910)

Registration Number MA 5730

Engine Number: 12539

Name: Winnie

Cylinders: Compound

Output: 6 NHP

 

Thanks for 16 Million views

 

Shot 12 Aug 2012 at the Astle Park Traction Engine Rally, Chelford Cheshire Ref:93a-525

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Everest trekking region, although fairly effortless compare to some of other trek, takes you high along trails to Tengboche monastery Everest Solu Khumbu is the district south and west of Mount Everest. It is inhabited by sherpa, cultural group that has achieve fame because of the develop of its men on climbing expeditions. Khumbu is the name of the northern half of this region above Namche, includes highest mountain (Mt. Everest 8848m.) in the world. Khumbu is in part of Sagarmatha National Park. This is a short trek but very scenic trek offers really superb view of the world's highest peaks, including Mt. Everest, Mt. Lhotse, Mt. Thamserku, Mt. Amadablam and other many snowy peaks. Fly from Kathmandu to Lukla it is in the Khumbu region and trek up to Namche Bazzar, Tyangboche and into the Khumjung village, a very nice settlement of Sherpas people. This trek introduction to Everest and Sherpa culture with great mountain views, a very popular destination for first time trekkers in Nepal. Justifiably well-known world uppermost mountain (8848m.) and also for its Sherpa villages and monasteries. Few days trek from Lukla on the highland, takes you to the entry to Sagarmatha National Park and town of Namche Bazaar is entrance of Everest Trek. Environment of the towering Himalayas is a very delicate eco-system that is effortlessly put out of balance.

 

Langtang trekking region mixture of three beautiful trek taking us straight into some of the wildest and most pretty areas of Nepal. Starting from the lovely hill town of Syabrubensi our trek winds during gorgeous rhododendron and conifer forests throughout the Langtang National Park on the way to the higher slopes. Leads up to the high alpine yak pastures, glaciers and moraines around Kyanging. Along this route you will have an chance to cross the Ganja La Pass if possible from Langtang Valley. Trail enters the rhododendron (National flower of Nepal) forest and climbs up to alpine yak pastures at Ngegang (4404m). From Ngegang we make a climb of Ganja La Pass (5122m). We start southwest, sliding past Gekye Gompa to reach Tarkeghyang otherwise we take a detour and another unique features of trekking past, the holy lakes of Gosainkund (4300 m.) cross into Helambu via Laurebina to Ghopte (3430 m) and further to Trakegyang. Northern parts of the area mostly fall within the boundaries of Langtang National park.

 

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Everest Base Camp Trek well noon its spectacular mountain peaks and the devotion and openness of its inhabitants, the Everest region is one of the most popular destination for tourists in Nepal. While numerous of the routes through the mountains are difficult, there are plenty places to rest and enjoy a meal along the way. Additionally, don't worry about receiving lost. Just ask a local the way to the next village on your route, and they will direct you. Most Sherpas under the age of fifty can at least understand basic English, and many speak it fluently.

 

Annapurna Base Camp Trek is the major peaks of the western portion of the great Annapurna Himalaya, Annapurna South, Fang, Annapurna, Ganagapurna, Annapurna 3 and Machhapuchhare and including Annapurna first 8091 meters are arranged almost exactly in a circle about 10 miles in diameter with a deep glacier enclosed field at the center. From this glacier basin, known as the Annapurna base camp trek (Annapurna sanctuary trek), the Modi Khola way south in a narrow ravine fully 12 thousand ft. deep. Further south, the ravine opens up into a wide and fruitful valley, the domain of the Gurungs. The center and upper portions of Modi Khola offer some of the best short routes for trekking in Nepal and the valley is situated so that these treks can be easily joint with treks into the Kali Gandaki (Kali Gandaki is name of the river in Nepal) region to the west.

 

Upper Mustang Trekking name Make an escapade beginning from world deepest gorge Kaligandaki valley into world's highest area of Lo-Mangthang valley that passes through an almost tree-less barren landscape, a steep stony trail up and down hill and panorama views of high Annapurna Himalaya including Nilgiri, Annapurna, Dhaulagiri and numerous other peaks. The trek passes through high peaks, passes, glaciers, and alpine valleys. The thousands years of seclusion has kept the society, lifestyle and heritage remain unaffected for centuries and to this date.

 

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Kathmandu Pokhra Tour is an exclusive tour package specially designed for all level travelers. Kathmandu Pokhara tour package is effortless tour alternative for Nepal visitors. This tour package vacation the historically significant and ethnically rich capital (Kathmandu ) of Nepal and the most stunning city of world by the nature, Pokhara. Mountain museum and world peace stupa are another charming of Pokhara tour. Pokhara is the center of escapade tourism in Nepal. Package tour to Kathmandu Pokhara is design to discover highlighted areas of Kathmandu and Pokhara valley. Nepal is the country which is socially and geographically different that’s why we powerfully recommend you discover Nepal to visit once in life time. It is hard to explore all Nepal in one Nepal tours trip in this way we design this trip to show you the highlights of Nepal especially in Kathmandu and Pokhara.

 

Hiking in Nepal in the southern part of the asia continent there lays a tiny rectangular kingdom squeezed between two hugely populated countries, China to the north and India to the south, this country is Nepal a world of its own. Adventure trekking is a type of tourism, involving exploration or travel to remote, exotic and possibly hostile areas. Adventure trekking in Nepal is rapidly growing in popularity, as tourists seek different kinds of vacations. The land of contrast is presumably the exact way to define the scenery of Nepal for you will find maximum world highest peaks high high up above the clouds determined for the gods above. Straight, active and attractive learning experience adventure trekking in Nepal that engross the whole person and have real adventure. Mt. Everest, Kanchenjunga, Daulagiri, and Annapurna and many more are there for the offering for mountain-lovers, adventurers and travelers.

 

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Pataphysical Studios is building a Time Machine for our next art exhibit. On a balmy spring afternoon, Drs. Rindbrain and Fabio created more visualizations of what the Time Machine might look like.

 

We sketched out several ideas for the inside and outside walls, for discussion purposes. On each side of the main screen, we designed round portholes through which we could interact with our guests -- or show scenes from the past or future. Behind each porthole would be a magic box that could feature artifacts from distant times -- or the head of a historical figure, projected onto a ‘life cast’. The rest of the inside walls would be used for other interactive artworks such as the Crazy Clock, which sings quotes about time when you press its big green button.

 

On the outside walls, we sketched out a Face Box that you could stick your head in to get your picture taken. It would include an Infinity Mirror made of LED strips cycling through the colors of the rainbow, with a camera at the end of this light tunnel. We also sketched out where time wonderboxes could be placed on the side walls, proposing that the left wall focus on the past and the right wall on the future. A graphic timeline across both walls could support that idea.

 

It was a productive meeting and we look forward to presenting these ideas to our fellow doctors at the next Time Machine meeting.

 

Fire in the hole!

 

View more Time Machine photos:

www.flickr.com/photos/fabola/albums/72157659761749014

 

See our brainstorm notes for the Time Machine:

docs.google.com/document/d/1rM9kjOu83Qewh1HwaA2nkzbGdmHb9...

 

Here’s our overview for the Crazy Clock:

docs.google.com/document/d/18h8uK5v-H3fvonbvJaTYOyvuiDDfv...

 

View more 'Pataphysical photos: www.flickr.com/photos/fabola/albums/72157623637793277

 

Learn about Pataphysical Studios: pataphysics.us/

Purpose-built accommodation situated in a residential area close to the west side of the campus, close to St David’s station. Each flat has five study bedrooms, and every room has a washbasin. You will share a kitchen/diner, separate lounge, shower room and toilet with four other residents.

 

Limited parking is available. Residents are able to use the facilities in Birks Grange Village Central Block.

 

From here you can walk onto campus (15 minutes) or take the bus into the city centre.

The top is based on the latest information from Spotify, Deezer, Apple Music, iTunes, music.lt, and radio stations M-1, Radiocentras, Lietus, Laluna, European Hit Radio, Power Hit Radio, Rusradio LT. All copyrights belong to their respective owners. The video was created for informational purposes, and in some measure, can be treated as a promotion for the songs. Lithuanian Top 50 Spotify playlist: ift.tt/2E208Mv... Songs used in the video (in alphabetical order): Avicii feat. Rita Ora - Lonely Together www.youtube.com/watch?v=vQ3Xg... Avicii feat. Sandro Cavazza - Without You www.youtube.com/watch?v=fTYhY... Axwell /\ Ingrosso – More Than You Know www.youtube.com/watch?v=GsF05... Beatrich – Superstar www.youtube.com/watch?v=Ju0YM... Calvin Harris feat. Pharrell Williams, Katy Perry, Big Sean – Feels www.youtube.com/watch?v=ozv4q... Camila Cabello feat. Young Thug - Havana www.youtube.com/watch?v=HCjNJ... Cardi B - Bodak Yellow www.youtube.com/watch?v=PEGcc... Charli XCX – Boys www.youtube.com/watch?v=mPRy1... CNCO feat. Little Mix - Reggaetón Lento www.youtube.com/watch?v=UONnR... David Guetta feat. Justin Bieber – 2U www.youtube.com/watch?v=RqcjB... Demi Lovato – Sorry Not Sorry www.youtube.com/watch?v=-MsvE... DJ Khaled feat. Rihanna, Bryson Tiller – Wild Thoughts www.youtube.com/watch?v=fyaI4... Dua Lipa – New Rules www.youtube.com/watch?v=k2qga... Ed Sheeran – Perfect www.youtube.com/watch?v=iKzRI... Ed Sheeran – Shape Of You www.youtube.com/watch?v=JGwWN... French Montana feat. Swae Lee – Unforgettable www.youtube.com/watch?v=CTFtO... Hailee Steinfeld & Alesso feat. Florida Georgia Line & watt – Let Me Go www.youtube.com/watch?v=XovZ0... Hurts - Ready to Go www.youtube.com/watch?v=PP2G3... Imagine Dragons – Thunder www.youtube.com/watch?v=fKopy... J Balvin feat. Willy William – Mi Gente www.youtube.com/watch?v=wnJ6L... J Balvin feat. Willy William & Beyoncé – Mi Gente www.youtube.com/watch?v=APHgD... Jason Derulo - If I'm Lucky www.youtube.com/watch?v=oSRXE... Jonas Blue feat. William Singe – Mama www.youtube.com/watch?v=qPTfX... Justin Bieber feat. BloodPop® - Friends www.youtube.com/watch?v=8e4f9... Katy Perry feat. Nicki Minaj - Swish Swish www.youtube.com/watch?v=iGk5f... Kygo feat. Justin Jesso - Stargazing www.youtube.com/watch?v=hEdvv... Lauv - I Like Me Better www.youtube.com/watch?v=BcqxL... Logic feat. Alessia Cara, Khalid - 1-800-273-8255 www.youtube.com/watch?v=Kb24R... Louis Tomlinson feat. Bebe Rexha, Digital Farm Animals – Back to You www.youtube.com/watch?v=-HjpL... Luis Fonsi feat. Daddy Yankee – Despacito www.youtube.com/watch?v=kJQP7... Macklemore feat. Skylar Grey – Glorious www.youtube.com/watch?v=7OrLr... Maroon 5 feat. SZA - What Lovers Do www.youtube.com/watch?v=5Wiio... Marshmello feat. Khalid – Silence www.youtube.com/watch?v=tk36o... Martin Jensen feat. Loote - Wait www.youtube.com/watch?v=wQ4Xs... Miley Cyrus – Malibu www.youtube.com/watch?v=8j9zM... Niall Horan - Too Much To Ask www.youtube.com/watch?v=ljXSj... OneRepublic feat. Seeb - Rich Love www.youtube.com/watch?v=0qHGE... P!nk - What About Us www.youtube.com/watch?v=ClU3f... Portugal. The Man – Feel It Still www.youtube.com/watch?v=pBkHH... Post Malone feat. 21 Savage – rockstar www.youtube.com/watch?v=_209r... Rita Ora – Your Song www.youtube.com/watch?v=T7yk6... Robin Schulz feat. James Blunt – OK www.youtube.com/watch?v=P9-4x... Sam Smith - Too Good At Goodbyes www.youtube.com/watch?v=J_ub7... Selena Gomez feat. Gucci Mane – Fetish www.youtube.com/watch?v=STO4-... Sigala feat. Ella Eyre - Came Here for Love www.youtube.com/watch?v=Uq8fE... Taylor Swift - Look What You Made Me Do www.youtube.com/watch?v=3tmd-... U2 vs Kygo - You're The Best Thing About Me www.youtube.com/watch?v=XqwIP... ZAYN feat. Sia - Dusk Till Dawn www.youtube.com/watch?v=tt2k8... Zedd feat. Liam Payne – Get Low www.youtube.com/watch?v=PbW14... Ð-лджей & Feduk - Розовое вино www.youtube.com/watch?v=S9oXj...

Vietata la riproduzione, anche parziale, con qualsiasi mezzo.Tutti i diritti sono Riservati. "Mostre e Pubblicazioni Amando Cattolica Edizioni Fotografiche © Copyright2003/2015".© RIPRODUZIONE RISERVATA.

© Copyright Antonio Barbieri NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

 

© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

 

"Sensazioni la Voce delle Immagini. . . .le tracce di Guglielmo Marconi hanno il profumo del mare " citata tra le principali pubblicazioni come 《iniziative rivolte alla conoscenza e alla diffusione dell'attività scientifica di Guglielmo Marconi》.

 

“Le tracce di Guglielmo Marconi, a Cattolica, hanno il profumo del mare; non era soltanto il turista, ma un uomo di mare, capace di navigare gli oceani e di conoscere il mare, che del panfilo Elettra aveva fatto la sua casa, la sede di rappresentanza e il suo laboratorio. Guglielmo Marconi a Cattolica è stato marinaio fra i marinai e per questo egli resta così presente nella nostra cultura e continuiamo a sentirlo come nostro; in lui vediamo le caratteristiche che hanno fatto grande la Romagna: tenacia, forza di volontà, abilità, ospitalità, genialità, capacità di non arrendersi.

 

“Sensazioni la Voce delle Immagini”

 

Mi preme ringraziare per la fattiva collaborazione e la stesura dei testi tutti coloro che hanno contribuito, ad ogni livello e a vario titolo, alla realizzazione del volume; un impegno durato un anno. Un sentito grazie alla “Fondazione Guglielmo Marconi” per i testi e il materiali forniti: in particolare ai suoi autori Mario Giorgi e Barbara Valotti, al suo consulente scientifico Maurizio Bigazzzi e al suo Presidente Gabriele Falciasecca. Si ringrazia inoltre Franco Basile, Alberto Venturi, Domenico Pascuzzi, Piero Cecchini, Matteo Ricci, Maurizio Gambini, Marina Andruccioli, Wilma Galluzzi.

 

Una particolare citazione e ringraziamento è rivolto alla Banca Popolare Valconca per il suo mecenatismo, Desa, Augusto Gabellini Auto, Staccoli Caffè, Avangard Look, Impresa Edile Foronchi, Casa del Pescatore, G.T.Comis, Afa Arredamenti, l'Erbavoglio, Tennis Villa Carpena, Museo Magi, Aspim Europa..per l'interesse che da sempre hanno dimostrato per gli eventi culturali.

 

“Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" è la VII° Edizione nasce dalle mostre e realizzazioni grafiche della ideale collana di "Amando Cattolica"; questo volume, ampliato, sia come numero di pagine che di territorio, partendo dalle città di Cattolica, Gabicce Mare, Gradara, vuole essere un affascinante viaggio alla scoperta di nuovi orizzonti, e testimonianza del mio amore per queste terre ed il nostro Paese.

 

Tema pregnante l’acqua come elemento insostituibile che dona vita; le fontane espressione di armonia; i giardini e i fiori anima dell’esistenza.

 

I colori diventano espressione dei sentimenti: l'azzurro e il celeste sono legati alla spiritualità, il verde colore della meditazione.

 

La macchina fotografica diventa mezzo e fonte di espressione. Il percorso artistico/fotografico partendo dalla città di Cattolica illustra le città delle Regioni dell’Emilia Romagna, Marche, Toscana, Lazio, Umbria, Veneto, Lombardia..

 

Omaggiando con immagini su Autorizzazione lo Stato città del Vaticano, Roma, Firenze, Rimini, Cesena, Verona, Modena, Bologna, Urbino, Pesaro...

 

©Antonio Barbieri2003/2015-All rights reserved-

 

Mostre Pubblicazione fotografica "Amando Cattolica“

 

“Amando Cattolica” “Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" Mi preme ringraziare per la fattiva collaborazione e la stesura dei testi tutti coloro che hanno contribuito, ad ogni livello e a vario titolo, alla realizzazione del volume; un impegno durato un anno. Un sentito grazie alla “Fondazione Guglielmo Marconi” per i testi e il materiali forniti: in particolare ai suoi autori Mario Giorgi e Barbara Valotti, al suo consulente scientifico Maurizio Bigazzzi e al suo Presidente Gabriele Falciasecca. Si ringrazia inoltre Franco Basile, Alberto Venturi, Domenico Pascuzzi, Piero Cecchini, Matteo Ricci, Maurizio Gambini, Marina Andruccioli, Wilma Galluzzi.

 

Una particolare citazione e ringraziamento è rivolto alla Banca Popolare Valconca per il suo mecenatismo, Desa, Augusto Gabellini Auto, Staccoli Caffè, Avangard Look, Impresa Edile Foronchi, Casa del Pescatore, G.T.Comic, Afa Arredamenti, Erbavoglio, Tennis Villa Carpena, Museo Magi, Aspim Europa..per l'interesse che da sempre hanno dimostrato per gli eventi culturali.

 

“Sensazioni la Voce delle Immagini.. le tracce di Guglielmo Marconi hanno il profumo del mare" è la VII° Edizione nasce dalle mostre e realizzazioni grafiche della ideale collana di "Amando Cattolica"; questo volume, ampliato, sia come numero di pagine che di territorio, partendo dalle città di Cattolica, Gabicce Mare, Gradara, vuole essere un affascinante viaggio alla scoperta di nuovi orizzonti, e testimonianza del mio amore per queste terre ed il nostro Paese.

 

Vietata la riproduzione, anche parziale, con qualsiasi mezzo.Tutti i diritti sono Riservati. "Mostre e Pubblicazioni Amando Cattolica Edizioni Fotografiche © Copyright2003/2014".

 

© Copyright Antonio Barbieri NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

 

© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

   

notizie: www.facebook.com/pages/Cattolica-Fotografie-di-Amando-Cat...

   

www.facebook.com/antonio.barbieri

   

Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva diwww.antoniobarbieri.org ewww.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qualsiasi contenuto senza l'approvazione scritta dell'Autore. Chi ne farà utilizzo senza il consenso si assume la responsabilità per l’uso improprio o non autorizzato delle immagini, in violazione delle suddette disposizioni che devono considerarsi assolutamente inderogabili. Ogni violazione verrà perseguita legalmente secondo i termini della vigente legge italiana.

   

“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” VI° Edizione del Progetto “Amando Cattolica”; in collaborazione e partecipazione con la prestigiosa “Fondazione Marconi”, dedicato al Premio Nobel Guglielmo... Marconi. (Italiano/inglese) “Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. VI° Edizione progetto "Amando Cattolica". ©Antonio Barbieri -All rights reserved- Pubblicazione "Amando Cattolica"

 

Dalla città di Cattolica il percorso del libro fotografico continua, inedite immagini, un abbraccio alle città italiane e straniere. “Amando Cattolica 2012” “Attimi, emozioni nel tempo infinito.. sulle tracce di Guglielmo Marconi”

 

Con il Patrocinio della Regione Emilia Romagna, ENIT Agenzia Nazionale del Turismo, Comune Roma Capitale, Provincia di Rimini, Provincia di Pesaro-Urbino, Provincia di Forlì Cesena, Comune Gradara, Comune Gabicce Mare, Comune Ferrara, Comune Cattolica, Comune Urbino, Comune Pesaro, Comune Fano

 

Le iniziative di “Amando Cattolica” sono state definite realizzazioni con finalità prettamente divulgativa a carattere culturale e di promozione turistica con il linguaggio universale delle immagini percorre un viaggio ideale rappresentando luoghi, persone, paesaggi, emozioni; che con il cuore racconta la nostra identità più profonda. Il progetto è riconosciuto come iniziativa che costituisce interesse, sotto l’aspetto dell’accoglienza e della promozione turistica a livello Nazionale e Internazionale per il contenuto, per il messaggio, per il sentimento che tramite le immagini desidera trasmettere riguardo il nostro territorio Italia anche all’estero.

 

Oltre ad essere stata definita a carattere umanitario rivolto al sociale per l’Edizione del volume 2011 dal titolo “Sguardi espressioni di un sentimento”. “Per aver onorato la memoria di un grande cittadino di Cattolica l’oncologo di fama mondiale, che fu ordinario di Pediatria, direttore dell’Istituto di Clinica Pediatrica e del Centro Interdipartimentale della ricerca sul cancro dell’Università degli Studi di Bologna Prof. Guido Paolucci, fondatore dell’A.G.E.O.P, Associazione per l'assistenza e l'accoglienza dei bambini affetti da patologie leucemiche e tumorali.

 

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Con immagini tra le quali:

 

città di Cattolica, città S.Giovanni in Marignano, città Morciano di Romagna, San Clemente, città Montescudo, città Sant'Arcangelo di Romagna, città Saludecio, città Mondaino, città Montegridolfo, città Coriano, città Montefiore Conca, città Montecolombo, Trarivi, città Misano Adriatico, Portoverde, città Riccione, città Rimini, città Cesena, città Cesenatico, città Verghereto, Bagno di Romagna, S.Piero in Bagno, Alfero, città di Ravenna, città Faenza, Repubblica di San Marino; città di Ancona, città Gabicce Mare, Fiorenzuola di Focara, Parco Monte San Bartolo, città Gradara, città Sant'Angelo di Lizzola, città Corbordolo, città Pesaro, città di Senigallia, città Urbino, città Urbania, Fermignano, città Sassocorvaro, città Tavullia, città Fano, città Bologna, città Reggio Emilia, città Modena, città Parma, città Ferrara, città Milano, Città del Vaticano, città di Roma, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Nettuno, città di Firenze. Città di Bruxelles, Parigi, Londra…

 

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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.

 

Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.

 

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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

 

With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris

   

“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

   

“Amando Cattolica 2012” nuova pubblicazione fotografica VI° Edizione 2012 del Progetto "Amando Cattolica"

 

dal titolo:

 

“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” in collaborazione con la prestigiosa Fondazione Marconi, dedicato al Premio Nobel Guglielmo Marconi.

 

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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.

 

Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.

 

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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..

 

With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris

 

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Tra la moltitudine di città interessate da questo nuovo percorso fotografico,emerge un prezioso itinerario che collega le diverse città in cui Guglielmo Marconi ha vissuto la sua vita.

 

Un nuovo viaggio fotografico, tra cui immagini che rendono omaggio al grande inventore italiano Guglielmo Marconi, padre della radio e Premio Nobel per la fisica nel 1909. Bolognese di nascita, Marconi passò molto del suo tempo nella sua casa di Cattolica. Chissà cosa penserebbe oggi, affacciato alla finestra di Villa Marconi, delle persone in spiaggia collegate a internet con computer e cellulari wireless, persone in contatto con il mondo ventiquattro ore al giorno. Su quella stessa spiaggia dove lui ha passeggiato e guardato il mare immerso nei suoi pensieri e nei suoi esperimenti. Forse tutta questa comunicazione l’avrebbe fatto sorridere, lui che fu il padre della comunicazione con telegrafia senza fili. Di una cosa però siamo sicuri, sicuramente affacciato alla finestra della sua camera, avrebbe rivolto lo sguardo all’Adriatico e avrebbe atteso uno di quei meravigliosi tramonti di Cattolica, in cui il sole diventa una palla di fuoco che scompare lentamente all’orizzonte. Uno spettacolo di colori che soltanto Lei può regalare. Attimi, si prefigge l’obiettivo di raccontare attraverso un percorso di immagini e racconti, il legame che la città romagnola conserva con il suo illustre personaggio. testo di Alessandra Fabri

 

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Regione Emilia Romagna Il Presidente

 

Con questo nuovo libro fotografico prosegue il progetto “Amando Cattolica” e con la VI Edizione, dal titolo “Attimi, EMOZIONI NEL TEMPO INFINITO…sulle tracce di Guglielmo Marconi”, Antonio Barbieri è , ancora una volta, riuscito a catturare, nelle sue fotografie, l’anima più intima di Cattolica e dei paesaggi vicini.

 

L’attaccamento alla propria terra, la passione e la sensibilità artistica sono evidenziate in queste immagini che mostrano con chiarezza la trasformazione nel tempo di questo territorio, facendone riaffiorare con emozioni intese l’essenza più vera.

 

L’obiettivo dell’artista si allarga su scorci suggestivi di altre città italiane, cogliendone particolari che ben delineano la ricchezza artistica, culturale architettonica della nostra Italia.

 

Il mio particolare apprezzamento va ancora una volta rivolto a questo lavoro, alla dedizione particolare e scrupolosa con cui Antonio Barbieri ha saputo mostrate la genuinità e la semplicità di un territorio in continua evoluzione ma sempre attento a rinnovare la propria cultura dell’accoglienza.

 

Vasco Errani

 

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Pubblicazioni Fotografiche collana "Amando Cattolica".

   

© Copyright Antonio Barbieri Show and Pubblications NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.

   

Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.

   

Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva di /www.antoniobarbieri.org" e www.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qual

 

About Dr.Mihir Kumar Panda, Ph.D,D.Litt,, innovator

World’s only achiever of large number of World Record for 10,000 Teaching Aids & innovations

Founder & Co-ordinator General, ‘SROSTI’ (Social Development research Organisation for Science, technology & Implementation)

Collaborator Vijnana Bana Ashram

Bahanaga, Baleshwar, Odisha, India-756042

Website : simpleinnovationproject.com

E-Mail- : mihirpandasrosti@gmail.com

 

Face Book link:https://www.facebook.com/mihirpandasrosti

WIKIMAPIA

wikimapia.org/#lang=en&lat=-6.174348&lon=106.8293...

Contact No. : +91 7008406650

Whatsapp: +91 9438354515

 

Dr.Mihir Kumar Panda, an Educational, Societal and Scientific Innovator has established an NGO 'SROSTI' at Bahanaga, Balasore,Odisha,India

 

Dr. panda has innovated/invented more than 10,000 (ten thousand) teaching aids and different innovations and he has more than 30,000 (Thirty thousand) ideas to make scientific and mathematical models.

 

His creations are very essential guide for school and college science exhibitions, innovative learning and play way method for the teachers and students, science activists, innovators, craftsmen, farmers, masons, physically challenged persons, common men, entrepreneurs and industrialists.

 

He is popularizing science through song, innovative demonstrations and motivational speech since 1990 in different parts of Odisha state without taking any fees.

 

Dr. Panda is an extreme motivational speaker in science and possess magical scientific demonstration and a crowd puller.

 

Innovator Mihir Kumar Panda loves nature and in his agricultural farm he does not uses the chemicals , fertilizers and pesticides. In his farm even the smallest creatures like snakes, caterpillar, white ants, worms ,vermies are in peace and are managed successfully not to do harm.

 

Dr. Panda is an Educationist, an environmentalist, a poet for science popularization, a good orator, a best resource person to train others in specific field of science and engineering.

 

The uniqueness of Simple Innovation and scientific activities and achievements ofDr. Panda can not be assessed without visiting his laboratory which is a living wonder in the realm of science.

 

From a small cake cutter to mechanical scissor, from a play pump to rickshaw operated food grain spreader and from a village refrigerator to a multi-purpose machine, thousands of such inventions and innovations are proof of Dr. Panda's brilliance.

 

From a tube well operated washing machine to weight sensitive food grain separator, from a password protected wardrobe to automatic screen, from a Dual face fan to electricity producing fan are example of few thousands of innovations and inventions of Mihir Kumar Panda.

 

Dr.Mihir Kumar Panda though bestowed to a popular name as Einstein of Odisha is obliviously treated as Thomas Alva Edison of India.

 

Dr. Panda's residential house also resembles a museum with scientific innovations of different shapes and sizes stacked in every nook and cranny which proves his scientific involvement in personal life.

 

Innovator Panda believes that , the best thing a child can do with a toy to break it. he also believes that by Educating child in his/her choice subject/ passion a progressive nation can be built.

 

The shelf made scientist Dr. Panda believes that Education is a life long process whose scope is far greater than school curriculum. The moulding of models/ innovations done by hand always better than the things heard and the facts incorporated in the books.

 

With no agricultural background, Dr. Panda has developed unique natural bonsai in his Vijnana Bana Ashram which also shows path for earning just by uprooting and nurturing the plants which are found to be small and thumb in nature.

 

Dr. Panda's Scientific Endeavour and research is no doubt praise worthy. One cannot but believe his dedicated effort in simple innovation laboratory.

 

Social service, innovation/ inventions, writing, free technology to students for preparation of science exhibition projects, free technology to common men for their sustainability, preparation of big natural bonsai, technology for entrepreneurs and industrialists for innovative item are few works of Mihir Kumar Panda after his Government service.

 

. To overcome the difficulties of science and math, explanation in classes, innovator Panda has created few thousands of educational, societal and scientific innovations which helps teachers and students of the country and abroad.

 

Dr. Panda believes that though inventions/innovation has reached under thousands and thousands deep in the sea and high up in the space. It has reached on moon and mars, but unfortunately the sustainable inventions/innovation has not properly gone to the tiny tots and common people.

 

Dr. Panda is amazing and wizard of innovations and works with a principle the real scientist is he, who sees the things simply and works high.

 

Dr.Mihir Kumar Panda's work can be explained in short

 

Sports with Science from Dawn to Dusk

Struggle some life- science in words and action

Triumphs of Science - Science at foot path

Hilarious dream in midst scarcity

  

A life of innovator de-avoided of Advertisement.

  

FELICITATIONS, AWARDS, HONOURS & RECORDS

* 200+ Felicitation and Awards from different NGOs, Schools & Colleges within the State of Odisha and National level.

* 10 Nos Gold, Silver & Bronze medal from different National & International level.

*Awarded for 10,000 innovations & 30,000 ideas by Indian Science Congress Association, Govt. of India.

* Honorary Ph.D From Nelson Mandela University, United States of America

* Honorary Ph.D From Global Peace University, United States of America& India

* Honorary D.Litt From Global Peace University, United States of America& India

* Title ‘Einstein of Odisha’ by Assam Book of Records, Assam

* Title ‘Thomas Alva Edison of India’ by Anandashree Organisation, Mumbai

* Title ‘ Einstein of Odisha & Thomas Alva Edison of India’ from Bengal Book of World record.

*World Record from OMG Book of Records

*World Record from Assam Book of Records,

* World Record from World Genius Records, Nigeria

* World Record from BengalBook of Records

* National Record from Diamond Book of Records

* World Record from Asian World Records

* World Record from Champians Book of World Records

* World Record from The British World Records

* World Record from Gems Book of World Records

* World Record from India Star World Record

* World Record from Geniuses World Records

* World Record from Royal Success International Book of Records

*World Record from Supreme World Records

* World Record from Uttarpradesh World Records

*World Record from Exclusive World Records

*World Record from international Book of Records

*World Record from Incredible Book of records

* World Record from Cholan Book of World Record

* World Record from Bravo International Book of World Record

* World Record from High Range Book of World Record

* World Record from Kalam’s World Record

* World Record from Hope international World Record

* International Honours from Nigeria

* Indian icon Award from Global Records & Research Foundation (G.R.R.F.)

* International Award from USA for the year’2019 as INNOVATOR OF THE YEAR-2019

* National level Excellence Leadership Award-2020 from Anandashree Organisation, Mumbai

* Best Practical Demonstrator & Theory instructor from Collector & District Magistrate,

Balasore.

* Best Innovator Award by Bengal Book.

* Popular Indian Award by Bengal Book.

* Great man Award by Bengal Book.

* Best Indian Award by Bengal Book.

* The Man of the Era by Bengal Book.

IMPORTANT LINK FILES TO KNOW THE WORK OF

Dr. MIHIR KUMAR PANDA

Dr.Mihir Ku panda awarded at indian science congress Association, Govt. of India for 10000 innovations & 30,000 ideas

youtu.be/MFIh2AoEy_g

Hindi Media report- Simple innovation science show for popularisation of science in free of cost by Dr.Mihir Ku Panda

youtu.be/gPbJyB8aE2s

Simple innovation science show for popularisation of science in free of cost in different parts of India By Dr.Mihirku Panda

www.youtube.com/user/mihirkumarpanda/videos?view=0&so...

Simple innovation laboratory at a Glance

youtu.be/yNIIJHdNo6M

youtu.be/oPBdJpwYINI

youtu.be/XBR-e-tFVyE

youtu.be/3JjCnF7gqKA

youtu.be/raq_ZtllYRg

MORE LINK FILES OF Dr MIHIR KUMAR PANDA

 

www.youtube.com/watch?v=MFIh2AoEy_g

www.youtube.com/channel/UCIksem1pJdDvK87ctJOlN1g

www.youtube.com/watch?v=AHEAPp8V5MI

www.youtube.com/watch?v=W43tAYO7wpQ

www.youtube.com/watch?v=me43aso--Xg

www.youtube.com/watch?v=6XEeZjBDnu4

www.youtube.com/watch?v=gPbJyB8aE2s

www.youtube.com/watch?v=yNIIJHdNo6M

www.youtube.com/watch?v=oPBdJpwYINI

www.youtube.com/watch?v=XBR-e-tFVyE

www.youtube.com/watch?v=3JjCnF7gqKA

www.youtube.com/watch?v=raq_ZtllYRg

cholanbookofworldrecords.com/dr-mihir-kumar-pandaph-d-lit...

www.linkedin.com/in/dr-mihir-kumar-panda-ph-d-d-litt-inno...

www.bhubaneswarbuzz.com/updates/education/inspiring-odish...

www.millenniumpost.in/features/kiit-hosts-isca-national-s...

www.youtube.com/watch?v=hFE6c-XZoh0

www.youtube.com/watch?v=WzZ0XaZpJqQ

www.dailymotion.com/video/x2no10i

www.exclusiveworldrecords.com/description.aspx?id=320

omgbooksofrecords.com/

royalsuccessinternationalbookofrecords.com/home.php

british-world-records.business.site/posts/236093666996870...

www.tes.com/lessons/QKpLNO0seGI8Zg/experiments-in-science

dadasahebphalkefilmfoundation.com/2020/02/17/excellent-le...

www.facebook.com/…/a.102622791195…/103547424435915/… yearsP0-IR6tvlSw70ddBY_ySrBDerjoHhG0izBJwIBlqfh7QH9Qdo74EnhihXw35Iz8u-VUEmY&__tn__=EHH-R

wwwchampions-book-of-world-records.business.site/?fbclid=...

www.videomuzik.biz/video/motivational-science-show-ortalk...

lb.vlip.lv/channel/ST3PYAvIAou1RcZ/tTEq34EKxoToRqOK.html

imglade.com/tag/grassrootsinventions

picnano.com/tags/UnstoppableINDIAN

www.viveos.net/rev/mihirs%2Btrue%2Bnature

m.facebook.com/story.php…

www.facebook.com/worldgeniusrec…/…/2631029263841682…

 

www.upbr.in/record-galle…/upcoming-genius-innovator/…

 

www.geniusesworldrecordsandaward.com/

www.upbr.in/record-galle…/upcoming-genius-innovator/…

m.facebook.com/story.php?story_fbid=699422677473920&i...

www.facebook.com/internationalbookofrecords/

www.youtube.com/channel/UCBFJGiEx1Noba0x-NCWbwSg

www.youtube.com/watch?v=nL60GRF6avk

www.facebook.com/bengal.book.16/posts/122025902616062

www.facebook.com/bengal.book.16/posts/122877319197587

www.facebook.com/bengal.book.16/posts/119840549501264

supremebookofworldrecords.blogspot.com/…/welcome-to…

www.bravoworldrecords.com/

incrediblebookofrecords.in/index.php

www.highrangeworldrecords.com/

CenturyLink Field is a multi-purpose stadium in Seattle, Washington, United States. It serves as the home field for the Seattle Seahawks of the National Football League (NFL) and Seattle Sounders FC of Major League Soccer (MLS). It was originally called Seahawks Stadium but was renamed Qwest Field on June 23, 2004, when telecommunications carrier Qwest acquired the naming rights. It was then given its current name in June 2011 after the acquisition of Qwest by CenturyLink. The complex also includes the Event Center with the WaMu Theater, a parking garage, and a public plaza. The venue hosts concerts, trade shows, and consumer shows along with sporting events. Located within a mile (1.6 km) of Seattle's central business district, the venue is accessible by multiple freeways and forms of mass transit.

 

The stadium was built between 2000 and 2002 after voters approved funding for the construction in a statewide election held on June 17, 1997. This vote created the Washington State Public Stadium Authority to oversee public ownership of the venue. The owner of the Seahawks, Paul Allen, formed First & Goal Inc. to develop and operate the new facilities. Allen was closely involved in the design process and emphasized the importance of an open-air venue with an intimate atmosphere. The stadium is a modern facility with views of the skyline of Downtown Seattle. The stadium can seat 67,000 people.

 

The crowd at CenturyLink Field is notoriously loud during Seahawks games. On September 15, 2013, during a game against the San Francisco 49ers, the fans broke the Guinness World Record for loudest crowd roar at an outdoor stadium with 136.6 decibels. The record was broken on October 13, 2013, at Kansas City's Arrowhead Stadium, home of the NFL's Kansas City Chiefs with a roar of 137.5 dB, but fans reclaimed the title on December 2, 2013, during a Monday night game against the New Orleans Saints, with a roar of 137.6 decibels. Arrowhead reclaimed the title on September 29, 2014 reaching 142.2 dB in a Monday Night Football game vs. the Patriots.[6][7] The noise has contributed to the team's home field advantage with an increase in false start (movement by an offensive player prior to the play) penalties against visiting teams. The stadium was the first in the NFL to implement a FieldTurf artificial field. Numerous college and high school American football games have also been played at the stadium.

 

CenturyLink Field is also designed for soccer. The first sporting event held included a United Soccer Leagues (USL) Seattle Sounders match. The USL team began using the stadium regularly for home games in 2003. The MLS expansion team Seattle Sounders FC, began its inaugural season in 2009 at the stadium. CenturyLink Field was the site of the MLS Cup in 2009. The venue also hosted the 2010 and 2011 tournament finals for the U.S. Open Cup. Sounders FC won both times and new attendance records were set each year it was hosted at CenturyLink Field. On August 25, 2013, the Sounders broke a new home field attendance record when 67,385 fans turned out to watch them play the Portland Timbers.

 

en.wikipedia.org/wiki/CenturyLink_Field

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

The Globe (formerly ABC Theatre) is a Grade II listed Art Deco theatre, in Stockton-on-Tees, England.

 

History

Situated at the north-western end of High Street, the original Globe Theatre was built in 1913 and was the area's first purpose-built cinema. Demolished in 1925, it was first rebuilt in 1926, when it showed the area's first talkies. It was rebuilt again, still on the same site in 1935, designed as a leading variety theatre but also including cinema facilities and seating for 2,372 people. The Globe regularly hosted stage shows with national companies. In 1938, it became an ABC cinema but live performances continued including an annual pantomime, ballet and West End shows.

 

From the 1950s to the 1970s the ABC Theatre was a premier venue hosting many famous acts, such as Buddy Holly, the Platters, Guy Mitchell, the Animals, Cilla Black, Carl Perkins and Chuck Berry. The Beatles twice played at the venue, the first time being Friday 22 November 1963, the day U.S. President John F. Kennedy was assassinated. The Rolling Stones performed at ABC Theatre multiple times, including two shows with Ike & Tina Turner and The Yardbirds in 1966.

 

The venue has hosted other stars, such as Cliff Richard, the Shadows and Lonnie Donegan, who made their acting debuts here in pantomime. Cliff Richard and the Shadows composed their "Stars Fell on Stockton" (B-side to "Wonderful Land") here and much of the music for the Cliff Richard film Summer Holiday whilst taking part in pantomime at the Globe. As late as the 1970s, bands such as Mud, Showaddywaddy and the Bay City Rollers played here.

 

Whilst the theatre played host to these famous bands, it was also a cinema and showed the very first 3D film in the region, House of Wax in 1953. The last film was The Sting, on 15 June 1974. Status Quo were the final rock band to play there in December 1974, but the very last show was on 5 February 1975 when the London Philharmonic Orchestra staged a concert. The doors of the Globe closed only to re-open as a bingo venue for a few years until closing for good in 1997.

 

Reopening

Many of the original ornamental features have survived and the Theatres Trust described the Grade II-listed building as "an excellent example of its kind" and had it as one of 68 buildings on its 'at risk' register.

 

There had been several plans to reopen the venue in recent years, including a plan in 2002 to transform it into a nightclub, but none was realised until it was announced in 2010 that the building would be restored to its former glory at a cost of £4 million, and will reopen as venue for music, comedy and other events.

 

Despite multiple delays due to structural problems and the original budget ballooning to £27.9 million, the theatre reopened in 2021. Pop band McFly were the first act to perform on the Globe's stage since 1975.

 

Stockton-on-Tees is a market town in County Durham, England, with a population of 84,815 at the 2021 UK census. It gives its name to and is the largest settlement in the wider Borough of Stockton-on-Tees. It is part of Teesside and the Tees Valley, on the northern bank of the River Tees.

 

The Tees was straightened in the early 19th century for larger ships to access the town. The ports have since relocated closer to the North Sea and ships are no longer able to sail from the sea to the town due to the Tees Barrage, which was installed to manage tidal flooding. The Stockton and Darlington Railway, on which coal was ferried to the town for shipment, served the port during early part of the Industrial Revolution. The railway was also the world's first permanent steam-locomotive-powered passenger railway.

 

History

Etymology

Stockton is an Anglo-Saxon place name with the common ending ton, meaning farm, or homestead. Stock is thought by some to derive from the Anglo-Saxon Stocc, meaning log, tree trunk, or wooden post. Stockton could therefore mean a farm built of logs. This is disputed because when Stocc forms the first part of a place name, it usually indicates a derivation from the similar word Stoc, meaning cell, monastery, or place. Stoc in place name such as Stoke or Stow usually indicates farms which belonged to a manor or religious house. It is thought that Stockton fell into this category, and perhaps the name is an indication that Stockton was an outpost of Durham or Norton which were both important Anglo-Saxon centres. Stockton was a township in the ancient parish of Norton until 1713, when it became an independent parish in its own right. Norton and Stockton's historic roles were reversed in 1913 when Norton was absorbed into the borough of Stockton.

 

Prehistory

Stockton is reportedly the home of the fossilised remains of the most northerly hippopotamus ever discovered. In 1958, an archeological dig four miles (6 km) north-west of the town uncovered a 125,000-year-old hippo's molar tooth. However, no one knows exactly where the tooth was discovered, who discovered it, or why the dig took place. The tooth was sent to the borough's librarian and curator, G. F. Leighton, who then sent it to the Natural History Museum in London. Since then, the tooth has been missing despite efforts to locate it.

 

Market and castle

Stockton began as an Anglo-Saxon settlement on high ground close to the northern bank of the River Tees.

 

Stockton was described as a manor by 1138, and was purchased by Bishop Pudsey of Durham in 1189. During the 13th century, the bishop changed the village of Stockton into a borough; the exact date the borough was founded is unknown, but it was being described as a borough by 1283. When the bishop freed Stockton's serfs, craftsmen moved to the new town. The bishop had a residence in Stockton Castle, which was a fortified manor house, the first recorded reference to which was in 1376.

 

Stockton's market traces its history to 1310, when Bishop Bek of Durham granted a market charter to our town of Stockton a market upon every Wednesday for ever. The town grew into a small but busy port, exporting wool and importing wine, which was in demand by the upper class. However, even by the standards of the time, medieval Stockton-on-Tees was a small town, with a population of only approximately 1,000, and the town did not grow for centuries.

 

Scotland captured Stockton Castle in 1644, and occupied it until 1646. The castle was destroyed at the order of Oliver Cromwell at the end of the Civil War. A shopping centre, the Castlegate Centre, now occupies the castle area, and this is scheduled for demolition in 2022. No known accurate depictions of the castle exist.

 

The Town House (now called the Town Hall) was built in 1735, and Stockton's first theatre opened in 1766. In 1771, a five-arch stone bridge was built, replacing the nearby Bishop's Ferry. Until the opening of the Middlesbrough Transporter Bridge in 1911, this was the Tees's most downstream bridging point. From the end of the 18th century, the Industrial Revolution transformed Stockton from a small and quiet market town into a flourishing centre of heavy industry.

 

In 1833 the then Bishop of Durham, William Van Mildert (1765 - 1836) gifted five acres and the land of an existing burial site called "The Monument" (originally a mass grave from a prior cholera outbreak) to the town of Stockton. Upon this land, the process of building of and designing the gothic style Holy Trinity Church began, using funds originally allocated for church building in the Commissioners' church Act of 1818.[10] It was designed by John and Benjamin Green, and construction began in 1834. It was consecrated as an Anglican church on December 22, 1835.

 

Locomotion

Shipbuilding, which had started in the 15th century, prospered in the town through the 17th and 18th centuries, with smaller-scale industries also developing. These included brick, sail, and rope making, the latter now reflected in road names such as Ropery Street in the town centre. Stockton became the major port for County Durham, the North Riding of Yorkshire, and Westmorland during this period, exporting mainly rope, agricultural produce and lead from the Yorkshire Dales. Iron making and engineering entered the local economy in the 18th century

 

The town grew rapidly as the Industrial Revolution started, the population grew from 10,000 in 1851 to over 50,000 in 1901 as workers moved in. The discovery of iron ore in the Eston Hills resulted in blast furnaces lining the River Tees from Stockton to the river's mouth. In 1820, an Act set up the Commissioners, a body with responsibility for lighting and cleaning the streets, and from 1822, Stockton-on-Tees was lit by gas.

 

In 1822, Stockton witnessed an event which changed the face of the world forever, and which heralded the dawn of a new era in trade, industry and travel. The first rail of George Stephenson's Stockton and Darlington Railway was laid near St. John's crossing on Bridge Road. Hauled by Locomotion No 1, Stephenson himself manned the engine on its first journey on 27 September 1825. Fellow engineer and friend Timothy Hackworth acted as guard. This was the world's first passenger railway,[citation needed] connecting Stockton with Shildon. The opening of the railway greatly boosted Stockton's economy, making it easier to bring coal to the factories; however, the port declined as business moved downstream to Middlesbrough.

 

Stockton witnessed another development in 1827. Local chemist John Walker invented the friction match in his shop at 59 High Street. The first sale of these matches was recorded in his sales-book on 7 April 1827, to a Mr. Hixon, a solicitor in the town. Since he did not obtain a patent, Walker received neither fame nor wealth for his invention, but he was able to retire some years before his death. He died in 1859 at the age of 78, and is buried in the parish churchyard in Norton village.

 

The first bell for Big Ben was cast by John Warner and Sons in Norton on 6 August 1856, but it was damaged beyond repair while being tested on site, and it had to be replaced by a foundry closer to Westminster, the Whitechapel Bell Foundry.

 

To cater to the increased population, a hospital opened in Stockton in 1862, and a public library opened in 1877. Public transport also became important. Steam trams began running in the streets in 1881, and these were replaced by electric trams in 1897.

 

1930s

Stockton was still dominated by the engineering industry in the 1930s, and there was also a chemicals industry in the town. Buses replaced the trams in 1931. Public housing also became necessary, and in the 1930s, slums were cleared, and the first council houses were built.

 

On 10 September 1933, the Battle of Stockton took place, in which between 200 and 300 supporters of the British Union of Fascists were taken to Stockton to hold a rally, but they were driven out of town by up to 2,000 anti-fascist demonstrators.

 

Services and riots

In the late 20th century, manufacturing severely declined, with the service industries developed into the town's primary employers.

 

The Ragworth district near the town centre was the scene of rioting in July 1992, when local youths threw stones at buildings, set cars alight, and threw missiles at police and fire crews. The area later saw a £12 million regeneration which involved mass demolition and refurbishment of existing properties, and construction of new housing and community facilities.

 

Geography

Stockton lies on the north bank of the River Tees. The town's northern and western extremities are on slightly higher ground than the town centre, which is directly on the Tees. Stockton experiences occasional earth tremors. For example, it was the epicentre of a tremor measuring 2.8 on the Richter scale on 23 January 2020. The town has many areas outside of the town centre; Fairfield, Portrack, Hardwick, Hartburn, Elm Tree Farm, Norton, Roseworth, Newtown, Bishopsgarth and Oxbridge. Norton is the second largest centre in the town.

 

Town centre

Stockton town centre is the heart of the borough. The High Street—the widest in the UK—heads north through the town centre from the junction of Bridge Road and Yarm Lane, to Maxwell's Corner, where Norton Road and Bishopton Lane begin. Dovecot Street runs west from the High Street's midway point, and further north, Church Road extends east toward Northshore and the River Tees. At the centre of the High Street stands Stockton-on-Tees Town Hall, dating from 1735, and the Georgian-style Shambles Market Hall. Around the town hall, the largest outdoor market in North East England, which has been in existence since the 1300s, continues to be held every Wednesday and Saturday.

 

Much of the town centre has a Georgian and late medieval influence, with a number of listed buildings and a variety of architectural types, which help to define the town's identity. The shops predominantly have narrow frontages stretching back to gain floorspace. This burgage plot style is particularly evident around the marketplace and on side streets such as Silver Street, Finkle Street and Ramsgate. There is also the surviving ruins of the gothic style church in Trinity Green, which dates back to 1834.

 

Castlegate Quay

Before 2022, the town centre retail was largely concentrated within two shopping centres, Castlegate and Wellington Square. Wellington Square has open shops on pedestrian-only paths whereas the Castlegate, opened in 1972 and currently undergoing demolition, was a building which incorporated a multi-storey car park and an indoor market. Its façade was a dominant feature along the south east of the High Street, its site bounded by Finkle Street, Bridge Road and Tower Street. The Riverside dual carriageway and the River Tees run almost parallel to the rear of the centre. The Teesquay Millennium Footbridge links the Castlegate Quay on the north side of the river to Teesdale Business Park and Durham University's Queen's Campus on the south side in the ceremonial county of the North Riding of Yorkshire. Situated at the north west end of the town centre is Wellington Square shopping centre, built on the old Wellington Street. Opened in 2001 at a cost of £43 million, it houses 46 shop units.

 

The town centre has retained a number of original yards such as Wasp Nest Yard, Hambletonian Yard, and Ship Inn Yard. Most notable is Green Dragon Yard, a courtyard of restored historic warehouses within a series of alleyways. Considered the cultural quarter of the town, this houses the Green Dragon public house, the Green Dragon Studios (recording studios) and Britain's oldest surviving Georgian Theatre.

 

Alongside retail outlets, Stockton town centre also has a variety of services including national banks and building societies, travel agents, a post office, hairdressers, beauticians, cafés, and restaurants. The refurbishment of some period buildings has provided space for small firms including solicitors, recruitment agencies, and accountants.

 

Riverside

Bridges of Stockton

The Infinity Bridge

Teesquay Millennium Bridge

Victoria Bridge

 

Since the construction of the Tees Barrage in 1995, the level of the River Tees through the town has permanently been held at high tide, creating a backdrop for riverside events and facilitating watersports activities such as rowing, canoeing, jet skiing, and dragon boat racing. Stockton town centre is elevated above the river, and is separated from the riverside by the A1305 Riverside Road, a dual carriageway which runs parallel to the river from Northshore to Chandlers Wharf.

 

From the town centre, Bishop Street, Silver Street, Calvert's Lane, and Thistle Green offer views of the river where it meanders around Teesdale Business Park. Durham University Queen's Campus can be seen on the opposite side, alongside the skyline of Middlesbrough in the middle distance and Roseberry Topping in the Cleveland Hills, approximately fifteen miles (24 km) south east.

 

Chandlers Wharf is situated on the north side of the river where Bridge Road approaches Victoria Bridge. The area is characterised by a mixture of office and residential accommodation, including the colourful twelve-storey Mezzino student apartments at Rialto Court, a Mecca Bingo hall, Burger King and the two-storey Grosvenor Casino, which opened in September 2011. Adjacent to the wharf is Castlegate Quay, which was once the town's main dock. The quayside is still occupied by Georgian warehouses which have been converted into a number of business units, restaurants, and a gym. A full-size replica of Captain James Cook's ship HM Bark Endeavour was once moored at the quayside, but was sold and moved after refurbishment to a mooring in Whitby. The Teesside Princess, a two-deck river boat, is docked alongside, and offers river cruises all year to Yarm via Preston Park.

 

Both the north and south banks of the Tees are retained by steel sheet pile walls, and have footpaths along the river edge. The Tees Walkway on the north bank of the river can be accessed from the town centre by the Teesquay Millennium Footbridge or the Riverside Footbridge, and incorporates a cycle path which forms part of the National Cycle Network.

 

The 11-metre Aeolian Motion wind sculpture stands on a grassy slope overlooking the riverside, which becomes an amphitheatre during large events. From Castlegate Quay, the tree-lined path along the waterfront toward the Princess of Wales Bridge opens into green space and a car park for events. Beyond the Princess of Wales Bridge, the slipway at the River Tees Watersports Centre is situated at the western area of Northshore, which is currently under development, and which leads to the Tees Barrage.

 

Culture

Stockton centre also has a number of restaurants, amusement arcades, a bingo hall, a snooker club, and health and fitness facilities.

 

Festivals and fairs

Stockton Calling is an Easter Sunday music festival which has taken place across several of Stockton's music venues annually since 2010. In 2019, it celebrated its 11th year, and was headlined by Sophie and the Giants.

 

The Stockton International Riverside Festival (SIRF), one of Europe's largest open air festivals, has taken over the town once a year since 1988. Spread over a long weekend, for either four or five days, it attracts over 250,000 visitors, and features a variety of acts such as circus, comedy, music, dance and street theatre.

 

The annual riverside firework display happens on the first Sunday closest to 5 November, and is typically attended by up to 100,000 spectators from the wider region. The year's events always conclude with the Stockton Sparkles Christmas festival and associated markets.

 

Theatres and music venues

The ARC Theatre & Arts Centre on Dovecot Street was built in 1999, and comprises a multi-purpose arts centre for cinema, theatre, dance, and music. It has three floors including four venues: a 260-seat theatre, a 100-seat studio theatre, a point/music area accommodating 550 standing, and a 130-seat cinema. It also has exhibition spaces, meeting rooms, a café, and two bars.

 

The Georgian Theatre at Green Dragon Yard is Grade II listed, and is the oldest Georgian theatre in the country. Originally opened in 1766, it fell into disrepair during the 19th century, but later functioned as a sweet factory and then a community building. Between 2007 and 2008, the building was given a full makeover along with the neighbouring Green Dragon Studios, and now serves as an intimate venue for live entertainment with a capacity of 200.

 

The Grade-II listed Globe Theatre built in 1936 is at the north western end of the High Street, the theatre reopened in 2021 following extensive restoration. It was built on the same site as two previous theatres, and has hosted many famous acts such as Buddy Holly, the Platters, Guy Mitchell, the Rolling Stones, the Animals, Cilla Black, Carl Perkins, Cliff Richard, the Shadows and Chuck Berry. The Beatles famously played the Globe on Friday 22 November 1963, the day U.S. President John F. Kennedy was assassinated.

 

Public art

Stockton Flyer

On 12 June 2016, Stockton Council launched The Stockton Flyer, a stylised model of a flying steam locomotive in a plinth on Stockton High Street. The Flyer was unveiled to mark Queen Elizabeth II's official 90th birthday on 12 June 2016. The Stockton Flyer appears from the plinth every day at 1 p.m., and often draws a crowd of people watching the rising and lowering of the structure.

 

Aeolian Motion

Designed by Phil Johnson of Ratho Forge, the wind sculpture Aeolian Motion was constructed at the end of Silver Street in March and April 2001. The design is said to impart a unique identity to the seating area, reflecting the character of Stockton, and creating a sense of place.

 

Facilities

Public services provided in Stockton include a general hospital, health advice centres, dental and medical surgeries, a library, churches, employment advice centres, youth projects, energy advice centres and an international family centre. A cluster of municipal buildings is concentrated primarily along Church Road. The police headquarters is the only emergency service station located within the centre, next to Stockton Central Library.

 

The University Hospital of North Tees is located in the town and serves south east County Durham. It is part of the North Tees and Hartlepool NHS Trust.

 

Public parks

Stockton has a number of public parks and nature reserves. Most notable is Ropner Park, a Victorian-style park on the outskirts of the town, near Hartburn village. Opened in 1893 and renovated in 2007, the park has tree-lined avenues approaching an ornate water fountain, surrounded by rockeries and floral displays. Overlooking a lake, a bandstand features live band music on Sunday afternoons in the summer. Seasonal fairs and occasional organised events are staged at the park throughout the year. Close by, there is also the smaller park housing the ruins of the Holy Trinity Church, now called Trinity Green.

 

Further upstream is Preston Park, a 100 acres (40 ha) public park by the River Tees. The park hosts many events each year that attract people from across Teesside and further afield. Preston Hall, once the home of Sir Robert Ropner, is situated within the grounds, and is now a museum. The park also houses 'Butterfly World', an artificial tropical environment housing various species of exotic butterflies and reptiles.

 

Downstream is Portrack Marsh Nature Reserve, a 50 acres (20 ha)[55][56] nature reserve by the northern bank of the river between the Tees Barrage and the Tees Viaduct near Portrack housing estate. It is the last remaining wetland on the lower Tees. Ownership of the reserve is divided between the Tees Valley Wildlife Trust and Northumbrian Water, but the reserve is managed by the Tees Valley Wildlife Trust. The western and northern parts of the reserve are mature marsh, while there are a series of man–made ponds in the south east.

 

Leisure

The town's main leisure facility is 'Splash', a large wet and dry facility on Church Road which includes a 25m pool with a wave machine and flumes, a learner pool, a spa pool, a two-storey fitness facility, dry multi-activity spaces, a café and Sportwall & dance facilities. The Castlegate Quay Watersports Centre also offers opportunities for sailing and paddling on the River Tees.

 

Libraries

Stockton Central Library on Church Road is the largest public library serving the borough of Stockton-on-Tees. Built in 1967, it was fully refurbished in 2011 at a cost of £1.9m. It occupies two floors: the ground floor incorporates Stockton Borough Council's Customer Services Centre, an adult lending library, and a children's library, while the first floor houses the reference library (the central reference department for the borough), a family history suite, a computer suite with free internet access, and the 'Starbooks' café. The library also has conference facilities and an exhibition area.

 

Religion

Stockton is a Church of England deanery of the Archdeaconry of Auckland, in the Diocese of Durham. The churches of St Peter, Stockton Parish Church (St Thomas'), and St Paul are in the town. Holy Trinity Church was built as an Anglican church, later became Greek Orthodox, and was then destroyed by fire in 1991. The ruins remain on site.

 

Stockton is in the Roman Catholic Diocese of Hexham and Newcastle, and is home to the parishes of St Bede, St Cuthbert, English Martyrs and SS Peter and Paul, St Joseph, St Mary, and St Patrick.

 

Stockton also has a sizable Muslim population (6,675), with mosques such as Farooq E Azam Mosque and Islamic Centre serving this community. The Farooq E Azam mosque is especially of note, due to the recent council decision to allow the call to prayer, or Adhan, to be played once at week at an agreed volume, the first mosque in the north-east of England to do so.

 

Sport

Stockton Cricket Club was established in 1816, and has been located at the Grangefield Cricket Ground since 1891. The club currently fields three senior teams at weekends in the 1st, 2nd and 3rd Divisions of the Dukes North East Premier League.

 

Stockton Football Club existed from 1882 until it folded in 1975. They played at the Victoria Ground which also held greyhound racing (one of two venues in the town to do so along with Belle Vue Park). The club's assets were transferred to Norton Cricket Club, who subsequently founded the Norton & Stockton Ancients Football Club. There are two other football clubs in the town. Stockton Town F.C. play in the Northern Premier League Division One East after consecutive promotions winning the Wearside League in 2016 and Northern League Division 2 in 2017. Meanwhile, Stockton West End currently play in the North Riding Football League Premier Division.

 

Stockton Rugby Club, established in 1873, is the local Rugby Union team. Home games are now played at the Grangefield Ground following a community partnership agreement with Stockton Cricket club and Grangefield Academy in 2015.

The purpose of this project is to replace the aging Route 703 bridge over Rowanty Creek in Dinwiddie County with a new structure on the existing alignment. The current bridge was built in 1938.(Photo by Trevor Wrayton, VDOT)

Proverbs 13:9

The light of the righteous rejoiceth: but the lamp of the wicked shall be put out. (KJV)

 

#Savior #Israel #Purpose #Quote #Inspired #JesusChrist #QuoteOfTheDay

 

www.bible-sms.com/

The purpose of this post is to help assist those with questions they have concerning their business or medical practice. The Callagy Law team is knowledgeable in many law practice areas and will frequently post topics ranging from Medical Revenue Recovery, PIP, Workers Compensation, and...

 

callagylaw.com/workers-compensation-coverage-required-for...

for future nostalgia purposes

Burrell General Purpose Engine 2767, King Sedgemoor seen at the New years day road run organised by the Somerset traction engine club

 

Sedgemoor Auction Centre

 

Taken with a Nikon D7000

 

We are all visitors to this time, this place.

We are just passing through.

Our purpose here is:

to observe,

to learn

to grow

to love...

and then we

RETURN HOME

Australian Aboriginal Proverb

I am of an age such that I clearly remember dual-purpose buses - vehicles with coach body shells fittted with more utilitarian seats, intended for longer routes than the standard town or city stage service, but not your full-on long-distance express service. These days in the UK there really is nothing quite filling that space, but recent deliveries to Lanzarote include this remarkable 15m 3-axle Scania with Irizar body of rather coach-like lines but of a dual-door persuasion.. It is used on the service between Arrecife and Playa Blanca. A local resident told me that this was the longest rigid vehicle that he had seen on the island, and that it took little tome after its arrival before it had clooected some accidental dings and dents.

 

Here it is crosing the vast lava field that runs down to the sea from the volcanoes to the north, visible in the background.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The 21 cm Kanone 39 (K 39) was a Czech-designed heavy gun used by the Germans in the Second World War. It was original designed by Škoda as a dual-purpose heavy field and coast defence gun in the late 1930s for Turkey with the designation of ‘K52’. Only two had been delivered before the rest of the production run was appropriated by the Heer upon the occupation of Czechoslovakia in March 1939.

Initially, the K 39 only saw limited use as a field cannon in Operation Barbarossa, the Siege of Odessa, Siege of Leningrad and the Siege of Sevastopol. During the war, nine of these guns were sold to Sweden, too.

 

With the ongoing (and worsening) war situation and the development of heavy tank chassis towards late 1944, the K 39 received new attention and was adapted by the Wehrmacht as a long-range mortar, primarily intended as a mobile coastal defense weapon for strategically important naval sites, and as a second line artillery support. There were several reasons that made the heavy weapon still attractive: Unlike the German practice of sliding block breeches that required a metallic cartridge case to seal the gun's chamber against combustion gases, Škoda had preferred to use an interrupted screw breech with a deBange obdurator to seal the chamber. This lowered the rate of fire to 3 rounds in 2 minutes but had the great economic advantage of allowing bagged propellant charges that didn't use scarce brass or steel cartridge cases, since these metals became more and more short in supply. This also meant that the propellant charge could be adjusted to the intended range, what also helped save material.

The other unusual feature of the gun was a monobloc auto-frettaged barrel, created from a single piece of steel that was radially expanded under hydraulic pressure. This had the advantage of placing the steel of the barrel under compression, which helped it resist the stresses of firing and was simpler and faster to build since the barrel didn't require assembly as with more traditional construction techniques.

 

Every shell used by the K 39 weighed 135 kilograms (298 lb). HE shells (the 21 cm Gr 40), anti-concrete shells (21 cm Gr 39 Be) and an armor-piercing, base-fuzed shell, the 21 cm Pzgr 39 were available. The K 39 used a bagged charge with a total weight of 55 kilograms (121 lb). The base charge (“Kleine Ladung”) weighed 21.5 kilograms (47 lb) and had an igniter stitched to its base. The two increments (“Vorkart”) were lightly stitched together and enclosed in another bag tied at the top and with another igniter stitched to the base. The medium charge (“Mittlere Ladung”) consisted of the base charge and increment 2 while the full charge (“Grosse Ladung”) consisted of the base charge and both increments. The increments were loaded before the base charge. This resulted in a muzzle velocity of 800–860 m/s (2,600–2,800 ft/s) and a maximum firing range of 33 km (36,000 yd).

 

Emplacing the K 39 on its original box trail carriage took six to eight hours, mainly to dig in and anchor the firing platform, and a significant entourage was necessary to operate it. To improve the weapon’s handling and mobility, and to protect the crew especially against aircraft attacks, the K 39 was in 1943 to be mounted on a self-propelled chassis. Initially, a standardized “Schwerer Waffenträger”, which would also be able to carry other large-caliber guns (like the 17 cm Kanone 18 in Mörserlafette), was favored. However, the vehicle’s functional specification included the ability to set the heavy weapon gun down on the ground, so that it could be operated separately, and this meant an open weapon platform as well as complex and heavy mechanisms to handle the separate heavy guns. The Schwere Waffenträger’s overall high weight suggested the use of existing standard heavy tank elements and running gear and drivetrain elements from the heavy Tiger II battle tank were integrated into the design. The development of this mobile platform had high priority, but the focus on more and new battle tanks kept the resources allocated to the Schwerer Waffenträger project low so that progress was slow. As it became clear that the Schwere Waffenträger SPG would not become operational before 1945 a simpler alternative was chosen: the modification of an existing heavy tank chassis. Another factor was the Heeresleitung’s wish to protect the weapon and its crew through a fully enclosed casemate, and the ability to set the weapon down was dropped, too, to simplify the construction.

Originally, the SdKfz. 184 (Porsche’s chassis design for the Tiger I battle tank, which was not accepted in this role but instead developed into the tank hunter SPG Elefant/Ferdinand with a modified combat compartment at the rear, was chosen. But since this type’s production ended prematurely and many technical problems occurred through its complex propulsion system, the chassis of the Sd.Kfz. 186, the heavy Jagdtiger SPG, was selected instead, as it was the only readily available chassis at the time in production that was capable of carrying the K 39’s size and weight and of accepting its massive recoil forces.

 

The Jagdtiger itself was based on the heavy Tiger II battle tank, but it was lengthened by 260 mm. Due to production problems with its main armament, many Jagdtiger hulls were left uncompleted, and to bring more of these heavy vehicles to the frontlines it was adapted to the Sd.Kfz. 187, the Jagdtiger Ausf. M with a modified internal layout (casemate and engine bay positions were switched to fit an 88 mm gun with an extra-long barrel), a stronger but still experimental X16 gasoline engine, and a simplified Porsche running gear.

Since it was readily available, this re-arranged Jagdtiger base was adopted for the so-called Sd.Kfz. 190 “Küstenbatterie K 39 (auf Jagdtiger (Ausf. M)” self-propelled gun (SPG), or “KüBa 39” for short. The casemate-style combat section at the rear offered sufficient space for both the huge weapon and its crew, and also prevented the long gun barrel from hanging over too far ahead of the tank, improving its handling. Space for ammunition was still limited, though: racks on the casemate’s side walls offered space for only four rounds, while fifteen gun charges were stored separately. Gun elevation was between +50° and –3°, azimuth adjustment was achieved through turning the whole vehicle around.

The Sd.Kfz. 190’s hull featured the Jagdtiger’s standard heavy armor, since the Sd.Kfz. 190 was converted from existing lower bodies, but the new battle compartment was only heavily armored at the front. This was intended as a protection against incoming RPGs or bombs dropped from Hawker Hurricane or Typhoon fighter bombers, and as a sufficient protection against frontal ground attacks – the vehicle was supposed to retreat backwards into a safe position, then turn and move away. Roof and side walls had furthermore to be thinner to reduce the vehicle’s overall weight and lower its center of gravity, but they still offered enough protection against 20mm projectiles. Nevertheless, the Sd.Kfz. 190 weighed 64 tonnes (71 short tons), almost as much as the original Jagdtiger SPG it was based upon. Since it was not intended to operate directly at the front lines, the Sd.Kfz. 190 retained the Jagdtiger’s original (but rather weak) Maybach HL230 P30 TRM petrol engine with 700hp and the Henschel suspension with internal torsion bars, what simplified the conversions with readily available material.

 

A pair of retractable supports at the rear of the vehicle could be lowered to stabilize the vehicle when firing and distribute the gun’s massive recoil into the ground. The tall casemate’s rear featured a large double swing door which were necessary to avoid crew injuries from the massive gun’s pressure when it was firing. The doors were also necessary to re-load the gun – a small crane was mounted above the doors on the roof of the casemate, and a hoist to move the heavy rounds around in the casemate was mounted on tracks under the combat compartment’s ceiling.

 

The KüBa 39 had a standard crew of six men. The crew in the hull retained their role and positions from the Tiger II, with the driver located in the front left and the radio operator in the front right. This radio operator also had control over the secondary armament, a defensive machine gun located in a mount in the front glacis plate. In the casemate were the remaining 4 crew, which consisted of a commander (front right), the gunner (front left), and two loaders in the rear, which were frequently augmented by a third loader to handle the heavy rounds with an internal hoist under the casemate’s roof. Due to the severe maintenance and logistics needs, the KüBa 39 never operated on its own. Typically, several dedicated vehicles accompanied the self-propelled gun carrier as a “battle group”, including at least one ammunition carrier like the Hummel Munitionsträger, a crew transporter like a Sd.Kfz. 251 for more helping hands outside of the vehicle and frequently a command/radio vehicle to coordinate and direct the fire onto targets far beyond visual range.

 

The KüBa 39 was quickly developed and fielded, but it came too late for the Allied invasion in 1944 where it could have been a valuable asset to repel Allied ships that operated close to the French coast or even in second line in the Channel. The first vehicles became operational only in early 1945, and production was limited and rather slow. The ever-worsening war situation put more and more emphasis on the production of battle tanks and tank hunters, so that the heavy artillery vehicle only received low priority. However, the few vehicles that were produced (numbers are uncertain, but not more than 30 were eventually completed and fielded), found a wide range of uses – including the defense of the Elbe mouth and the Hamburg port. Some were shipped to Norway for coastal defense purposes, and a handful was allocated to the defense of German submarine bases in France.

Towards the end of hostilities, the survivors were integrated into infantry groups and used for long-range fire support at both Western and Eastern front. No vehicle survived, since most Sd.Kfz. 190 were destroyed by their crews after breakdowns or when the heavy vehicle got stuck in difficult terrain – its weight made the KüBa 39 hard to recover.

  

Specifications:

Crew: Six - seven (commander, gunner, 2 -3× loader, radio operator, driver)

Weight: 64 tonnes (71 short tons)

Length: 7.27 metres (23 ft 8 in) (hull only)

9.72 metres (31 ft 10 in) overall in marching configuration

Width: 3.88 metres (12 ft 9 in)

Height 3.81 metres (12 1/2 ft)

Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)

Suspension: Torsion bar

Fuel capacity: 720 litres (160 imp gal; 190 US gal)

 

Armor:

25 – 150 mm (1 – 5.9 in)

 

Performance:

Speed

- Maximum, road: 38 km/h (23.6 mph)

- Sustained, road: 32 km/h (20 mph)

- Cross country: 15 to 20 km/h (9.3 to 12.4 mph)

Operational range: 120 km (75 mi) on road

80 km (50 mi) off road

Power/weight: 10,93 PS/tonne (9,86 hp/ton)

 

Engine:

V-12 Maybach HL HL230 P30 TRM gasoline engine with 700 PS

 

Transmission:

ZF AK 7-200 with 7 forward 1 reverse gears

 

Armament:

1× 21 cm K 39/41 L45 heavy siege gun with 4 rounds and 15 separate charges

1× 7.92 mm Maschinengewehr 34 or 42 with 800 rounds in the front glacis plate

  

The kit and its assembly:

The project to put the massive (real) Czech 21 cm K39 gun on a German chassis had been on my agenda for a long time, but I have never been certain about the vehicle donor for this stunt. I initially favored a Modelcollect E-50/75 since it is available as an SPG version with a reversed engine/casemate layout. But this kit has two serious issues: it would IMHO be too late to be adapted for the pre-war weapon, and – worse - the kit has the flaw that the mould designers simply ignored the driver/radio operator in the hull’s front – the glacis plate immediately migrates into the engine deck and bay, so that there’s no internal space for the driver! Even if you’d assume that the driver would sit with the rest of the crew in the casemate behind the engine, there are no hatches, sights slits or mirrors? Well, it’s a fictional tank, but IMHO it has been poorly designed.

Correcting this might be possible, but then I could also convert something else, probably easier. This alternative became a serious option when I recently built my fictional Sd.Kfz. 187, a Jagdtiger with a reversed layout. This stunt turned out to be easier than expected, with good results, and since I had a second Jagdtiger kit left over from the Sd.Kfz. 187 project I simply used it for the KüBa 39 – also having the benefit of being rooted in an earlier time frame than the E-50/75, and therefore much more plausible.

 

The Trumpeter 1:72 Jagdtiger first lost its mid-positioned casemate. Internal stiffeners were glued into the hull and the engine deck was cut out and glued into the former casemate’s place, directly behind the driver section. The casemate for the 21 cm gun (a Revell field gun model of this weapon, highly detailed) was scratched, though, and designing it was a gradual step-by-step process. To offer more internal space, the engine deck was slightly shortened, what also changed the vehicle’s profile. From the Jagdtiger’s superstructure I just retained the roof. Things started with another donor piece, though, the massive gun mantlet from a Trumpeter 1:72 KV-2 tank. It was mated with the21 cm gun and the movable KV-2 mantlet mounted with styrene sheet spacer onto a scratched casemate front plate. More styrene sheet was used to create covers around the mantlet, and inside I glued an “arm” to the gun with lead bead ballast, so that the gun could be easier posed in raised position. The finished gun element was glued onto the hull, and the Tiger II roof positioned as far back as possible, what revealed a 3mm gap to the front plate – bridged by another styrene sheet filler, which was also used to raise the roof and add a kink to the roofline that would make the casemate look less boxy.

 

With the roofline defined I decided to extend the casemate backwards – after all, the original rear engine was gone and the vehicle would certainly need a spacious back door to enter and load it. Therefore, a back wall section was cut out and a casemate extension scratched from styrene sheet. When this was in place, the vertical casemate rear wall was added, and with the profile now fully defined the casemate side walls were created from 1.5 and 0.5 mm styrene sheet. The kink under the roofline was a self-imposed challenge, but I think that this extra effort was worthwhile because the casemate looks more organic than just a simple box design like the Ferdinand/Elefant’s superstructure?

Once the casemate was closed, surface details were added, including the doble door at the rear, the small crane on the roof, and the retractable supports (which came, IIRC, from a Modelcollect 1:72 T-72 kit). The rest of the original Jagdtiger kit was simply taken over OOB.

 

Painting and markings:

As a vehicle operated in the open field, I gave the KüBa 39 a classic, contemporary “Hinterhalt” paint scheme, in the sophisticated original style that was only applied to a few vehicles on factory level until the camouflage job was soon delegated to the frontline units. Painting started with a base coat of RAL 8000 (Grünbraun) as an overall primer, then 7028 Dunkelgelb (Tamiya TS-3) was sprayed onto the upper surfaces from a rattle can for a light shading effect. At this stage the markings/decals were already applied, so that the additional camouflage could be applied round them. They were puzzled together from the scrap box.

Then clusters/fields in Olivgrün (RAL 6003; Humbrol 86) and Rotbraun (RAL 8012, Humbrol 160) were added onto the sand tone base with circular templates/stencils made from densely foamed styrene that were glued onto the tip of toothpicks – the large casemate with its even surfaces lent itself for this elaborate “factory finish” scheme variant. The stamp method worked better than expected, and the result is very convincing. I just tried to concentrate the dark areas to the upper surfaces, so that the contrast against the ground when seen from above would be smaller than from a side view, which became more fragmented. The running gear remained uniform Dunkelgelb, as a counter-shading measure and to avoid wobbling patterns on camouflaged wheels that could attract attention while the vehicle would move.

 

After protecting the decals with a thin coat of varnish the model and the still separate wheels received a dark-brown washing with highly thinned acrylic paint and an overall dry-brushing treatment with light grey and beige. Additionally, water colors were used to simulate dust and light mud, and to set some rust traces on exposed areas.

 

Artist mineral pigments were dusted into the running gear and onto the tracks after their final assembly, and some mud crusts on the tail supports were created with a bit of matt acrylic varnish and more pigments.

  

A thorough conversion project, and the result is a really massive vehicle - its bulk is hard to convey, the Jagdtiger basis is already a massive vehicle, but this is "super-size", close to an E-100! However, you have to place something next to it to fathom the size of the 21 cm mortar and the huge casemate that covers it. But the conversion looks IMHO rather natural, esp. for a scratched work, and the Hinterhalt suits the bulky vehicle well, it really helps to break the outlines up.

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

 

ETYMOLOGY

The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.

 

WEAVING

Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".

 

The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.

Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.

 

Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.

Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.

 

There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.

 

TYPES OF LOOMS

BACK STRAP LOOM

The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.

 

Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[

 

WARP-WEIGHTED LOOM

The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.

 

DRAWLOOM

A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.

 

HANDLOOM

A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.

 

FLYING SHUTTLE

Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.

 

The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.

 

HAUTE-LISSE AND BASSE-LISSE LOOMS

Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.

 

RIBBON WEAVING

TRADITIONAL LOOMS

Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.

 

POWER LOOMS

Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.

 

Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.

 

WEFT INSERTION

Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:

 

Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.

Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.

Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.

Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.

Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.

 

SHEDDING

DOBBY LOOMS

A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.

 

JACQUARD LOOMS

The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.

 

CICULAR LOOMS

A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.

 

SYMBOLISM AND CULTURAL SIGNIFICANCE

The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.

 

WIKIPEDIA

Semi-permanently coupled pair of Windhoff MPV (Multiple-purpose Vehicles) numbers DR 98975 and DR 98 number 925 built at Münster, Germany briefly pop into Bromley North while working Rail Head Treatment Train (RHTT) 3S71 from Tonbridge Engineers Sidings to Tonbridge Engineers Sidings on 18 October 2015.

 

According to Realtime Trains the route and timings were;

Tonbridge Engineers Sdn...2033.........................2033............................RT

Tonbridge [TON] 2................2035.........................2034..............................1E

Sevenoaks [SEV] 2................2047/2052 1/2........NoRep/2054 3/4.....2L

Chelsfield [CLD].....................2103..........................2103.............................RT

Orpington [ORP] 4.................2105 1/2/2115 1/2....2105/2112...................3E

Petts Wood Junction............2117 1/2.....................2115..............................2E

Chislehurst [CIT] S.................2121 1/2.....................2116.............................5E

Grove Park [GRP] 4...............2125 1/2....................2123.............................2E

Lee [LEE] 2..............................2131 1/2.....................2136 1/2.......................5L

Mottingham [MTG] 2.............2134...........................2138 3/4.....................5L

New Eltham [NEH] 2.............2135 1/2....................2139 1/2......................4L

Sidcup [SID] 2.........................2137 1/2....................2141 3/4.......................4L

Albany Park [AYP] 2..............2139 1/2....................2142 3/4......................3L

Bexley [BXY] 2........................2141 1/2.....................2143 3/4.....................2L

Crayford [CRY] 2....................2144 1/2....................2147 1/4.......................2L

Barnehurst [BNH] 1................2151 1/2/2154 1/2....2155/2157...................2L

Slade Green [SGR] 1..............2210 1/2....................2211 1/2........................1L

Erith [ERH] 1.............................2213..........................2214 1/4........................1L

Belvedere [BVD] 1..................2215 1/2....................2216 3/4......................1L

Abbey Wood [ABW] 1............2218..........................2219 1/2.......................1L

Plumstead [PLU] 1..................2221..........................2223 1/4......................2L

Woolwich Arsenal 1...............2225.........................2225 1/4.....................RT

Charlton [CTN] 1.....................2230.........................2232 1/4......................2L

Greenwich [GNW] 2..............2236.........................2238 1/2......................2L

North Kent East Junction.....2242 1/2...................2243...........................RT

London Bridge [LBG] 2........2249 1/2/2256.......2248 1/2/2256 3/4...RT

North Kent East Junction.....2302 1/2...................2300 3/4.....................1E

Greenwich [GNW] 1...............2306 1/2...................2303 1/4.....................3E

Charlton [CTN] 2....................2309 1/2...................2309 3/4....................RT

Woolwich Arsenal 2..............2315..........................2316..............................1L

Plumstead [PLU] 2.................2318...........................2318............................RT

Abbey Wood [ABW] 2..........2321 1/2....................2320 3/4....................RT

Belvedere [BVD] 2................2324 1/2...................2324............................RT

Erith [ERH] 2............................2327 1/2...................2327 1/2.....................RT

Slade Green [SGR] 2.............2330.........................2330 3/4....................RT

Barnehurst [BNH] 1................2334 1/2...................2334 1/2.....................RT

Bexleyheath [BXH] 1.............2335 1/2...................2336 1/4.....................RT

Welling [WLI] 1........................2337..........................2337 1/2.....................RT

Falconwood [FCN] 1..............2338..........................2339...........................RT

Eltham [ELW] 1........................2339 1/2...................2340 1/2.......................1L

Blackheath [BKH] 1................2343 1/2...................2344 1/2.......................1L

Lewisham [LEW] 3.................2345 1/2...................2347 1/4.......................1L

St Johns [SAJ] 1......................2347 1/2...................2349.............................1L

New Cross [NWX] B..............2349 1/2/0001 1/2..2351/2354 1/4...........7E

St Johns [SAJ] 2.....................0005 1/2...................2356...........................9E

Lewisham [LEW] 4.................0007 1/2...................2358...........................9E

Blackheath [BKH] 2...............0009 1/2...................0001 3/4.....................7E

Eltham [ELW] 2.......................0017 1/2....................0007 1/4....................10E

Falconwood [FCN] 2.............0020.........................0009 1/2...................10E

Welling [WLI] 2.......................0021 1/2....................0010 1/2......................11E

Bexleyheath [BXH] 2............0024 1/2...................0012 3/4.....................11E

Barnehurst [BNH] 2...............0026 1/2...................0014 1/4....................12E

Crayford [CRY] 1.....................0035 1/2...................0022 1/4....................13E

Bexley [BXY] 1.........................0038 1/2...................0023 1/4...................15E

Albany Park [AYP] 1...............0040 1/2...................0024 1/2...................16E

Sidcup [SID] 1..........................0042 1/2...................0025 3/4..................16E

New Eltham [NEH] 1..............0044 1/2...................0027..........................17E

Mottingham [MTG] 1..............0046.........................0028 1/4....................17E

Lee [LEE] 1...............................0048 1/2...................0031 1/4......................17E

Grove Park [GRP] 5...............0052.........................0042 1/2.....................9E

Chislehurst [CIT] S.................0056.........................0045 1/2...................10E

Petts Wood Junction............0058.........................0047............................11E

Orpington [ORP] 5.................0100/0145................0051/NoRep.............9E

Petts Wood Junction............0147...........................0059.........................48E

Chislehurst [CIT] F.................0149..........................0100...........................49E

Grove Park [GRP] 2...............0153..........................0103 1/4....................49E

Grove Park [GRP] 1................0202.........................0110...........................52E

Bromley North [BMN] 2........0207/0210...............0113 3/4/NoRep.....53E

Grove Park [GRP] 2...............0215..........................0119...........................55E

Grove Park [GRP] 3...............0224.........................0132 1/4.....................51E

Chislehurst [CIT] F.................0228.........................0135..........................53E

Petts Wood Junction............0230.........................0136..........................54E

Orpington [ORP] 3.................0232.........................0138..........................53E

Chelsfield [CLD].....................0234 1/2...................0139 3/4...................54E

Sevenoaks [SEV] 3................0245.........................0147 1/4....................57E

Tonbridge [TON] 2................0257.........................0157...........................59E

Tonbridge Engineers Sdn...0259.........................0200.........................59E

 

"When a person has no purpose, the slightest, meaningless issues become the focus of that persons existence."

I wish for everyone a purpose or maybe a new purpose in this coming new year.

This purpose does not have to be grand.

The dictionary defines it as:

determination, resolution, resolve, steadfastness, backbone, drive, push, enthusiasm, ambition, motivation, commitment, conviction, dedication, informal get up and go, intend, mean, aim, plan, design, have the intention, decide, resolve, determine, propose, aspire.

 

That's a whole lot of words with a whole lot of meaning! To pick just one of these words, make it your mantra and live by it, could make such a difference. It could even cause transformation by allowing us to explore many options that we never thought possible.

 

A simple smile, a kind word, to make another person feel good about themselves on a daily basis are some of my goals this coming year. To take photos that evoke memories of good times shared or of something pleasant and beautiful to view that makes one pause and take notice for a brief moment, is another. A commitment to achieve one small goal at a time and stick to it! Most of all to live by example, because when you think no one is watching they really are, especially children!

 

Commitment, I really like that word and that's my new word for the year and by golly I'm sticking to it!!!

 

Photo taken, you guessed it, at the Magic Kingdom!