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A specially built Jaguar XJ12 for The Queen Mother. Apparently she was very fond of this car, and never had it replaced by an updated model until her passing in March 2002.
The XJ6, using 2.8 litre (2,790 cc or 170 cu in) and 4.2 litre (4,235 cc or 258.4 cu in) straight-six cylinder versions of Jaguar's renowned XK engine, replaced most of Jaguar's saloons – which, in the 1960s, had expanded to four separate ranges. Apart from the engines, other main assemblies carried over from previous models were the widest version of Jaguar's IRS unit from the Mark X and the subframe mounted independent front suspension first seen in the 1955 2.4 litre with new anti- geometry.
An upmarket version was marketed under the Daimler brand and called the Daimler Sovereign, continuing the name from the Daimler version of the Jaguar 420.
The car was introduced in September 1968. Power-assisted steering and leather upholstery were standard on the 2.8 L De Luxe and 4.2 L models and air conditioning was offered as an optional extra on the 4.2 L. Daimler versions were launched in October 1969, in a series of television advertisements featuring Sir William. In these spots, he referred to the car as "the finest Jaguar ever". An unusual feature, inherited from the Mark X and S-Type saloons, was the provision of twin fuel tanks, positioned on each side of the boot / trunk, and filled using two separately lockable filler caps: one on the top of each wing above the rear wheel arches. Preliminary reviews of the car were favourable, noting the effective brakes and good ride quality.
In March 1970 it was announced that the Borg-Warner Model 8 automatic transmission, which the XJ6 had featured since 1968, would be replaced on the 4.2 litre-engined XJ6 with a Borg-Warner Model 12 unit. The new transmission now had three different forward positions accessed via the selector lever, which effectively enabled performance oriented drivers to hold lower ratios at higher revs to achieve better acceleration. "Greatly improved shift quality" was also claimed for the new system.
Around this time minor changes were made as well, such as moving the rear reflectors from beside to below the rear lights; on the interior the chrome gauge bezels were changed for black ones, to cut down on distracting reflections.
In 1972 the option of a long-wheelbase version, providing a 4" increase in leg room for passengers in the back, became available.
The XJ12 version was announced in July 1972, featuring simplified grille treatment, and powered by a 5.3 L V12 engine (coupled to a Borg Warner Model 12). The car as presented at that time was the world's only mass-produced 12-cylinder four-door car, and, with a top speed "around 140 mph" (225 km/h) as the "fastest full four-seater available in the world today". Although it had been the manufacturer's intention from launch that the XJ would take the twelve-cylinder engine, its installation was nonetheless a tight fit, and providing adequate cooling had evidently been a challenge for the engineers designing the installation. Bonnet/hood louvres such as those fitted on the recently introduced twelve-cylinder E Type were rejected, but the XJ12 featured a complex "cross-flow" radiator divided into two separated horizontal sections and supported with coolant feeder tanks at each end: the engine fan was geared to rotate at 1¼ times the speed of the engine rpm, subject to a limiter which cut in at a (fan) speed of 1,700 rpm. The fuel system incorporated a relief valve that returned fuel to the tank when pressure in the leads to the carburetters exceeded 1.5 psi to reduce the risk of vapour locks occurring at the engine's high operating temperature, while the car's battery, unusually, benefited from its own thermostatically controlled cooling fan.
3,235 of these first generation XJ12s were built. A badge-engineered version, the Daimler Double-Six, was introduced in 1972, reviving the Daimler model name of 1926–1938.
Volkonskoite-replaced fossil wood from the Permian of Russia. (4.3 cm across at its widest)
This is a very rare specimen of fossil wood from Permian rocks in western Russia. Most fossil wood is preserved by quartz-permineralization or carbonization. This fossil wood has been replaced by a rare chromian smectite clay mineral called volkonskoite (Ca0.3(Cr,Mg,Fe)2(Si,Al)4O10 (OH)2⋅4H2O - hydrous calcium chromium magnesium iron hydroxy-aluminosilicate). The chromium (Cr) content gives the fossil its green coloration. The striations appear to be remnants of the original wood structure. The broken sides show that the massive, fine-grained volkonskoite breaks with a conchoidal fracture.
Host rocks & age: soft fluvial sandstones, Kazanian to Tatarian Stages, upper Upper Permian
Locality: Mt. Efimiatsk (Mt. Efimyatskaya), near the town of Efimyata, ~10 miles west of Votinsk Reservoir & ~30 miles southwest of Okhansk, Chastinsky District, southwestern Perm Region, western foothills of the southwestern Ural Mountains, western Russia
THIS is why I haven't really been dorking with my camera recently.
The boxes on the left are microprocessor control boxes that will replace most of the slave labor (currently performed by: me!) in my shop. They allow the remote startup and shutdown of the processing equipment for parts coming off my 3D printer. No more driving 40 minute round trip in the middle of the night just to turn an oven off, or planning my lunch break around when a dip tank needs to be preheated.
I could have purchased off-the-shelf hardware here in the US and it would have ran me close to $3k to get the shop retrofitted. Using parts purchased in Hong Kong, I was able to complete the entire project for about $300. Plus, I learned how to do embedded systems programming along the way - these boxes are my first attempt at firmware programming (writing code that runs on silicon chips inside consumer electronic devices). I started learning Microprocessors in Aug of last year, but then my day job started kicking my butt and well, it got back-burned pretty quick. Over Christmas I picked things back up and I've been busting my butt since I got back from SE Asia in my shop...
The boxes talk over USB! Inside the box a special chip converts the USB back over to serial. Even my day job isn't running this; as a result we are limited to having at most 2 instruments per computer, where I can run the entire shop off one machine. The machine also has special remote-access software loaded, so anywhere with an internet connection I can remote control all the equipment. Schweet.
Now for a little bit more coding to get the Labview UI to talk to these buggers....
Ferrari again, this time 1982. Originally designed to replace the 365 GTB/4 Daytona as the Ferrari 'supercar'. The original Berlinetta Boxer, the 365 GT4 BB, was launched in 1973. Ferrari had been beaten to launching the mid-engined supercar by Lamborghini by the sublime Miura, regardless of the fact that Ferrari had road registered 250 LMs earlier in the 1960's.
The Boxer was so named due to the orientation of the 12 cylinders. Arranged at 180 degrees, the layout is popularly named 'boxer', and is also used by Porsche (911, Boxster), VW (Original Beetle and Microbus) and Subaru. Both Ferrari and Porsche popularised the layout in racing in he 1960's and 70's and sought to capitilise on their success with the layout in their road cars.
By 1982 the car was nearly a decade old, having had the engine enlarged from 4.4 litres to 5.0 litres in 1976 after 387 had been produced. In 1982, near at the end of its career, the 512 gained Bosch K-jetronic fuel injection to try and contain the power loss from ongoing emissions legislation. This, however was not enough to prevent a drop off in performance.
The style is classic 1970's Maranello - curvy and wedgy a the same time. Waspishness around the wheelarches and a low, pointy nose.
13 years is a long career as a Ferrari though. The 512 BBi was replaced in 1984 by the new Testarossa after 1007 had been produced. The Testarossa retained the 5.0 litre capacity and 180 degree, 12-cylinder layout. The style was all new. Very wide, with horizontal strakes that would become the signature Ferrari look during the 1980's.
This miniland scale model has been created in Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Minus Ten' - celebrating vehicles built ten years before or after the birth year of the modeller.
We're taking a new approach to how we perform critical inspection and maintenance of subway components that are necessary to providing reliable service -- FASTRACK. The third implementation of FASTRACK is taking place on the Sixth Avenue B/D/F/M Line from 57 Street to W 4 Street from Feb. 27 to March 2, 2012. Because a section of the subway is closed to trains for seven consecutive hours, FASTRACK is a safer and more efficient way to maintain and clean New York City's sprawling subway — a system that never closes.
With no trains running along Sixth Avenue, 800 MTA employees are able to inspect signals, replace rails and cross ties, scrape track floors, clean stations and paint areas that are not reachable during normal train operation. Workers also took the opportunity to clean lighting fixtures, change bulbs and repair platform edges while performing high-intensity station cleaning.
Photo by Metropolitan Transportation Authority / Leonard Wiggins.
Review LG LED IPS Monitor 23MP65HQ (LG 23EA63V replaced) An Phat PC by dtien87 ductien daoductien - www.anphatpc.com.vn
Replaced in 1985, Hutton Mill Bridge, carry's this local road from Foulden to Paxton over Whiteadder Water
Replacing an earlier digital photo with a better version 03-Feb-22 (DeNoise AI).
'MyTravel Lite' was supposed to be MyTravel's answer to airlines like easyJet & Ryanair. Two A320's were based in Birmingham, UK. A bit too 'Lite' perhaps, it didn't last!
Another lessor owned aircraft with a long history. It was originally ordered by the Orix Aircraft Corporation for lease to Mexicana but the lease was cancelled, the aircraft was first flown with the Airbus test registration F-WWBY in Aug-93, it was delivered to Orix and leased to Leisure Air (USA) as N444RX in Oct-93 (444 was also the c/n).
The aircraft was wet-leased to Translift Airways (Ireland) for the European Summer Season between May/Nov-94. It was repossessed from Leisure Air in Jan-95 and they ceased operations the following month.
The aircraft was leased to Onur Air (Turkey) as TC-ONF in Apr-95. It was wet-leased to Shorouk Air for the month of Nov-97 and to Victoria Air between Jul/Oct-98. It was returned to Orix as N444RX in Feb-99.
The aircraft was leased to Fly FTi (Frosch Touristik International - a German subsidiary of the Airtours International Group) as D-ACAF in Mar-99. It was briefly returned to Orix as N444RX in Nov-01 and the lease was transferred to Airtours International Airways.
The registration G-SSAS had been assigned but wasn't taken up and the aircraft became G-FHAJ later in Nov-01. Airtours International was renamed MyTravel Airways in May-02. The aircraft was transferred to MyTravel Lite (a scheduled 'low-cost' subsidiary based at Birmingham, UK). It was reintegrated back into MyTravel Airways in Oct-05.
The aircraft was returned to the lessor in Apr-06 and immediately leased to MyAir (My Way Airlines), Italy as EI-DOD. MyAir ceased operations in Jul-09 when the aircraft was returned to the lessor and stored at Ljubliana, Slovenia.
It remained stored until it was leased to Adria Airways, Slovenia as S5-AAS in Apr-11. It was returned to the lessor in Dec-14. The aircraft was sold to Danish Air Transport Leasing A/S and leased to DAT Danish Air Transport as OY-JRK a few days later.
It was wet-leased to Adria Airways (Slovenia) between Apr/Sep-15 and wet-leased to Norwegian Air Shuttle between Jan/Mar-20. The aircraft was stored at Billund, Denmark in Mar-20 due to the COVID-19 Pandemic.
It was ferried to Sofia, Bulgaria in Dec-20 for maintenance and further storage. It returned to Billund in at the end of Mar-21 and returned to service. The aircraft was wet-leased to Corendon Airlines Europe in Apr-22 for the summer season and returned to Danish Air Transport in Oct-22.
It was wet leased to Transavia Airlines France in early 2023 and operated it's last service from Malaga to Paris-Orly on 27-Feb-23. It was ferried to Johannesburg (South Africa) in Mar-23 and sold to Global Aviation as ZS-GAB in Apr-23.
It was due to operate for Lift Airlines (South Africa) but that didn't happen and as far as I know it hasn't flown since. Now 30.5 years old, I'm assuming it's being used for spares. However, you never know, Global Aviation operate some of the oldest A320's still flying, c/n 053, 054, 064 and 067. Updated 03-Feb-24.
Coney Island, Brooklyn.
Between about 1880 and World War II, Coney Island was the largest amusement area in the United States, attracting several million visitors per year. At its height it contained three competing major amusement parks, Luna Park, Dreamland, and Steeplechase Park, as well as many independent amusements.
Astroland served as a major amusement park from 1962 to 2008. It was replaced by a new incarnation of Dreamland in 2009 and of Luna Park in 2010. The other parks and attractions are: Deno's Wonder Wheel Amusement Park (a successful family owned park with over 20 rides located directly on the Boardwalk), 12th Street Amusements, and Kiddie Park. Also, the Eldorado arcade has its own indoor bumper car ride. The Zipper and Spider on 12th Street were closed permanently on September 4, 2007 and dismantling begun, after its owner lost his lease. They are to be reassembled at an amusement park in Honduras.
Rides:
Dante's Inferno, part of Astroland
World-famous Cyclone roller coaster.
The Wonder Wheel
Wonder Wheel Pavilion at Coney Island
The Parachute Jump towers over the Coney Island boardwalk
Today, the amusement area contains various rides, games such as skeeball, ball tossing, and a sideshow; games of shooting and throwing and tossing skills.
The rides and other amusements at Coney Island are owned and managed by several different companies, and operate independently of each other. It is not possible to purchase season tickets to the attractions in the area.
Three rides at Coney Island are protected as designated NYC landmarks and listed in the National Register of Historic Places.
* Wonder Wheel. Built in 1918 and opened in 1920, this steel Ferris wheel has both stationary cars and rocking cars that slide along a track. It holds 144 riders, stands 150 feet (46 m) tall, and weighs over 2,000 tons. At night the Wonder Wheel's steel frame is outlined and illuminated by neon tubes. It is part of Deno's Wonder Wheel Amusement Park.
* The Cyclone roller coaster, built in 1927, is one of the nation's oldest wooden coasters still in operation. A favorite of some coaster aficionados, the Cyclone includes an 85-foot (26 m), 60 degree drop. It is owned by the City, and was operated by Astroland, under a franchise agreement. It is located across the street from Astroland.
* The Parachute Jump, originally the Life Savers Parachute Jump at the 1939 New York World's Fair, was the first ride of its kind. Patrons were hoisted 190 feet (58 m) in the air before being allowed to drop using guy-wired parachutes. Although the ride has been closed since 1968, it remains a Coney Island landmark and is sometimes referred to as Brooklyn's Eiffel Tower. Between 2002 and 2004, the Jump was completely dismantled, cleaned, painted and restored, but remains inactive. After an official lighting ceremony in July 2006, the Parachute Jump was slated to be lit year round using different color motifs to represent the seasons. However, this idea was scrapped when New York City started conserving electricity in the summer months. It has not been lit regularly since.
en.wikipedia.org/wiki/Coney_Island
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Five thousand people attended the Replace Hazelwood Rally in Melbourne on Saturday, 6 November, increasing pressure on John Brumby and Ted Baillieu to commit to replacing all of Hazelwood power station within the next term of Government.
The future of Hazelwood has become the key test of parties’ climate change credentials at this state election. The power station was recently described by Premier Brumby as the “dirtiest and most polluting power station in Australia”.
Photo credit: James Thomas
Midtown Manhattan, New York City, New York, United States
The Joseph B. and Josephine H. Bissell House was originally constructed as one of five Italianate style brownstone row houses designed by architect Thomas Thomas and built in 1869 by owner and builder John W. Stevens. When the Bissell House was initially constructed, many row houses were being built on the side streets in the area below Central Park while larger mansions were being constructed along Fifth Avenue. By the early 20 century this area was the city’s most prestigious residential neighborhood and was known as Vanderbilt’s Row because of that family’s involvement in maintaining the elite character of the neighborhood. The house was purchased by Josephine H. Bissell in 1903 and she hired prominent architect Edward L. Tilton to alter the house by removing the traditional Italianate style brownstone facade and its high stoop and replacing it with a more fashionable neo-Classical style brick and limestone facade with an American basement plan.
The Bissell House facade is a rare example of a private residential commission by Tilton, who is particularly associated with the design of libraries. The facade features a bowed front, red and black brick laid in a Flemish bond pattern and limestone details including two prominent cornices with block modillions and scroll brackets. Mrs. Bissell lived in the house with her husband, Dr. Joseph B. Bissell, and their children and sold it shortly after his death. Dr. Bissell was a surgeon who did pioneering research in the treatment of cancer with radium. Several prominent physicians lived in the house in the first half of the 20century. The next owner was Dr. James Ramsay Hunt who lived and maintained an office in the house. Dr. Hunt was a preeminent neurologist who is known today because several neurological disorders bear his name. In 1943, Drs. Harry Sidney Newcomer and Marian Anastasia Staats Newcomer purchased the house. Dr. H. Sidney Newcomer was an inventor as well as a physician and his wife, Dr. Marian Newcomer, was the author of a book that provided medical advice to laypersons. Gradually the house went from residential to non-residential use and it is currently owned by a clothing manufacturer based in Italy.
Early History of the Site and House
The site of the Bissell house was part of the common land of New York City until 1851 when the Mayor, Aldermen and Commonality of the City of New York sold it to Stephen V. Albro,a grocer who had his business and residence at 328 Bowery at the time.The land remained vacant until 1869, when owner and builder John W. Stevens constructed five Italianate style brownstone row houses designed by architect Thomas Thomas at 44-52 West 55Street.The first owners of No. 46 were Felicia S. Lowndes and Louise A. Alker,who appear to be related,although it appears from the Trow’s City Directories that Lowndes did not live in the house. Members of the Alker and Lowndes families lived in the house until 1886.By 1900 subsequent owners, who do not appear to have lived in the house, rented the house to Maria L. Grouard and her sister Elizabeth P. Grouard. The Grouard sisters lived and ran a school for girls in the building.Blondelle Malone, an artist from South Carolina, was also living in the house in 1899-1900.
Joseph B. and Josephine H. Bissell
The house had a number of owners before Josephine H. Bissell purchased it from Sadie S. Dearborn in early 1903. Mrs. Bissell hired architect Edward L. Tilton to completely alter the front facade of the house by replacing the Italianate style brownstone facade and its high stoop with a more fashionable neo-Classical style facade with an American basement plan. The alteration was carried out between May 21, 1903 and June 27, 1904.Josephine H. Bissell and her husband, Dr. Joseph B. Bissell lived there with their four children and two female servants.Joseph B. Bissell was a surgeon who did pioneering research in the treatment of cancer with radium and was visiting surgeon for many years at Bellevue and St. Vincent’s Hospitals. He graduated from Yale University and the College of Physicians and Surgeons at Columbia University. In July 1915, he opened the Radium Sanatorium of New York at 203 West 70Street.
Earlier that same year, the Bissell’s eldest daughter Eugenie married Lawrence Millet, son of the late American artist Francis D. Millet, in the drawing room of the house.Dr. Bissell, a major in the U.S. Army during World War I, died in December 1918 while working as chief surgeon at Fort McHenry near Baltimore, Maryland. In the following year, Josephine Bissell sold the house to Dr. J. Ramsay Hunt.She later moved to Great Neck, Long Island and married William Bradford Merrill, general manager of the Hearst newspapers and the uncle of her son-in-law Lawrence Millet.
The Bissell house is a rare example of a private residential commission by Tilton. There is one other known example of a row house that was altered with a new front by Boring & Tilton. The house at 132 West 72 Street (within the Upper West Side/Central Park West Historic District) was one of five Renaissance Revival style brownstone row houses built in 1883-84 and designed by Gilbert A. Schellenger. In 1901-02, the front was replaced by Boring & Tilton’s design for a new brick and ashlar facade that featured a bowed front at the third and fourth storiesand stone details such as quoins and keystones.
Subsequent History
James Ramsay Hunt bought the house from Josephine Bissell a few months after being discharged from the military in 1919, and lived in the house with his wife Alice St. John Nolan Hunt and their two children until his death in 1937. He was a preeminent neurologist who is known today because several neurological disorders bear his name.Dr. Hunt was educated at the University of Pennsylvania and was stationed in France in the medical corps of the U.S. Army during World War I. The Hunts hosted dinner parties each week in their home that were attended by others within the medical profession and wealthy members of the business world, according to their daughter, Alice Hunt Sokoloff.During this time, he was a professor of neurology at Columbia University and had consulting privileges at several hospitals. He eventually moved his office to the ground floor of the house. He recorded his experiences with private patients from 1903 to 1937 in what are known as the James Ramsey Hunt Casebooks. The Hunt family continued to live in the house after his death; however, the house was foreclosed by the Bowery Savings Bank in 1940 and then sold by the bank to Drs. H. (Harry) Sidney Newcomer and Marian Anastasia Staats Newcomer in 1943.
Dr. Marian Newcomer was educated at the Syracuse University Medical School and was best known as the founder of the Mater Christi Guild, a Catholic guidance center for the assistance of young people in family difficulties, and as the author of a 1936 book, Bewildered Patient, which provided medical advice for laypersons. She maintained an office in the house.Her husband, Dr. H. Sidney Newcomer, developed a three-stage amplifier using thermionic valves that amplified nerve action currents with fellow Johns Hopkins School of Medicine student Herbert S. Glasser in 1921.Newcomer also invented and received several U.S. patents for optical devices. In 1930 he exhibited an anamorphic lens that was used as a projection device. Similar research was being done in France by Henri Chretien at the same time. This technology developed into Cinemascope in the 1950s.Newcomer was associate medical director of the pharmaceutical company, E. R. Squibb and Sons, when they lived in the house. According to a Certificate of Occupancy issued in 1944and the New York Telephone Company Address Directories, there were non-residential uses in the building while the Newcomers lived there; these included Marian Newcomer’s Mater Christi Guild, Dioptric Instrument Corp., a manufacturer of precision lenses, and Reach Yates Matton Inc., an advertising firm.
In 1954, H. Sidney Newcomer sold the house to Edward A. Viner and it served as the main office of Edward A. Viner & Co., Inc., an investment firm. In addition to offices, a Certificate of Occupancy dated 1954 indicates that there was a laboratory in the cellar and a duplex apartment at the fourth and fifth stories.After the building was sold by the Estate of Edward A. Viner in 1956 it housed a variety of commercial firms, mostly in the garment industry.The owner Jean Robert Ltd., a clothing retailer, altered the building by replacing the windows and enlarging the door opening in 1987 and received a new Certificate of Occupancy that did not include any residential use.Les Copains, a manufacturer of women’s clothing based in Italy has occupied the premises as its U.S. headquarters since purchasing the building in 2001.
Design and Construction
In the late 19 century, the New York City row house began to be transformed by architects and housing developers interested in moving beyond the traditional form to achieve a more “scientific division of space,” while at the same time effecting an “artistic disposition” on the interior as well as the exterior.One of the most notable solutions was what came to be called the American basement plan. According to architectural historian Russell Sturgis, the American basement plan was first introduced around 1880. It gained widespread popularity during the 1890s and first few years of the 1900s, when it was promoted in the architecture and real estate press as a practical, stylistic, and even social improvement over the speculatively built brownstone row houses that had predominated into the latter half of the 19century. In the traditional row house plan, the main entrance was reached by a tall flight of stairs—the stoop, from the Dutch for “step”—which was set to one side of the facade. The main reception hall shared the first floor with the parlor, beyond which was usually another parlor, a library, or sometimes a dining room. More often the dining room was located in the front of the raised basement, which was entered via a short flight of stairs sunk beneath the stoop; visitors to the house would therefore enter on the level of the family’s main living space. The Bissell house, when constructed in 1869, was a traditional row house.
The entrance to an American basement plan row house was instead lowered virtually to street level, and was often centered on the facade. The resulting changes in the interior arrangement of space were quite dramatic; the main entrance hall and stair now occupied the front of the ground story with the kitchen behind, and on the first floor the parlor now occupied the entire building frontage, separated from the rear dining room by a stair hall that functioned as a secondary reception hall. Moving the entrance to the center of the ground floor created the possibility of a generous foyer leading to a grand main stairway, and a larger, better lit parlor occupying the entire building frontage on the first floor.Architecture critic Montgomery Schuyler summed up the innovations embodied by the “New New York House,” writing in 1906 for Architectural Record that “…there is a practical consensus to the effect that the “American basement,” with the full frontage available on the second floor, is the most convenient arrangement, and the most economical in reality in spite of the ‘waste’ of the entrance hall. And the narrower the front, the more desirable it is, practically and especially architecturally, that the entrance be at the centre.”
The introduction of this new row house type coincided with increased stylistic experimentation by architects and developers seeking to create distinguished facades that would be readily marketable as private, upper-class residences. Fostered in part by the classical styles used at the Chicago World’s Columbian Exposition of 1893, many of the row houses employing the American basement plan were given facades in a variety of architectural styles including Renaissance Revival, Modern French, Beaux-Arts, and Georgian Revival.
After the turn of the century, brownstone row houses throughout the city were remodeled by the removal of the stoops, rearranged of the interior floors layouts and, sometimes, the replacement of the whole front facade. In 1903 architectural critic Herbert Croly observed that high-stooped brownstone dwellings had become “extremely unfashionable, both in design and plan” and described a new movement “gradually gathering momentum toward the substitution of reconstructed American basement dwelling for old brownstone fronts.”There was also an increasing desire for individualized designs. Reacting against “the monotony of the once fashionable … brownstone-front, in blocks of a dozen of more houses exactly alike,”architects and developers entered into “a persistent and deliberate striving after individuality” using a variety of different styles, designs, and materials to create distinctive facades that would be readily marketable as private upper-class residences.
The facade alteration by Edward L. Tilton in 1903-04 for the Bissells altered the house from a traditional row house plan to an American basement plan row house and removed the Italianate style brownstone facade and replaced it with a then-fashionable neo-Classical style brick and limestone facade. Tilton employed red and black brick laid in a Flemish bond pattern with limestone details and a bowed front at the first through fourth stories. The house has two prominent limestone cornices above the first and fourth stories with block modillions and scroll brackets. The triple windows at the second and third stories have continuous limestone surrounds with pilasters between the windows and a paneled spandrel between the second and third stories. The Bissell house is a distinguished example of the fashionable townhouses that once characterized the neighborhood.
Description
The Bissell House is a five-story building that is situated on a rectangular lot measuring 20 feet by 100.5 feet. The front facade is constructed of red stretcher and black header bricks laid in a Flemish bond pattern above the first story; except that at the eastern and western lot lines, where the facade is slightly recessed, it is constructed of red brick and projects above the cornice forming side parapet walls that are capped by stone. There are two wide granite steps that lead to the front door. The first four stories have a bowed front. The first story is constructed of limestone with a wide molded door surround having the building number (“46”) at the center above the door and is surmounted by a prominent cornice with large block modillions and scroll brackets. The door and window openings at the first story were altered in 1987 to accommodate an enlarged door opening that has four paneled wood doors set within a wood return. Non-historic light fixtures and bronze plaques (“Les Copains”) are located on either side of the doors and there is a Siamese connection, two remote utility meters with exposed conduit and a metal plate to the east of the door. There is an intercom and card entry panel on the eastern end of door return.
A two-story molded limestone window surround at the second and third stories has square pilaster mullions with simple capitals, inset panels between the second and third stories and above the third story windows and is surmounted by a molded cornice. There is a molded limestone band between the third and fourth stories behind the cornice that forms a continuous sill for the fourth story windows. The second and third stories have triple windows with multi-pane wood casements and multi-pane wood transoms. A flagpole was attached to the sill of the center third story window after 1939. The fourth story has three multi-pane wood casement windows, above the windows is a prominent limestone cornice with block modillions and scroll brackets and a molded band beneath the brackets that form a continuous lintel for the fourth story windows. The fifth story is set-back from the bowed front of the lower stories and has three single windows with splayed red brick lintels and one-over-one double-hung windows that appear to be wood sash. The windows were replaced in 1987. The molded roof cornice is partially constructed of bronze and has four roundels. There is a non-historic metal rooftop railing and a metal leader at the western end of the facade.
The visible part of the western facade, which projects beyond the adjacent setback row house, is constructed of red stretcher and black header bricks laid in a Flemish bond pattern.
- From the 2010 NYCLPC Landmark Designation Report
LIGHTHOUSE:
Completed in 1936, by the Department of Shipping and Transport, it was the first new lighthouse in New South Wales since 1903. The tower is constructed of reinforced concrete and replaced several earlier lights.
The structure cost £6,800 ($13,600) with plant and equipment £2,607 ($5,214).
It was the first fully automatic flashing light to be installed in New South Wales.
The original light apparatus was found to be faulty so a temporary acetylene gas light was employed until the replacement arrived in October 1938.
The light is bi-coloured. A white light of 4.5 second duration visible through 100 degrees, and a red Light visible through 80 degrees. This latter indicating reefs and headlands.
It was built to serve as a coastal light and particularly for ships entering Port Kembla, to the south of Flagstaff Point. Up until now the only aid had been the old Wollongong Breakwater Lighthouse situated on the Belmore Basin to the north. The Breakwater light was discontinued in 1974.
Info source:
lighthouses.org.au/nsw/wollongong-head-lighthouse/
GUNS:
"These guns were first placed near this location in October 1880 as part of the defences of Wollongong Harbour. They fired a 31kg solid shot up to a range of 1600 metres and were manned by local citizens in the "NSW Volunteer Artillery".
Being disused after 1900, they were recovered and preserved at the Army Reserve and Naval Reserve Cadets' depots during 1959, and restored and relocated at this site by Wollongong City Council in conjunction with Heritage Week 1983."
Info source:
Plaque at Site
Overview of how to replace batteries in an Avaya Partner ACS phone system processor. This problem is known by a message that will appear on all display phones stating “replace system batteries with power on”.
Replaced the torque converter with a high stall one and added a shift kit. Next mod will have to be a posi-trac rear end.
Replacing an earlier scanned photo with a better version 18-Jan-22 (DeNoise AI).
The photo was taken through double glazing and you can see the slight double image along the top of the fuselage.
Delivered to Singapore Airlines as 9V-SQE in Feb-98. The aircraft was retired after 15 years and stored at Greenwood, MS, USA in Jun-13. It was broken up at Greenwood in Oct/Nov-14.
Note: The registration 9V-SQE was previously used on a Singapore Airlines Boeing 747-212B
5/24/2014
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Helped Bryan replace his pads and rotors today then hung out with Kayla and Taylor. I had to take a few photos of my car when I was posted up at her house. Too bad I'm parked so that I'm not showing how much I'm tucking.
Usually my rear tires are just millimeters from the fender now. Super stoked on that. I wanna find some new cars to shoot now. I think that will happen soon.
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Info:
Canon 5D Mark II
Canon 50mm f/1.4
Raj Patel told stories about the mystery ingredients in our food. Lecithin, which he mentions in his book "Stuffed and Starved", is an emulsifier in many of our processed foods. It is made from soy and responsible for 40,000 slaves and deforestation in Brazil. And we thought it was cattle that was bringing down the forest, but no it is the humble soy bean which has become Brazil's largest export due to world demand.
He explained how the global market began in 1880 when the British replaced feudalism in India with a market system and paid labor. In the feudal system labor was exploited for free, but they were fed by those exploiting them. In the free market labor is exploited with "slave wages" and no one has to be responsible for feeding anyone. Since then, instead of a famine every 120 years, there is one every four years, but there is always enough food to export to countries and people who can afford to buy it. Markets basically created poor people, or rather people who cannot afford to buy food, but Mr. Patel did not point this out because he is not about getting rid of the money system altogether, he is about eradicating poverty.
Mr. Patel was very good at explaining concepts and has an educated British accent to go with his presentation. He's also quite funny in that droll way. World Bank policies, he described as being much like the scene in the movie Time Bandits with John Cleese as Robin Hood, with us upper class accent, giving people the fabulous gifts stolen from Napoleon, but then the same recipients are punched in the nose by a thug standing next to him. Thus the free market brings fabulous wealth that the poor cannot use and then they are bloodied by it.
He is fond of concepts and liked to tell stories so if you don't already know the big picture you have to string it all together yourself.
I like his perspective that our lifestlye has made our food absurd, but we don't know it because our speeded up life has made convenience food and soda pop, eaten while driving, seem reasonable.
"I take my inspiration, as I'm sure you do too," he said, "from the Italian Communist Party," I was the only one who laughed. He was referring to the Slow Food movement, which had borrowed from the communist party edicts, and added the galvanizing principle that everybody has the right to pleasure and enjoyment of food. Even if they are poor. (We seem to have missed this part in our Californian translation where the best revenge is living well. I never found out, though, what it was we were revenging. "Elitist," cried Carlo Petrini, the founder of Slow Food Nation when he came to our shores and saw how we had turned his movement into more fine cheeses for the wealthy.)
Mr. Patel chastised us for wanting to try to fix the food system by changing our consumer habits and urged us to get involved with local food policies. Consumer choice is a poor cousin for democracy, he said. We should not be consumers of democracy. Corporations exist because of a mix of coercion and consent because of all the false choices we are given ie: between Pepsi and Coke.
We need to curb corporate power, rectify income inequality and make the government accountable for the nations healthcare. Only then will government care enough to keep us healthy, he pointed out, because they know they will have to pay for healthcare down the line.
In order to feed 9 billion people in 2020, we must heed what scientists are saying, he advised, and get rid of industrial agriculture, replacing it with agro-ecological culture of grains/food that is adapted to the locale. In short we must move from monoculture to diversity. Here, here.
Introduced in 1956, it replaced the highly-successful Austin A30. The name reflected the larger and more-powerful 34 hp (25 kW) A-Series straight-4 engine, enabling a slightly higher top speed and better acceleration.
The A35 was very similar in appearance to the A30, except for a larger rear window aperture and a painted front grille, with chrome horse-shoe surround, instead of the chrome grille featured on the A30. Both had 13 in (330 mm) wheels. The semaphore turn-signal indicators were replaced with present-day front- and rear-mounted flashing lights. A slightly easier to operate remote-control gear-change was provided. Much of the improved performance was a result of different gearbox ratios. The A30 had the first three ratios close together then a big gap to top (4th gear). The A35 ratios were better spaced and gave a max speed in third of 60 mph (97 km/h) against about 45 mph (72 km/h) for the A30.
Like the A30, the A35 was offered as a 2- or 4-door saloon or 2-door "Countryman" estate and also as a van. The latter model continued in production through to 1968. A rare pickup version was also produced in 1956.
The Donner Peak snowsheds,
Theodore Judah laid out the route of the transcontinental railroad over Donner Summit. He noted that it snowed and so he studied the moss on the trees. He was sure snow would not be a problem for the railroad over Donner Summit. The snow just had to be pushed out of the way before it accumulated.
Donner Summit gets 35-40 feet of snow a year and sometimes 60 or 70 feet. Snow drifts can be dozens of feet high. And then there are avalanches. In January, 1870, just a few months after the Golden Spike was pounded into place completing the first transcontinental railroad, an avalanche covered and tore away hundreds of feet of track. A blizzard followed. Miles of track were blocked and it kept snowing. The snow shovelers and buckers (engines with plows) could not make headway. Workers cleared for six days and still there were 7 miles of snow covered track to go. California was cut off from the nation.
Passengers were irate as train after train was stopped. After six days the railroad took stranded passengers up to the snowblocked tracks and told them to walk. Without proper clothing they walked through the snow past small stations with their telegraphers and railroad facilities, and through tunnels all the way to Emigrant Gap.
After that winter the Central Pacific built more snowsheds, forty miles of snowsheds, to protect their tracks. They used 65 million board feet of lumber and 900 tons of bolts and spikes. The wooden sheds, sitting in the summer sun, were terrible fire hazards acting sometimes like flues. The mountains of accumulating winter snow could collapse them. So the snowsheds spawned jobs for thousands of workers: fire train crews, track walkers, fire lookouts, carpenters, and snow shovelers. There were so many workers some lived in old freight cars all along the railroad line.
Railroad shops, buildings, turntables, local businesses, worker houses, and even the school and hotel on Donner Summit were connected by snowsheds. In winter some people would never see the light of day.
The snowsheds worked. The railroad had conquered the snows of Donner Summit - usually.
Passengers were not thrilled however. Imagine traveling past some of the most beautiful scenery in the world, but you could not see it.
Imagine traveling for hours through a long, dark, smoke-filled tunnel.
Eventually snow removal improved and sheds were removed. Remaining sheds were rebuilt of concrete so that collapse was no longer a threat. The thousands of workers are gone and with them their towns
An interesting artifact from US rail history resides just west of Donner Lake adjacent to Old Highway 40. The tunnels and snowsheds from the original transcontinental railroad passage through Donner Summit create a horizontal line across Donner Peak, which is 8019 ft, in elevation. More than a century ago, Chinese workers provided the bulk of the labor in the excruciatingly time consuming and dangerous construction of the railway. Newly developed nitroglycerine was largely used for nearly two years of blasting required to bore through the mountain. A seventy five foot high retaining wall between two tunnels was built entirely by stacking natural rocks by hand.
The snowsheds were designed to protect the train tracks from avalanches and snow drifts and were originally built with wood and later replaced by concrete. The four mile stretch was retired in 1993 by the active Union Pacific tunnel which passes through the mountain just south of the original line. The defunct section of the snowshed no longer contains rails and can be navigated on bike or four wheel drive in the summertime.
This is a photograph from the 3rd Annual Meath Spring Half Marathon and 10KM Road Races hosted by Bohermeen AC on the 2nd March 2014 at 12:00 at Bohermeen, Ardbraccan, Navan, Co. Meath, Ireland. This year's event included a 10KM race which replaced the 5KM event held on the previous years. This event has grown quickly in popularity over the past few years with this year's entry of 700 beating the previous race numbers of 680. This half marathon event is perfectly placed in the Irish running calendar as it provides runners of all levels and abilities an opportunity to test the half marathon distance in preparation for a Spring Marathon or as the first serious running goal of the New Year. Bohermeen AC is steeped in Irish athletics history since 1927 and it is this experience and exceptional community spirit and volunteering which has made this event today so successful. The very heavy rain that fell on the 10KM race and the begining of the Half Marathon did nothing to dampen the spirits of the participants. In fact, despite a head wind at certain parts of the course, this was a perfect day for road racing.
Our full set of photographs from today's event are available on Flickr at the following link http://www.flickr.com/photos/peterm7/sets/72157641717197563/. This set of photographs is mostly of the Half Marathon race but there are some from the 10KM event.
Don't forget to scroll down to see more information about the race and these photographs!
Event Management was provided by Irish Company PRECISION TIMING who provided electronic timing for both events. The results from today's events can be found on Precision Timing's website at this URL [www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...]
The Satellite Navigation Coordinates to Bohermeen are [53.650882,-6.77989] and is accessible using the M3, N2 and N52
The routing for the 2014 event has changed slightly from previous year. In 2014 the race starts about 100m away from the Bohermeen Club Race HQ [See Google StreetView in the direction of the imagery goo.gl/maps/rtj1X] and the race proceeds down the road towards Navan. Just before the 1st mile the race takes a right turn [see Google Streetview goo.gl/maps/iGrR0] which brings runners on the route of the famous Patrick Bell 5KM Road Race route held at Bohermeen every summer. Then the route turns slightly eastwards and this brings the race along a beautiful stretch of rural countryside road. This connects runners with the main loop [see Google StreetView goo.gl/maps/gLI1l] where the race follows the N51 towards Navan. The race must now complete this loop (which passes through the start area and past the finish) and then a full loop again before finishing in the Athletics track. The only hills to speak of in this course are on the the stretch where the race route crosses the M3 motorway (see Google Streetview - as of March 2014 their imagery is a little out of date for the M3 goo.gl/maps/tcdJX). The only major climb on the course must be tackled twice as the road rises up over the M3 Motorway. This comes at about the 5M and 11.5 Mile mark in the race.
Some useful links to other web-resources related to this race
Bohermeen AC Facebook Page: www.facebook.com/bohermeen.ac?fref=ts
2014 Spring Half Marathon Route: www.runningmap.com/?id=641747
2014 Spring Half Marathon 10KM Race Option Route: www.runningmap.com/?id=641752
Google Streetview of the Race Start: goo.gl/maps/rtj1X
Google Streetview of the Race Finish and Race Headquarters: goo.gl/maps/qVttR
Internet Homepage for the Spring Half Marathon [www.meathspringhalfmarathon.com/]
Results from 2013 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...
Results from 2012 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...
The Boards.ie Athletics Forum Thread For 2013 Race [www.boards.ie/vbulletin/showthread.php?t=2056785036&p...]
The Boards.ie Athletics Forum Thread For 2014 Race [www.boards.ie/vbulletin/showthread.php?t=2057078579]
Photographs from previous events
Our Flickr Photograph set from the 2nd Spring Marathon 2013: www.flickr.com/photos/peterm7/sets/72157632906920970/
Our Flickr set from the 1st Spring Marathon (2012) www.flickr.com/photos/peterm7/sets/72157629146137284/with...
Photographs from the 2013 event from our friend Paul Reilly [pjrphotography.zenfolio.com/p670974697]
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
A nearly complete curve.
Workers replaced track atop the structure around the S-curve at Hubbard Street (just north of the Merchandise Mart station on the Brown & Purple Lines).
Work was largely wrapped up on the curve on this final weekend when the Wells St. Bridge was also closed for construction, consolidating and minimizing inconveniences and improving efficiency on the project.
I did a fairly extensive photo shoot with my Fodens the other day. Having dug the Fodens out for the first time in ages I gave them a wash to get rid of eight months’ worth of dust. I wanted something to photograph with the new gear to start and get a feel for it, there are some photographs with the EOS M but most are with the 5D. They will appear repetitive but for my own reasons I have decided to upload most of the shoot.
M462LYL was one of the 400 or so 4000 series gritters that were supplied to the Highways Agency over a period of years to replace the S80 series Fodens, that we had five of. This wagon would have been scrapped along with most of the others but for the intervention of Stuart Kaye. Although it is in exceptional condition so were most of them, regardless, they had to be scrapped and not sold back onto the UK market. A scandalous waste of money, many had been extensively (and expensively) refurbished to a very high standard – total rebuilds – they were still scrapped. A Cummins 325 and six speed auto box makes this wagon very nice to drive empty! I very much doubt that the auto box and gearing would get up our local hills fully loaded and certainly not if pushing a plough. The wagon has covered 85,000 km and other than corrosion caused by salty hands the cab interior is very good.
I bought a second 4000 series, but just the chassis cab. The scrapping contract allowed for chassis or gritter bodies to be sold separately. Once separated the body takes a lot of refitting. There are hundreds of wires in plastic trunking and they just hacked through them, you couldn’t overstate the scale of the job of refitting, cost effectively, a body back onto one of the original chassis. I had sourced a dump truck body from an MOD Foden Alpha that would fit nicely on the 4000 chassis. We use this around the yard alongside our 1960’s Foden dumper.
It was whilst looking at the chassis cabs with Stuart in Geesons at Ripley that we saw OYE779Y, parked up with a plough fitted, it was minus 11 during this period and almost every motor in the yard had flat batteries, which the frost had then killed completely. We didn’t get to see a motor running but I ended up buying two including OYE. As soon as I saw this motor I knew that there was something strange about it. A Paccar (Kenworth) chassis, Cummins L10 250, Eaton Twinsplitter and Rockwell axles, with a 4000 series cab. As a regular buyer and driver of Fodens in the 80’s and 90’s I knew that these components weren’t available in 1982, when it was allegedly built. I had a new Foden the same month as this motor was supposed to have been built, December 1982. BYG167Y had Foden chassis and S10 cab, the Twinsplitter hadn’t been invented at this point. The serial number stamped on the chassis relates to an S80 series gritter, one of the previous generation, with Foden Gearbox, chassis, axles and Rolls Royce 265L engine. This is what the Foden Microfiche build sheet still shows for this serial number.
OYE779Y seems to have been built to replace the original, which was written off in a serious accident. The strange thing is the allocation of the same serial and registration numbers to a totally different vehicle. We have seen a black and white photograph of the wagon, when new with a conventional Atkinson gritter body. This was replaced with the French body now fitted. This has water tanks and can spread the salt with water, made of plastic and stainless steel, it appears unused. The wagon itself was unloved and un driven, we think, because of the Twin splitter gearbox, which wasn’t suitable for the drivers employed on the motorway gritting teams. With 30,000 km on the clock, mostly service miles, the wagon is like new. Other than sag in the roof lining material the cab interior is like new. I’m guessing that it saw very little actual work, subsequently it doesn’t have the fantastic paint job of the newer 4000 series, the result of being sandblasted and two pack painted. OYE has been touched up, a bit of a splodge here and there. There is a total lack of corrosion, it just needs a good respray and it would be like new. A new set of tyres fitted in 2003 still have the stickers on them. The long and the short of it is that this is a much newer wagon. The 4000 series cab was available in 1987, I bought one on an E plate, the last generation of S10 was still available in 1986 on a D plate so I reckon it would be built around this time.
There are only a few 4000 series gritters survived in the UK but some went to Ireland and others to Eastern Europe. Presumably Roger Geeson was allowed to export to countries where it wouldn't affect the sales of the suppliers of the new gritting fleet - this appeared to be why there was a restriction on sales in the UK.
If anyone has more to add regarding this story please let me Know.
I couldn’t resist adding my other two Fodens to the line-up, customers were coming and going at the same time hence some other motors in there. I decided to add some cab interior shots a day or two later, just for the record as it were.
To see more about J B Schofield and Sons and the history of the business and its 33 years as a gritting contractor, look here www.jbschofieldandsons.co.uk/
We're taking a new approach to how we perform critical inspection and maintenance of subway components that are necessary to providing reliable service -- FASTRACK. The third implementation of FASTRACK is taking place on the Sixth Avenue B/D/F/M Line from 57 Street to W 4 Street from Feb. 27 to March 2, 2012. Because a section of the subway is closed to trains for seven consecutive hours, FASTRACK is a safer and more efficient way to maintain and clean New York City's sprawling subway — a system that never closes.
With no trains running along Sixth Avenue, 800 MTA employees are able to inspect signals, replace rails and cross ties, scrape track floors, clean stations and paint areas that are not reachable during normal train operation. Workers also took the opportunity to clean lighting fixtures, change bulbs and repair platform edges while performing high-intensity station cleaning.
Photo by Metropolitan Transportation Authority / Leonard Wiggins.
Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
Replacing a photo taken at PAE 27-Jul-15 with a better version without obstructions 29-Jul-15.
Prototype KC-46A Tanker with boom and underwing 'probe & drogue' pods.
Bulldogs were replaced with Huskies at Drake University's Knapp Center as it played host to Hoover High School's commencement. Hoover celebrated nearly 200 members of the Class of 2022 at their graduation ceremony on Sunday, May 29.
I did a fairly extensive photo shoot with my Fodens the other day. Having dug the Fodens out for the first time in ages I gave them a wash to get rid of eight months’ worth of dust. I wanted something to photograph with the new gear to start and get a feel for it, there are some photographs with the EOS M but most are with the 5D. They will appear repetitive but for my own reasons I have decided to upload most of the shoot.
M462LYL was one of the 400 or so 4000 series gritters that were supplied to the Highways Agency over a period of years to replace the S80 series Fodens, that we had five of. This wagon would have been scrapped along with most of the others but for the intervention of Stuart Kaye. Although it is in exceptional condition so were most of them, regardless, they had to be scrapped and not sold back onto the UK market. A scandalous waste of money, many had been extensively (and expensively) refurbished to a very high standard – total rebuilds – they were still scrapped. A Cummins 325 and six speed auto box makes this wagon very nice to drive empty! I very much doubt that the auto box and gearing would get up our local hills fully loaded and certainly not if pushing a plough. The wagon has covered 85,000 km and other than corrosion caused by salty hands the cab interior is very good.
I bought a second 4000 series, but just the chassis cab. The scrapping contract allowed for chassis or gritter bodies to be sold separately. Once separated the body takes a lot of refitting. There are hundreds of wires in plastic trunking and they just hacked through them, you couldn’t overstate the scale of the job of refitting, cost effectively, a body back onto one of the original chassis. I had sourced a dump truck body from an MOD Foden Alpha that would fit nicely on the 4000 chassis. We use this around the yard alongside our 1960’s Foden dumper.
It was whilst looking at the chassis cabs with Stuart in Geesons at Ripley that we saw OYE779Y, parked up with a plough fitted, it was minus 11 during this period and almost every motor in the yard had flat batteries, which the frost had then killed completely. We didn’t get to see a motor running but I ended up buying two including OYE. As soon as I saw this motor I knew that there was something strange about it. A Paccar (Kenworth) chassis, Cummins L10 250, Eaton Twinsplitter and Rockwell axles, with a 4000 series cab. As a regular buyer and driver of Fodens in the 80’s and 90’s I knew that these components weren’t available in 1982, when it was allegedly built. I had a new Foden the same month as this motor was supposed to have been built, December 1982. BYG167Y had Foden chassis and S10 cab, the Twinsplitter hadn’t been invented at this point. The serial number stamped on the chassis relates to an S80 series gritter, one of the previous generation, with Foden Gearbox, chassis, axles and Rolls Royce 265L engine. This is what the Foden Microfiche build sheet still shows for this serial number.
OYE779Y seems to have been built to replace the original, which was written off in a serious accident. The strange thing is the allocation of the same serial and registration numbers to a totally different vehicle. We have seen a black and white photograph of the wagon, when new with a conventional Atkinson gritter body. This was replaced with the French body now fitted. This has water tanks and can spread the salt with water, made of plastic and stainless steel, it appears unused. The wagon itself was unloved and un driven, we think, because of the Twin splitter gearbox, which wasn’t suitable for the drivers employed on the motorway gritting teams. With 30,000 km on the clock, mostly service miles, the wagon is like new. Other than sag in the roof lining material the cab interior is like new. I’m guessing that it saw very little actual work, subsequently it doesn’t have the fantastic paint job of the newer 4000 series, the result of being sandblasted and two pack painted. OYE has been touched up, a bit of a splodge here and there. There is a total lack of corrosion, it just needs a good respray and it would be like new. A new set of tyres fitted in 2003 still have the stickers on them. The long and the short of it is that this is a much newer wagon. The 4000 series cab was available in 1987, I bought one on an E plate, the last generation of S10 was still available in 1986 on a D plate so I reckon it would be built around this time.
There are only a few 4000 series gritters survived in the UK but some went to Ireland and others to Eastern Europe. Presumably Roger Geeson was allowed to export to countries where it wouldn't affect the sales of the suppliers of the new gritting fleet - this appeared to be why there was a restriction on sales in the UK.
If anyone has more to add regarding this story please let me Know.
I couldn’t resist adding my other two Fodens to the line-up, customers were coming and going at the same time hence some other motors in there. I decided to add some cab interior shots a day or two later, just for the record as it were.
To see more about J B Schofield and Sons and the history of the business and its 33 years as a gritting contractor, look here www.jbschofieldandsons.co.uk/
Replacing an earlier scanned 6"x4" print with a better version 27-Aug-21 (DeNoise AI).
Fleet No: "609".
An early B767 (Line No:91), This aircraft was built as a standard B767-200. It was first flown with the Boeing test registration N6055X, it was delivered to Canada Trust/Canadian Mutual Life and leased to Air Canada as C-GAUY in May-84.
It was converted to B767-200ER standard in early 1995. The aircraft spent over 18 years with Air Canada until it was stored at Mojave, CA, USA in Sep-02. It was returned to the lessor in Jul-03 and permanently retired. The aircraft was broken up at Mojave in Oct-06.
The Clock Tower is the world's largest four-faced, chiming clock. The structure is situated at the north-eastern end of the Houses of Parliament in Westminster, London. It is often colloquially referred to as Big Ben, which is actually the nickname of the main bell housed within the tower (formally known as the Great Bell).[1][2][3] The Clock Tower has also been referred to as The Tower of Big Ben.
The clock is famous for its reliability. This is due to the skill of its designer, the lawyer and amateur horologist Edmund Beckett Denison, later Lord Grimthorpe. As the clock mechanism, created to Denison's specification by clockmaker Edward John Dent, was completed before the tower itself was finished, Denison had time to experiment. Instead of using the deadbeat escapement and remontoire as originally designed, Denison invented the double three-legged gravity escapement. This escapement provides the best separation between pendulum and clock mechanism. Together with an enclosed, wind-proof box sunk beneath the clockroom, the Great Clock's pendulum is well isolated from external factors like snow, ice and pigeons on the clock hands, and keeps remarkably accurate time.
The idiom of putting a penny on, with the meaning of slowing down, sprang from the method of fine-tuning the clock's pendulum. The pendulum carries a small stack of old penny coins; adding or subtracting coins has the effect of minutely altering the position of the bob's centre of mass, the effective length of the pendulum rod and hence the rate at which the pendulum swings. Adding or removing a penny will change the clock's speed by 2/5th of one second per day.
Despite heavy bombing the clock ran accurately throughout the Blitz. It slowed down on New Year's Eve 1962 due to heavy snow, causing it to chime in the new year 10 minutes late.[citation needed]
The clock had its first and only major breakdown in 1986. The chiming mechanism broke due to metal fatigue on 5 August 1986, and was reactivated again on 9 May 1987. During this time BBC Radio 4 had to make do with the pips.[citation needed]
It stopped on 30 April 1997, the day before the general election, and again three weeks later.[citation needed]
On Friday, 27 May 2005, the clock stopped ticking at 10:07 pm local time, possibly due to hot weather (temperatures in London had reached an unseasonal 31.8 °C (90 °F). It resumed keeping time, but stalled again at 10:20 pm local time and remained still for about 90 minutes before starting up again.[7]
On 29 October 2005, the mechanism was stopped for approximately 33 hours so that the clock and its chimes could be worked on. It was the lengthiest maintenance shutdown in 22 years.[8]
The south clock face being cleaned on 11 August 2007The clock tower's "Quarter Bells" were taken out of commission for four weeks starting at 7:00 am local time on 5 June 2006,[9] as a bearing holding one of the quarter bells was damaged from years of wear and needed to be removed for repairs. During this period, BBC Radio 4 broadcast recordings of British bird song followed by the pips in place of the usual chimes.[10]
On 11 August 2007, Big Ben went silent and the clock temporarily also stopped keeping time for maintenance that lasted one month. The bearings that help sound the chime on each hour were replaced, for the first time since installation.[11] During the maintenance works, the clock was not driven by the original mechanism, but by an electric motor. Once again, BBC Radio 4 had to make do with the pips during this time.
11-shot HDR Panorama taken from the 5th floor deck of the Marriott Waterfront. View the original size to check out the detail. You can even read the banner that the plane is pulling. I highlighted a few of the details you can see at Max size.
In the foreground is the Pier 6 Concert Pavilion. 12 hours earlier, Several Species, a Pink Floyd cover band, was just finishing up their encore inside the tent. It's a great place to see a concert.
It took me several days to process the 11 shots through Photomatix. I did all the HDR conversions before stitching them together in Photoshop CS4. The finished product was too big for Flickr, so I had to reduce it a bit.
Situated off the main road into the city, just inside the city marked by the nearby Westgate. St Peter sits at the end of a narrow lane, and is easily overlooked or mistaken for a small church.
In fact it is a tardis of a church, once you walk in, the body of the church opens up revealing, for me, a confused history.
Pews have been removed and replaced with modern chairs, and seems to also be a thriving cafe, judging by the people who came in asking if it was open. On this day it was just open for viewing.
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The earliest visible part of this church is the round-headed arch at the west end of the north arcade (see drawing in Smith (1971), 103 fig 3). This has Caenstone voussoirs and sits on plain rectangular piers with side-alternate Caenstone jambs, at the top of which are plain square imposts with a plain chamfer below. The masonry is diagonally tooled and must date from the first half of the 12th century.
A bit later in date is the small tower on the south-west. This was rebuilt and largely refaced externally in the early 14th century, but inside its east arch into the south aisle is similar to the north arcade arch, but is pointed and has some Reigate stone among its Caenstone quoins. The very large and long external quoins to the tower, which have been called 'Saxo-Norman' re surely a mixture of reused Roman blocks and new Ragstone long ties of the 14th century (compare the 'long and short' work on the north west quoin of the 14th century Lady Chapel).
Soon after the tower was built, probably in the early 13th century, the south door was built. This has jambs largely of Reigate stone, and on its east side a very worn capital and base indicate a missing shaft (no doubt a Purbeck marble column). The beginning of the moulded archway over the door (also in Reigate stone) can be seen on the east, but the rest of it has been restored with plain Caenstone voussoirs. Inside the original hooks for the double doors still survive.
There is a plain font of c.1200 with a square bowl of Bethersden marble at the west end of the nave. It has a 17th century cover and iron crane for lifting it.
During the 13th century, as is commonly found, a longer new chancel was built (confirmed by documentary evidence, which shows that in rental D (Urry, 209 and 304) of c. 1200, the eastern part of the area now occupied by the chancel was still in secular hands). The most obvious evidence for this is the wide lancet on the south-east side of the chancel, which shows that the south aisle was only extended eastwards at a later date. The two wide but plain arches on the north side of the chancel have chamfers with bar stops and comb-tooling which also suggests a 13th century date. The narrower western arch in the south arcade (opposite the south door) is also a plain 13th century arch.
In the early 14th century the tower and west wall of the church was rebuilt. The west wall was realigned, presumably to allow St Peter's Lane, which bifurcated immediately north of the church, more room. At the same time a new 3-light east window was built that has similar 'Decorated' tracery to the new west window. The tower has small single light early 14th century windows in its upper stage, and a probably comtemporary (but now restored) crenellated parapet. Inside the top stage of the tower is a (probably 14th century) timber bell-frame. It was heightened and enlarged for 3 bells in the early 17th century and restored in 1968 when 4 bells were hung there (including a treble, recast in 1903, from St Margaret's Church). There are still two medieval bells in the tower, one of which (the tenor) was cast by William le Belyetere in the early 14th century. The other by William Wodewarde is a bit later (c. 1400).
Also probably of the first half of the 14th century is the new, much wider, Lady Chapel on the north east. It has one original two light window on the north, but unfortunately the east window has its tracery removed and replaced with (c. early 19th century) timber Y-tracery. Between the Lady Chapel and Chancel a fire Easter Sepulcre (with cusped and sub-cusped arches over on both sides) was inserted. Some time perhaps later in the 14th century a new wide but irregularly shaped north aisle was created west of the Lady Chapel and a new crown-post roof was erected over the whole north aisle and Lady Chapel. There is a three light window with hexofoils over at the west end of the enlarged north aisle with a square hood mould externally. However, the Petrie view from the north-west of 1801 shows only a 2 light window without upper quatre-foiled lights.
Also perhaps of the first half of the 14th century, is the rebuilt south aisle which terminated in the Chapel of St John-the-Baptist (see will of 1505). The east window is of the reticulated variety while in the south wall are 2-light, 3-light and 2-light windows all under square hood-moulds. They have all been heavily restored externally in Bathstone. There is a piscina under the eastern 2-light window with a small shelf over the damaged bowl. Between this aisle and the chancel are two contemporary plain arches with simple chamfers and (now worn) brooch-stops at the base. At about the same time the old Romanesque piers were probably demolished at the east end of the nave and two very wide but plain arches were inserted instead. The crown-post roof over the new south aisle may also be 14th century, but that over the nave is perhaps 15th century. There is also a double piscina on the south-east side of the chancel with a Perpendicular head over it, and a small window at the extreme west end of the north aisle on the north side with a simple cinque-foiled head (now into the vestry).
The only late-15th century addition to the church are probably the rood-screen and loft. The extra tie-beam here is probably part of the rood loft (a door through the south pier between the nave and chancel still survives) and the doorway from the north chapel into the late 19th century parish hall beyond. This small doorway dates from c. 1500 and presumably lead originally into a comtemporary vestry.
The major restoration of the church was in 1882, when a new parish hall to the north was built, as we have seen. Much of the external parts of the windows were restored at this time in Bathstone.
BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles etc.):
The 12th century work has only Caenstone for quoins with flint, reused Roman bricks, etc, for the rubble work. By the end of the 12th century Reigate stone was being introduced, and by the later 13th century Ragstone is used, and this is the most common quoin material for the 14th century work (though Caen is still used).
The usual 19th century restoration in Bathstone, while the east wall of the church was refaced in 19th century buff brick (also the upper part of the south-east buttress). The east window has recently been refaced externally in Lepine.
Bells in tower: Treble - 1903 (S B Goslin, from St Margaret's Church), 2nd 1637 (John Palmer, Canterbury) 3rd c 1400 (William Wodewarde, London), Tenor c.1325 (William Le Belyetere, Canterbury) (rehung for chiming only 1968). Some old glass also survives.
www.kentarchaeology.org.uk/01/03/C-PET.htm
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St Peter's church is the only one of six Canterbury medieval churches lying on the main city thoroughfare (Westgate to St George's gate) to have survived for parish worship. The others (Holy Cross, All Saints, St Mary Bredman, St Andrews and St George's) have all been removed to assist traffic flow, incorporated into new retail developments, converted to secular use or lost to enemy bombing in World War II. The position of St Peter's parish church (not to be confused with the nearby St Peter's Methodist church) is odd - set back from the highway and tucked away behind retail shops which stand directly on St Peter's Street (Image 1). This location lies on the line of the original Roman road leading from the Westgate, suggesting a possible religious use for the site from early times. The building includes examples of materials and styles reflecting 1000 years of worship here - specific examples are listed below. Specialists have not agreed on the dating of some elements, but in general terms the original 12th century tower and nave were enlarged first with a 13th century sanctuary, followed by the wide north aisle in the early 14th century and the narrower south aisle in the later 14th century. A major refurbishment in 1882 included addition of a parish hall. From 1660 until recent years, the church was used for the annual service to mark the appointment of a new mayor - hence the need for a mace holder (more below). St Peter's closed for parish worship in 1928 but Sunday services resumed in 1953. The City Centre parish currently comprises St Peter's, St Mildred's and St Dunstan's churches.
Several red Roman tiles can be spotted amongst the flint work of the slim Norman tower
Large white quoin stones mark the corners of the tower - a mix of re-used Roman blocks and added ragstone
A single round 12th century Norman arch survives under the eastern face of the tower (Image 2)
The font (Image 3) dates from around 1200, has a square bowl and is carved from Bethersden marble - the 17th century font cover is currently kept on the floor nearby but its winding mechanism (an iron crane) of a similar date remains place
The original door hooks are also in place, whilst the late 17th century mace holder currently stands, hard to spot, high on a window ledge (Image 4)
Two brass plates may be on interest. On the north wall, the memorial to William Lovelle, rector of St George's in the 1430s, provides interesting detail of ecclesiastical dress of the period (Image 5) but has had a chequered existence: rescued from St George's church after the bombing of 1942, removed to the Cathedral Library for safe keeping, remounted in St Peter's church, taken to Whitstable for a few days in January 1978 to improve its fixings, suffered minor damage in the storms and floods that month, cleaned up and returned to St Peter's. A second brass, also on the north wall, includes several French names, reminding us of Huguenot religious refugees whose descendants were buried here in the 17th and 18th centuries.
Near the high altar, note: an Easter sepulchre, a recess used to keep the host and altar crucifix during Easter time under its ogee arch (Image 6); the simple aumbry, a small cupboard used to store chalices and the sacrament (Image 7); and the less common double piscina (Image 8) used to wash hands and communion vessels
A window in the south aisle, inserted in 1904, is by Sir Ninian Comper, who incorporated a strawberry into many of his works as a tribute to his clergyman father (the latter died whist giving strawberries to poor children). Here the strawberry appears in the bottom left corner (Image 9).
The roof structures contain many examples of 14th and 15th century crown posts
The modern rood beam and figures were erected in 1922 in memory of priest-in-charge William Beam and parishioners who gave their lives in World War I
The keys of St Peter can be seen in the weather vane above the tower.
Vanessa Amorosi singing her first number 1 single This is who I am from her upcoming Hazardous album!
"This Is Who I Am"
On 28 August 2009 Amorosi's new song "This Is Who I Am" was serviced to Australian radio. On 31 August 2009 Universal Music Australia released a press release for Amorosi's new single with details of new single and album.
The first single to spawn from her forthcoming album is the fierce pop-rock song "This Is Who I Am". The undoubtable hit single was produced by MachoPsycho (Pink) and mixed by Chris Lord-Alge (Green Day) and was serviced to Australian radio this week. The video for "This Is Who I Am" was recently shot in Los Angeles and directed by Christopher R Watson who is better known for his work on the international hit TV series "CSI New York" and horror film "Hostel". The video was predominately shot on green screen and will launch on September 14. - Universal Music Australia
"This Is Who I Am" debuted at number 1 on the ARIA Charts for the week beginning October 18, 2009. This is Amorosi's first number 1 single. The single holds the top spot for the second week in a row - becoming the first Australian artist to debut at #1 and hold #1 single since Silverchair's "Straight Lines" in 2007. "This Is Who I Am" has achieved Gold sales in Australia.
Her new album Hazardous is set for release on November 6, 2009.
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The Today team have galloped into Melbourne to kick off festivities for the biggest racing event on the social calendar, the 2009 Melbourne Cup Carnival.
To celebrate the Carnival, TODAY is broadcasting LIVE from Bourke Street Mall this Thursday and Friday. Karl and Lisa, along with Cam, Georgie, Richard, Steve and Richard Reid, are bringing all the fun, fashion and excitement of TODAY to the streets of Melbourne.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier Rinaldiesque structure. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Monferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Monferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. Under the Soviet government, the building was stripped of religious trappings, then turned into the Museum of Scientific Atheism.The dove sculpture was removed, and replaced by a Foucault pendulum.
During World War II, the dome was painted over in grey to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, with the objective of aiding in the location of enemy cannon.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.