Representing my trip to Pisa in 2016 is the Palazzo Pretorio which was the Governor's Office.

Originally built in the late 18th Century, it has been reconstructed over the years because of damage, so what you see today is generally more recent.

The river flowing in the foreground is the Arno which stretches from the Apennines and through Florence.

Pisa, Tuscany

25th October 2016

20161025 IMG_6201 adj

Staff representing THINK Together after-school programs accept a Certificate of Recognition from City Officials at Santa Fe Springs City Hall.

(Pictured Left-to-Right): Johnny Sanchez, THINK Together (TT) Staff Recruiter; Nathan Harding, TT Quality Assurance Coach; Mayor Pro Tem Betty Putnam; Karen Cantrell, TT General Manager of after-school programs in the Los Angeles area region; Maria Soto, Educational Services Administrator for the Little Lake City School District; Aregnaz Mooradian, TT Manager of Volunteers; and City Manager Fred Latham.

La Representante Regional Adjunta de la FAO para América Latina y el Caribe, Eve Crowley realizó una visita de tres días a Montevideo junto al Representante de la FAO ad ínterim en Uruguay, Jorge Meza. En ese marco, participaron del lanzamiento de la publicación titulada “68 años de la FAO en Uruguay. 1950 – 2018”, se concretó la firma de varios acuerdos que dejan de manifiesto la continuidad del trabajo en curso con el país y celebraron encuentros bilaterales con Benech, con la Ministra de Desarrollo Social, Marina Arismendi y el director del Instituto Nacional de Alimentación, Gerardo Lorbeer; con la Embajadora Ramona Franco, Directora General para Asuntos Internacionales Económicos del Ministerio de Relaciones Exteriores, así como con la Coordinadora Residente de NNUU, Mireia Villar y legisladores integrantes del Frente Parlamentario contra el Hambre de Uruguay, entre otras actividades.

Más información: www.fao.org/uruguay/noticias/detail/es/c/1205029/

Antwerp Pride

-- More info & video on the OLD blog or on the NEW blog --

Total inclusiveness are both what Deep Red Noise vzw is about and what House of the Red Merlin (the tabletop gaming & niche literature-speciality store I'm starting in Tongeren) wants to incorporate aswel.. because one of many Red Cathedral - credos says: "You belong. Always."

Representantes del sector agrícola y agroindustrial del departamento de Petén, así como comercializadores de diferentes productos, participaron el 6 de febrero en la capacitación “Cómo hacer negocios con la Unión Europea”.

Representado: Selección Peruana U18

Créditos: Andrés Lino

Descripción: Perú en el Mundial de Vóley Argentina 2017 que se celebra en Rosario del 18 al 27 de agosto.

Solo para uso exclusivo de prensa. Todos los derechos reservados.

Hallelujah Mountains

•Location Information

oLocation: Pandora

oResidents: Mountain Banshee; Na’vi; Great Leonopteryx (possibly)

•Behind the Scenes:

oFirst Appearance: Avatar

The Hallelujah Mountains (Na’vi name: Ayram alusìng meaning “Floating Mountains”) are floating islands that circulate slowly in the magnetic currents like icebergs at sea, scraping against each other and the towering mesa-like mountains of the region. On Pandora, huge outcroppings of unobtanium rip loose from the surface and float in the magnetic vortices due to the Meissner Effect.

Physical Description

They are overgrown with foliage at the top and straggly beards of vines hang down beneath the mountains like the roots of air-ferns. Their sides are sheer cliffs. Waterfalls, originating on the mesa-like tops, stream down the sides and disperse into spray at the bottoms, like upside-down geysers. The mist then condenses on other floating mountains and flows over the side and disperses, renewing the process. The local peaks and mesas actually project above the level of the craggy undersides of the few floating mountains Jake Sully can see, so it seems obvious that collisions are inevitable.

It is also the place that Norm Spellman wants to visit the most on Pandora—his wish is fulfilled when Grace Augustine decides to move her avatar program operation to the region when she realizes Jake is being manipulated by Quaritch. Most human detection instruments are useless amidst the large magnetic fields. The mountains float like clouds among the fixed mountains and swirling cloud structures. When they are in clear sunlight they cast distinct shadows on the land below.

In Na’vi Culture

The mountains are home to several clans, including Ni’awve and the Tipani. The latter reside in the settlement of Vayaha Village. In 2154 the Omaticaya fled to the mountains, seeking sanctuary at the Tree of Souls. The tree is one of the most sacred sites on Pandora.

The Hallelujah Mountains are also where mountain banshees choose to roost. This location atop the 2,600m high Mons Veritatis makes the final challenge on the path to becoming a Na’vi hunter (known as Iknimaya) even more difficult and dangerous, as the route taken to the top of the mountains is treacherous. One wrong move will send a candidate plummeting to his or her death. The danger of wild mountain banshees is also present. The local Tipani also refer to the entire region around their village as Iknimaya.

Behind the Scenes

The mountains also bear a similar appearance to the Chinese Huang Shan Mountains. James Cameron said that it was the Huang Shan mountains that inspired him to create the Hallelujah Mountains, which would explain the similar appearance. On January 25, 2010 in China, hundreds of locals in ethnic Tujia costumes “officially” renamed the Qiankunzhu mountains after the Hallelujah Mountains as a tribute to Avatar.

Sacred Sites

The Hallelujah Mountains: Fragile Giants

For humans, the Hallelujah Mountains are a stunning vista, a true wonder of the natural world. For the Na’vi, they are so much more.

It’s hard to imagine. And trust us: pictures don’t do it justice.

Whole mountains lifted from the earth like children’s balloons. Billions of tons of rock floating in the air as though hung there deliberately—some the size of boulders, and some miles across. The Hallelujah Mountains are one of the definitive natural wonders of Pandora, objects of surreal delight for every human lucky enough to see them.

As enduring as they are in both fact and imagination, the truth is that the mountains perform a delicate balancing act within the region’s geology and ecology. Most significantly, they represent a cherished, essential part of Na’vi spiritual life. From their role in the iknimaya to the mysteries of Eywa herself, the mountains are a prime sacred site, offering a fascinating glimpse into indigenous belief.

But first, an answer to the question you’re all thinking.

Yes, They Really Float. But How?

Admittedly, it took some digging for RDA geologists to figure it out—literally. The intense magnetic fields covering Pandora—and clustering in this region in particular—were common knowledge during early exploration of the moon, and it was assumed they had something to do with how the mountains stayed in place. But it wasn’t until unobtanium was excavated that a full picture started to come together.

What we know is that, thanks to the superconductive properties of the unobtanium deposits within, each mountain is surrounded by its own magnetic field that effectively keeps the mass in place, as though fenced in. And conforming to the rules of a fence, the mountains can actually shift position within their boundaries—their occasional collisions inspired the Na’vi to nickname them “Thundering Mountains.”

The Eywa Theory

The alternate point of view belongs to the Na’vi. There is nothing unsolved in the Na’vi ontology: everything that exists does so within the system of interconnectedness controlled by Eywa. And by Na’vi accounts, the mountains were lifted as a part of Eywa’s plan. This puts things lightly; really, the Na’vi regard the mountains as one of the greatest symbols of Eywa’s organizing abilities. As we know, it’s extremely unlikely for a mountain to float. Isn’t the fact that these do prove that a higher power made it so?

One natural condition that gives the “sacred plan” idea credence is the interplay between life on the ground and life on the mountains, and how, depending how you look at it, the mountains almost need to be floating in order to sustain this interplay. Which brings us to one interplay in particular, which has risen to mythic levels on Pandora: that of the mainland Na’vi with the mountain banshee.

A Deadly Rite of Passage

A defining characteristic of the Na’vi is the ability to form neural links with some of the animal life of Pandora. And there is no bond more central to clan life—or that more captures the Na’vi imagination—than the one forged with the mountain banshee.

But this bond has to be earned. And that means a dangerous rite of passage called the iknimaya. When a young Omatikaya Na’vi comes of age, he or she may choose to make a long and treacherous solo climb up the vines connecting the floating mountains to the banshee rookeries found in the high peaks. There, the heart of the challenge begins. A banshee never relents to Na’vi bonding advances without resistance, and so the Na’vi only gets one chance; it will end either in free-fall or the banshee leaving its mountain habitat to nest near its rider, who now wears the title Ikran Makto—“Banshee Rider.”

Seeing the Mountains All Over Again

Obviously, the best way to feel the monumental power of the Hallelujah Mountains (and the other ranges of floating mountains on Pandora, such as the one hovering over the Mo’ara Valley) is to see them in person, in the way that the power of the Grand Canyon or the gorges of the Yangtze River can only be experienced when you’re really there. Like the Grand Canyon, the mountains are picturesque, often the first thing people think of when they think of Pandoran landscape. We love to look at the mountains—but to really see them, and all that they signify, you have to put them in perspective. Imagine if the Grand Canyon, in addition to being beautiful, defined how you entered into adulthood, in effect giving you your identity among friends and family. Imagine if the Grand Canyon represented an emblem of a spiritual force guiding every gesture of every day of your life—that its very existence was a spectacular visual proof of that force and its will. Do this, and you will have the briefest glimpse of what the mountains mean to the Na’vi, deeply and personally, and why we must do what we can to understand, respect, and celebrate them. When you consider the wonders of our two explored galaxies, they are literally irreplaceable.

Santa María del Naranco es una iglesia prerrománica asturiana situada a cuatro kilómetros de Oviedo, sobre la ladera sur del Monte Naranco que originalmente fue palacio del rey Ramiro I. El edificio que hoy conocemos como Santa María del Naranco no se construyó como iglesia, se trata del edificio más representativo de un conjunto palacial suburbano.

El edificio fue mandado construir por Ramiro I como palacio, siendo acabado en el año 842 d.C, formando parte de un complejo arquitectónico que también comprendía la cercana iglesia de San Miguel de Lillo, erigida a tan solo cien metros de distancia. Sin embargo, a causa del derrumbamiento de la cabecera y de parte de las naves de San Miguel fue transformado en iglesia, probablemente durante el siglo XII, pues la crónica silense de 1150 ya lo registra como templo de Santa María.[1] El edificio se ubica en la ladera meridional del Monte Naranco donde existía un bosque en el que abundaba la caza. La ausencia de un ábside destinado a contener el trono del rey hace pensar que el edificio hubo de tener carácter de palacio de campo o residencia real dedicada al ocio.[1]

Consta de dos pisos y trazado rectangular de 20 metros de longitud por 6 de ancho, resultando una planta bastante alargada. En sus lados mayores existen dos salientes de los cuales el del lado norte corresponde a una escalera de dos tiros por la que se accede a la planta superior.

La planta baja consta de un amplio cuerpo central cubierto de bóveda de cañón recorrido por arcos fajones que descansan directamente sobre el muro, por lo que presenta grandes similitudes con la capilla inferior de la Cámara Santa de Oviedo, en la catedral ovetense. Fue posiblemente utilizado como oratorio palatino, aunque se especula con que se tratase de una cámara regia donde se recibiese audiencia, esta teoría se apoya en el bancada que recorre las paredes, y está flanqueado por dos cámaras laterales con cubierta de madera. De estas cámaras laterales la del lado este comunica con el cuerpo central y tuvo funciones de sala de baño (interpretación controvertida) o aljibe, conservando su pila. La del lado oeste solo es accesible desde el exterior, desconociéndose su función, pudiendo haber acogido una garita.

La planta superior fue planta noble, presentando una distribución similar a la de la planta baja. La gran sala central, rectangular y cubierta por bóveda de cañón peraltada atravesada por seis arcos fajones que se apoyan en ménsulas. Está recorrida en sus lados mayores por una arquería ciega que se apoya en dobles columnas de fustes sogueados de origen celta. Se encuentra flanqueada en este caso por dos miradores o tribunas también cubiertos con bóveda.

Al exterior, en sus lados mayores, son visibles los contrafuertes que se corresponden con los arcos fajones interiores. En los lados menores la fachada se estructura en tres pisos, correspondiendo el central a la planta noble, cuyos miradores se abren al exterior mediante tres arcos de medio punto peraltados, en los que el central es ligeramente mayor. Este mismo esquema, a una escala mucho más reducida y estilizada, se repite por encima de ellos, formando el ventanal de dos cámaras a las que no existe acceso excepto con la ayuda de una escalera y su utilidad era de guardar el tesoro del noble. Principalmente el material utilizado es el sillarejo, como es corriente en el arte asturiano.

El resultado es un edificio elevado, esbelto y elegante, modulado por la simetría de los contrafuertes y la gracia de sus arcos de medio punto peraltados, alguna de cuyas soluciones constructivas y decorativas, como las bóvedas de cañón, los arcos fajones, los contrafuertes exteriores o la supeditación de la decoración escultórica a la arquitectura, suponen un claro anticipo del románico.

20.09.2022 – Lula e Fernando Haddad participam de encontro com representantes do setor de Turismo, em São Paulo (SP). Foto: Ricardo Stuckert

Toni Preckwinkle (nee Reed; March 17, 1947) is the current Cook County Board President and a former alderman in the Chicago City Council representing Chicago's 4th ward in Cook County, Illinois, United States. She was elected on November 2, 2010, as President of the Cook County Board, the Executive Branch of Cook County government. Preckwinkle first sought office in 1983 and was defeated twice before securing election in 1991 and subsequently being re-elected as alderman four times.

Preckwinkle had been an occasional critic of Chicago Mayor Richard M. Daley. In her first four terms in office she emerged as the council's prominent defender of affordable housing. Among other issues, she is known for her sponsorship of living wage ordinances, her expressed concerns regarding the costs and benefits of the city's Olympic bid, and her strong stance against police brutality and excessive force.

Early life, family, and career

Preckwinkle was born in St. Paul, Minnesota, moving to Chicago to study at the University of Chicago in the Hyde Park community area, where she earned her bachelor's and master's degrees.[1] She is married to Zeus Preckwinkle, a seventh and eighth grade teacher at Ancona Montessori School. They have two children. Her husband is Caucasian, which at times has been a campaign issue.[2]

After college, Preckwinkle spent ten years teaching history in several high schools in the Chicago metropolitan area, including Calumet High School, the Visitation School, and Aquinas.[1] In 1985 and 1986 Preckwinkle was President of the Disabled Adult Residential Enterprises (DARE). Preckwinkle has been a member of the Board of Directors of the Illinois Council Against Handgun Violence, Political Action Director of the Near South Chapter of the Independent Voters of Illinois (IVI-IPO).[1] During and after her 1987 aldermanic election campaign, she worked as a planner for the Chicago Department of Economic Development.[3][4] By 1990, she had become executive director of the Chicago Jobs Council, and become allied with civil rights attorney R. Eugene Pincham.[5][6]

§The 4th Ward

Hyde Park 2006 Independence Day parade (left to right starting at center in light green): Preckwinkle as the Statue of Liberty, Illinois State Representative Barbara Flynn Currie as Uncle Sam, and Chicago City Council Alderman Leslie Hairston as Betsy Ross

Chicago's fourth ward is on the South Side of Chicago, adjacent to the Lake Michigan lakefront. It includes all of the Kenwood and Oakland community areas, the northern portion of Hyde Park and the eastern portions of the Washington Park, Grand Boulevard and Douglas community areas. The northern part of the ward (North of 45th Street) is predominantly poor and African American, while the more racially diverse southern half is predominantly middle and upper middle-class.[7]

Unsuccessful campaigns for alderman

In her first two aldermanic election attempts for the 4th ward, in 1983 and 1987, Preckwinkle lost to the incumbent, Timothy C. Evans.[8] Evans was Chicago Mayor Harold Washington's City Council floor leader and lieutenant.[8][9] In 1983, she gained enough support to force a runoff election.[10] (Chicago Aldermen are elected without regard to political party affiliation, but must earn a majority of votes or the top two candidates have a runoff election.[7] ) In the runoff, Preckwinkle carried traditionally "independent" precincts in Hyde-Park, but Evans was able to win by carrying the precincts in the north of the Ward.[11]

In the 1987 elections, Evans defeated Preckwinkle by a 77% to 21% margin.[12] In 1987, although both the Chicago Tribune and Chicago Sun-Times endorsed Evans, they praised Preckwinkle for her numerous qualities, including intelligence and independence, and expressed hopes she would continue in politics.[3][13] Preckwinkle was endorsed by state Rep. Carol Moseley Braun and also by the Independent Voters of Illinois-Independent Precinct Organization, but not by Harold Washington, who endorsed Evans.[14][15]

§Third campaign for alderman

In 1991 Preckwinkle and four others challenged Evans for the 4th ward alderman's position.[16] In the first round of voting on February 26, 1991, she won nearly one-third popular vote in the ward by winning 20 of 58 precincts (all in the Hyde Park-Kenwood community).[7] Evans and Preckwinkle again advanced to a runoff election, as they had in 1983, but this time the majority of the eliminated candidates endorsed Preckwinkle.[17] On April 2, 1991, Preckwinkle performed better in the northern part of the ward and was elected by a 109 vote margin,[7] defeating the 17-year incumbent alderman Evans.

Preckwinkle has developed a reputation for progressiveness.[21][22][23] On the City Council Preckwinkle was known as a progressive member, independent of then-Mayor Richard M. Daley, with whom she dissented more often than any other alderman.[24][25] Preckwinkle was one of the few aldermen on the City Council occasionally critical of the policies of former Chicago Mayor Richard M. Daley.[26] In 2004, she and Dorothy Tillman were the only aldermen to vote against the Mayor's city budget, and in 2005, Preckwinkle was the lone dissenter.[27] Preckwinkle has supported the majority of legislation advanced by the mayor and his allies, including most of Daley’s annual budget proposals; his controversial use of tax increment financing, an economic development program in which tax revenues are funneled into accounts controlled almost exclusively by the mayor; and, ultimately, his quest to host the 2016 Summer Olympics.[28]

Preckwinkle has championed set-asides for affordable housing as her signature issue, and the municipal ordinances she sponsored in 1993 and 1999 for affordable housing increased city expenditures on low and moderate income housing by 50 percent.[1] In 2007, she pushed for increases in the existing Affordable Requirements Ordinance. This mandates housing developers using land bought at a discount from the city to make at least 10 percent of their housing units "affordable", or to contribute money to an affordable-housing fund by increasing the percentage to 15 percent.[22] The issue is considered a key element in the debate about ending homelessness in Chicago.[29] Her detailed knowledge of public housing has been recognised in the national press, which has cited her defense of the maligned Vince Lane when the federal government took over Chicago's public housing projects.[30][31]

Preckwinkle was a co-sponsor of the living wage ordinances that passed the city council in 1998 and 2002.[1] On July 26, 2006, Preckwinkle was one of 35 aldermen who voted to approve the 2006 Chicago Big Box Ordinance sponsored by Alderman Joe Moore (49th)[32] which for 7 weeks made Chicago the largest United States city that required big-box retailers to pay a "living wage."

In October 2007 Preckwinkle opposed naming a landmark in the 4th ward for 1976 Nobel literature laureate Saul Bellow, reportedly on the grounds that Bellow had made remarks that Preckwinkle considered racist.[33][34] She also opposed the renaming of a stretch of street near the original Playboy Club "Hugh Hefner Way."[35][36]

In 2006, Preckwinkle decided to paint over two 36-year-old, unmaintained and severely damaged public murals in the 47th Street Metra underpass. The murals had been created by graffiti artists, working with permission from the Chicago Department of Cultural Affairs, and had represented themes that included Latin-American, African, Mayan, Indian, and Native American spiritual practices.[37] The walls were later covered with newly commissioned murals: one is made up of a series of ceramic tiles and the other is a traditional painted mural featuring the city and important historical South Side figures, including former Alderman Dorothy Tillman.

Preckwinkle has been outspoken in support of the city settling the Jon Burge torture case, rather than continuing to spend money in the litigation process.[38] Preckwinkle has also been proactive in the effort to pursue compensation for victims of police brutality in the Jon Burge cases and sought hearings on the initial special prosecutor's report.[39] She has been a critic of the decades-long delay in settling the case,[40][41] and she was a proponent of the settlement.[42]

In 2007, Preckwinkle pursued disclosure of Chicago Police Department officers who used excessive force. The United States District Court had ruled that the records be unsealed and made available to the public. However, on July 13, 2007, the city filed an emergency motion to stay the judge's order. When the city argued in the 7th Circuit Court of Appeals to against disclosure, it made the point that aldermen would have access to the information. Preckwinkle's August 23, 2007, request for disclosure was denied.[43][44]

The unsuccessful Chicago 2016 Olympic bid placed the main site of the $1.1 billion residential complex, which would have accommodated athletes in an Olympic Village in the 4th Ward.[45] Preckwinkle expressed her reservations about the initial plan, and was involved in plan revisions.[46][47] Since the planned construction was almost entirely in her ward, she expressed concern that her constituents were not offered a chance to voice their concerns with the plan. She was an early advocate of moving what would have been the Olympic Village from the McCormick Place truck yard to the Michael Reese Hospital site.[48] On March 14, 2007, Preckwinkle joined four other South Side aldermen in voting against a $500 million public-funded guarantee to back up Chicago's Olympics bid.[49] On September 9, 2009, Preckwinkle voted to authorize Mayor Richard Daley to sign the International Olympic Committee's host city contract that included financial guarantees putting full responsibility for the Olympics and its proposed $4.8 billion operating budget on taxpayers.[50][51]

§Democratic Party Committeeman

Preckwinkle is also the Democratic Committeeman for the 4th Ward,[52] a position within the Cook County Democratic Party.[53] Each of the 50 wards of the city and the 30 townships of Cook County elect a Democratic Committeeman to the Cook County Central Committee. These committeemen form the official governing body of the Cook County Democratic Party which, among other purposes, endeavors to attract, endorse, and support qualified Democratic candidates for office.[53][54][55]

Preckwinkle succeeded Evans as 4th Ward Democratic committeeman in 1992, defeating former Evans administrative assistant Johnnie E. Hill by 6,227 to 2,327 votes in the March 17, 1992 primary election; Evans had filed nominating petitions to run for re-election as committeeman and run for judge, but withdrew his name from the ballot for committeeman so his name would only appear once on the ballot, for the judgeship (to which he was elected).[56] Preckwinkle was re-elected as 4th Ward Democratic committeeman on March 19, 1996, running unopposed on the ballot after her successful challenges to the nominating petitions of Charles S. Williams and her 1995 and 1999 aldermanic challenger Kwame Raoul, who were both just a few dozen signatures short of the number required to earn a place on the ballot.[57] Preckwinkle was re-elected, again running unopposed on the ballot, as 4th Ward Democratic committeeman in March 2000, March 2004 and February 2008.

On November 6, 2004, the 10 Democratic ward committeemen whose wards make up parts of the 13th Illinois legislative district voted to appoint Kwame Raoul to the state senate seat vacated two days earlier by then U.S. Senator-elect Barack Obama; 4th Ward Democratic committeeman Preckwinkle and 5th Ward Democratic committeeman Leslie Hairston had the largest says in the appointment with 29% and 27%, respectively, of the weighted-vote based on the percentage of votes cast in each ward in the 13th legislative district for Obama in the November 5, 2002 general election.[58]

Preckwinkle chairs the ward organization, the Fourth Ward Democratic Organization,[59] which was one of sixteen Chicago Democratic ward organizations named in a complaint filed on August 31, 2005 with the Illinois State Board of Elections by the Cook County Republican Party charging that Democratic Party ward organizations are illegally housed in City-funded neighborhood ward offices.[60] Taxpayers fund aldermanic service centers, which are open to the public. State law prohibits the use of public funds by any candidate for political or campaign purposes.[61] The complaint against Preckwinkle's ward organization was one of nine that a Hearing Officer appointed by the Board recommended proceed to the next step of the hearing process, an Open Preliminary Hearing. On October 17, 2005, at a regularly scheduled meeting of the Board of Elections, the Board entered an executive session and voted, in a 4–4 tie, along strict party lines, failing to adopt the recommendation of the Hearing Officer, and ordered the complaints dismissed.[62] The complaint against Preckwinkle's ward organization was one of eight that the Cook County Republican Party appealed all the way to the Supreme Court of Illinois.[63] On January 23, 2009, the Illinois Supreme Court unanimously ordered the Illinois appellate court to conduct a judicial review of the Board's dismissals of the complaints.[64]

Preckwinkle nominated Joseph Berrios for re-election as Chairman of the Democratic Party of Cook County at a meeting of the Cook County Democratic Central Committee on March 3, 2010. At the time Berrios was the incumbent chairman as well as a commissioner with the Cook County Board of Review and the Democratic candidate for Cook County Assessor. Berrios was re-elected.[65]

§Relationship with Barack Obama[edit]

Preckwinkle's views on Obama were prominently featured in a July 2008 New Yorker cover story on Barack Obama's political origins.[66][67][68] The article begins by recounting a 1995 meeting between Preckwinkle and Obama in which he discussed a possible run for the Illinois Senate seat then held by Alice Palmer.[68] According to the New Yorker's account, Preckwinkle "soon became an Obama loyalist, and she stuck with him in a State Senate campaign that strained or ruptured many friendships but was ultimately successful."[67][68] In 1995, she successfully challenged the signatures of Obama's opponents in the Democratic Primary for the Illinois Senate, allowing Obama to run unopposed.[69]

Preckwinkle supported Barack Obama early in his political career, endorsing him in his campaigns for Illinois Senate in 1995–6,[70] U.S. House in 1999–2000,[71] and U.S. Senate in 2003–4.[72] She was among those who encouraged Barack Obama to make his first run for the United States Congress in 2000,[73] and she was an early supporter when he ran in 2004.[74] When Obama later became a United States Senator following the 2004 United States Senate election in Illinois, Preckwinkle had a large say in his Illinois State Senate replacement.[75] She became Obama's Alderman when he moved from Hyde Park to South Kenwood in June, 2005.[76]

According to the New Yorker article, Preckwinkle had since become "disenchanted" with Obama. The article’s author suggested that Preckwinkle's "grievances" against Obama were motivated by Preckwinkle's perception that Obama was disloyal.[77] Notwithstanding any such concerns, Preckwinkle was an Obama delegate at the 2008 Democratic National Convention.

§Campaign for Cook County Board President[edit]

Preckwinkle announced that she would run for President of the Cook County Board in January 2009.[78] She launched her campaign website on June 18, 2009.[79] On February 2, 2010 she won the Democratic Primary, defeating the incumbent Board President Todd Stroger, among others. Preckwinkle faced Roger Keats, the Republican nominee, in the November general election.[80] On November 2, Preckwinkle became the first woman elected as Cook County President by capturing over two-thirds of the vote.[81][82] Her Republican opponent received only 26% of the vote, and then moved out of Illinois.[83] She recommended that Chicago Mayor Richard M. Daley appoint Will Burns to succeed her as Fourth Ward Alderman,[84][85] but Burns preferred to run in an open primary.[86] Mayor Daley appointed Shirley Newsome as a "caretaker" alderman on January 12, 2011. Burns handily won the special election for the seat a month later.

In August 2012, Dr. Nancy Jones, former head of the Cook County Morgue, declared "This woman is evil" regarding Preckwinkle's handling of the management and budgeting of the Morgue, which had led to alleged bodies piling up and filthy conditions.[87] Also in August 2012, Preckwinkle stated at a conference hosted by former Governor Jim Edgar that former President Ronald Reagan deserved a "special place in hell" for his involvement in "making drug use political". Preckwinkle was defending Chicago's move to decriminalize possession of small amounts of cannabis by allowing police to write tickets, asserting that drug laws unfairly lead to more minorities behind bars. She later stated her regret for her "inflammatory" remark.[88]

Political observers have speculated that Preckwinkle could be a viable candidate in the 2015 Chicago mayoral election, though she has not announced whether she will run.[89][90]

Represent Festival Reutlingen 2016, Tag 1

2016 Michael Lamertz

Designer unknown (佚名)

2001, February

The Chinese Communist Party represents throughout the requirements in the development of advanced productive forces in China

Zhongguo gongchandang shizhong daibiao Zhongguo xianjin shehui shengchanlide fazhan yaoqiu (中国共产党始终代表中国先进社会生产力的发展要求)

Call number: BG E15/142 (Landsberger collection)

The Communist Party presents itself as the driving force behind technological developments: computers, DNA research, space travel.

See: chineseposters.net/posters/e15-142

Reunião com representantes dos TRFs – área de Repercussão Geral.

FOTO: Luiz Silveira/Agência CNJ

Siga o CNJ também:

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Oh, yeah, baby

We are so ready for SXSW, Dinner 2.0 or the next kick-arse local event for innovators ;)

Classical period, ca. 440-420 BCE

Attributed to the Pisticci Painter

Archaeological provenience unknown; looted from a tomb somewhere in southern Italy; trafficked via Geneva by Giacomo Medici

To the left of Theseus stands Ariadne, ball of thread in hand.

Photographed on display in the exhibit "Miti greci per principi dauni" (Greek myths for Daunian princes) at the Museo Nazionale Etrusco di Villa Giulia, Rome, 22 November 2024-16 March 2025

Repatriated to Italy from the Altes Museum, Berlin

Representando renascimento, as folhas marcão uma nova faze.

Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.

Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.

The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").

HISTORY

Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.

According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.

According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.

In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.

One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."

Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.

Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.

ARCHITECTURE

SITE AND PLAN

Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

STYLE

Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

FEATURES

OUTER ENCLOSURE

The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

CENTRAL STRUCTURE

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.

Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.

The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.

North and south of the cloister are libraries.

Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.

Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

DECORATION

Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".

From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

CONSTRUCTION TECHNIQUES

The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.

ANGKOR WAT TODAY

The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.

WIKIPEDIA

These images represent some of the many Spring wildflowers Walter Ezell and I found on a 6-hour day-trip to upstate South Carolina. Spring has arrived a couple of weeks early in our region, a sure sign that climate change is a real thing..

To read the full trip report, please go to Jim's Blog.

Représentation de l'écomusée à Folie Flore 2019

Descripción del circuito.

POR representa la batería a descargar. El circuito está formado por 4 bloques idénticos de manera que sólo comentaré uno de ellos.

El objetivo es lograr una corriente de descarga de unos 500-700 mA para una tensión de batería nominal de 1.20V de manera que no se permita que la tensión de la misma baje de 0.70V. Si una batería NiMh o NiCd entra en régimen de descarga profunda, por ejemplo conectando una simple resistencia es muy probable que se produzca el efecto de inversión de polaridad lo que destruye la batería.

Por otro lado deseamos que el circuito no requiera alimentación externa, para que pueda ser utilizado en cualquier lugar y situación y sea lo más barato posible. Asumimos que el 100% de los usuarios de baterías NiMh ya disponen de un cargador rápido o semi rápido por lo que el descargador será un complemento ideal para proteger las pilas del proceso de carga a partir de estados de descarga intermedios.

El transistor Q1 BD237, en configuración emisor común, es el elemento de control, el cual, a través de R1 y R2 como carga de colector, crean la corriente de descarga de la batería. La mayor parte de la energía se disipa en el transistor que alcanzará temperaturas considerables.

Pero es necesario un elemento de control que corte la descarga cuando la tensión de la batería se reduce por debajo de un umbral seguro. El diodo de barrera Schottky D1 junto a la tensión base-emisor de Q1 forman un conjunto que comienza a conducir sólo cuando la tensión de la batería es superior a la tensión de las dos uniones polarizadas en sentido directo. La medidas sobre el prototipo indican unos valores típicos de 170mV para el diodo y de 574 mV para la tensión de base de Q1. En total 0.744 mV que será la tensión de fin de descarga.

Es interesante ajustar al máximo esta tensión puesto que valores superiores limitan demasiado la corriente de descarga, lo que alarga el proceso en exceso. Igualmente la tensión de la batería es muy escasa y teniendo en cuenta la tensión de colector-emisor en saturación de Q1, del orden de 847mV es necesario asegurarnos que Q1 está en saturación y elegir el transistor con la mayor beta posible. La caída de tensión en contactos y pistas es del orden de 60mV a corriente de descarga nominal.

La corriente de base es del orden de 3.37mA para una descarga media de 642mA.

En la tabla Excel se muestran varios valores de tensiones y corrientes de fin de descarga y de descarga de una batería cargada. La temperatura de los transistores alcanza 90ºC lo cual sugiere el uso de un pequeño disipador en el próximo diseño.

Respecto a la construcción. Se emplea una placa de tiras de fibra de vidrio material FR4. El esquema está diseñado con KiCad (Open Source) y el C.I con Veecad (comercial).

Found image. This card was sent in 1922.

Foto: Janine Moraes/PMC

Representantes do governo se reuniram nesta quinta-feira (25/11), na Pedreira Santa Rita, com lideranças comunitárias, moradores e vereadores da região do Industrial para visitarem e discutirem o início da elaboração do projeto de revitalização e ocupação do local. Durante a visita foi criada a comissão que irá auxiliar as secretarias de Obras e Serviços Urbanos, do Meio Ambiente, de Esportes e Cultura na construção de um projeto que atende dentro do possível as reivindicações da população.

A prefeita Marília Campos participou da visita e solicitou que a comissão representasse todos os segmentos da região, a fim de acompanhar a elaboração e execução do projeto, cujo foco principal será fortalecer as práticas esportivas, de lazer e religiosas de maneira segura. “Já vamos verificar o que é possível começar a recuperar, até para que a cidade se aproprie do espaço e não seja apenas mais um lugar da região. Vamos recuperando gradualmente, para transformar esse local em um equipamento bonito, seguro e de grande referência para nossa cidade”, afirmou.

O secretário de Obras e Serviços Urbanos, Marcos Túlio de Melo, afirmou que o local é um espaço único e ficou impressionado pela beleza, desconhecida pelos próprios moradores do município. Ele disse que a área tem potencial para ser uma grande referência para a região metropolitana em vários aspectos, ambiental, esportiva e religiosa. “Já visitei a pedreira em outras ocasiões, e não temos na RMBH uma vista mais bonita. Precisamos construir um projeto integrando a comunidade, pois se esse lugar se manteve com o mínimo de cuidado foi graças a ela”, declarou.

A Pedreira Santa Rita é um importante espaço público do município. O local é sede de um dos mais antigos times de futebol amador do município, o Esporte Clube Recanto Azul, além de ser um dos mais importantes espaços no Estado para a prática de escalada, sendo visitado por moradores de outros países, mas que é pouco conhecido pelos moradores do município.

O secretário de Esportes e Lazer, Rubens Macedo, afirmou que o espaço será ideal para a descentralização de políticas públicas de esportes e lazer na cidade e da diversificação das modalidades esportivas ofertadas no município e para dar visibilidade às diversas práticas esportivas do município, amador ou profissional.

A secretária de Meio Ambiente, Maria Thereza Camisão, reiterou as palavras do secretário Marcos Túlio e afirmou que todas as características ambientais serão preservadas e que o lugar será um local onde as pessoas possam viver e celebrar a vida. Segundo a secretária de Cultura, Monique Pacheco, o maior desafio é apresentar Contagem para os moradores, fazendo com que eles possam viver a cidade, conhecendo a cultura produzida no município e, que o espaço da pedreira poderá potencializar as atividades culturais.

Durante o encontro, a moradora da região, Cláudia Márcia dos Reis, destacou a importância da população se juntar ao governo na elaboração do projeto. “Temos que juntar nossas forças, pois onde tem unidade, tem consistência e a certeza que tudo vai dar certo, e vamos ver esse lugar virando um espaço bem aproveitado, que as pessoas venham fazer as orações com mais segurança, que as crianças e adultos possam praticar o esporte e outras atividades que vão trazer benefícios para todos”, ressaltou

Para finalizar, a administradora da Regional Industrial, agradeceu a presença das lideranças comunitárias, dos segmentos religiosos, esportivos, culturais presentes e afirmou que após anos de abandono, a pedreira finalmente terá um projeto de revitalização, ouvindo a população e preservando o vínculo afetivo que todos têm com o local. “Vamos debater de forma democrática com todos e fazer com que a Pedreira Santa Rita seja nossa grande referência no município”, declarou.

Participaram do encontro, o vice-prefeito, Ricardo Faria; os vereadores Vinícius Faria e Pastor Itamar, lideranças comunitárias, membros do Recanto Azul, representantes dos segmentos esportivos, como escalada; padres e pastores da região, além de membros da Regional Industrial.

www.twitter.com/Memoire2cite Des villes détruisent des HLM devenus trop nombreux, trop vieux, inlouables , Dans les zones touchées par la désindustrialisation et la perte de population, de nombreux logements doivent être démolis. Rue de la Chaume, à Montluçon (Allier), c’est le royaume des chats, plus nombreux que les locataires de cette résidence aux volets écaillés. Sur vingt-quatre appartements, six, tout au plus huit, sont occupés. « Inlouables, trop excentrés, trop chers », tranche Jacques Renault, membre de la Confédération générale du logement et représentant des locataires au conseil d’administration de Montluçon Habitat, le propriétaire.

L’office public HLM de l’agglomération a acheté cette résidence en 2005, pour un prix trop élevé, sans avoir de projet précis ni les fonds pour la réhabiliter, à la filiale HLM de la SNCF qui voulait s’en débarrasser. Car le temps où le groupe ferroviaire comptait plus de mille salariés dans ses ateliers de maintenance de Montluçon est révolu. Il n’en reste qu’une centaine aujourd’hui. Des HLM trop nombreux qu’il faut se décider à démolir. Montluçon Habitat n’est pas le seul à être confronté à l’obsolescence d’une partie de son patrimoine. Désindustrialisation massive www.lemonde.fr/societe/article/2019/05/31/ces-villes-enco... -

Dès 2015, les associations régionales HLM de cinq régions (Auvergne, Bourgogne, Champagne-Ardenne, Franche-Comté et Lorraine) ont sonné l’alarme en publiant leur manifeste pour une politique du logement en territoire détendu, qui affirmait : « On a trop construit de logements privés et publics, 38 500 par an jusqu’en 2011, alors que la moitié aurait suffi. »

La Fédération des offices publics HLM chiffre aujourd’hui à 30 000 le nombre de logements devant être démolis dans ces territoires d’ici à quatre ans, et 24 000 méritant une profonde restructuration. Autres offices publics confrontés à une vacance endémique : Bourges, Châlons-en-Champagne, Le Creusot (Saône-et-Loire), Forbach (Moselle), Alençon, Moulins, Vichy (Allier), Nevers…

-Urbanisme - l'Apres 1945 @ 2 millions de logements a créer en urgençe..45 pour cent du parc locatif bombardé.. « Ginny » vu par l’urbaniste Nicolas Monnot @ les grands-ensembles www.arte.tv/fr/videos/082309-000-A/ginny-vu-par-l-urbanis...

sig.ville.gouv.fr/atlas/ZUS/ La matrice des G.E. s'est développée au lendemain de la guerre, lors de la reconstruction, mais ses origines de 1930, en France (Cité de la Muette à Drancy, quartier des Gratte-ciel à Villeurbanne).Gilles Ragot, historien de l'art, maître de recherche içi www.youtube.com/watch?v=dEBfg4vXNOM …Dès la fin de la seconde guerre mondiale, Eugène Claudius-Petit, éminent ministre de la reconstruction (1948-1952) déclare qu'il faut avoir une politique de "construction et non seulement de reconstruction". Nourri des thèses du Mouvement Moderne (la Charte d'Athènes est publiée en 1943), Claudius-Petit plaide pour une politique ambitieuse de logement social qu'il ne peut dissocier d'une réforme complète de la ville traditionnelle. www.citedelarchitecture.fr/fr/video/de-la-reconstruction-... Les 30 Glorieuses . com et la carte postale.l'UNION SOCIALE POUR L HABITAT fete ses 90 ans "TOUT savoir tout voir, tout connaitre, sur le LOGEMENT SOCIAL des HLM aux HBM avec le Musée HLM" en ligne sur le WEB içi www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …

Archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...

museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije :- que dire de RICARDO BOFFIL Les meilleures balades que j’ai fait autour de Paris je les ai faites dans l’application Plans. Je ne minore pas le rôle de Google Maps, révolution cartographique sans précédent et sans égale, qui aura réalisé nos fantasmes d’Aleph borgesien — l’idée d’un point d’où le monde serait visible en totalité — parachevé Mercator et permis d’explorer des parties du globe inconnues de Cook, Bougainville et Amundsen. Je n’oublie pas non plus cet exercice de cartographie au collège, qui nous avait démontré que nous étions à 3 cartes IGN de la capitale, et que le tissu urbain était de plus en plus serré à mesure que nous avancions vers le nord. Mais Plan possédait une fonctionnalité inédite, le Flyover, technologie à l’origine destinée aux pilotes de chasse, et qui fournissait des rendus 3D spectaculaire des bâtiments survolés — ainsi que des arbres et des déclivités du sol.On quittait enfin les champs asphyxiants de la photographie aérienne pour des vues à l’oblique des villes visitées : après un siècle d’écrasement — la photographie aérienne est étroitement contemporaine du bombardement aérien — les villes reprenaient enfin de la vigueur et remontaient vers le ciel. J’avais d’ailleurs effectué moi-même une manœuvre de redressement similaire le jour où j’étais parti, à pied depuis Paris, visiter à Nanterre une exposition sur la photographie aérienne. J’étais à la quête des premières vues de Paris qu’avait prises Nadar depuis un ballon captif. À défaut de ces images, définitivement manquantes, j’avais parcouru, après la Grande Arche, les derniers kilomètres de la Voie Royale, cette prodigieuse perspective historique partie du Louvre — rare exemple de frise chronologique implémentée dans une structure urbanistique.J’avais en réalité un peu dévié de la ligne droite pour aller voir les tours Nuages d’Emile Aillaud, le Facteur Cheval du modernisme, dont je connaissais déjà les autres chefs d’œuvres d'architecture naïve, les nouilles chinoises de Grigny et le spaghetti de Pantin.C’était précisément l’usage que j’avais fait de l’application Plans : j’étais parti à la recherche de tous les groupements de tour qu’elle m’avait permis d’identifier, sur mon iPad. Je les faisais tourner avec deux doigts, comme un éclaireur qui marcherait autour d’un donjon, avant de les immortaliser, sous leur plus bel angle, par une capture d’écran.Un éclaireur autour d’un donjon : c’était exactement cela, qui m’avait fasciné. Les guerres territoriales entre Les Tarterêts de Corbeil et les Pyramides d’Evry avaient marqué mon enfance. La notion de cité, telle qu’elle avait été définie, à partir des années 80, dans le second âge des grands ensembles, l’âge du déclin, avait conservé un cachet médiéval. Ici, vivaient guetteurs et trafiquants, condottieres à la tête d’une écurie de go-fast et entretenant des chenils remplis de mâtins rares et dangereux. Ici, l’État central ne remplissait plus ses tâches régaliennes, ici la modernité laïque était entrée en crise. Mais ce que j’avais découvert, en collectionnant ces captures d’écran, c’était à quel point l’urbanisme de la banlieue parisienne était, strictement, d’obédience médiévale. On était passé, d’un seul mouvement et sans même s’en rendre compte de Château-Gaillard à la Cité 4000, du Donjon de Vincennes aux tours de Sarcelles, du château de Gisors aux choux fleurs de Créteil.J’ai même retrouvé la colonne détruite du désert de Retz dans le babylonien château d’eau de Noisiel.Des hauteurs de Rosny à celle de Chanteloup, du plateau de Clichy à la dalle d’Argenteuil, on avait bizarrement livré des pastiches inconscients de la grande architecture militaire médiévales : les environs de Paris s’étaient retrouvés à nouveau fortifiés, la vieille tour de Montlhéry n’était plus solitaire, et même les immeubles de briques rouges qui avaient succédé à l’enceinte de Thiers évoquaient des murailles.

Et ce que j’avais initialement pris pour des anomalies, des accidents malheureux du post-modernisme, les grand ensembles voûtés et cannelés de Ricardo Boffil, étaient peut-être ce qui exprimait le mieux tout cela — ou du moins qui clôturaient avec le génie le plus clair cet âge des grands ensembles.

Car c’était cela, ces Carcassonnes, ces Acropoles, ces Atlandides qui surnageaient avec le plus de conviction au milieu des captures d’écrans de ruines médiévales qui s’accumulaient sur mon bureau.

Si décriées, dès leur construction, pour leur kitch intolérable ces mégastructures me sont soudain apparues comme absolument nécessaires.

Si les Villes Nouvelles n’ont jamais existé, et persisteront dans la mémoire des hommes, elles le doivent à ces rêveries bizarres et grandioses, à ces hybridations impossibles entre les cités idéales de Ledoux et les utopies corbuséennes.

L’Aqueduc de Saint-Quentin-en-Yvelines, les Espaces d’Abraxas à Marne-la-Vallée, les Colonnes de Saint-Christophe à Cergy-Pontoise sont les plus belles ruines du Grand Paris.

www.franceculture.fr/emissions/la-conclusion/ricardo-bofill immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.

Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs.

Architecture d’Aujourd’hui n° 46, 1953 p. 58-55

C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP) sont créées, comprenant deux millions de logements, essentiellement de type populaire en Habitations à Loyer Modéré (HLM), mais pas exclusivement, remplaçant ainsi les anciennes Habitations à Bon Marché (HBM) crées en 1894. Selon le décret du 27 mars 1954 qui en fixe les conditions d’attribution, les bénéficiaires de la législation n’ont pas changé, ce sont toujours des « personnes peu fortunées vivant principalement de leur salaire », selon la loi Strauss de 1906. En 1953, tous les HLM voient leur surface maximale se réduire, en passant de 71 à 65 mètres carrés pour un quatre pièces. L’accès au logement des familles modestes se fera donc au détriment de la qualité et quantité de l’espace habité pour des familles nombreuses. À ce propos, le sociologue Thierry Oblet a bien montré comment se sont articulées les pensées des architectes et des ingénieurs modernistes, avec leur souci planificateur d’un État interventionniste[8] grâce à l’hégémonie du béton, de la ligne droite et de la standardisation de la construction.

Les exemples de cette architecture restent nombreux : de la Cité de 4000 (pour 4000 logements) à la Courneuve en Seine-Saint-Denis (93) aux logements de 15 étages aux balcons pétales, appelés « Chou-fleur » à Créteil en Val-de Marne (94) dessinés au début des années 70 par l’architecte Gérard Grandval. De la Cité des nuages à Nanterre dans les Hauts-de-Seine (92) à la Grande borne construite entre 1967 et 1971 sur le territoire des communes de Grigny et Viry-Châtillon, dans l’Essonne (91) en passant par la Noé à Chanteloup-les-Vignes dans le département des Yvelines (78) scénario du célèbre film La Haine[9] de Kassovits.

Récemment, plusieurs expositions photographiques se sont

concentrées sur cette nouvelle figure de l’urbanisme fonctionnaliste français de l’après-guerre. Par exemple Toit&Moi, 100 ans de logement social (2012), Les Grands ensembles 1960-2010 (2012) produite par l’école supérieure d’arts & médias de Caen/Cherbourg, selon un projet du Ministère de la Culture et de la Communication. Enfin l’exposition Photographie à l’œuvre, (2011-2012) d’Henri Salesse, photographe du service de l’inventaire du Ministère de la Reconstruction et de l’Urbanisme et Voyage en périphérie (2012) de Cyrus Cornut. Il s’agissait là non seulement d’un progrès matériel, mais aussi démocratique, donnant ainsi à chaque citoyen, la possibilité d’accéder à son petit appartement doté de tous les conforts de l’époque. La recherche d’économie et de rapidité dans la conduite des chantiers portent à l’utilisation du béton comme matériel privilégié et à des plans architecturaux aussi simples que possible avec la réalisation de logements standardisés, dont les barres et les tours deviennent les figures principales : Au mitan des années cinquante, apparurent d’étranges formes urbaines. Des immeubles d’habitation de plus en plus longs et de plus en plus hauts, assemblés en blocs qui ne s’intégraient pas aux villes existantes. Ces blocs s’en différenciaient ostensiblement et parfois comme systématiquement, s’en isolaient. Ils semblaient faire ville à part. Surtout ils ne ressemblaient pas à ce qu’on avait l’habitude d’appeler ville. Et leur architecture aussi, qui était tellement déroutante. On les a nommés » grands ensembles. Cité de l’Abreuvoir, Bobigny (93), 2003 (Inventaire général du Patrimoine, Région Ile de France / Stéphane Asseline)

Bref, entre 1946 et 1975 le parc immobilier français passe de 12,7 millions à 21 millions de logements. Environ 8 millions de ceux-ci sont neufs, construits entre 1953-1975 – dont la moitié sous forme de grands ensembles – et près de 80 % des logements grâce à une aide de l’État avec des crédits publics. Le nombre de logements sociaux passe de moins de 500.000 à près de 3 millions, dont 43 % en région parisienne, où la demande est la plus forte[11]. Ce qui témoigne d’un effort énorme. Secrétariat d’État à la Reconstruction et au Logement, Supplément du logement en 1954, cité par Bachmann, C. Le Guennec, N., Violences urbaines…Op.cit, p.24. Alors que l’hiver 1954 est particulièrement rigoureux, l’abbé Pierre lance un appel en faveur des sans-logis et déshérités et organise des collectes de vêtements et de nourriture pour les plus démunis. Cela nous rappelle également que les inégalités sociales restaient particulièrement importantes à l’époque, malgré les débuts de la croissance économique, et que la crise du logement n’était pas encore complètement résolue. Danièle Voldman, La reconstruction des villes françaises de 1940 à 1954 : histoire d’une politique, Paris, L’Harmattan, 1997. Les Actualités françaises, La crise du logement, un problème national, 17 juillet, 1957, in fresques.ina.fr/…/la-crise-du-logement-un-probleme-n…, consulté le 20/02/2014. C’est l’urbaniste Marcel Rotival dans un numéro d’Architecture d’Aujourd’hui de juin 1935 (vol.1, n°6, juin 1935, p.57) qui propose pour la première fois cette terminologie pour désigner les Habitations à Bon Marché (HBM) et leur transformation en Habitations à Loyer Modéré (HLM), par la loi du 21 juillet 1951: « Nous espérons, un jour, sortir des villes comme Paris, non seulement par l’avenue des Champs Elysées, la seule réalisation de tenue sans laquelle Paris n’existerait pas, mais sortir par Belleville, par Charonne, par Bobigny, etc., et trouver harmonieusement disposés le long de larges autostrades, au milieu de grands espaces boisés, de parcs, de stades, de grandes cités claires, bien orientées, lumineusement éclairées par le soleil. » Largement reprise depuis les années 1950 dans le jargon administratif et public, elle apparaît pour la première fois dans un texte officiel qu’en 1973 avec la Circulaire Guichard, alors Ministre de l’Aménagement du territoire, de l’Equipement, du Logement et du tourisme. Celui-ci met un terme à la politique initiée après-guerre afin « d’empêcher la réalisation des formes d’urbanisation désignées généralement sous le nom de “grands ensembles”, peu conforme aux aspirations des habitants et sans justification économique sérieuse ». Paradoxalement, le terme de grands ensembles s’officialise donc au moment même où ils son mis en question. ZUP est un acronyme qui signifie Zone à Urbaniser en Priorité. Elles ont été créées par le décret N°58-1464 du 31 décembre 1958, afin de planifier et d’encadrer sur le territoire national, le développement urbain pour répondre à la carence de logements face à l’accroissement démographique et favoriser enfin la résorption de l’habitat insalubre. Oblet, Thierry, Gouverner la ville. Les voies urbaines de la démocratie moderne, Paris, PUF, 2003. En particulier par l’intermédiaire de la Société centrale de construction et de la Société centrale pour l’équipement du territoire, créées au milieu des années 1950 en tant que filiales de la Caisse des dépôts et consignations.

Kassovitz, Mathieu, La Haine, France, 1995.

Cornu, Marcel, Libérer la ville, Bruxelles, Casterman, 1977, p.60. Annie Fourcaut « Les banlieues populaires ont aussi une histoire », Projet 4/2007 (n° 299), pp. 7-15.

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

Official Trailer - the Pruitt-Igoe Myth: an Urban History

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015

www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin)

www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/

www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM...

42 LOIRE ST-ETIENNE MONTREYNAUD tout une histoire youtu.be/ietu6yPB5KQ - Mascovich & la tour de Montreynaud www.youtube.com/watch?v=p7Zmwn224XE … -Travaux dalle du Forum à Montreynaud Saint-Etienne www.youtube.com/watch?v=0WaFbrBEfU4 … & içi www.youtube.com/watch?v=aHnT_I5dEyI … - et fr3 là www.youtube.com/watch?v=hCsXNOMRWW4 … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline et sur les pentes de cette colline s’accroche une petite ville, un quartier, un peu à part. Cet endroit niché au milieu de la verdure, c’est le quartier de Montreynaud. www.youtube.com/watch?v=Sqfb27hXMDo&fbclid=IwAR2ALN4d... …Et sinon, avez-vous remarqué au dessus du P de AGIP ? On voit, dans le film, la Tour Réservoir Plein Ciel du quartier de Montreynaud, détruite 3 ans plus tard par foudroyage ! Sûr que @Memoire2cite a des photos du quartier et de la tout à l'époque ! ;-) 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

- Que de chemin parcouru, Muraille de Chine La Palle Beaulieu jusqu'aux années 90. L habitat se transforme et s adapte aux nouveaux besoins. Autre temps, période d'essor économique et du "vivre ensemble". Merci à @Memoire2cite pour cette introspection du passé! -

Philly Stickaz

Castelo medieval, artística e arquitetonicamente representativo das diversas fases de construção e reconstrução desde a sua fundação até ao século XX.

Estruturas que compõem o conjunto arquitetónico: Palácio Real quatrocentista, Torre de Menagem, Igreja de Stª Maria da Pena, espaço da antiga Colegiada, celeiros medievais e muralhas exteriores.

Conquistado aos mouros por D. Afonso Henriques, em 1135, o Castelo viria a ser reconquistado pelos muçulmanos, cinco anos depois, voltando para a mão dos cristãos, novamente, em 1142. Mas as lutas pela sua posse estavam longe de terminar tendo sofrido novo ataque islâmico. Devido a tantas lutas, D. Sancho I resolve reedificá-lo, corria o ano de 1190.

Em 1325 D. Dinis manda edificar a Torre de Menagem, que após algumas reformulações é agora um núcleo museológico.

Pensa-se que a Igreja de Nossa Senhora da Pena e os Paços Episcopais tenham também sido construídos por ordem de D. Dinis. Este terá sido o rei que mais tempo passou em Leiria, juntamente com a sua esposa, a Rainha Santa Isabel. Graças a estes reis nasceram muitas das histórias e das lendas que envolvem Leiria.

Vários séculos depois, o Castelo, bem como a cidade, viriam ainda a sofrer danos, com as invasões francesas, ficando quase ao abandono. Valeu o esforço da Liga dos Amigos do Castelo e do famoso arquiteto suíço, Ernesto Korrodi, que ali realizaram obras de recuperação.

Numa visita ao Castelo não pode deixar de observar a magnifica vista sobre a cidade de Leiria, a partir da Alcáçova, uma das salas mais bonitas do Castelo de Leiria.

Núcleo Museológico da Torre de Menagem

A musealização do Castelo de Leiria, recorrendo ao objeto, à imagem, ao multimedia e ao texto, tem como objetivo principal “situar o lugar e a função da cidade de Leiria na história de Portugal: mostrar o que ela representa em termos nacionais, para melhor poder medir o significado dos acontecimentos que lhe dizem respeito e que escalonam a sua vida local através dos séculos”. www.cm-leiria.pt/pages/229

Mesas temáticas de trabajo con especialistas y representantes de instituciones vinculadas a la investigación en el ámbito universitario.

Foto: Digesu

I Represented emphasis through the use of light in my photo. The emphasis on the bright light of the glow sticks and the dimmed balloons. The glow sticks are centered and bright which I think helps.

I went into a bathroom and tuned off all the lights so the light would glow better. I put glow sticks and glow balloons in a bathtub. I found a gap between the balloons that showed the light of the glow sticks which I thought would be a good image.

I think I demonstrated emphasis very well. I belive that this image was very creative as well. One thing I wish I would have changed was for the image to be a lot more clear.

twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.(Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). www.metropolitiques.eu/Les-representations-complexes-des.... les textes de Rachid KADDOUR @ Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période. La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué. La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008. Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.

Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :

Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard. Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers. La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain. Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne. Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.

Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.

Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.

Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.

Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.

Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.

Notes

[1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition.

[2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.

[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté.

[4] Propos tenus par un habitant installé dès l’époque.

[5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté.

[6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005.

[7] Expression régulièrement entendue lors des entretiens.

[8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14.

[9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003.

[10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.[14] Propos de l’adjoint à l’urbanisme, « Tour Plei

« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.Acte 1 : la tour Plein-Ciel, symbole de modernité L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. -La Tour Réservoir Plein Ciel était un immeuble de logement situé à Saint-Étienne, dans le quartier de Montreynaud, classé en zone urbaine sensible. Elle culminait à 63 mètres de haut (92 avec l'antenne).

La tour avait été construite en 1972 par l'architecte Raymond Martin, l'antenne de 63 mètres de haut reste jusqu'en 1992 avant de retour en 1996 afin de répondre à la demande considérable en logements. Elle était considérée comme un symbole du quartier. Visible de loin, elle permettait de repérer le quartier dans la ville.Sa destruction a été effectuée le 24 novembre 2011 à 10 h 45 par foudroyage, après le vote majoritaire (73 %) en faveur. --------------------------------------- Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962 ..missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945

Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695.. A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.

Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.

La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.

- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.

- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)

Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.

- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.

Kai Tai Lagoon Nature Park, Port Townsend, WA

www.wnps.org/olympic/projects/kahTaiPrairie/index.html

The Kah Tai Preserve was created in 1987. It was recognized as unique botanical site in 1986. Over 90 different species were identified, 27 represent prairie indicator species.

The Kah Tai Valley, between the Straits of Juan de Fuca and Port Townsend Bay once consisted of open prairies and estuaries. Development quickly transformed this landscape; however, due to benign neglect of a small area within Port Townsend Golf Course, a colorful relic of the last ice age still remains.

From the words of a native son of Port Townsend pioneers, James McCurdy, the valley once was a botanical delight. "Myriads of wild flowers transformed the valley floor into a many-hued carpet." The remnant 1.4 acre prairie has been the focus of preservation and restoration by Olympic Chapter of the Washington Native Plant Society.

Regular work parties have focused on stabilizing prairie plant communities and diligently battling the ever-present weeds. Although the native rose and snowberry shrubs are thriving at the prairie the goal is to promote herbaceous prairie species.

kahtai.blogspot.com/p/park-emerges.html

HISTORY

When George Vancouver( 1757-1798) arrived in 1792, the area around today's Port Townsend was occupied primarily by members of the Klallam (or S'Klallam) Tribe, who called the spot Kah Tai, meaning “to carry” or “to pass through.” The words were then used to refer to the valley that exists between North Beach and the boat haven. It was through this valley that natives would portage their canoes from the Strait of Juan de Fuca to Port Townsend Bay so they could avoid the currents and rip tides, which exist off Point Wilson.

The lagoon at the end of the portage was a hunting ground as well as the site of an Indian encampment. Kah Tai came to refer not only to the portage, but also to the settlement and bay at the end of the valley.

The tribe wintered in large communal cedar pole-and-plank homes along the shoreline, moving off in smaller family groups during warmer months to fish, hunt, forage, and trade.

When Captain George Vancouver arrived at Kah Tai in 1792, Kah Tai Lagoon was a saltwater marsh that was flushed by the tides. Vancouver and his crew observed four tall poles near the lagoon. The Indians apparently made nets of nettles, which they slung between the poles, and flocks of ducks would become entangled in the nets as they flew low into the marshland. Vancouver named the area Port Townsend in honor of the Marquis of Townshend, a famed English commander. When the first white settlers arrived in 1851, they adopted the name Port Townsend and changed the name Kah Tai Valley to Happy Valley. Only the lagoon at the end of the valley retained the name Kah Tai.

When the boom of 1889 hit the area, the small body of water became an obstacle to development. Two trestle bridges were constructed, one connecting Lawrence Street with the western suburbs and the other an extension of San Juan Avenue. By 1907 the trestle bridges across the “swamp” had deteriorated to the point of being dangerous. The Leader reported that many drivers would go around the lagoon rather than risk their teams across the rickety structure. During this era the City Council had ordained that all rubbish was to be dumped from the midpoint of the Lawrence Street Bridge, which was said to have caused a “pile of rubbish big enough to build a courthouse of.” Councilmembers were warned that herds of rats “as big as good-sized dogs” prospered there, causing a threat to the public safety. A short time later the trestles had to be closed to public traffic due to unsafe conditions.

By 1930 Sims Way was constructed, providing a new access across the lagoon. In 1933 the Chamber of Commerce made a proposal to the Department of Game to declare Kah Tai a Federal Game Reserve. However, the proposal was turned down since 300 acres was the minimum acreage for a reserve and only 160 acres were available around the lagoon.

In 1935 the Chamber of Commerce asked the American Legion and VFW for assistance in cleaning up the lagoon and pulling up the old trestle pilings which marred the view. It was hoped that this volunteer beautification effort would transform the smelly snag-infested area into a place of beauty. Unfortunately the local civic groups did not have the resources to proceed very far toward that goal.

In 1938 the WPA revitalized the beautification plan by providing 15 men and $9,000 in federal money. The project included the removal of hundreds of old snags and pilings, the construction of a water control system, the draining of stagnant saltwater from the swamp and the turning of fresh water into the area by tapping a city reservoir overflow that ran nearby. Check gates were built under Sims Way which prevented backing in of salt water and tended to keep the pond at a constant level.

Wild rice was planted in an effort to make the lagoon more attractive to waterfowl. It worked. By the end of 1938 the bird population had risen from about 350 to 800. The State Department of Game recommended again that a Game Reserve be established at the site to provide sanctuary for the numerous shoveler, pintail, mallard, widgeon, teal, scaup, and bufflehead which were found there.

In 1939, 5,000 Montana black-spot trout were placed in the lagoon for the purpose of catching mosquitoes. In August of that year, only kids were permitted to fish. The kids didn’t have much luck and the reason is a matter of speculation. Perhaps the trout could not survive in the brackish waters of the lagoon or maybe the burgeoning duck population had gobbled up most of the young fish.

Due to the brackish character of the water, plant food species for waterfowl were slow to establish and the birds were getting hungry. Contributions by local citizens provided enough supplementary duck food so that by 1940 the duck population had exploded to an estimated 4,500 birds. The ravenous birds became a nuisance as they began to invade local farms and gardens in search of food. People who grew crops in the area were given permission to shoot the ducks on sight. Despite its sanctuary status, Kah Tai Lagoon once again became a popular hunting ground until the duck population had dwindled and the city firearm ordinances were passed.

Represent Festival Reutlingen 2016, Tag 2

2016 Michael Lamertz

Teams compete in various events on Friday, April 16, 2021 during the annual Sandhurst Military Skills Competition at the U.S. Military Academy in West Point, N.Y. During Sandhurst, 44 teams representing four U.S. service academies and 16 ROTC programs compete against one another in a variety of military related contests. (U.S. Army Photo by CDT Hannah Lamb)

Proclamación de el 27 de diciembre como Día de el Premio Hormiga de Oro de parte de la Alcaldía de Miami durante la premiación de los miraístas más destacados del sureste del país con la participación del presidente de MIRA y senador de la República de Colombia, Carlos Alberto Baena y el líder de MIRA USA y candidato a representante de los colombianos en el exterior por MIRA, Jorge Muñoz

Mott Haven, The Bronx

Public School 31, constructed 1897-99, represents an important step in the development of the Collegiate Gothic style as applied to public school architecture in New York City. Designed by C.B.J. Snyder during the early years of his lengthy term as Superintendent of School Buildings for the Board of Education of New York, P.S. 31 is one of the first New York public schools to display numerous late Gothic details, such as Tudor-arched doorways, and pointed windows topped with stone tracery. These and other elements, such as the central entrance tower and gabled bays, were further developed on Snyder's larger, borough-wide high school buildings, such as Morris and Curtis High Schools. P.S. 31 was one of a large number of school buildings constructed around this time to accommodate the huge waves of immigrants moving into the Bronx from other parts of New York, as well as from abroad. By designing so many schools in a relatively short period, Snyder had a tremendous influence on the developing New York City school building, both on its exterior appearance, as well as on its components and their arrangement.

Development of the Area

From 1639, when the Dutch West India Company purchased from the Mohegan Indians all the land that falls within the boundaries of the present borough, through the mid-nineteenth century, the Bronx retained its rural character.-

However, as massive immigration and industrialization began to alter the character of New York to the south, it was inevitable that the northward march of urbanization would eventually engulf the Bronx as well. The earliest immigrants to come to the Bronx were the Irish who arrived after 1840 and settled primarily in Mott Haven. This area, within the section called Morrisania, was adjacent to the Harlem River, and was named for Jordan L. Mott, inventor of the coal burning stove and founder, in 1828, of the Mott Iron Works on East 134th Street. The Irish participated in the construction of the Harlem and Hudson River railroads, beginning in 1842, and the Croton Aqueduct, and they were joined after 1848 by an influx of Germans. The new railroads opened up great potential for industrial development, and during the second half of the century factories ware erected along the Harlem and East River waterfronts.

The population of the Bronx rose from 28,981 in 1870, to 81,255 in 1890, and 200,507 in 1900, with even greater increases in the following years.

Politically, the Bronx remained a part of Westchester County from 1683 until the area was annexed to the city of New York. This change occurred in two stages, the western section joining New York in 1874, with the rest following in 1895. In 1898 the Charter of the City of Greater New York was implemented, creating the five boroughs, including the Borough of the Bronx.

Schools in Greater New York

A major effect of the new charter was to create a unified educational system out of numerous independently administered school districts with a variety of curricula, grade divisions, educational policies and standards for personnel selection. This endeavor was hindered initially by a tremendous shortage, both in number and quality, of existing school buildings, created primarily by two factors: new laws making the education of children mandatory, and huge waves of immigration at the end of the nineteenth century which increased the population density of numerous areas of the city.

This problem was noted even before consolidation, in 1896, in the Board of Education's Annual Report:

Insufficient school accommodations have furnished cause for very general complaint on the part of the citizens of New York during the past ten years. The unprecedented growth of the city, together with unexpected movements of population, rendered it almost impossible to keep pace with the demands in given localities or to anticipate the needs of certain sections of the city that speedily outgrew the accommodations that were provided. During the past year...the question of increased and improved school accommodations was kept constantly in mind.

Between 1884 and 1897, the Board of Education acquired 125 new sites in Manhattan and the Bronx, providing space for more than 132,000 new students. Yet, it was still not enough. By July 1899, schools in Manhattan and the Bronx could accommodate 232,931 students, many in half day sessions, but many more children had to be turned away for lack of space.

C.B.J. Snyder and His Work

The architect who planned and was responsible for the building of all the new and expanded schools was the Board of Education's Superintendent of School Buildings, C.B.J. Snyder (1860-1945).^ Snyder had been appointed to the position in 1891 when the Board oversaw only Manhattan and those parts of the Bronx which constituted nineteenth-century New York. He remained on the job until his retirement in 1923, with responsibility for buildings in all five boroughs after the city's consolidation. Little is known of Snyder's background. He was born in Stillwater, New York, and studied architecture with William Bishop. His architectural accomplishments focused on school buildings, and in this area he was a recognized leader. In a 1905 architectural periodical it was noted:

Possibly it was not the best, probably it was not the most economical, certainly it was not the most expeditious way to have all the school-houses the city stood in such sore need of designed and built by the official architect to the Department of Education. But since that method had to be followed, it is a matter of wonderful good fortune that the official architect chanced to be such a man as is Mr. C.B.J. Snyder, who not only at the outset showed such distinct capacity for his task, but has proved himself a man able to grow as his opportunities opened before him. Mr. Wheelwright in Boston, Mr. Ittner in St. Louis, Mr. Mundie in Chicago...have done excellent service to their respective cities in the way of building school-houses...but they have not had to do their work under the same sort of pressure that has been put upon Mr. Snyder, and they have not had to adopt their architectural treatment to as closely restricted sites.

Snyder was particularly concerned with making his schools as healthy as possible for the students, and focused much attention on the development of fire protection, ventilation, unilateral lighting, and reduced classroom size. One of the main problems in the design of many Manhattan public schools was the accommodation of the requirements of students and teachers to small sites which were necessitated by the high cost of land acquisition. In searching to overcome this problem in Manhattan as well as in other boroughs, Snyder concentrated much effort on school planning and created the H-plan for floor layouts, which provided increased light and better ventilation, and also permitted adequate space for safe recreation areas.

Snyder's concerns also embraced architectural style. Unlike the designs of many New York schools built after his retirement, Snyder's work was inventive, solid, and handsome. His earliest designs continued the Romanesque Revival style of the architect who was his predecessor as Superintendent of School Buildings, George W. Debevoise. Snyder later moved into Gothic idioms, and was credited with the introduction of the Collegiate Gothic style to New York public school architecture. According to the 1905 source previously cited:

When first the New York school-house made its appearance in Gothic attire, it seemed as if a very doubtful experiment were being tried, but little by little the designer discovered new confidence in himself, and sane of the later buildings are markedly successful as pieces of consistent and satisfying architectural composition.

Collegiate Gothic architecture, also called English Collegiate, was inspired by, and modelled after, buildings at Eton, and at Cambridge and especially Oxford Universities. This late Gothic Revival (as differentiated from the early Gothic Revival which began to appear by the second quarter of the nineteenth century) started being used on schools and churches in the United States in the early 1890s, due, in part, to a reaction against academic classicism. Finding acceptance because of the eclectic spirit of the period, this archeologically correct form of Gothic building provided a picturesque and romantic setting for intellectual pursuits.

Introduced on college campuses in the United States in 1893 by architects Cope and Stewardson at Bryn Mawr, University of Pennsylvania, and Princeton University, the style was quickly adopted by numerous other schools throughout the country. Other early major examples include: Charles B. Haight's Vanderbilt Hall at Yale (1893-94), Henry Ives Cobb's plan for the University of Chicago (1893), and Cram, Goodhue & Ferguson's designs for the campus of West Point (1902). The style became so widespread, in fact, that by the time the City College of New York opened its new campus at Morningside Heights in 1907, an observer could state that "One might say that Collegiate Gothic is the proper and only dress for a home of learning."

At the same time, this style was being employed for private preparatory schools such as St. Paul's and Groton, designed by Henry Vaughan in the 1890s. 13 Ralph Adams Cram was one of the leading proponents of this style and did much to publicize and popularize it. In addition to his work, numerous articles by and about him and other architects of this style appeared in the professional press. It is little wonder then that these same building forms were picked up and used by designers of public school buildings, designers such as C.B.J. Snyder.

It was not long after this style began appearing in the architectural press that Snyder began using certain characteristic elements of it in his schools. It took him several attempts before he completely incorporated this new style however. In an 1894 school on Edgecombe Avenue between 140th and 141st Streets the few Gothic details gave some suggestion of his future direction. P.S. 27 and P.S. 28, built in 1896, are square, blocklike buildings, but high gables (some pointed, some stepped) rise up at the roofline as on later works. In P.S. 31 Snyder first successfully integrated numerous details into an overall late Gothic composition.

This style was to be even more fully explored in such later, more elaborate works as Morris High School nearby on Boston Road, and Curtis High School on Staten Island. These buildings display numerous details of ornamentation and massing which can readily be compared to some of the prominent early Collegiate Gothic buildings on university campuses, such as Princeton's Vanderbilt Hall (1893-94).

While Snyder was exploring new stylistic territory, he was also continuing the use of sane design elements of earlier buildings. Snyder had not completely evolved the H-plan which he used in his large high school buildings at the time he was working on P.S. 31. This building is basically rectangular in plan, with slightly projecting gabled end pavilions on the front facade and central entrance toners on both the front and rear facades. The projecting, central tower follows a tradition in New York City school buildings, started in 1868, when the first school with such a tower was constructed in Manhattan.

The actual Gothic details in P.S.31 are found primarily within the area of the central towers and at the roof line. They can be seen in the main entrances with their large Tudor arches and carved foliate designs in the spandrels, the tracery of the windows at the first, second and fifth floors within these towers and in the slit windows pierced in the octagonal piers themselves. The oriels at the building's narrow ends and the label moldings over the windows at the fourth floor show Gothic inspiration as well. The roof line, with its steeply pointed gables and irregular outline, is part of the picturesque effect sought by architects of this style.

Description

P.S. 31 is a five-story, light brick and limestone-clad building located between the Grand Concourse and Walton Avenue, at East 144th Street. Sited higher than the surrounding streets, the school is visible from all four sides. The building is basically rectangular in plan and each facade is symmetrically organized around a central element. Many of the building's decorative details are located in these central areas, as well as along the roof line.

Originally the eastern, major facade of the building overlooked a broad lawn supported by a low brick wall at the lot line. With the widening of the Grand Concourse in 1939, the lawn was replaced by a high stone retaining wall topped by a metal fence. To the rear of the school, facing Walton Avenue, is a play yard supported and enclosed by a high brick and rubble stone wall. This layered retaining wall is topped by a high brick fence with a terra-cotta coping, and appears to be contemporary with the building. Two Tudor-arched entrances with wooden doors and elaborately curved strap hinges are set into this retaining wall at ground level but are no longer functional. This original section of wall extended for a small distance on both the north and south sides of the lot as well. In 1905, the wall on the north side was extended and further renovations to both the north and south side walls were carried out in 1940. Presently modern stone stairways, inset into the walls, lead up to the building at each side and at the front.

The eastern facade of the building is seven bays wide, symmetrically arranged around the projecting central entrance tower. To each side of the tower, the fenestration patterns are the same for each bay and continue in the slightly projecting end pavilions. On floors one through four, each opening contains five narrow windows in a rectangular grouping. A continuous label molding tops the windows of the first story, while

limestone ashlar cladding on this level creates the effect of a solid base for the rest of the building. The next two stories are of plain brick with keyed stone surrounds on each group of windows.

A projecting band course carried on carved human and animal heads rings the entire building at the sill line of the fourth floor. Also at this level, each group of windows is topped by individual stone label moldings. The fifth or attic level has more variety of treatment. A pair of narrow windows topped by a label molding is centered within a steeply pitched gable at each end pavilion. Between the end pavilions and the center tower on each side are two smaller curved Flemish-type gables. Each contains a pair of narrow windows under its own label molding. Narrow, pointed finials originally adorned each of these gables but they were removed early in the twentieth century. A steeply pitched roof rises behind the gables.

The central entrance tower is formed by two octagonal piers, pierced by slit windows, which rise through the height of the building to become turrets above the fifth floor. Between the piers, at the ground floor level is the building's main entrance. Here, within a Tudor arch, the paneled, wood, double doorway is topped by an overdoor which is subdivided by wood-framed lancet windcws. Beyond the arch are carved stone spandrels with foliate motifs, while narrow lancet windows crowned by stone tracery are located to each side of the doorway. A wide stone band course with a carved frieze containing panels with shields and the inscription "Public School 31" is located between the first and second floors and wraps around the piers at this level.

On the second through fifth floors, the narrow windows of this central bay are grouped 1-4-1. Those of the second story are crowned by a heavy label molding enriched by carved heads. The windows of this floor are subdivided by stone tracery to create a double row of window openings within the grouping. Carved grotesque animal figures are located in the comer, between the windows and the octagonal piers at this level. The central windows of the second and third stories are plain, with stone enframements. A flagpole extends at the third story sill line, while the band course which rings the building at the fourth floor sill line continues around the piers and across this central area as well.

The central fourth floor windows are also topped by a label molding. At the fifth floor, the enframement between the central windows becomes more elaborate with stone tracery creating shallow pointed arches above each narrow window. Another broad band course carried on carved heads projects above the fifth floor windows and continues around each of the turrets. A square panel with a carved stone design is centered above this, with two narrow band courses above it. Hie parapet between the two turrets is now filled with plain brick but originally it was composed of open stonework. Early in the twentieth century, the small onion domes which originally capped each turret, were removed.

The western or rear facade is very similar to the front facade, with the following exceptions. The end bays do not project but remain in the same plane as the rest of the facade. At the roof line, three of the four Flemish gables have been removed and the fourth has been shortened. The roof line has been raised to accommodate window groupings of a similar size to those of the floors below. Within the central bay there is less ornamentation, particularly on the second floor, where the windows are plain.

The narrow side facades are identical to each other. Three bays wide, each facade is symmetrically arranged around a two-story oriel which is topped by a parapet. A tall pointed gable rises above this central element at the fifth story and contains a group of three smaller windows. An entrance with a Tudor-arched enframement is located in the central bay at the first level but the small, squared door is a modernization. The window shapes and enframements, the band courses, decorative elements and materials continue the patterns found on the front facade.

Conclusion

Public School 31 stands as a handsome brick and stone structure in the Morrisania section of the Bronx. Built in 1897-99, this school serves as a reminder of the tremendous population growth in this area at the end of the nineteenth century. One of many schools designed by architect C.B.J. Snyder, P. S. 31, with its Tudor arches, label moldings, stone tracery, central entrance tower, and gabled bays, is one of his early essays in the Collegiate Gothic style. During his lengthy tenure as Superintendent of School Buildings for New York's Board of Education, Snyder's designs evolved from simple, Romanesque Revival to richly adorned, Collegiate Gothic, as seen in his major high school buildings. In the process, he created a tremendous legacy of handsome school buildings throughout the five boroughs of New York, of which Public School 31 is a part.

- From the 1986 NYCLPC Landmark Designation Report

Concourse Village, Bronx, New York City, New York, United States

Public School 31, constructed 1897-99, represents an important step in the development of the Collegiate Gothic style as applied to public school architecture in New York City. Designed by C.B.J. Snyder during the early years of his lengthy term as Superintendent of School Buildings for the Board of Education of New York, P.S. 31 is one of the first New York public schools to display numerous late Gothic details, such as Tudor-arched doorways, and pointed windows topped with stone tracery. These and other elements, such as the central entrance tower and gabled bays, were further developed on Snyder's larger, borough-wide high school buildings, such as Morris and Curtis High Schools. P.S. 31 was one of a large number of school buildings constructed around this time to accommodate the huge waves of immigrants moving into the Bronx from other parts of New York, as well as from abroad. By designing so many schools in a relatively short period, Snyder had a tremendous influence on the developing New York City school building, both on its exterior appearance, as well as on its components and their arrangement.

Development of the Area

From 1639, when the Dutch West India Company purchased from the Mohegan Indians all the land that falls within the boundaries of the present borough, through the mid-nineteenth century, the Bronx retained its rural character.-

However, as massive immigration and industrialization began to alter the character of New York to the south, it was inevitable that the northward march of urbanization would eventually engulf the Bronx as well. The earliest immigrants to come to the Bronx were the Irish who arrived after 1840 and settled primarily in Mott Haven. This area, within the section called Morrisania, was adjacent to the Harlem River, and was named for Jordan L. Mott, inventor of the coal burning stove and founder, in 1828, of the Mott Iron Works on East 134th Street. The Irish participated in the construction of the Harlem and Hudson River railroads, beginning in 1842, and the Croton Aqueduct, and they were joined after 1848 by an influx of Germans. The new railroads opened up great potential for industrial development, and during the second half of the century factories ware erected along the Harlem and East River waterfronts.

The population of the Bronx rose from 28,981 in 1870, to 81,255 in 1890, and 200,507 in 1900, with even greater increases in the following years.

Politically, the Bronx remained a part of Westchester County from 1683 until the area was annexed to the city of New York. This change occurred in two stages, the western section joining New York in 1874, with the rest following in 1895. In 1898 the Charter of the City of Greater New York was implemented, creating the five boroughs, including the Borough of the Bronx.

Schools in Greater New York

A major effect of the new charter was to create a unified educational system out of numerous independently administered school districts with a variety of curricula, grade divisions, educational policies and standards for personnel selection. This endeavor was hindered initially by a tremendous shortage, both in number and quality, of existing school buildings, created primarily by two factors: new laws making the education of children mandatory, and huge waves of immigration at the end of the nineteenth century which increased the population density of numerous areas of the city.

This problem was noted even before consolidation, in 1896, in the Board of Education's Annual Report:

Insufficient school accommodations have furnished cause for very general complaint on the part of the citizens of New York during the past ten years. The unprecedented growth of the city, together with unexpected movements of population, rendered it almost impossible to keep pace with the demands in given localities or to anticipate the needs of certain sections of the city that speedily outgrew the accommodations that were provided. During the past year...the question of increased and improved school accommodations was kept constantly in mind.

Between 1884 and 1897, the Board of Education acquired 125 new sites in Manhattan and the Bronx, providing space for more than 132,000 new students. Yet, it was still not enough. By July 1899, schools in Manhattan and the Bronx could accommodate 232,931 students, many in half day sessions, but many more children had to be turned away for lack of space.

C.B.J. Snyder and His Work

The architect who planned and was responsible for the building of all the new and expanded schools was the Board of Education's Superintendent of School Buildings, C.B.J. Snyder (1860-1945).^ Snyder had been appointed to the position in 1891 when the Board oversaw only Manhattan and those parts of the Bronx which constituted nineteenth-century New York. He remained on the job until his retirement in 1923, with responsibility for buildings in all five boroughs after the city's consolidation. Little is known of Snyder's background. He was born in Stillwater, New York, and studied architecture with William Bishop. His architectural accomplishments focused on school buildings, and in this area he was a recognized leader. In a 1905 architectural periodical it was noted:

Possibly it was not the best, probably it was not the most economical, certainly it was not the most expeditious way to have all the school-houses the city stood in such sore need of designed and built by the official architect to the Department of Education. But since that method had to be followed, it is a matter of wonderful good fortune that the official architect chanced to be such a man as is Mr. C.B.J. Snyder, who not only at the outset showed such distinct capacity for his task, but has proved himself a man able to grow as his opportunities opened before him. Mr. Wheelwright in Boston, Mr. Ittner in St. Louis, Mr. Mundie in Chicago...have done excellent service to their respective cities in the way of building school-houses...but they have not had to do their work under the same sort of pressure that has been put upon Mr. Snyder, and they have not had to adopt their architectural treatment to as closely restricted sites.

Snyder was particularly concerned with making his schools as healthy as possible for the students, and focused much attention on the development of fire protection, ventilation, unilateral lighting, and reduced classroom size. One of the main problems in the design of many Manhattan public schools was the accommodation of the requirements of students and teachers to small sites which were necessitated by the high cost of land acquisition. In searching to overcome this problem in Manhattan as well as in other boroughs, Snyder concentrated much effort on school planning and created the H-plan for floor layouts, which provided increased light and better ventilation, and also permitted adequate space for safe recreation areas.

Snyder's concerns also embraced architectural style. Unlike the designs of many New York schools built after his retirement, Snyder's work was inventive, solid, and handsome. His earliest designs continued the Romanesque Revival style of the architect who was his predecessor as Superintendent of School Buildings, George W. Debevoise. Snyder later moved into Gothic idioms, and was credited with the introduction of the Collegiate Gothic style to New York public school architecture. According to the 1905 source previously cited:

When first the New York school-house made its appearance in Gothic attire, it seemed as if a very doubtful experiment were being tried, but little by little the designer discovered new confidence in himself, and sane of the later buildings are markedly successful as pieces of consistent and satisfying architectural composition.

Collegiate Gothic architecture, also called English Collegiate, was inspired by, and modelled after, buildings at Eton, and at Cambridge and especially Oxford Universities. This late Gothic Revival (as differentiated from the early Gothic Revival which began to appear by the second quarter of the nineteenth century) started being used on schools and churches in the United States in the early 1890s, due, in part, to a reaction against academic classicism. Finding acceptance because of the eclectic spirit of the period, this archeologically correct form of Gothic building provided a picturesque and romantic setting for intellectual pursuits.

Introduced on college campuses in the United States in 1893 by architects Cope and Stewardson at Bryn Mawr, University of Pennsylvania, and Princeton University, the style was quickly adopted by numerous other schools throughout the country. Other early major examples include: Charles B. Haight's Vanderbilt Hall at Yale (1893-94), Henry Ives Cobb's plan for the University of Chicago (1893), and Cram, Goodhue & Ferguson's designs for the campus of West Point (1902). The style became so widespread, in fact, that by the time the City College of New York opened its new campus at Morningside Heights in 1907, an observer could state that "One might say that Collegiate Gothic is the proper and only dress for a home of learning."

At the same time, this style was being employed for private preparatory schools such as St. Paul's and Groton, designed by Henry Vaughan in the 1890s. 13 Ralph Adams Cram was one of the leading proponents of this style and did much to publicize and popularize it. In addition to his work, numerous articles by and about him and other architects of this style appeared in the professional press. It is little wonder then that these same building forms were picked up and used by designers of public school buildings, designers such as C.B.J. Snyder.

It was not long after this style began appearing in the architectural press that Snyder began using certain characteristic elements of it in his schools. It took him several attempts before he completely incorporated this new style however. In an 1894 school on Edgecombe Avenue between 140th and 141st Streets the few Gothic details gave some suggestion of his future direction. P.S. 27 and P.S. 28, built in 1896, are square, blocklike buildings, but high gables (some pointed, some stepped) rise up at the roofline as on later works. In P.S. 31 Snyder first successfully integrated numerous details into an overall late Gothic composition.

This style was to be even more fully explored in such later, more elaborate works as Morris High School nearby on Boston Road, and Curtis High School on Staten Island. These buildings display numerous details of ornamentation and massing which can readily be compared to some of the prominent early Collegiate Gothic buildings on university campuses, such as Princeton's Vanderbilt Hall (1893-94).

While Snyder was exploring new stylistic territory, he was also continuing the use of sane design elements of earlier buildings. Snyder had not completely evolved the H-plan which he used in his large high school buildings at the time he was working on P.S. 31. This building is basically rectangular in plan, with slightly projecting gabled end pavilions on the front facade and central entrance toners on both the front and rear facades. The projecting, central tower follows a tradition in New York City school buildings, started in 1868, when the first school with such a tower was constructed in Manhattan.

The actual Gothic details in P.S.31 are found primarily within the area of the central towers and at the roof line. They can be seen in the main entrances with their large Tudor arches and carved foliate designs in the spandrels, the tracery of the windows at the first, second and fifth floors within these towers and in the slit windows pierced in the octagonal piers themselves. The oriels at the building's narrow ends and the label moldings over the windows at the fourth floor show Gothic inspiration as well. The roof line, with its steeply pointed gables and irregular outline, is part of the picturesque effect sought by architects of this style.

Description

P.S. 31 is a five-story, light brick and limestone-clad building located between the Grand Concourse and Walton Avenue, at East 144th Street. Sited higher than the surrounding streets, the school is visible from all four sides. The building is basically rectangular in plan and each facade is symmetrically organized around a central element. Many of the building's decorative details are located in these central areas, as well as along the roof line.

Originally the eastern, major facade of the building overlooked a broad lawn supported by a low brick wall at the lot line. With the widening of the Grand Concourse in 1939, the lawn was replaced by a high stone retaining wall topped by a metal fence. To the rear of the school, facing Walton Avenue, is a play yard supported and enclosed by a high brick and rubble stone wall. This layered retaining wall is topped by a high brick fence with a terra-cotta coping, and appears to be contemporary with the building. Two Tudor-arched entrances with wooden doors and elaborately curved strap hinges are set into this retaining wall at ground level but are no longer functional. This original section of wall extended for a small distance on both the north and south sides of the lot as well. In 1905, the wall on the north side was extended and further renovations to both the north and south side walls were carried out in 1940. Presently modern stone stairways, inset into the walls, lead up to the building at each side and at the front.

The eastern facade of the building is seven bays wide, symmetrically arranged around the projecting central entrance tower. To each side of the tower, the fenestration patterns are the same for each bay and continue in the slightly projecting end pavilions. On floors one through four, each opening contains five narrow windows in a rectangular grouping. A continuous label molding tops the windows of the first story, while

limestone ashlar cladding on this level creates the effect of a solid base for the rest of the building. The next two stories are of plain brick with keyed stone surrounds on each group of windows.

A projecting band course carried on carved human and animal heads rings the entire building at the sill line of the fourth floor. Also at this level, each group of windows is topped by individual stone label moldings. The fifth or attic level has more variety of treatment. A pair of narrow windows topped by a label molding is centered within a steeply pitched gable at each end pavilion. Between the end pavilions and the center tower on each side are two smaller curved Flemish-type gables. Each contains a pair of narrow windows under its own label molding. Narrow, pointed finials originally adorned each of these gables but they were removed early in the twentieth century. A steeply pitched roof rises behind the gables.

The central entrance tower is formed by two octagonal piers, pierced by slit windows, which rise through the height of the building to become turrets above the fifth floor. Between the piers, at the ground floor level is the building's main entrance. Here, within a Tudor arch, the paneled, wood, double doorway is topped by an overdoor which is subdivided by wood-framed lancet windcws. Beyond the arch are carved stone spandrels with foliate motifs, while narrow lancet windows crowned by stone tracery are located to each side of the doorway. A wide stone band course with a carved frieze containing panels with shields and the inscription "Public School 31" is located between the first and second floors and wraps around the piers at this level.

On the second through fifth floors, the narrow windows of this central bay are grouped 1-4-1. Those of the second story are crowned by a heavy label molding enriched by carved heads. The windows of this floor are subdivided by stone tracery to create a double row of window openings within the grouping. Carved grotesque animal figures are located in the comer, between the windows and the octagonal piers at this level. The central windows of the second and third stories are plain, with stone enframements. A flagpole extends at the third story sill line, while the band course which rings the building at the fourth floor sill line continues around the piers and across this central area as well.

The central fourth floor windows are also topped by a label molding. At the fifth floor, the enframement between the central windows becomes more elaborate with stone tracery creating shallow pointed arches above each narrow window. Another broad band course carried on carved heads projects above the fifth floor windows and continues around each of the turrets. A square panel with a carved stone design is centered above this, with two narrow band courses above it. Hie parapet between the two turrets is now filled with plain brick but originally it was composed of open stonework. Early in the twentieth century, the small onion domes which originally capped each turret, were removed.

The western or rear facade is very similar to the front facade, with the following exceptions. The end bays do not project but remain in the same plane as the rest of the facade. At the roof line, three of the four Flemish gables have been removed and the fourth has been shortened. The roof line has been raised to accommodate window groupings of a similar size to those of the floors below. Within the central bay there is less ornamentation, particularly on the second floor, where the windows are plain.

The narrow side facades are identical to each other. Three bays wide, each facade is symmetrically arranged around a two-story oriel which is topped by a parapet. A tall pointed gable rises above this central element at the fifth story and contains a group of three smaller windows. An entrance with a Tudor-arched enframement is located in the central bay at the first level but the small, squared door is a modernization. The window shapes and enframements, the band courses, decorative elements and materials continue the patterns found on the front facade.

Conclusion

Public School 31 stands as a handsome brick and stone structure in the Morrisania section of the Bronx. Built in 1897-99, this school serves as a reminder of the tremendous population growth in this area at the end of the nineteenth century. One of many schools designed by architect C.B.J. Snyder, P. S. 31, with its Tudor arches, label moldings, stone tracery, central entrance tower, and gabled bays, is one of his early essays in the Collegiate Gothic style. During his lengthy tenure as Superintendent of School Buildings for New York's Board of Education, Snyder's designs evolved from simple, Romanesque Revival to richly adorned, Collegiate Gothic, as seen in his major high school buildings. In the process, he created a tremendous legacy of handsome school buildings throughout the five boroughs of New York, of which Public School 31 is a part.

- From the 1986 NYCLPC Landmark Designation Report

These are items inside the Hall of Jewelry in the National Treasure section of the Forbidden City. Again, the palace and many of the more valuable pieces were looted as the dynastic rule wound down, then again by the Japanese during their occupation in the 20th century and – some Chinese may argue – by the Nationalist government that was eventually forced to Taiwan. (The National Palace Museum in Taiwan is essentially what was removed from the Forbidden City by General Chiang Kai-shek.) Here we see a pair of red sandalwood chopsticks inlaid with gold and jade, a gold strainer with red sandalwood handle inlaid with gold and jade, a gold dessert fork with red sandalwood handle inlaid with gold and jade, and a dessert knife with a white glass handle and its gold sheath covered with carved flowers. All date to the Qing Dynasty (1644-1911).

The Forbidden City (also known as Gugong, and currently housing the Palace Museum) is one of China’s most notable tourist attractions. Located in the heart of Beijing, it has been the center of Chinese government for the better part of the past six centuries. (For a much more comprehensive and interesting history than what I’ve included below, along with a few nice pictures, please check here: www.kinabaloo.com/fcb.html. The site is both in English and Chinese and quite well-presented, including fascinating information about how many people it took to build the Forbidden City and nice details about the building orientations and what the colors represent.)

Currently, the Forbidden City is simply a museum – a massive museum paying homage to the final five centuries of dynastic China. (The current government convenes in buildings adjacent to Tiananmen Square, which is directly south of the Meridian Gate of the Forbidden City.)

The history of the Forbidden City is pretty succinct. After the dynasties moved the national capital around a few times (between Xi’an, Beijing, Nanjing, and a few other cities), it eventually returned to Beijing and remained there until the end of dynastic rule in 1911.

Palace construction began in 1406 and ended in 1420. Between 1420 and 1911, 24 emperors (from 2 dynasties) lived on the grounds. 14 Ming Dynasty emperors lived here and, after the Ming gave way to the Qing in 1644, 10 Qing emperors lived here between 1644 and 1911. The last emperor, Puyi, was forced to abdicate, but allowed to live on the grounds and “rule within the palace” as a figurehead. (He was but a young boy when he abdicated, so it was basically an elaborate charade to appease a boy.)

Eventually, the Republic of China forced Puyi to leave the palace for good and the Palace Museum was established here in 1925. Within the palace were all of the imperial treasures, but these were diminished (spread around) over the next 25 years – first with the takeover by the Japanese in the 1930s and then by the Nationalist government (Chiang Kai-Shek’s Kuomintang) and relocated to Taipei. The Japanese have returned some of the treasures, but there are still others that currently reside in museums in Japan and a great deal in Taipei.

The buildings, obviously, were harder to move. Physically, the grounds are rectangular, on a north-south axis, with dimensions of 961 meters by 753 meters. Within the grounds are 980 surviving buildings with approximately 9,000 rooms. The city is divided into two sections – the outer court on the south, used for ceremonial purposes, and the inner court on the north, which was used for residential purposes. Almost all of the buildings within the city have glazed yellow roofs, as yellow is the color of the emperor. There are two notable exceptions: the library (which has a black roof, signifying water, as it’s fireproof) and the Crown Prince’s residences, which have green roofs (signifying wood, or growth).

The buildings within the city are aligned by ancient Chinese customs (ancestral temples in front of the palaces, etc.). It’s such a massive complex that it’s quite hard to cover it all in one trip or, if you try, you would need a full day to do so. The main palaces and halls are on a center axis and along the right and left sides are many smaller residences, museums, and so on. The rear of the palace has a pleasant garden. During dynastic rule, the price of admission for non-invited people was execution. Nowadays, the cost is only 60 RMB in summer and 40 in winter (with an additional 10-20 RMB inside if you choose to go to the National Treasures museum and Hall of Clocks – 10 RMB each, assuming both are open). Just brace yourself for a massive crowd of people regardless of the day and probably for construction and renovation as well. To enter, you have to go in through the Meridian Gate across from Tiananmen Square on Changan Dao and you exit the north end of the palace at the foot of Jingshan Park.

For a nice panoramic view (smog permitting) of the grounds, cross under the street and walk up Jingshan Hill (2 RMB) for a gorgeous view of the grounds. (Beihai Park just to the northwest also offers panoramic views if you prefer to spend 10 RMB to go to that park and climb up the white tower in the center of the park.) Having been to the two parks, I think Jingshan is probably a slightly better choice with regards to the Forbidden City. In addition, the pavilion on top of Jingshan Hill is the geographic center of (old) Beijing, which is pretty interesting. (Of sad note, though, Beijing’s ancient city walls are all but demolished, though the gate names exist in the names of various subway stations throughout the city such as Andingmen, Dongzhimen, etc.) All in all, a trip to Beijing probably won’t be considered complete without a visit to the Forbidden City.

El mandatario estatal reunió en el Salón Gobernadores de Palacio de Gobierno, la casa de todos los sonorenses, a estudiantes, empresarios, sociedad civil, alcaldes, diputados, rectores de instituciones educativas, representantes de sindicatos y partidos políticos y funcionarios de los tres niveles de Gobierno, a quienes dio a conocer el diseño de un nuevo modelo de servicio pensado en apoyar principalmente la economía familiar, tanto de los sonorenses como concesionarios.

Ver boletín del evento en:

www.slideshare.net/GuillermoPadres/23052011-b0511111

es.scribd.com/doc/240595993/23-05-2011-Guillermo-Padres-a...

Hermosillo, Sonora, 23 de mayo de 2011.- Transporte totalmente gratuito para todos los estudiantes, subsidio de dos pesos a todos los sonorenses por igual, sistema de prepago automatizado, así como un METROBUS que iniciará operaciones en septiembre de 2012, anunció el Gobernador Guillermo Padrés al presentar el nuevo sistema de transporte en el estado “Bus Sonora”.

A partir del primero de septiembre de 2011, cuando inicie el ciclo escolar y mientras dure esta administración estatal, ningún estudiante de Sonora volverá a pagar un solo peso por transporte urbano, anunció el mandatario estatal esta mañana en el Salón Gobernadores.

Además, se dará un subsidio directo de dos pesos para todos y cada uno de los sonorenses, de manera que aunque se tiene la necesidad de aumentar la tarifa a siete pesos, el usuario continuará pagando únicamente cinco pesos en general.

“A partir del día primero de septiembre, junto con el ciclo escolar, todos nuestros estudiantes tendrán transporte gratis en el Estado de Sonora durante mi administración, un compromiso de campaña que cumplimos cabalmente con todos los ciudadanos, transporte gratis para todos los estudiantes del Estado de Sonora”, aseveró.

Será a través de la instalación de un sistema satelital como se controlarán las horas y rutas en tiempo real, de manera que el usuario podrá saber con precisión los horarios por los que pasará el transporte por determinados puntos, dejando atrás los largos tiempos de espera.

Este nuevo sistema va para apoyar a la gente, para tener una mejor administración y a cumplir el compromiso de un gobierno que haga más con menos; que cueste menos y dé más beneficios a los ciudadanos, afirmó.

En su participación el Gobernador de Sonora agradeció especialmente el trabajo y respaldo de todos los legisladores del estado, quienes siempre han trabajado pensando primero en el beneficio de los sonorenses, aseguró.

Grandes ideas, Grandes decisiones

El nuevo sistema de transporte urbano llamado BUS SONORA dará paso al servicio de METROBUS que iniciará en Hermosillo, Cajeme y Navojoa a partir de septiembre del 2012, mismo que fue desarrollado de la mano de la sociedad y los usuarios basado en el subsidio al usuario y no a los transportistas como en el pasado, y en la mejora del servicio.

El objetivo principal es, además de respaldar la economía familiar, que la unidad del transporte tenga horarios fijos para que el usuario pueda conocer con exactitud la hora en que pasará diariamente por determinados puntos, esto será posible a través de un sistema satelital que será instalado para seguir en tiempo real cada unidad.

El mandatario estatal reunió en el Salón Gobernadores de Palacio de Gobierno, la casa de todos los sonorenses, a estudiantes, empresarios, sociedad civil, alcaldes, diputados, rectores de instituciones educativas, representantes de sindicatos y partidos políticos y funcionarios de los tres niveles de Gobierno, a quienes dio a conocer el diseño de un nuevo modelo de servicio pensado en apoyar principalmente la economía familiar, tanto de los sonorenses como concesionarios.

El METROBUS consiste en un sistema interurbano de transporte que circulará en un gran servicio interior con modernas estaciones conectado al resto de las rutas y que se pondrá en marcha inicialmente en Hermosillo, donde el alcalde Javier Gándara ya tiene adelantado este proyecto y que hoy se une al proyecto integral del Gobierno del Estado.

Además, ya se iniciaron los estudios para que el sistema de Metrobus pueda entrar a otras ciudades como Cajeme y Nogales, entre otras.

“Con grandes proyectos y grandes obras trabajamos de la mano con nuestros legisladores, con la federación y los municipios; con grande acciones que resuelvan los problemas de la gente, con seguridad, eficiencia, sin vulnerar su economía familiar”, aseveró.

Subsidio al usuario

El Gobernador Padrés señaló que la ausencia de normas en el pasado que regularan costos y calidad, y una tarifa congelada desde hace ya mucho tiempo llevó a tener en Sonora la tarifa de transporte más barata del país, pero también provocó un deterioro en la calidad en el servicio, con las afectaciones para el usuario y también para los mismos transportistas.

“¿Qué ocurrió?, los costos de operación y mantenimiento de los camiones aumentaron; la tarifa no se ajustó; una mala calidad en el servicio; y tiempos prolongados e injustos de espera para la gente”, indicó.

De ahí la necesidad de tomar grandes decisiones, dijo, como el aumento de la tarifa a siete pesos en Hermosillo, Cajeme y Navojoa, con tarifa de 5.50 pesos preferencial y un costo de 5.50 también en el resto del Estado, que aplicará a partir del 15 de julio.

Sin embargo, es de destacar que este incremento no afectará al usuario, pues el Gobierno del Estado otorgará a partir de la misma fecha un subsidio de dos pesos a cada sonorense, de

manera que aunque la tarifa oficial se haya incrementado, el usuario continuará pagando los mismos cinco pesos que hoy paga.

“El Gobierno del Estado de Sonora, el Gobernador Guillermo Padrés, atendiendo a las necesidades de la gente decreta un subsidio directo al usuario de dos pesos para todos en general”, indicó.

El sistema se modernizará con el uso de tarjetas de prepago para utilizar menos efectivo y poder controlar adecuadamente los ingresos de una manera útil y practica.

El Gobernador Padrés fue acompañado por Javier Gándara Magaña, Alcalde de Hermosillo; Max Gutiérrez Cohen, Presidente del Supremo Tribunal de Justicia del Estado y Daniel Córdova Bon, Presidente del Congreso del Estado.

Se contó con la presencia además de José Inés Palafox Núñez, Secretario de Infraestructura y Desarrollo Urbano; Héctor Larios Córdova, Secretario de Gobierno; Francisco García Gámez, Director de Transporte; Heriberto Grijalva Monteverde, Rector de la Universidad de Sonora.

La propuesta:

Un nuevo Sistema de Transporte Urbano

Que presta su atención y servicio a la gente

Que resuelve su necesidad de traslado

Que ofrece un servicio en mejores condiciones de tiempo, seguridad y comodidad

Que piensa en la economía familiar

Que constituye un factor de competitividad para nuestras ciudades

Principales acciones:

Transporte totalmente gratuito para todos los estudiantes

Entrada en operación del METROBUS, inicialmente en Hermosillo, Obregón y Navojoa

Subsidio de dos pesos para todos los usuarios en general

Sistema de prepago automatizado con tarjeta

Pago del servicio a transportistas por kilómetro y no por usuario

Equidad de utilidades en todas las rutas del estado para el concesionario

Mayor justicia en servicio para los usuarios, pensando en su economía

Bus Sonora es:

Para la Gente

Bien administrado

Organizado y vigilado

Y que no cueste más

In Portland, Oregon. "Abandoning science is the road back into poverty and backwardness." It's from "Demon Haunted World", which I was reading for the first time.

raising of the hands with 5 fingers representing "5 demands not one less"

"liberate Hong Kong, revolution of our time" 光復香港 時代革命

*******

‘Resist tyranny, join a union’: Huge turnout as Hongkongers hit the streets for New Year’s Day protest

Thousands of Hongkongers took to the streets on Wednesday for the first police-approved mass protest of the new year.

The huge turnout built on a continuing a pro-democracy movement that has reached each corner of the city over the past seven months.

The march received a letter of no objection from the police, and began at around 2:40pm in Victoria Park in Causeway Bay.

The front of the march reached the endpoint at the Chater Road Pedestrian Precinct in Central just after 4pm.

In addition to the five core demands of the movement, protesters on Wednesday also called for increased union participation, supporting the victims of political reprisals, and halting a proposed pay rise for the police.

Protesters chanted slogans such as “Five demands, not one less,” as well as new additions such as “Resist tyranny, join a union.”

Those at the head of the march included some newly-elected pro-democracy district councillors – whose term in office began on January 1.

A group outside Victoria Park were rallying Hongkongers to register to vote: “We want to use our vote to tell the Hong Kong government what we want… We want the people to come out again and win at the Legislative Council election [in September],” Ms Oliver told HKFP, following the pro-democracy camp’s victory at last year District Council elections.

Though the extradition bill – which sparked the movement – was axed, demonstrators are still demanding an independent probe into police behaviour, amnesty for those arrested, universal suffrage and a halt to the characterisation of protests as “riots.”

In a statement, march organisers the Civil Human Rights Front (CHRF) called on the public to be “more united, persistent, and caring of one another” in the coming year.

“In 2020, the police have already fired the first round of tear gas,” the group wrote shortly after midnight. “Carrie Lam and police brutality turned a festive season into anguish, and perhaps we should say ‘Five demands, not one less’ instead of happy new year.”

In a statement later on Wednesday, the Front said the police had taken no responsibility for any misconduct: “They dehumanise protestors as cockroaches, demean journalists as “black reporters” and arrest medical doctors and nurses as rioters. Now, the government even attempts to increase the salaries of these rioting police.”

“We must persist this fight, for the arrested, injured and departed brothers and sisters in this movement. When victory comes, we shall gather at the dawn,” they added.

During the march, Ms Ho of the Construction Site Workers General Union said they had over 10,000 signed-up members and around 100 active members: “It is a union that already exists, but now we are recruiting more workers with the same political stance,” she said.

“We aim for three targets. The first one, we want to defend our own worker’s rights… We want to get the right to vote in the coming legislative election [as a functional constituency]… The third aim – we are trying to use construction workers’ role in this movement – for example, volunteer teams for people in need – trying to prepare for the general strike.”.....

www.hongkongfp.com/2020/01/01/resist-tyranny-join-union-h...

民陣今日（1日）舉行「毋忘承諾，並肩同行」 元旦大遊行。在預定起步時間2時，銅鑼灣東角道已聚集大量等待插隊的民眾，亦有不少市民支持黃色經濟圈，黃店「渣哥」有逾百人排隊光顧。

news.mingpao.com/ins/港聞/article/20200101/s00001/15778...

Representing a collaborative shoot with Marko Saari:

Model: Molla Mills

MUA: Jenni Halonen

Lighting details

Set Up Shots

Mystical marriage, or mystical union (in Latin, unio mystica), is a theme of Jewish mysticism taken up by Christian tradition. The religious idea of the union of God and man is thought of and represented in the image of betrothal and marriage. Rabbinic commentaries see the Song of Songs as a symbol of Zion's marriage to God. The New Testament presents Jesus Christ as the Bridegroom. This way of "feeling" rather than "thinking" one's connection to God is evoked by Augustine of Hippo, but the expression "mystical marriage" comes from John of the Cross in The Spiritual Canticle. The Middle Ages saw the emergence of a theology and piety that developed the theme of allegorical marriage with God. In particular, the consecration of virgins "married to Christ" became an institution perpetuated in the Latin and Orthodox Churches. Mystical marriages are indissoluble by nature. They can also be contracted by guardian angels, uniting two people who become mystically complementary. In this case, we speak of marriage by divine proxy. Mystical marriage is a source of inspiration for painters. Saints are depicted as marrying Christ or, more often, the Christ Child, to keep the imagery pure1, while saints marry the three theological virtues.

fr.wikipedia.org/wiki/Mariage_mystique

The mystical wedding is a motif of Judeo-Christian literature, theology and art. The religious idea of a union of God and man (unio mystica) is thought of and represented under the image of betrothal and marriage. In contrast to the marriage of two gods (hierogamy), the female side of the mystical wedding is an earthly bride. The Song of Songs is a love lyrical writing of the biblical wisdom literature. In this erotic alternating song, a love relationship is described between a young woman and King Solomon, who is also named as the author of the writing. In Hellenism, the erotic song was exaggerated allegorically, a tendency that lasted throughout the Middle Ages and was broken only by Johann Gottfried Herder. Before that, commentators almost all rejected a secular, literal erotic interpretation and interpreted the love poem as a description of love between God and his chosen people (in Judaism) or between Christ and the church as the bride of Christ (in Christianity). Commentaries on the Song of Songs thus gave rise to a bridal mysticism (also: nuptial mysticism), which is an explicitly body-based, personal-relational figure of mystical experience. Judaism led the way of a symbolic interpretation (the allegorism) of the Song of Songs by drawing on images of God's covenant with his people as love, bridehood, and marriage and on prophetic bridal symbolism for the commentaries. The post-exilic Isaiah texts, Deutero-Isaiah and Trito-Isaiah, for example, use the image of the bride to describe Israel's new splendor in restoration by YHWH after the lackluster time in exile. Judaism led the way of a symbolic interpretation (the allegorism) of the Song of Songs by drawing on imagery of God's covenant with His people as love, bridehood, and marriage and on prophetic bridal symbolism for commentary. The post-exilic Isaiah texts, Deutero-Isaiah and Trito-Isaiah, for example, use the image of the bride to describe Israel's new splendor in restoration by YHWH after the lackluster time in exile. New Testament motifs have also been used to interpret the Song of Songs. The presence of Jesus the bridegroom with the disciples (Mk 2:19 EU) and the eschatological return of Christ the bridegroom (Mt 25:1-13 EU) use the word field of bridal symbolism to express the intense connection and faithfulness of the church. Paul sees the church as the bride of Christ (Eph.: 5:31-32 EU), in (2 Cor.: 11:2 EU) even using the word "virgin" (Gr.: parthénos[9]) instead of "bride" (Gr.: nýmphe) νύμφη. As an answer to the question of whom the bride Sulamith of the Song of Songs is supposed to represent, the commentaries of Rabbi Akiba (ca. 50/55-135) and the ancient theologian Origen (185 - ca. 254) in particular clashed in the second and third centuries after Christ. Akiba interpreted the Song collectively as a representation of the relationship between God and the people of Israel. For Origen, on the other hand, the bride is individually the soul.[12] Origen's interpretation of the Song of Songs, however, does not yet refer to Mary as the bride. The Church Fathers Hippolytus (c. 170-235) and Cyprian of Carthage (200 or 210 to 258) see the ecclesia, the Church, as the bride of Christ. In the interpretations of the Song of Songs by Methodios of Olympos († probably 311 or 312) and by Ambrose of Milan (339-397), one finds an interpretation of the bride as a virgin consecrated to God. As this tradition continued in the Christian Middle Ages, the Song of Songs played a prominent role in the Marian devotion of Christian mystics. In the 1940s, the Trudperter Hohelied was composed, an interpretation of the Song of Songs in early Middle High German rhythmic artistic prose. It contains a yearning union with God and is the first writing on mysticism in (Alemannic) German. About 80 years earlier, the abbot Williram of Ebersberg (before 1010-1085) had composed a Song of Songs paraphrase. Since Aegidius Romanus (1243-1316), in the interpretation of the Song of Songs, the Church as bride has been understood for the first time as its ministers (praelati). The Jewish Kabbalah also knows the idea of a mystical marriage. Since Juda ben Samuel (ca. 1140/50-1217) there has been the teaching that one cannot unite with God, but one can unite with the Shechina, a kind of dwelling place of the Godhead. The vision and union (ziwwuga) with the Shechina was expressed in erotic symbolism, especially from the 16th century onward, which echoed the Kabbalistic depiction in the Zohar, according to which Moses is depicted in mystical marriage with the Shechina. Gershom Scholem (1897-1982) distinguished the Kabbalistic Shechina doctrine from the bridal mysticism found in the commentaries of the Song of Songs. The Shechina, he argues, is a manifestation of God and the Bride of the Bible is an allegorical representation of the people of Israel. There is, however, a connection between these two concepts. With the expulsion from paradise, the Shechina was expelled along with it.

This separation from God is described as 'Shechina in exile'. The Shechina dwells among Israel, so that the people of Israel is inclined to God in love like the bride of the Song of Songs. One theme of Kabbalah is tzimtzum, a kind of contraction of en sof (the infinite). Tzimtzum is partly interpreted as the creative nothingness of God. This nothingness is said to be the life force of the world. The Godhead descends into the nothingness and man ascends to the divine wisdom (Ḥochmā) of the nothingness in an act of becoming one. In this ascent, the contemplative nullification of the material and a union with the Godhead is sought on the part of man. The first line of the hymn Lecha Dodi by the Kabbalist Schlomo Alkabez (1505-1576) reads, "Come, my friend, to meet the bride, let us greet the Sabbath. With this call, the Shechina is identified with the Sabbath, being seen as the bride. In Jewish mysticism, the "sacred moon" embodies the Sabbath bride, or the Shechina in the world, identified with Israel. "The monthly periodic diminution of the moon (analogous to the monthly = lunar menstruation) symbolizes the 'exile of the Shechina,' whereas the restoration of the moon to its original size and luminosity symbolizes the redemption of the body from exile. In the Holy Trinity Church in Bad Teinach there is a cabbalistic teaching tablet. It was donated by Princess Antonia zu Württemberg (1613-1679), the sister of Eberhard III. The hinged painting shrine depicts a spiritual world system. When closed, the outer image shows a heavenly wedding. Here the kabbalistic traditions are modified beyond recognition and reinterpreted in Christian terms. The mystical wedding here is a bridal procession that literally takes the metaphor of ascending to heaven. The long procession of invited virgins ties in with the end-time wedding stories of the New Testament. The bride being crowned here is Princess Antonia of Württemberg herself. The mystical union between God and man with the image of the spiritual wedding also persists in theoretical-theological mysticism and unfolds to this day in the ecclesiastical practice of betrothal within the consecration of virgins. In mystical theology, the symbolism of love is applied to the relationship of the individual believer to God and often even seeks a unity of the believer with God. Unlike the symbolic marriage of the priestess Basilinna with the god Dionysus, in the Pauline epistles and in the Gospel of John there is talk of an "indwelling" (inhabitatio) of God in man, which can be experienced by the faithful, especially in the Lord's Supper, as a union of man and Christ. In the epiclesis of the Eucharistic celebration, the wish is expressed that all the faithful come from the ends of the earth to celebrate the marriage supper of the Lamb in God's kingdom. Mystical betrothal of consecrated virgins. Tertullian (after 150 - after 220) wrote of the first virgins betrothed to God. "But one or the other betrothed herself to God". He wrote that these virgins, like the other betrothed or married ones, had to wear a veil in the church, since they were the bride of Christ. According to Marianne Schlosser's assessment (* 1960, University of Vienna), Tertullian was the first to transfer the bridal idea of the New Testament from the church to the individual Christian. The first virgins were betrothed to God.

Already at this time the propositum (intention) of consecrated virginity was understood as a spiritual marriage. If a virgin broke this vow, she was considered an adulteress and had to bear excommunication as a consequence. This coexistence of marriage and vows as a spiritual marriage (matrimonium spirituale) corresponds to the later arrangement of the rite of consecration of virgins in parallel to the marriage rites, which also took shape later, whereby the usual interpretive signs were adopted in each case. The rite of consecration of virgins is a rite of consecration of virgins in parallel to the marriage rites, which also took shape later. The Church's 5th century prayer of consecration over the Virgin emphasizes the conjugal character of this mystical union (unio mystica) with Christ: "Although they recognize the dignity of the marriage covenant which you have blessed, they nevertheless renounce the happiness of marriage; for they seek only what the sacrament of marriage signifies: the union of Christ with his Church. Virginity for Christ's sake recognizes in you, O God, its origin; it desires the life proper to angels and longs for marriage with Christ. He is the Son of the virgin Mother and the Bridegroom of those who live in the state of virginity." - Pontifical for the Catholic Dioceses of the German-speaking Area II. Consecration of Virgins. The rite is embedded in the celebration of a Holy Mass and consists of the promise of the virgins, the singing of the Litany of All Saints, the renewal of the resolution of virginity, the consecration prayer and the presentation of the insignia: veil, ring and book of hours. The veil and the ring are signs of the spousal bond with Christ. Since the 7th century, the insignia of consecrated virgins has included the ring, which is presented by the local bishop at the consecration. The virgin is an eschatological image of the heavenly bride.

Theological developments in the Middle Ages

The highest goal in the Middle Ages was the unio mystica, the mystical union with God, a "sensing of God" or in a broader sense "an awareness of the immediate presence of God." This sensing of God in the Middle Ages was "also erotically charged and knowledge of God was interpreted as an encounter between I and God in the sense of a 'holy wedding' between soul and God or Christ." In the Middle Ages, the Christian conception of the human being as a likeness of God was also interpreted as an encounter between I and God in the sense of a 'holy wedding' between soul and God or Christ. The church teacher Gregory of Nyssa (c. 335/340 - after 394) combined Plato's conception of philosophy as likeness to God and the Christian conception of man, whom God created in his image. Gregory's mysticism, however, does not aim at a union but at a participation in God. In his writings, Bernard of Clairvaux (1090-1153) tries to make vivid an ecstatic union with God, a deification of the soul. Since Bernard, the bridal mysticism also combines with elements of the mysticism of suffering and of the cross. In the book The Flowing Light of the Godhead, Mechthild of Magdeburg (1207-1282) shaped in lyrical dialectic of seeking and finding, separation and union of the lovers, the dynamic moment of the soul's mystical search for God as well as the divine turning to man. In the monastery of Helfta, the death of a nun was symbolically celebrated as her spiritual union with Christ, which led to the adoption of this symbolism in vites of grace in other southern German monasteries in the 14th century. The Flemish theologian Jan van Ruysbroek (1200-1803) developed this symbolism further in his writing The Spiritual Wedding. The Flemish theologian Jan van Ruysbroek (1293-1381) further developed bridal mysticism with his writing "The Adornment of the Spiritual Wedding."[44] And Johannes Tauler (1300-1361) used the concept of nothingness for the path of union (via unitiva) with God: by attaining "the very truest knowledge of his own nothingness" (his nothingness), man becomes "one with God." Man and God meet each other, and then the one abyss flows into the other abyss, "the created nothingness sinks into the uncreated nothingness".

Modern times

The mystical marriage of Francis of Assisi with the "Lady Poverty". Sassetta, 15th century. The mysticism of St. John of the Cross (1542-1591) is based on a "salvific drama of marriage: the movement of love proceeds from God, who does not want to be alone, creates humanity as the bride of the Son and courts it again and again - until the Incarnation and the giving of his own life" on the Cross. "Creation stands from the outset in the relation of an intimate belonging to God; it is gift to the Son and gift for the Son's sake, not work of a world-away omnipotent being as in deism. The Son is the one who, through his marriage, makes creation worthy of God. Finally, the Incarnation is understood as a redemptive marriage consummation and 'miraculous exchange' between the Son and the Bride, whereby, as in the Trinity, there is an equal formation of the Beloved. This conformation into likeness is the sign of perfect love." The Protestant pastor Valentin Weigel (1533-1588) places next to the "Christ for us" the "Christ in us" and thereby emphasizes the self-responsibility of the individual. Weigel's mystical theology, which is also usually pejoratively called Weigelianism, contains the idea of a complete merging of God and man. [48] Post-Reformation theology is usually reticent about a complete unity and fusion in Christo (in Christ) and appropriates the unio mystica in a distanced way as unio cum Christo (with Christ). Here, therefore, the gender relationship is reversed to a heavenly bride and an earthly bridegroom. While Philon of Alexandria (around 15/10 B.C. - 40 A.D.), who also understood wisdom as a bride, still considered reason (logos) as the bridegroom, Arnold, following Boehme, considers the individual believing soul as the bridegroom. The reversal of the bride-bridegroom relationship was already to be seen sporadically in the Middle Ages - for example in pictures about Francis of Assisi - who as a human bridegroom symbolically took poverty among the evangelical councils as his bride.

Mystical wedding in art. The heavenly royal couple

The mystical wedding is also depicted in medieval painting and carving. In the late Gothic period, couple scenes were created in the center of high altars: Christ and the crowned Virgin Mary are seated on a common throne, facing each other with symbolic gestures: Christ blesses Mary as a crowned queen in the heavenly palace. This thematic program can be found, among others, on the high altars of Marienstatt Abbey and the Liebfrauenkirche in Oberwesel, as reredos paintings in a church on the island of Poel and in the Marienkirche in Gudow. The enthroned couple depictions are usually understood and titled as the coronation of Mary. The art historian Christian Beutler believed that these heavenly palace scenes represent an allegorical wedding of the Messiah under the influence of the devotio moderna movement and reconstructs the Master Bertram Altar in Hamburg in this sense. The "new piety" (Latin devotio moderna) was a mystical reform movement in the late Middle Ages that propagated a following of Christ (Latin imitatio). Beutler claims that Gothic art does not distinguish between the bride as soul, as church, or as Mary. Celestial couple depictions of this kind tie in with heavenly scenes from the 12th century. A Byzantine depiction in the apse of the church of Santa Maria in Trastevere, the oldest Marian church in Rome, shows the crowned celestial couple, as does, for example, the Marian portal of the cathedral of Senlis in northern France.

Musical-lyrical Baroque mysticism

In Baroque mysticism, the ideas of becoming one with God are taken up again under the image of betrothal and marriage.[61] Angelus Silesius influences this development, and Johann Sebastian Bach reworks the mystical wedding texts musically in his cantatas, oratorios, and passions. He also uses the lyricism of bridal mysticism in Philipp Nicolai (1556-1608) (Wie schön leuchtet der Morgenstern), Gerhard Tersteegen (1697-1769), Paul Gerhard (1607-1676), or Nikolaus Ludwig von Zinzendorf (1700-1760). The four mentioned Protestant pastors also developed the theology of the bride mysticism in texts and sermons.

The bride appears here as Zion or as a single soul, but in the Protestant Bach not as Mary or as an allegory of the church. In the first part of Bach's Christmas Oratorio, composed in 1734, great things are in store; Zion here stands for the Christian community's expectation of the coming Lord.[62] In the alto aria Bereite Dich Zion, which follows a recitative, the reporting style changes to the exhortation style: the bride is to prepare herself for the coming of her beloved:

"Prepare thyself, Zion, with tender shoots,

To see the most beautiful, the dearest soon with you!

Your cheeks must be much more beautiful today,

Make haste to love the bridegroom eagerly!"

In a soprano aria from Bach's St. Matthew Passion, first performed in 1727, the soul sings with the words of Picander:

"I will give thee my heart,

Lower thyself, my salvation, into it!

I will immerse myself in you;

If the world is too small for you,

Eh, thou alone shalt be to me

More than world and heaven be."

Examples of literary processing

Image of a mystical wedding from the book Rosarium Philosophorum.

The theme of the mystical wedding has been elaborated in a medieval didactic poem, an allegorical poem, and a fairy tale, among others. Carl Gustav Jung (1875-1961) also interpreted alchemical images of the mystical wedding as a contribution to psychoanalysis. In the poem Christus und die minnende Seele, which is based on a monastic pictorial arch, a conversation occurs between the bride and Christ. The love of the minnende (loving) soul goes so far that the soul forces Christ to love her back with a shot arrow. Further illustrations show Christ's heart, hit by the arrow, bleeding and wounded, and Christ is devoted to the soul. - The Franciscan Lamprecht of Regensburg wrote the allegorical poem Diu tohter von Syon (The Daughter of Zion) around 1250. The bride Zion strives for a union with Christ. In the fairy tale The Heavenly Wedding by the Brothers Grimm, the story is told of a poor boy who thinks the church is heaven and gives half his food to the image of the baby Jesus in the church because he thinks it is too thin. One day, the baby Jesus invites the boy to the heavenly wedding for the next Sunday. When the boy receives communion on Sunday, he dies and thus comes to the heavenly wedding. C. G. Jung developed in his article: The Psychology of Transference (1946) further developed the Freudian concept of transference. Using mystical wedding images[66] from the alchemical book Rosarium Philosophorum Jung interprets the phenomena of transference and countertransference in the therapeutic process.

de.wikipedia.org/wiki/Mystische_Hochzeit#cite_note-19

The Sacred Union was the name given to the political movement that united French people of all persuasions at the outbreak of the First World War.. The Sacred Union (French: Union Sacrée, French: [ynjɔ̃ sakʁe]) was a political truce in France in which the left-wing agreed, during World War I, not to oppose the government or call any strikes. Made in the name of patriotism, it stood in opposition to the pledge made by the French Section of the Workers' International (SFIO) internationalism, and its former leader Jean Jaurès, not to enter any "bourgeois war."[1] Although an important part of the socialist movement joined the Union sacrée, some trade unionists such as Pierre Monatte opposed it.

On 3 August 1914, Germany declared war on France. The next day, Prime Minister Rene Viviani read an address written by the President of the French Republic, Raymond Poincaré:

« Dans la guerre qui s'engage, la France […] sera héroïquement défendue par tous ses fils, dont rien ne brisera devant l'ennemi l'union sacrée » ("In the coming war, France will be heroically defended by all its sons, whose sacred union will not break in the face of the enemy"). This political movement may have been an attempt to create solidarity during a time when the largely pacifist French Socialist Party threatened a general strike, while many French Catholics felt slighted by a 1905 law separating church and state. Elements of nationalism, that the Germans attacked rather than the French, anti-German propaganda, and a desire to regain the former French territory of Alsace-Moselle may have provided further impetus for the movement.

en.wikipedia.org/wiki/Sacred_Union

Bride of Christ

The bride of Christ or the lamb's wife is a metaphor used in reference to a group of related verses in the Christian Bible, specifically the New Testament – in the Gospels, the Book of Revelation, the Epistles, with related verses in the Old Testament.

The identity of the bride is generally considered within Christian theology to be the church, with Jesus as the bridegroom; Ephesians 5:22–33 in particular compares the union of husband and wife to that of Christ and the church. It is a favorite ecclesial image. Interpretations of metaphor's usage vary from church to church, with most believing that it always refers to the church.

Christ as a bridegroom

The Gospel of John speaks of Jesus Christ as the bridegroom and mentions the bride: He that hath the bride is the bridegroom: but the friend of the bridegroom, which standeth and heareth him, rejoiceth greatly because of the bridegroom's voice: thus my joy therefore is fulfilled.— John 3:29, King James Version

In the Gospels, when Jesus is asked why his disciples do not fast, but the followers of John the Baptist and the Pharisees do, Jesus answers: And Jesus said unto them, Can the friends of the bridegroom fast, as long as the bridegroom is with them? but the days will come, when the bridegroom shall be taken from them, and then shall they fast. — Mark 2:19, King James Version

In Matthew 9:15, Mark 2:19 and Luke 5:34, the Apostles are referred to as the friends, guests, or children – depending on the translation – of the bridegroom commonly accepted to be Jesus Christ. The bridegroom is also mentioned in the Parable of the Ten Virgins: Then the kingdom of heaven will be like ten virgins who took their lamps and went out to meet the bridegroom.

— Matthew 25:1–13[7]

Book of Revelation

The Book of Revelation repeatedly mentions the appearance of the Bride: And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. [...] And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the lamb's wife. And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God — Revelation 21:2,9–10, King James Version. In the above passages, John, the author of the Revelation, speaks of seeing the bride revealed and refers to her as the New Jerusalem, first mentioned in Revelation 3:12. The bride is mentioned again in Revelation 22:17: And the Spirit and the bride say, "Come." And let him that heareth say, "Come." And let him that is athirst come. And whosoever will, let him take the water of life freely. — Revelation 22:17, New International Version. The Greek word used for 'bride' is Ancient Greek: νύμφη, romanized: nymfi/numphe, as in Revelation 21:2, 9, (cf., 18:23; 22:17). This word, νύμφη, is understood to mean 'a son's wife,' or 'daughter-in-law,' -'bride.' Revelation 19:7, which has γυνὴ, gune, means 'wife' or 'woman'; despite the potential translation of the term in Revelation 19:7 as 'woman', the context of the verse is marriage, and numerous Bible translations (such as the New International Version, New Living Translation, English Standard Version, etc.) are consistent in translating γυνὴ as 'bride' in this instance.

Comparing the church to a bride

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In Ephesians 5:22–33, the author compares the union of husband and wife to that of Christ and the church. The central theme of the whole Ephesians letter is reconciliation of the alienated within the unity of the church. Ephesians 5 begins by calling on Christians to imitate God and Christ, who gave himself up for them with love. Verses 1–21 of the same chapter contain a rather strong warning against foolishness and letting down one's guard against evil. Rather, the author encourages the readers to constantly give thanks with song in their hearts because of what God has done for all in Christ. The prelude to the subject's text takes up again the theme of loving submission that began with the example of Christ in Ephesians 5:2: "Be submissive to one another out of reverence for Christ."[14] It implies that the "Bride" is the body of believers that comprise the universal Christian ekklēsia (lit. 'called-out ones'; Church).

The ekklēsia is never explicitly called "the bride of Christ" in the New Testament. That is approached in Ephesians 5:22–33. A major analogy is that of the body. Just as husband and wife are to be "one flesh",[15] this analogy for the writer describes the relationship of Christ and ekklēsia. Husbands were exhorted to love their wives "just as Christ loved the ekklēsia" and gave himself for it. When Christ nourishes and cherishes the ekklēsia, he nourishes and cherishes his own flesh, just as the husband, when he loves his wife, is loving his own flesh. Members of the ekklēsia are "members of his own body", interpreting Genesis 2:24 – "and the two shall become one flesh" – through the lens of the New Testament view of Christ and the church. In Ephesians 5:32, Paul quotes the Genesis passage as what has been called a "divine postscript". In writing to the Church of Corinth in 2 Corinthians 11, Paul writes to warn the community of false teachers who would teach of another Christ, and to confess his concern that they will believe someone who teaches a false Christ, other than Christ Jesus of Nazareth whom he preached; Paul referred to the Church in Corinth as being espoused to Christ: For I am jealous over you with godly jealousy: for I have espoused you to one husband, that I may present you as a chaste virgin to Christ. But I fear, lest by any means, as the serpent beguiled Eve through his subtlety, so your minds should be corrupted from the simplicity that is in Christ. For if he that cometh preacheth another Jesus, whom we have not preached, or if ye receive another spirit, which ye have not received, or another gospel, which ye have not accepted, ye might well bear with him. — 2 Corinthians 11:2–4, King James Version[22]

In the writing to the Church in Rome, Paul writes, "Wherefore, my brethren, ye also are become dead to the law by the body of Christ; that ye should be married to another, even to him who is raised from the dead, that we should bring forth fruit unto God" (Romans 7, King James Version). Here, Paul seems to suggest that the Church is to be married to Jesus Christ of Nazareth, who was raised from the dead.

Other interpretations

Nuns as brides of Christ. While the most commonly accepted interpretation of the bride of Christ is the Church, there are other, uncommon interpretations. A possible alternate interpretation is to regard nuns as being brides of Christ, with their taking monastic vows regarded as a "marriage" to Christ, and their keeping their vows as being faithful to their husband. A notable promoter of that interpretation was Gertrude the Great, a highly influential Christian mystic of the 13th century. It is known that, together with her friend and teacher Mechtilde, Gertrude practiced a spirituality called "nuptial mysticism", and came to see herself as the bride of Christ.

Bernard of Clairvaux, in his sermons on the Song of Songs, interprets the bride of Christ as the soul and the union thereof as the mystical union of the soul with Christ.

Old Testament

The earliest Christian tradition identifies texts from the Hebrew Bible as symbolic of the divine love of God and people. The love poems of the Song of Songs and the latter prophet Hosea have many references to an intimate, spousal relationship between God and his people. The prophet Hosea notes his bride in chapter 2, verses 16 and following. The theme of bridal love is central in the dramatic marriage of Hosea (Hosea 1:2).

en.wikipedia.org/wiki/Bride_of_Christ

August 4, 1914: the birth of the Sacred Union

Crowds awaiting the arrival of parliamentarians, 4/08/1914

"In the war that is about to begin, France will have for her the law, whose eternal moral power cannot be ignored with impunity by peoples or individuals. She will be heroically defended by all her sons and daughters, whose sacred union can never be broken before the enemy, and who are today fraternally united in the same indignation against the aggressor and in the same patriotic faith". Raymond Poincaré, President of the Republic, message to the assemblies, August 4, 1914. As soon as a nationwide state of siege was declared on August 2, 1914, the President of the Republic, Raymond Poincaré, called Parliament into extraordinary session for August 4. In his message to the Chambers, read by the President of the Council, René Viviani, Poincaré introduced the term "Union sacrée" (Sacred Union), reflecting the need for solidarity in the face of the enemy, which would guide the policies of the parliamentary groups until the summer of 1917. The 18 bills presented by the government to place the country in a state of war, hastily examined by the committees, were adopted without debate, unanimously in both the Chamber and the Senate. At the end of the session, the Chambers decided to adjourn sine die, leaving the conduct of the war in the hands of the government, thus allowing mobilized deputies to return to their postings under the aegis of the government.

www2.assemblee-nationale.fr/decouvrir-l-assemblee/histoir...

Représentation à La Vista, Montpllier

In an alleway in Chinatown, Calgary, AB heh

Week #13

52 in 2017

Theme: Represent your Country

Tea: a very English or British drink.

During this time of upheaval and division in the country with Brexit and another Scottish independence referendum on the cards, there's a definite need to drink tea and stay calm...

REPRESENT Festival Tübingen 2016 im Sudhaus, Tag 2

2016 Michael Lamertz

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Date: 2016-01-30

Time: 23:3918

X-T1 / 50

1/80s @ f/2.8

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My white coat represents an opportunity to be _that_ positive impact!

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At the annual White Coat Ceremony, first-year medical students begin their journey from student to physician by receiving their white physicians' coats and taking an oath written collectively by the class. Learn more and read the oath at whitecoat.wustl.edu

Photo by Robert J. Boston

A algunos centauros, como el representado por Bourdelle y que se

emplazó en Buenos. Aires, se les atribuyeron cualidades positivas. Héroes como Jasón y Aquiles fueron en su juventud alumnos del sabio centauro Quirón.

Los centauros lucharon repetidas veces contra Heracles. Cuando Heracles fue a

cazar el jabalí de Erimanto, llegó a casa de Folo, que le sirvió viandas cocidas mientras se reservaba para sí las crudas. Heracles le pidió vino y Folo le respondió que, si bien tenía una jarra, no se atrevía a abrirla, porque pertenecía en común a todos los centauros. Esa jarra era un regalo de Dionisos quien se la había confiado recomendándoles que no la empezaran hasta que tuviesen a Heracles por huésped.. Heracles le ordenó a Folo que abriera la jarra sin temor. El olor del vino atrajo a los otros centauros, que vinieron del monte armados con rocas y abetos, dispuestos a asaltar la gruta. Los dos primeros centauros

que se atrevieron a entrar - Anquio y Agrio- fueron abatidos por Heracles a golpes de antorcha y a los restantes los persiguió a flechazos hasta el cabo Maleo. Allí se refugiaron junto a Quirón. Heracles disparó una flecha que atravesó el brazo de uno de ellos –Elato-, e hirió a Quirón en la rodilla.

Heracles quiso curar la herida que involuntariamente le había causado al buen

centauro, pero no lo consiguió y Quirón que era inmortal, sufrió hasta el punto de desear ser mortal. Prometeo se avino entonces a cargar con el peso de la inmortalidad y Quirón murió.

The Maiden of Deception Pass

Reprinted from Indian Legends of the Pacific Northwest page 199 by Ella E. Clark 1953

The story of the maiden of Deception Pass is represented on the Samish side of the base of the totem pole on the Swinomish Reservation. Alexis Edge, one of the carvers of the pole, said (in 1952) that the Indians who once lived on the islands had no trouble bucking the swift current if they would think about the maiden; if they did not keep their minds on her, their canoes would get caught in the whirlpool and they would sink. Sometimes they saw the girl come up from the water; with her hands on her hips she would wade around in the current behind the canoes.

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In the days that are gone, the Samish Indians lived near the narrow channel now called Deception Pass. Most of their food came from the sea, where they usually found plenty of clams, crabs, mussels, and salmon.

One day, a group of maidens was on the beach gathering some-of the shellfish. In the group was a very pretty girl. Once, a clam she had in her hand slipped from her grasp, and she followed it into the water. Again and again it slipped from her, and she went out farther and farther until she was in water up to her waist.

Then she realized that a hand was grasping her hand. When she screamed with fright, a voice coming from the water said softly, "Do not be afraid. I will not harm you. I only want to look at your beauty."

Soon the speaker let go her hand, and she went back to her home. Again and again she had the same experience. She would be drawn into the water, a hand she could not see would hold her hand, and a voice would say loving things to her. The voice told her about the beautiful world at the bottom of the sea, about the beautiful plants and the colored fishes which she could never see from the earth. Each time, the hand held hers a little longer, and the voice spoke to her a little longer.

One day a young man rose from the water. He went with her and asked her father if he might marry her.

"Oh, no," said the father. "My daughter cannot live in the sea."

The young man told the girl's father about the beautiful world at the bottom of the ocean, but the father would not say yes.

"You will be sorry," warned the young man. "If your daughter cannot be my wife, I will see to it that you and your people cannot get sea food. Then you will be very hungry."

Still the father would not let his daughter marry the young man.

In a short time, shellfish became scarce. Then salmon became scarce. Then the streams flowing into the salt sea dried up, and the people could get no fresh-water fish. Soon the springs dried up, and the people had no water to drink.

Then the maiden went to the beach and out into the water. There she called to the young man. "Let my people have some food," she begged. "And let them have water to drink."

"Not until your father will let you marry me," replied the young man of the sea. "Not until you are my wife will there be plenty of food in the waters again."

So to keep his people from dying of hunger and thirst, her father at last gave in. He asked one thing of the young man from the sea: "Let my daughter return to us once each year. Let us see that she is happy with you."

The young man was willing to do as the father asked, and so the maiden walked out into the bay. The people on the beach watched until she disappeared from sight. The last they saw of her was her long hair floating on the surface of the water.

Soon water returned to the streams. The shellfish and the salmon returned to the sea. The Samish people were well fed. True to his promise the man of the sea let his wife go back each year to visit her people. Four years she came. And before each visit, the fish were more plentiful than ever before.

Each time, the people saw a change in her. First they noticed that barnacles were growing on her hands, then on her arms. On her fourth visit, they saw that barnacles had begun to grow on one side of her beautiful face, and that she seemed unhappy when she was out of the water. A chill wind came from her whenever she walked among them.

The people talked among themselves and then gently said to her, "We release your husband from his promise. If it makes you unhappy to leave the sea, you need not visit us each year. Do not come unless you wish to come."

And so the woman did not come again from the water. But always she was the guardian of her people. Because of her they always had plenty of seafood and plenty of pure water in the springs and streams. Her people could see that she was watching over them. As the tide passed back and forth through Deception Pass, they could see her long hair drifting on the surface of the water. They knew that the maiden of the sea was watching over her people.

Représentation de l'extraction des flux rss de trois journaux francais ( leMonde, leFigaro et liberation ) durant 3 mois octobre, novembre, decembre 2008.

www.cybunk.com/blog2/fr/data-flow-in-rss-news-feed/

Ces captures d'écrans sont réalisées à partir d'une interface de traitement du flux en temps réel.