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Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda. During the same period, the castle of Esztergom was built on the site of ancient Roman castrum. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county.
After changing his residence to Budapest, Béla IV gave the palace and castle to the archbishop. Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.
Meanwhile, the citizenry had been fighting to maintain and reclaim the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town.
The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony.
However, in 1543 Sultan Suleiman I attacked the castle and took it. Esztergom became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire. In the 17th century Esztergom was besieged and conquered several times during the Ottoman-Habsburg Wars. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.
In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.
Pretty brunette swimsuit bikni model goddess modeling the Nikon D800-based 45WindSurfer!
Shooting photographic stills & video @ same time with Nikon D800 & 70-200 mm VR2 Nikkor Lens bracketed to a camcorder--the awsome Panasonic HDC-TM900 32GB Flash Memory HD Camcorder ! It shoots stabilized 60P video for super-smooth slow-mo when I slow it down in post!
I call it the 45WindSurfer Bracket, as you can catch video's constant wind and still photography's intermittent waves!
Just as windsurding was invented by combining two sports--surfing and sailing--so too was 45windsurfing born by combining two art forms!
When you get to work with pretty swimsuit bikni models, you want to make the most of everyone's time & shoot stills photorgaphy and motion pictures / video @ the same time!
Shooting (45WindSurfing) on El Matador Beach in Malbu!
The 45WindSurfer bracket allows one to attach any two cameras! Can hardly wait to attch a 4K Sony or JVC!
Modeling the Gold 45 Revolver Gold'N'Virtue bikini!
All the best on your journey!
camera : Rolleiflex 3.5E
film : Fuji Pro160C
taken @ Hamamatsu Shizuoka, Japan
media : cyanotype from B&W digital negative
exposure : about 10 min
paper : white coldpress paper(acid free)
Karl Kuntz (Mannheim 1770 - 1830 Karlsruhe)
The Temple of Minerva in the Park of Schwetzingen
Der Minervatempel im Park von Schwetzingen, 1793
Aquarell/Watercolour - Facsimile
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
June 2014
Illustration of The Armed Man composed by Karl Jenkins
June 2014
Illustration of The Armed Man composed by Karl Jenkins
SECTION 1: L'Homme Arme
This piece is based on the 15th century French Renaissance song of the same title. It is thought to have been composed for the lead up to a new crusade against the Turks. It roughly translates to ‘The man, the man, the armed man, the armed man, the armed man should be feared, should be feared. Everywhere it has been proclaimed, that each man shall arm himself, with a coat of iron mail.’ As chainmail is so heavily referenced, I decided to start with this. I went to the National Army Museum in Chelsea and looked at different kinds of uniform and armour, but found most of it was too contemporary for this piece, although much of it was of use for later sections of the scroll. I then went to the Wallace Collection, also in London, and looked particularly at the European armour and chainmail. I drew some examples and wrote notes about which types were particularly useful for the design I wanted to create, so I looked at the 4-1 method of chainmail manufacture, as it was used closest to the time of the song, and also looks aesthetically pleasing. From the 14th century onwards, rivets were used so that the structure of the mail is strong, enabling it to stand the blows of swords and arrows. The repetitive structure of the chainmail links well to the music, as it is a repeated melody. The actual score of the music has repeated motifs, the notes are equidistant and follow a pattern. This instantly made me look into print making, in order to achieve the effect of chainmail and demonstrate my understanding of rhythm in the composition and the music. I also looked into Morse code as this is a typical ‘language’ associated with warfare. However, I found that circles of chainmail was more effective to use when printing. I measured my section of the scroll and found that in order to have a successful pattern, I needed to have each circle roughly 1 inch diameter and a half drop pattern, fitting in with the 4-1 pattern of chainmail. I also used imagery from a famous World War One photograph, showing exhausted soldiers walking in a line. I chose to show just their silhouettes, and to rip the paper to show the damage war has inflicted on them, and to contrast with the cleaner prints of the chainmail.
SECTION 2: Adhaan
This piece is the Islamic call to prayer, or Adhaan, sang by a Muezzin soloist. My choir performed this in a church, which gave an interesting contrast to the traditional Christian architecture and imagery, by having this beautiful Arabic voice praising Allah. I went to the V&A museum in London to look at the screens and tiles on display, focusing mainly on geometric repeating patterns. I happened to discover the Jameel Prize exhibition on my way out, which is a collection of modern Islamic art, often inspired by more traditional pieces. One piece was an installation looking at a prayer’s soundwaves, and how the sound looks when printed out. Another looked like a huge, moving machine made up of many different pieces of calligraphy arranged in circles. I found these pieces extremely influential to my work, and used both traditional and contemporary research to develop my own pattern and design for this section. Also, in the summer, I went to an exhibition in Amsterdam on Escher and his works relationship with Islamic art. I found one particular screen that I felt captured the essence of war; the pattern is beautiful, yet the shape used could be seen as an axe, a hammer or another weapon. I tried to replicate the pattern using graph paper, like Islamic architects used when designing their patterns, then used stencil card, string blocks and tracing paper to transfer the design onto the scroll. I also used a photo of a typical Islamic skyline to break up the pattern, and give a border to the two tones used; a sandy earth colour, and grey scale.
SECTION 3: Kyrie
Kyrie refers to a lamp lighting ceremony in Jerusalem, so I decided to look at effects of dark and light in contrast. I used ink, paint and charcoal for the dark, and wax, paint and bleach for the light. It reminded me of a quote from Anne Frank, ‘look how this candle both defies and defines the darkness’, which I thought summarises this section perfectly. You cannot have light without dark, just as you cannot have peace without war. This piece is probably the most influenced by my mark making drawings of the music. The direction for the piece is ‘compassionate, pitying’, and I wanted to reflect this in my work. ‘Kyrie eleison’ (lord, have mercy) is the main repeated phrase, which I found had a particular set of marks in my drawing, so I used these lines to represent each time the phrase is sang. When at the V&A I noticed a display highlighting the similarities in a sun motif between a catholic priests robe and an Islamic pattern. I wanted to show that my motif was similar to written Arabic, particularly to the call of prayer. This links Islam and Catholicism in my work, also as the two sections are next to each other. Impressionism was the style I was aiming to reference, as the music is blurred and beautiful, and I wanted to suggest a feeling, rather than state one. Debussy’s view on impressionist music supports my ideas, as he used chords for the colours, and harmonies for tone. Music and art are the same thing, just using different words.
SECTION 4: Save Me From Bloody Men
This piece uses text from the Book of Psalms, documenting a plea for God’s help. The piece is sung in the style of a Gregorian Chant, so all male voices (TB) and no orchestra. It is extremely powerful and sounds incredible in a church, as it echoes and creates a feeling of menace and foreboding. The percussion beat at the end made a lot of people jump when we performed it, as it’s incredibly loud and sudden, like a gunshot. I wanted to focus on this key moment, so I looked at William Klein’s Tokyo series of a boxer punching a wall with paint. I wanted to recreate this violence, so made myself a boxing/paint brush, and experimented by listening to the track and punching the wall on the drum beat. I used lots of paint on the glove to give a spattering effect, to show the echo of the music, but also of war. War is not a single clean battle, it is the echoes of conflict that continue the destruction. I used my mark making to describe the voices singing, and found that sharp lines and square shapes worked best for the rich, low tone of the music. It also reminded me of morse code, so I combined some words in code into the marks. I wanted to find a way of incorporating the punch, so I used fragile tissue paper as an overlay. This is in contrast to the strong, thick lines and large punch mark.
SECTION 5: Sanctus
This piece is also a part of the traditional Catholic mass, but uses a repeating bass line of ‘Sanctus’ (Holy) as a beat, giving it an ever more sinister and menacing feel as the music goes on. For this reason, I decided to use red paint sparingly at the left side, then more frequently and finally culminating in a frenzy of slashes and spatters. To reference the Catholic roots, I decided to observe church spires, both locally and worldwide, as traditionally these were very high to link God and the congregation, or heaven and earth. This also links to the line ‘Hosannah in excelsis’ which is sudden, loud and high pitched, especially in the part I sing as I am a first soprano. I used very careful observations of church spires and towers to the left, then gradually getting more fractured and shattered as the piece goes on. Both the music and art get steadily more sinister and abstract, giving a sense of unease to the viewer, and suggesting that battle is imminent.
SECTION 6: Hymn Before Action
The text from this piece is taken from the first two stanzas of Rudyard Kiplings poem of the same title. The words conjure a lot of imagery surrounding war, preparing for battle and patriarchy. The last line, ‘lord grant us strength to die’ is repeated three times, highlighting the plea and linking to the previous piece, ‘Save Us From Bloody Men’. I have been inspired by ‘The Book Thief’ by Markus Zusak, in which Death, the narrator, describes his experience of war. This book has been very influential, as its descriptions use colour and strong imagery to describe war, rather than conventional writing techniques, for example, ‘A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them. ‘ I wanted my work to give a similar effect; not using figurative studies, instead creating a feeling using colours and shapes. I went to the Wallace Collection and looked at mostly Iranian, Indian and European daggers and swords, both functional and ceremonial. I drew some of these, and found the detail used on these horrific weapons to be incredibly intricate, which caused a juxtaposition of creation and destruction on the same object. There was even a gun, beautifully carved with inlay of gold, pearl and coral, which had a small detail on the barrel of a couple having sexual intercourse. I felt this shocking contrast was important to explore in my work, so experimented by using destructive techniques to create art. Destruction is creation. After all, a drawing is a destroyed pencil and paper. I used a white background of acrylic paint to give a base to this section, as I wanted a greater contrast between black and white, war and peace. I simplified the intricate swords into simpler shapes suitable for printing, and cut stencils. I used black and crimson to symbolise blood, giving the viewer a sense of foreboding about the next section.\
SECTION 7: Charge!
I chose to use this piece of music for my final piece because it is central to the message of the music. It is the 7th in 13 songs, so in the middle, and is also the longest and most dramatic. It covers the lead up to battle, preparations and arming, and then the charge, increasing in tempo and volume until 8 drum beats, then a crescendo of screaming. The direction in the music score has no notes; just a written description, ‘sing any notes and randomly gliss. up & down until ‘J’, then hold. Breathe individually as necessary. Convey horror.’ Jenkins culminates this section with an ffff direction for all voices and instruments- very very loud. Then, a roughly 30 second long silence gives time for the audience to reflect, and the echoes to die down. A lone bugler plays ‘The Last Post’ offstage. I left a large space of blank wood to symbolise the silence, then interpreted The Last Post into small black marks around the edge.The other side features camouflage typically used by the French in the Somme in the First World War. Continuing on this theme, I researched the trenches and incorporated a map of Flanders into the left side. This emotionally harrowing piece struck me as something that was not contained in the bounds of the scroll, and therefore I decided to use a larger piece to convey the emotion, horror and overall power that this piece has. I chose a circle because it remarks on the fact that war and peace are a never ending cycle, and that you cannot have one without the other. I also wanted it to look similar to some of the weapons I have been researching, chiefly the shields in the Wallace collection. I noticed that a great deal of them had large spikes pushing out from the centre. From the side, these were sharp and but not particularly menacing; yet from the front on, it seemed that the spike was coming directly at you, giving an extremely threatening feel. I wanted to recreate this feeling of terror when something is advancing straight for you, and so made my own spike for the centre of my shield. I chose a particular shape when creating it, to reference how a crescendo is written in music (<) as this piece continually gets louder towards the climax. I experimented with the Ready Morse method typography to write ‘Charge’ on the spike, and used photograms to capture it. I felt this was appropriate because a photogram switches black and white, light and dark, just as war turns everything on its head. I want the viewer to feel frightened, confused and like they are in the middle of the conflict. For this reason, I chose to incorporate a broken mirror into my design, as the viewer will move along the scroll, feeling somewhat separate from the action, as none of this horror happened in their life. Then, at eye level, a broken mirror puts them directly inside the artwork, and they see that anyone can be affected by war. I broke it because I wanted to explore violence in creation, and the act of smashing something creates a new effect. It also means that the viewer may not initially recognise themselves in the reflection, as they are distorted and manipulated, similar to wars effect on people and nature. Broken mirrors were also used by a group of rebel fighters, The West Side Boys, in the Sierra Leone conflict. They used the mirrors to deflect attention from their positions and confuse the enemy. Additionally, I want to remind people that war is not something separate to humans; it is started, fought and ended by us. Yet the effects of war render us dehumanised. As Death, the narrator of The Book Thief remarks, ‘A small but noteworthy note. I've seen so many young men over the years who think they're running at other young men. They are not. They are running at me.’
SECTION 8: Angry Flames
Angry flames was written by Sankichi Toge, who survived the Hiroshima bombings. It documents the destruction he saw, and his feelings. I have always been interested in photojournalism, particularly work by Don McCullin, so decided to research more photos like his. I focused mainly on black and white ones, and most importantly, images that told a story. I compiled all these images using pinterest (www.pinterest.com/pshelleysmith/the-armed-man/ ) and used emulsion printing to capture these on my scroll. This printing technique symbolises the strange effect that the atomic blast had on humans; it would cast a sort of black shadow of their form onto the ground, wherever they fell, as the heat of the explosion was so great. I chose to use white paint to capture the images to contrast with this horrific phenomenon, photographs of this can be seen on my pinterest board. I then used charcoal, as it is burnt wood, to draw a mushroom cloud over the images, and chalk to create highlights. When standing back, the full mushroom cloud is visible, and when up close, the photographs come into focus. This is similar to how the bomb was created; it was designed to destruct, but the true horror is only visible when up close. Photojournalism is the bridge between the victims and the public, just as my work is a bridge between music and art. I also wanted the photos incorporated in my piece to create a sort of memorial to the suffering that was endured in the lead up to each photo, during, and afterwards; not just the subject of the photo but also the photographer, who is often forgotten. A great many journalists risk and sometimes lose their lives to report on conflict.
SECTION 9: Torches
This piece has text taken from the Mahabharata, an Indian epic narrative thought to date back to 400BC. It is the longest poem ever written, and documents the conflict of the Kurukshetra War and the fates of the Kaurava and the Pandava princes. This particular section describes animals and humans fleeing from a fire. At the Wallace Collection, I looked at a great deal of armour, particularly European. The helmets were intimidating and dehumanising, showing only a glimpse of eyes beneath a towering mass of metal. They were often distorted and given sharp points and exaggerated features to scare the enemy. Horses were also concealed in this way, given horns or tusks perhaps as weapons, or just decoration. I read poetry documenting the First World War, particularly poems by Wilfred Owen and Siegfried Sassoon. One poem, Mental Cases, compares the soldiers to animals, ‘Drooping tongues from jaws that slob their relish, Baring teeth that leer like skulls' tongues wicked’ I found this poem extremely powerful and hard hitting, as it shows that war is not a human affair. Therefore I developed unhuman, monstrous creatures to show a more abstract vision of war and destruction, inspired by the helmets, poems and work by Francis Bacon. Another piece that influenced this decision is Guernica by Picasso. The scale of the work is colossal, and must be intimidating to view. I wanted to capture this feeling of discomfort when viewing something truly horrific. I again used charcoal, as it is living flesh destroyed by fire. The majority of this piece of music seems fairly bland in comparison to the other sections; it uses a fairly regular rhythm, and emphasises a few of the phrases, with alto and soprano dominant and occasional use of all four parts. However, at the end, percussion and an ff direction causes the repetition of ‘torches’ to shock the audience. In a way, the slow, chanting rhythm of the rest of the piece bares a contrast to these last few bars, and makes it seem more horrific. A Hindu method of storytelling is to remain completely detached from the story, and let the words speak for themselves. Perhaps Jenkins was using this technique to emphasise the horror.
SECTION 10: Agnus Dei
This piece is also based on the traditional catholic mass, where Agnus Dei translates to ‘Lamb of God’. I decided to look at influential figures and words of war, from both sides as it were, so ranging from Hitler to Anne Frank, Gandhi, Churchill, J.F. Kennedy, protesters boards, Wilfred Owen, Vera Brittain, many other war poems, songs, films and books, and even biblical passages. I separated these by having the more destructive, pro war quotes on the left, towards the destruction, and the positive, pacifist ones on the right. I see this section of music as the turning point in the piece, as it begins to introduce a more positive sound, and soft, lilting melody. It reminded me of rivers or the sea, and the marks I made while listening to it also had this look of ripples and swirls. Therefore, I grouped the text in a similar way, sketching out first then filling in the quotes. They do not all read perfectly in order, as I chose to mix them up slightly. This has the effect of showing that after war, even though the right intentions are there, the world is forever in turmoil, and the order of peace cannot be restored.
SECTION 11: Now The Guns Have Stopped
The lyrics of this piece were written by Guy Wilson, the master of the Royal Armouries museum, as part of a display on the guilt that was felt by surviving soldiers of WW1. It reminded me of the poetry I had studied from the First World War, and I decided to find out more about this time. I researched uniforms, cap badges, gas masks and memoirs, particularly English ones about guilt and grief. I felt the most powerful imagery of this time was the mass graves in France and Belgium, the rows of white crosses. I decided to draw these recognisable symbols, but do so in a style that was rough and free, rather than perfectly measured crosses. I experimented ways of creating these iconic crosses using a variety of media; I used masking tape, masking fluid and wax to leave areas white, and then a black ink wash, and finally white acrylic paint and bleach to reveal sections. The bleach reacted with the paint to give a rusty red colour, reminding the viewer of blood. The dark ink gives a stark contrast to the sections either side of it, and makes the crosses seem even brighter. Appropriately, this is the 11th section of the music and my artwork.
SECTION 12: Benedictus
This piece starts with a long and stunningly beautiful cello solo, with a repeating melody that the choir sings later. However, it also has a sad undertone, specifically when the choir sings ‘Hosanna in Excelsis’. I went to a talk hosted by the Royal British Legion to draw, which had three speakers; a Naval officer from the Cold War, an intelligence worker responsible for electronic CSAR units (combat search and rescue) used from the Vietnamese war up to today’s conflict in Afghanistan. The last speaker impacted me the most, as he was a rear gunner in the RAF. He was 94, yet stood for the duration of his speech, and told many jokes, despite his difficult subject matter. He described his training and first operations, and how he signed up; he went to the registry office, gave his true age, 17, to the officer. The officer told him to walk outside and try again. He came back, said he was 19, and was immediately accepted. I drew him as he spoke, and the sketch that is most poignant in my opinion is the one when he was speaking about the death of his childhood best friend, and his feeling of guilt that he would come home to his family, while at his friend’s house, there would be a feeling of emptiness. His eyes started to water at this point, even after 70 odd years. I felt my drawing captured the beauty and sadness of this piece, and so scaled up and developed the sketch for the final draft of the scroll.
SECTION 13: Better Is Peace
The final piece is a reprise of L’Homme Armé, but is in a major key, giving a more positive sound. The lyrics are sometimes replaced with ‘better is peace than always war’, and the piece is sung by soloists and choir SATB. I chose to look at traditional symbols of peace, particularly the dove, as this is used as the album artwork and on posters relating to the music. I looked at symbolism of birds flying upwards to indicate peace, positivity and happiness, and a bird flying down being a bad omen for war, death and destruction. I therefore decided to draw birds. Unfortunately, while I was studying birds, perhaps as another strange moment of fate, my mum ran over a pure white pigeon (by accident). We took it home and I photographed and drew this beautiful and tragic creature, and developed my idea of having two birds in the image; one to the left, dead and seemingly flying down, to indicate the death and destruction that my piece has journeyed through, and a second bird to the right, flying upwards in a burst of light to symbolise the new hope for peace expressed through the lyrics. Between the two, I decided to give a reprise of the chainmail print from the first section, like the reprise in the music, but this time printed using very light grey and pure white. Additionally, I included the marks I made when listening to the piece, this time done in a white oily pencil. The second part of this piece, ‘God shall wipe away all tears…’ strips back the orchestra for the choir to sing a capella in beautiful harmonies. For our performance, the orchestra joined in to sing with us. In the music score, there is an optional solo part at the very end of this piece for the soprano soloist. The official The Armed Man CD does not include this last note, but in our performance, the soloist decided to do it. It is right at the very end, when all other parts gradually fall into a beautiful harmony, one voice soars above the rest, a very pure and high note. This reminded me of the dove flying upwards, and I wanted to recreate this ascent, perhaps to heaven, to peace, and to hope.
Same location as yesterdays posting but the heron took off. Not such a great heron shot but once again I just loved the way the light and turning colors worked together. View Large and On Black
"Inspired to the same Pagani know-how involved in the Zonda Cinque project, with a production limited to only 5 cars, the Zonda Cinque Roadster is developed by the unparalleled Pagani team passionately committed to creating a Roadster version of each road-legal model."
from Pagani.com
www.pagani.com/en/zonda/zonda_roadster_cinque/default.aspx
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Caméra Sony DSLR-A850
Exposition 0.8
Ouverture f/11.0
Longueur focale 20 mm
Vitesse ISO200
Détection du degré d'exposition +0.3 EV
This fledgling cutie (same female red winged blackbird baby as previous post) was settling back down after a feeding. It was yet another hot day; I felt bad for the poor little thing!
Dedicated to him
Do you come together ever with him?
And is he dark enough?
Enough to see your light?
And do you brush your teeth before you kiss?
Do you miss my smell?
And is he bold enough to take you on?
Do you feel like you belong?
And does he drive you wild?
Or just mildly free?
What about me?
Well I know I make you cry
And I know sometimes you wanna die
But do you really feel alive without me?
If so, be free
If not, leave him for me
Before one of us ...
Canon 5D Mark II Photos of Beautiful Brunette Swimsuit Bikini Model Goddess! Pretty Green Eyes! Canon 5D Mark II Photos of Beautiful Brunette Swimsuit Bikini Model Goddess! Pretty Green Eyes! The Wind was running her fingers through her long, wavy hair! She's a fitness model and professional dancer! Shot with the 24-105mm IS USM L lens! Remastered RAWs in Lightroom 5 !
I was shooting video of the pretty goddess at the exact same time with my 45surfer/9shooter bracket setup--you can enjoy the video here:
www.youtube.com/watch?v=1Wb9hO6tG9g
Be sure to watch the goddess in full 1080p HD! She was tall, thin, tan, and fit!
Video is fun & it rocks to capture the goddess's beauty and poetry in motion!
Shooting simultaneous stills & video rocks! I do it on every shoot now, while also mounting several stationary DSLRs/camcorders for video in addition to the Panasonic or Sony Camcoder bracketed to my Canon 5D or Nikon D800E.
The sea goddess was tall, thin, fit, with long, gorgerous brown hair and pretty green eyes!
Sporting a 45SURF denim bikini. :)
And may the red-headed sea goddess inspire you along a photographic/artistic journey of your own making!
The Canon EF 24-105mm f/4 L IS USM Lens is an amazing lens for practically every situation!
Long, pretty legs!
All the best on your Hero's Journey from Johnny Ranger McCoy!
The 45surf Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour. And like Helen of Troy, a Gold 45 Goddess is worth fighting a ten year war for.
"We are the Same", say Jewish and Arab youth.
"Wow wow wow, I have no specific words to describe two of the most spectacular days I have ever had in my life,” wrote Eman Darawshe, English Language coordinator at Iksal High School on her FaceBook page. Her eleventh-grade grade Muslim students met with Jewish students from Afula for a two-day intensive negotiation workshop facilitated by NGO Pathways. The program uses Harvard Law School’s Program on Negotiation (PON) methodology, specifically designed to teach over 400 eleventh-grade students from 16 high schools around the country. The workshop pairs together schools from different communities, whose students learn basic negotiation skills by participating in simulations and exercises to reinforce these life skills. This unique program opens up new lines of communication between Arab and Jewish youth who seldom have the opportunity to meet one another by providing a platform to break down stereotypes and prejudice and explore areas of mutual respect, tolerance and understanding.
Winter shoot for Street and srip Magazine Boghteck Winter meet 2012.
And the summer shoot for Bilsport Magazine Bimmer Of Sweden
Pleas follow me on Facebook www.facebook.com/Kometfoto?ref=hl
St. Paul, Minnesota
May 16, 2011
Protesters gathered inside the state capitol building to protest against the upcoming vote by the Minnesota House of Representatives to put an anti-gay marriage amendment on the 2012 election ballot. There were two events going on at the same time on this day. African American Lobby Day was held on the first floor while protestors against the constitutional amendment banning same sex marriage almost filled the halls on the second floor.
2011-05-16 This is licensed under a Creative Commons Attribution License.
I have opted to post pics for this group that were/will be taken looking a little south of west from the back of our home. As far as possible, I will be taking the pic on the third weekend of the month but I might slip from that 'date' if necessary.
Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane.[1] What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.
There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is only very slightly lower than the sculpted elements. There is also sunk relief, which was mainly restricted to Ancient Egypt (see below). However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work.
The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece.[7] Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER-RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
The Grand Canyon NP & Grand Escalante Staircase! 45Epic Dr. Elliot McGucken ! Point Imperial! Fine Landscape and Nature Photography. Join my new 45EPIC fine art landscapes page on facebook!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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The outstanding feature of this solid Victorian church, built by John Oldrid Scott in 1871, is the series of windows by the firm of Morris and Co. The east window of the north aisle represents some early saints including Alban and Aidan, while that in the west end shows six angels. Nearby is an early representation of Kentish saints, whose popularity was increasing in the middle of the nineteenth century, including Augustine, Ethelbert and Bertha. The east window is by the same firm, but dates from after the death of Burne-Jones and is not so finely executed. The oak reredos was added by Charles Oldrid Scott in 1925, who also worked on the altar rails and low chancel screen. In the churchyard there is a good monument made of Coade artificial stone in 1807.
www.kentchurches.info/church.asp?p=Speldhurst
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SPELDHURST
IS the last parish remaining undescribed in this lath. It lies the next adjoining parish south eastward from Penshurst, and was sometimes written, in antient records, Speleberste, but in the Tex t u Rossensis, Speldburst.
THE PARISH of Speldhurst is about three miles across each way; the north-west part, in which the church stands, and Hallborough, is within the hundred of Somerden, as is the hamlet of Groombridge, three miles from the church, at the southern boundary of it, where a branch of the river Medway separates this county from Sussex, throughout all which the soil remains a stiff clay; the remaining part of this parish is in the hundred of Warchlingstone, which stretches across a narrow district, by Mitchell's and Tophill farms, and towards the parish of Ashurst, which it includes, thus entirely separates that part of the hundred of Somerden in which the hamlet of Groombridge lies, and surrounds three sides of it, from the other in which the church stands. The soil in the eastern part of this parish changes to an uninterrupted scene of losty hills, with deep vallies intersecting, the soils are a stiff loam and a barren sand, which covers a continued bed of rock stone, several of which appear above it, of large size and dimensions, greatly abounding with iron ore, which renders the springs of it more or less chalybeate; at the south east boundary of the parish is the noted resort of Tunbridge-wells, (of which a further account will be given hereafter) situated thirty-five miles from London, and five from Tunbridge town; here the high road branches off to the right, by Rust-hall, and the hamlets of Bishopsdown and Rust-hall common, on by Groombridge, across the branch of the Medway into Sussex.
The large and populous hamlet or village of TUNBRIDGE-WELLS is situated at the south-east boundary of this parish; part of it only is in Speldhurst, another part in the parish of Tunbridge, and the remainder in that of Fant, in the county of Suffex. It consists of four smaller districts, named from the hills on which they stand, Mount Ephraim, Mount Pleasant, and Mount Sion; the other is called The Wells, from their being within it, which altogether form a considerable town; but the last is the centre of business and pleasure, for there, besides the Wells themselves, are the market, public parades, assembly rooms, taverns, shops, &c. Near the Wells is the chapel, which stands remarkably in the three parishes above mentioned—the pulpit in Speldhurst, the altar in Tunbridge, and the vestry in Fant, and the stream, which parted the two counties of Kent and Suffex, formerly ran underneath it, but is now turned to a further distance from it. The right of patronage is claimed by the rector of Speldhurst, though he has never yet possessed the chapel or presented to it; the value of it is about two hundred pounds per annum, which sum is raised by voluntary subscription; divine service is performed in it every day in summer, and three times a week in winter. Adjoining to it is a charity school, for upwards of fifty poor boys and girls, which is supported by a contribution, collected at the chapel doors, two or three times a year.
The trade of Tunbridge-wells is similar to that of Spa, in Germany, and consists chiefly in a variety of toys, made of wood, commonly called Tunbridge ware, which employs a great number of hands. The wood principally used for this purpose is beech and sycamore, with yew and holly inlaid, and beautifully polished. To the market of this place is brought, in great plenty, from the South downs, in Sussex, the little bird, called the wheatear, which, from its delicacy, is usually called the English ortolan. It is not bigger in size than a lark; it is almost a lump of fat, and of a very delicious taste; it is in season only in the midst of summer, when the heat of the weather, and the fatness of it, prevents its being sent to London, which otherwise would, in all likelihood, monopolize every one of them. On the other or Suffex side of the Medway, above a mile from the Wells, are the rocks, which consist of a great number of rude eminences, adjoining to each other, several of which are seventy feet in height; in several places there are cliffs and chasms which lead quite through the midst of them, by narrow gloomy passages, which strike the beholder with astonishment.
THESE MEDICINAL WATERS, commonly called TUNBRIDGE-WELLS, lie so near to the county of Suffex that part of them are within it, for which reason they were for some time called Fant-wells, as being within that parish. (fn. 1) Their efficacy is reported to have been accidentally found out by Dudley lord North, in the beginning of the reign of king James I. Whilst he resided at Eridge-house for his health, lord Abergavenny's seat, in this neighbourhood, and that he was entirely cured of the lingering consumptive disorder he laboured under by the use of them.
The springs, which were then discovered, seem to have been seven in number, two of the principal of which were some time afterwards, by lord Abergavenny's care, inclosed, and were afterwards much resorted to by many of the middling and lower sort, whose ill health had real occasion for the use of them. In which state they continued till queen Henrietta Maria, wife of king Charles I. having been sent hither by her physicians, in the year 1630, for the reestablishment of her health, soon brought these waters into fashion, and occasioned a great resort to them from that time. In compliment to her doctor, Lewis Rowzee, in his treatise on them, calls these springs the Queen's-wells; but this name lasted but a small time, and they were soon afterwards universally known by that of Tunbridge-wells, which names they acquired from the company usually residing at Tunbridge town, when they came into these parts for the benefit of drinking the waters.
¶The town of Tunbridge being five miles distant from the wells, occasioned some few houses to be built in the hamlets of Southborough and Rusthall, for the accommodation of the company resorting hither, and this place now becoming fashionable, was visited by numbers for the sake of pleasure and dissipation, as well as for the cure of their infirmities; and soon after the Restoration every kind of building, for public amusements, was erected at the two hamlets above mentioned, lodgings and other buildings were built at and near the wells, the springs themselves were secured, and other conveniencies added to them. In 1664, the queen came here by the advice of her physicians, in hopes of reinstating her health, which was greatly impaired by a dangerous fever, and her success, in being perfectly cured by these waters, greatly raised the reputation of them, and the company increasing yearly, it induced the inhabitants to make every accommodation for them adjoining to the Wells, so that both Rusthall and Southborough became ruinous and deserted by all but their native inhabitants. The duke of York, with his duchess, and the two princesses their daughters, visited Tunbridge-wells in the year 1670, which brought much more company than usual to them, and raised their reputation still higher; and the annual increase continuing, it induced the lord of the manor to think of improving this humour of visiting the wells to his own profit as well as the better accommodation of the company. To effect which, he entered into an agreement with his tenants, and hired of them the herbage of the waste of the manor for the term of fifty years, at the yearly rent of ten shillings to each tenant, and then erected shops and houses on and near the walks and springs, in every convenient spot for that purpose; by which means Tunbridge wells became a populous and flourishing village, well inhabited, for whose convenience, and the company resorting thither, a chapel was likewise built, in 1684, by subscription, on some ground given by the lady viscountess Purbeck, which was, about twelve years afterwards, enlarged by an additional subscription, amounting together to near twenty-three hundred pounds.
About the year 1726, the building lease, which had been granted by the lord of the manor of Rusthall, in which this hamlet is situated, expiring, the tenants of the manor claimed a share in the buildings, as a compensation for the loss of the herbage, which was covered by his houses. This occasioned a long and very expensive law suit between them, which was at last determined in favour of the tenants, who were adjudged to have a right to a third part of the buildings then erected on the estate, in lieu of their right to the herbage; upon which all the shops and houses, which had been built on the manor waste, were divided into three lots, of which the tenants were to draw one, and the other two were to remain to the lord of the manor; the lot which the tenants drew was the middle one, which included the assembly room on the public walk, which has since turned out much the most advantageous of the three. After which long articles of agreement, in 1739, were entered into between Maurice Conyers, esq. then lord of the manor of Rusthall, and the above mentioned tenants of it, in which, among many other matters, he agreed to permit the public walks and wells, and divers other premises there, to be made use of for the public benefit of the nobility and gentry resorting thereto, and several regulations were made in them concerning the walks, wells, and wastes of the manor, and for the restraining buildings on the waste, between the lord and his tenants, according to a plan therein specified; all which were confirmed and established by an act of parliament, passed in 1740. Since which several of the royal family have honoured these wells with their presence, and numbers of the nobility and persons of rank and fashion yearly resortto them, so that this place is now in a most flourishing state, having great numbers of good houses built for lodgings, and every other necessary accommodation for the company. Its customs are settled; the employment of the dippers regulated; (fn. 2) its pleasures regulated; its markets well and plentifully supplied, at a reasonable rate, with sowl, fish, meat, every other kind of food, and every convenience added that can contribute to give health and pleasure.
The whole neighbourhood of Tunbridge-wells abounds with springs of mineral water, but as the properties of all are nearly the same, only those two, which at the first discovery of them were adjudged the best, are held in any particular estimation. These two wells are enclosed with a handsome triangular stone wall; over the springs are placed two convenient basons of Portland stone, with perforations at the bottom; one of them being given by queen Anne, and the other by the lord of the manor; through which they receive the water, which at the spring is extremely clear and bright. Its taste is steely, but not disagreeable; it has hardly any smell, though sometimes, in a dense air, its ferruginous exhalations are very distinguishable. In point of heat it is invariably temperate, the spring lying so deep in the earth, that neither the heat of summer, nor the cold of winter, affects it. When this water is first taken up in a large glass, its particles continue at rest till it is warmed to nearly the heat of the atmosphere, then a few airy globules begin to separate themselves, and adhere to the sides of the glass, and in a few hours a light copper coloured scum begins to float on the surface, after which an ochreous sediment settles at the bottom. Long continued rains sometimes give the water a milky appearance, but do not otherwise sensibly affect it. From the experiments of different physicians, it appears that the component parts of this water are, steely particles, marine salts, an oily matter, an ochreous substance, simple water, and a volatile vitriolic spirit, too subtile for any chemical analysis. In weight it is, in seven ounces and a quarter, four grains lighter than the German Spa (to which it is preferable on that account) and ten grains lighter than common water; with syrup of violets this water gives a deep green, as vitriols do. (fn. 3) It requires five drops of oleum sulphuris, or elixir of vitriol, to a quart of water, to preserve its virtues to a distance from the spring.
This water is said to be an impregnation of rain in some of the neighbouring eminences, which abound in iron mineral, where it is further enriched with the marine salts and all the valuable ingredients, which constitute it a light and pure chalybeate, which instantly searches the most remote recesses of the human frame, warms and invigorates the relaxed constitution, restores the weakened fibres to their due tone and elasticity, removes those obstructions to which the minuter vessels of the body are liable, and is consequently adapted to most cold chronical disorders, lowness of spirits, weak digestions, and nervous complaints. Dr. Lodowick Rowzee, of Ashford, in this county, wrote a Treatise of the Nature and Virtues of these Waters, printed in 12mo. 1671; and Dr. Patrick Madan wrote a Philosophical and Medical Essay on them, in 1687, in quarto.
THE MANOR OF SPELDHURST, in the reign of king Edward III. was in the possession of Sir John de Pulteneye, lord of the neighbouring manor of Penshurst, a man of great account at that time, as has been already noticed before, who, in the 19th year of that reign, on his perfecting the foundation he had begun of a college in the parish of St. Lawrence, Canon-street, London, afterwards called the College of St. Laurence Poultney, settled the manor with the church of Speldshurst on it.
¶It remained part of the possessions of the college till its suppression in the reign of king Edward VI. when it was granted among other premises, by the description of the manor of Speldhurst and Harwarton (then demised to Sir William Waller, at the rent of 16s. 8d. per annum) of the clear yearly value of 13l. 14s. 1d. together with the patronage of the church appendant to the manor, parcel of the late college of St. Laurence, Poultney, London, to Henry Polsted. (fn. 4) How the manor of Speldhurst passed afterwards I have not found, only that after several intermediate owners, it came into the name of Goodhugh, and in the latter end of the reign of king George I. was possessed by Richard Goodhugh, esq. from which name it passed by a female heir, Sarah, in marriage to Mr. Rich. Round, whose son, Mr. Richard Round, of Stonepit, in Seale, died possessed of it, and the trustees of his insant children are now in the possession of it.
SPELDHURST is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.
The church, which was dedicated to St. Mary, was a neat building, having a spire steeple at the west end of it, in which hung four bells.
On Thursday, October 22, 1791, a dreadful storm of thunder and lightning happened in these parts, which set fire to this church, a ball of fire being observed to enter the center of the shingled part of the spire, and instantly a thick smoke, followed by slames issued from it, and there being no help at hand, every thing contributed to its destruction. The high wind, the rain and hail having ceased, drove the flames from the steeple on the church, and in about four hours this beautiful structure was totally reduced to a heap of ruins, The bells were melted by the intense heat, the monuments in it, and every thing else which could become a prey to the fiery element were reduced to ashes; the stone walls only were left, but in so ruinous a condition as not to be fit for future use, and what is extraordinary, the font, though left entire, was turned upside down; the tombs and head stones near the church were considerably damaged. A brief was obtained towards the re-building of it, but the work, though the size of it has been greatly reduced, the new church, consisting but of one isle and a very small chancel, has gone on but slowly, and at this time is not near finished, and neither steeple nor bells are yet agreed upon, the brief not producing so much as was expected.
In the old church, before it was burnt down, there were the following monuments and inscriptions:— In the chancel, on the south wall, an antient and beautiful monument,. with the arms of Waller, with the augmentation and several quarterings, for Sir Walter Waller; a brass plate for John Waller, esq. obt. 1517. In the nave, were several brass plates for the same family, one of them for William Waller, esq. of Groombridge, obt. 1555. The porch was very curious, over which was an antique shield, cut in stone, being the arms of France, with a file of three flambeaux, for Charles, duke of Orleans, mentioned before. He built this porch, and was a good benefactor to the repairs of the church itself. (fn. 19)
By a fine levied in the 39th year of king Henry III. before Gilbert de Preston, and others justices itinerant, Walter de la Dene, the possessor of this advowson, granted it to the Walter Fitzwalter in tail general, to hold of him and his heirs for ever, at the yearly rent of one penny, and performing all other services due from thence to the capital lords of the fee.
¶Roger de Padlesworth was patron of the church of Speldhurst in the 48th year of the same reign, and he then released his right to certain rent and service due for lands granted to the chapel of Gromenebregge, situated within his manor of Speldhurst. In the reign of king Edward III. the manor and church of Speldhurst were part of the possessions of Sir John de Pulteneye, who, in the 19th year of that reign, on his perfecting the foundation and endowment of his college in the parish of St. Lawrence, in Canon-street, London, afterwards called the College of St. Lawrence Poultney, settled both manor and advowson on it. (fn. 20) Three years after which, anno 1347, Hamo, bishop of Rochester, at the instance and petition of Sir John de Pulteneye, by his instrument appropriated this church to that college for ever, reserving out of it nevertheless a fit portion to the perpetual vicar serving in it, to be presented to the bishop and his successors, by the master or guardian and the chaplains of the college, by which he might be supported decently, and be enabled to discharge the episcopal dues and other burthens incumbent on him; and he decreed, that they should take possession of this church immediately on the death or cession of Sir Thomas, then rector of it (whom he by no means intended to prejudice by this appropriation) without any further licence or authority obtained for that purpose, saving, nevertheless, and reserving to himself and his successors canonical obedience from the master or guardian and chaplains or their successors, on account of their holding this church as aforesaid, and the visitation of it, and other rights due to the church and the bishop of Rochester, and to the archdeacon of the place, either of custom or of right, and all other rights and customs in every thing whatsoever; and saving and reserving in the church a perpetual vicarage, which he then decreed should take effect at the death or resignation of the rector of it. And he willed, that a sit and competent portion should be assigned out of the fruits, rents and produce of it to such vicar to serve in it, who should first be presented by the master, &c. to be instituted and admitted by the bishop, or his successor, into it, before his admission, according as circumstances required, to the use of him and his successors for ever. And he willed and decreed, that the portion above-mentioned should for ever consist of the tithes of filva cedua, pannage, apples, and fruits of other trees, hay, herbage, flax, hemp, wool, milk, butter and cheese, lambs, calves, pigs, swans, pidgeons, fowlings, huntings, mills, fisheries, merchandizing, and in all other small tithes and dues of the church, oblations and obventions whatsoever belonging to the altarage, together with competent buildings situate on the soil of the church, to be assigned for the habitation of the vicar, and in which the visitors of the ordinary might be commodiously received. And he willed and decreed, that the vicar for the time being, (after the books and vestments belonging by custom to the rector to provide, should have been sufficiently provided by the master, &c.) should cause the books to be bound, and the vestments to be washed, repaired and amended, as often as need should be; and should find and provide, at his own expence, bread, wine, and processional tapers, and other lights necessary in the chancel, and the accustomed attendants in the church; and should keep and maintain in a proper state, at his own costs, the buildings allotted to his vicarage, after they should have been once sufficiently repaired, and assigned as an habitation for him and his successors, and should wholly pay all episcopal dues, and archidiaconal procurations, and should undergo and acknowledge all other extraordinary burthens, which should be incumbent or laid on him, according to the taxation of his portion, which, so far as related to them, he estimated and taxed at sixty shillings sterling; but that the master, &c. should undergo and acknowledge, at his and their own costs for ever, all other ordinaries and extraordinaries, according to the taxation of their portion, which he estimated at six marcs and an half. Lastly, that his cathedral church of Rochester might not be in any manner hurt, or prejudiced by this appropriation, he, in recompence of such loss, as it might happen to receive from it, either in the not receiving the profits of it whilst it should become vacant, or otherwise, reserved a certain annual pension of seven shillings sterling from this church to him and his successors, to be yearly paid at the feast of the Purification of the blessed Virgin Mary, by the master, &c. as soon as they should have obtained effectual and full possession of it, &c. (fn. 21)
St. Paul, Minnesota
May 13, 2013
Thousands of people gathered at the Minnesota state capitol building during the Minnesota Senate debate on a same sex marriage bill. The bill passed the Minnesota House of Representatives on May 9 by a vote of 75 to 59. The Minnesota Senate passed the bill this day by a vote of 37 to 30. The law delineates the rights of gay and lesbian couples to marry.
2013-05-13 This is licensed under the Creative Commons Attribution License. Give attribution to: Fibonacci Blue
建筑画报: 波特兰购物中心是一条城市景观购物大街，其长度贯穿整个城市中心，融合了多种交通方式，刺激了邻里发展，是波特兰市重要的公民核心场所。在新的时机，这里需要被改建成为可持续的城市中心公共活动与交通空间。这个始于1976年的项目是一个雄心勃勃的企划，解决了市中心堵塞的交通问题，吸引投资，重新定义公民空间。有过境游客专用通道，宽阔的人行道，茂密的行道树和高品质的公共设施，很多创举在美国都是第一次出现，因此获奖无数。在上世纪80到90年代，这里引入了轻轨交通。随着时间的推移，这里的情况逐渐恶化，维护费用也开始缩减，最后变成不受欢迎的地区。为了解决这个问题，并考虑到2030年将有一百万的新增市民，城市交通运输服务商TriMet和波特兰政府、地铁企业联盟还有城市设计师一起合作，共同开发一个振兴计划。规划重申购物中心的重要角色，以此为关键进行发展，让其成为多种交通运输方式的枢纽。（人行道、自行车道、机动车道、新型轻轨和大容量公共汽车系统）项目长1.7英里，，穿越了波特兰市中心6个不同的地区共116个街区，算的上是全国最大的交通项目：58个市中心街区及十字路口的修缮重建、强化人行道设施，改善45个公交候车区、新增公共艺术、改善机动车和自行车专道、改善停车区和卸载区。投入2.2亿美元，是波特兰市最大的公共项目。TriMet是美国广为人知的交通行业专家，他们有着城市设计，景观设计等跨学科的设计和施工专业团队。这个备受瞩目的基础设计改建在早期便进行广泛的评估和调查，对各个级别和空间，条件，行为，发展潜力等等进行综合考量最后制定设计决策。最后巴士和轻轨共享两个过境通道，汽车和自行车可以轻松的进入公共交通系统。在视野开阔处设置街景元素，把交通运输功和街道生活融合起来，人们在这里走、坐、停留、看、谈话、用餐、购物。走廊在整体上保持统一（地面铺装、照明、候车厅、引导标识和基础街道装置）的同时具有多样性（公共艺术、辅助街道装置以及雨水景观特征）。这里的原始材料没有被浪费掉，花岗岩，砖，铸铁被保存和很好的重新利用。原有600株树木被保留，新增115株。道路交叉口用更高品质的材料铺设。项目在各个尺度上都体现了可持续性：对城市核心进行了再度投资，强化城市结构，提高城市流动性，提供更多清洁能源的交通选择，形成了公私合作的未来战略投资关系。项目使高质量原材料得以保存和更新，同时路灯、指示灯和交通运输站点引入了新的节能技术。新增的透水铺装，开放景观带和汇水点对18块人行道区域的径流进行拦截。回收并翻新了大部分路面，金属，玻璃和木材。这个项目的重要目标是赋予整个街区更多的活力，因此，TriMet及其合作方开启了一项针对市区企业的宣传计划，包括提供设计/许可援助和低息贷款，称为BBB计划。150亿美元的私人投资改善了40个商店，两个酒店以及相关的机构。这种公私机构，商业和社区的合作模式是这个项目长期发展的关键。“They have taken a good idea and made it even better. It’s a great expenditure of public money and so far ahead of what anyone else is doing. It’s another example of Portland continuing to stay ahead. They were unafraid of taking out what didn’t work and fixing it, which is difficult to do in cities. ”—2011 Professional Awards Jury “提出一个好点子，并将它做得更好。将公共开支物尽其用，远远领先旁人。波特兰将继续领先，以勇气和毅力完成城市的超级挑战。” ——2011年专业奖评委委员会（感谢 ZGF Architects LLP, Portland, OR & gooood）>订阅《建筑画报》 | 微信：shejishe | 微博：@设计社 >http://www.shejishe.com/submit 来自http://dd.mu/sT4+W