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Class 414 2-SAP 5924 was leading a Waterloo to Waterloo Kingston Roundabout service approaching Clapham Junction on October 20th 1979. The unit was passing under the Clapham Junction 'A' signalbox that was installed by the London & South Western Railway and becoming operational in 1912. It was upgraded by the Southern Railway in 1936 when a Westinghouse power lever frame was installed. The structure had a moment of fame in May 1965 when it partially collapsed due to rust in the structure. Despite this setback, the 'box was subsequently repaired and closed for the final time in May 1990 when control passed to the Wimbledon Signalling Centre.

The 2-SAP's had previously been 2-HAP units, 51 x 2-car sets had their first class accommodation downgraded to second in 1974 and were renumbered 5901-5951.

1990 Freightliner FLA SBFA(Set-Back Front Axle) powered with a 3406B CAT that belonged to Bi-Mart of Eugene, OR. In 2011, this truck was donated to the Pacific Northwest Truck Museum after being retired from service by Bi-Mart. On display during the 2018 Brooks Truck Show in August 2018.

The Chrysler Building is an Art Deco skyscraper on the East Side of Manhattan in New York City, at the intersection of 42nd Street and Lexington Avenue in Midtown Manhattan. At 1,046 ft (319 m), it is the tallest brick building in the world with a steel framework, and it was the world's tallest building for 11 months after its completion in 1930. As of 2019, the Chrysler is the 12th-tallest building in the city, tied with The New York Times Building.

 

Originally a project of real estate developer and former New York State Senator William H. Reynolds, the building was commissioned by Walter Chrysler, the head of the Chrysler Corporation. The construction of the Chrysler Building, an early skyscraper, was characterized by a competition with 40 Wall Street and the Empire State Building to become the world's tallest building. The Chrysler Building was designed and funded by Walter Chrysler personally as a real estate investment for his children, but it was not intended as the Chrysler Corporation's headquarters. An annex was completed in 1952, and the building was sold by the Chrysler family the next year, with numerous subsequent owners.

 

When the Chrysler Building opened, there were mixed reviews of the building's design, some calling it inane and unoriginal, others hailing it as modernist and iconic. Reviewers in the late 20th and early 21st centuries regarded the building as a paragon of the Art Deco architectural style. In 2007, it was ranked ninth on the American Institute of Architects' list of America's Favorite Architecture. The facade and interior became New York City designated landmarks in 1978, and the structure was added to the National Register of Historic Places as a National Historic Landmark in 1976.

 

Site

 

The Chrysler Building is on the eastern side of Lexington Avenue between 42nd and 43rd streets in Midtown Manhattan in New York City. The land was donated to The Cooper Union for the Advancement of Science and Art in 1902. The site is roughly a trapezoid with a 201-foot-long (61 m) frontage on Lexington Avenue; a 167-foot-long (51 m) frontage on 42nd Street; and a 205-foot-long (62 m) frontage on 43rd Street. The site bordered the old Boston Post Road, which predated, and ran aslant of, the Manhattan street grid established by the Commissioners' Plan of 1811. As a result, the east side of the building's base is similarly aslant. The building is assigned its own ZIP Code, 10174. It is one of 41 buildings in Manhattan that have their own ZIP Codes, as of 2019.

 

The Grand Hyatt New York hotel and the Graybar Building are across Lexington Avenue, while the Socony–Mobil Building is across 42nd Street. In addition, the Chanin Building is to the southwest, diagonally across Lexington Avenue and 42nd Street.

 

Architecture

 

The Chrysler Building was designed by William Van Alen in the Art Deco style and is named after one of its original tenants, automotive executive Walter Chrysler. With a height of 1,046 feet (319 m), the Chrysler is the 12th-tallest building in the city as of 2019, tied with The New York Times Building. The building is constructed of a steel frame infilled with masonry, with areas of decorative metal cladding. The structure contains 3,862 exterior windows. Approximately fifty metal ornaments protrude at the building's corners on five floors reminiscent of gargoyles on Gothic cathedrals. The 31st-floor contains gargoyles[26] as well as replicas of the 1929 Chrysler radiator caps, and the 61st-floor is adorned with eagles as a nod to America's national bird.

 

The design of the Chrysler Building makes extensive use of bright "Nirosta" stainless steel, an austenitic alloy developed in Germany by Krupp. It was the first use of this "18-8 stainless steel" in an American project, composed of 18% chromium and 8% nickel. Nirosta was used in the exterior ornaments, the window frames, the crown, and the needle. The steel was an integral part of Van Alen's design, as E.E. Thum explains: "The use of permanently bright metal was of greatest aid in the carrying of rising lines and the diminishing circular forms in the roof treatment, so as to accentuate the gradual upward swing until it literally dissolves into the sky...." Stainless steel producers used the Chrysler Building to evaluate the durability of the product in architecture. In 1929, the American Society for Testing Materials created an inspection committee to study its performance, which regarded the Chrysler Building as the best location to do so; a subcommittee examined the building's panels every five years until 1960, when the inspections were canceled because the panels had shown minimal deterioration.

 

Form

 

The Chrysler Building's height and legally mandated setbacks influenced Van Alen in his design. The walls of the lowermost sixteen floors rise directly from the sidewalk property lines, except for a recess on one side that gives the building a U-shaped floor plan above the fourth floor. There are setbacks on floors 16, 18, 23, 28, and 31, making the building compliant with the 1916 Zoning Resolution. This gives the building the appearance of a ziggurat on one side and a U-shaped palazzo on the other. Above the 31st floor, there are no more setbacks until the 60th floor, above which the structure is funneled into a Maltese cross shape that "blends the square shaft to the finial", according to author and photographer Cervin Robinson.

 

The floor plans of the first sixteen floors were made as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. The area between floors 28 and 31 added "visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft."

 

Facade

 

Base and shaft

 

The ground floor exterior is covered in polished black granite from Shastone, while the three floors above it are clad in white marble from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three floors high with Shastone granite surrounding each proscenium-shaped entryway. At some distance into each main entryway, there are revolving doors "beneath intricately patterned metal and glass screens", designed so as to embody the Art Deco tenet of amplifying the entrance's visual impact. A smaller side entrance on 43rd Street is one story high. There are storefronts consisting of large Nirosta-steel-framed windows at ground level. Office windows penetrate the second through fourth floors.

 

The west and east elevations contain the air shafts above the fourth floor, while the north and south sides contain the receding setbacks. Below the 16th floor, the facade is clad with white brick, interrupted by white-marble bands in a manner similar to basket weaving. The inner faces of the brick walls are coated with a waterproof grout mixture measuring about 1⁄16 inch (1.6 mm) thick. The windows, arranged in grids, do not have window sills, the frames being flush with the facade. Between the 16th and 24th floors, the exterior exhibits vertical white brick columns that are separated by windows on each floor. This visual effect is made possible by the presence of aluminum spandrels between the columns of windows on each floor. There are abstract reliefs on the 20th through 22nd-floor spandrels, while the 24th floor contains 9-foot (2.7 m) decorative pineapples.

 

Above the third setback, consisting of the 24th through 27th floors, the facade contains horizontal bands and zigzagged gray-and-black brick motifs. The section above the fourth setback, between the 27th and 31st floors, serves as a podium for the main shaft of the building. There are Nirosta-steel decorations above the setbacks. At each corner of the 31st floor, large car-hood ornaments were installed to make the base look larger. These corner extensions help counter a common optical illusion seen in tall buildings with horizontal bands, whose taller floors would normally look larger. The 31st floor also contains a gray and white frieze of hubcaps and fenders, which both symbolize the Chrysler Corporation and serves as a visual signature of the building's Art Deco design. The bonnet embellishments take the shape of Mercury's winged helmet and resemble hood ornaments installed on Chrysler vehicles at the time.

 

The shaft of the tower was designed to emphasize both the horizontal and vertical: each of the tower's four sides contains three columns of windows, each framed by bricks and an unbroken marble pillar that rises along the entirety of each side. The spandrels separating the windows contain "alternating vertical stripes in gray and white brick", while each corner contains horizontal rows of black brick.

 

Crown and spire

 

The Chrysler Building is renowned for, and recognized by its terraced crown, which is an extension of the main tower. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault of seven concentric members with transitioning setbacks. The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, reminiscent of the spokes of a wheel. The windows are repeated, in smaller form, on the terraced crown's seven narrow setbacks. Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors. According to Robinson, the terraced crown "continue[s] the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East."

 

Television station WCBS-TV (Channel 2) originated its transmission from the top of the Chrysler Building in 1938. WCBS-TV transmissions were shifted to the Empire State Building in 1960 in response to competition from RCA's transmitter on that building. For many years WPAT-FM and WTFM (now WKTU) also transmitted from the Chrysler Building, but their move to the Empire State Building by the 1970s ended commercial broadcasting from the structure.

 

The crown and spire are illuminated by a combination of fluorescent lights framing the crown's distinctive triangular windows and colored floodlights that face toward the building, allowing it to be lit in a variety of schemes for special occasions.The V-shaped fluorescent "tube lighting" – hundreds of 480V 40W bulbs framing 120 window openings – was added in 1981, although it had been part of the original design. Until 1998, the lights were turned off at 2 a.m., but The New York Observer columnist Ron Rosenbaum convinced Tishman Speyer to keep the lights on until 6 a.m. Since 2015, the Chrysler Building and other city skyscrapers have been part of the Audubon Society's Lights Out program, turning off their lights during bird migration seasons.

 

History

 

In the mid-1920s, New York's metropolitan area surpassed London's as the world's most populous metropolitan area and its population exceeded ten million by the early 1930s. The era was characterized by profound social and technological changes. Consumer goods such as radio, cinema, and the automobile became widespread. In 1927, Walter Chrysler's automotive company, the Chrysler Corporation, became the third-largest car manufacturer in the United States, behind Ford and General Motors. The following year, Chrysler was named Time magazine's "Person of the Year".

 

The economic boom of the 1920s and speculation in the real estate market fostered a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom that resulted in the city having the world's tallest building from 1908 to 1974. Following the end of World War I, European and American architects came to see simplified design as the epitome of the modern era and Art Deco skyscrapers as symbolizing progress, innovation, and modernity. The 1916 Zoning Resolution restricted the height that street-side exterior walls of New York City buildings could rise before needing to be setback from the street. This led to the construction of Art Deco structures in New York City with significant setbacks, large volumes, and striking silhouettes that were often elaborately decorated. Art Deco buildings were constructed for only a short period of time; but because that period was during the city's late-1920s real estate boom, the numerous skyscrapers built in the Art Deco style predominated in the city skyline, giving it the romantic quality seen in films and plays.[The Chrysler Building project was shaped by these circumstances.

 

Development

 

Originally, the Chrysler Building was to be the Reynolds Building, a project of real estate developer and former New York state senator William H. Reynolds. Prior to his involvement in planning the building, Reynolds was best known for developing Coney Island's Dreamland amusement park. When the amusement park was destroyed by a fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building in the world.

 

Planning

 

In 1921, Reynolds rented a large plot of land at the corner of Lexington Avenue and 42nd Street with the intention of building a tall building on the site. Reynolds did not develop the property for several years, prompting the Cooper Union to try to increase the assessed value of the property in 1924. The move, which would force Reynolds to pay more rent, was unusual because property owners usually sought to decrease their property assessments and pay fewer taxes. Reynolds hired the architect William Van Alen to design a forty-story building there in 1927. Van Alen's original design featured many Modernist stylistic elements, with glazed, curved windows at the corners.

 

Van Alen was respected in his field for his work on the Albemarle Building at Broadway and 24th Street, designing it in collaboration with his partner H. Craig Severance. Van Alen and Severance complemented each other, with Van Alen being an original, imaginative architect and Severance being a shrewd businessperson who handled the firm's finances. The relationship between them became tense over disagreements on how best to run the firm. A 1924 article in the Architectural Review, praising the Albemarle Building's design, had mentioned Van Alen as the designer in the firm and ignored Severance's role. The architects' partnership dissolved acrimoniously several months later, with lawsuits over the firm's clients and assets lasting over a year. The rivalry influenced the design of the future Chrysler Building, since Severance's more traditional architectural style would otherwise have restrained Van Alen's more modern outlook.

 

Refinement of designs

 

By February 2, 1928, the proposed building's height had been increased to 54 stories, which would have made it the tallest building in Midtown. The proposal was changed again two weeks later, with official plans for a 63-story building. A little more than a week after that, the plan was changed for the third time, with two additional stories added. By this time, 42nd Street and Lexington Avenue were both hubs for construction activity, due to the removal of the Third Avenue Elevated's 42nd Street spur, which was seen as a blight on the area. The adjacent 56-story Chanin Building was also under construction. Because of the elevated spur's removal, real estate speculators believed that Lexington Avenue would become the "Broadway of the East Side", causing a ripple effect that would spur developments farther east.

 

In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project. Van Alen's original design for the skyscraper called for a base with first-floor showroom windows that would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air. Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition; the metal-and-crystal crown would have looked like "a jeweled sphere" at night. Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors. These plans were approved in June 1928. Van Alen's drawings were unveiled in the following August and published in a magazine run by the American Institute of Architects (AIA).

 

Reynolds ultimately devised an alternate design for the Reynolds Building, which was published in August 1928. The new design was much more conservative, with an Italianate dome that a critic compared to Governor Al Smith's bowler hat, and a brick arrangement on the upper floors that simulated windows in the corners, a detail that remains in the current Chrysler Building. This design almost exactly reflected the shape, setbacks, and the layout of the windows of the current building, but with a different dome.

 

Final plans and start of construction

 

With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928, but by late 1928, Reynolds did not have the means to carry on construction. Walter Chrysler offered to buy the building in early October 1928, and Reynolds sold the plot, lease, plans, and architect's services to Chrysler on October 15, 1928, for more than $2.5 million. That day, the Goodwin Construction Company began demolition of what had been built. A contract was awarded on October 28, and demolition was completed on November 9. Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67. The plans entailed a ground-floor pedestrian arcade; a facade of stone below the fifth floor and brick-and-terracotta above; and a three-story bronze-and-glass "observation dome" at the top. However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall. At the new height, Chrysler's building would be taller than the 792-foot (241 m) Woolworth Building, a building in lower Manhattan that was the world's tallest at the time. At one point, Chrysler had requested that Van Alen shorten the design by ten floors, but reneged on that decision after realizing that the increased height would also result in increased publicity.

 

From late 1928 to early 1929, modifications to the design of the dome continued. In March 1929, the press published details of an "artistic dome" that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high. The final design of the dome included several arches and triangular windows. Lower down, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the Plymouth (see § Designs between setbacks). The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight, and to embody the machine age of the time. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship". In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower.

 

Meanwhile, excavation of the new building's 69-foot-deep (21 m) foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rock and 36,000,000 pounds (16,000,000 kg) of soil were excavated for the foundation, equal to 63% of the future building's weight. Construction of the building proper began on January 21, 1929. The Carnegie Steel Company provided the steel beams, the first of which was installed on March 27; and by April 9, the first upright beams had been set into place. The steel structure was "a few floors" high by June 1929, 35 floors high by early August, and completed by September. Despite a frantic steelwork construction pace of about four floors per week, no workers died during the construction of the skyscraper's steelwork. Chrysler lauded this achievement, saying, "It is the first time that any structure in the world has reached such a height, yet the entire steel construction was accomplished without loss of life". In total, 391,881 rivets were used, and approximately 3,826,000 bricks were laid to create the non-loadbearing walls of the skyscraper. Walter Chrysler personally financed the construction with his income from his car company. The Chrysler Building's height officially surpassed the Woolworth's on October 16, 1929, thereby becoming the world's tallest structure.

 

Completion

 

In January 1930, it was announced that the Chrysler Corporation would maintain satellite offices in the Chrysler Building during Automobile Show Week. The skyscraper was never intended to become the Chrysler Corporation's headquarters, which remained in Detroit. The first leases by outside tenants were announced in April 1930, before the building was officially completed. The building was formally opened on May 27, 1930, in a ceremony that coincided with the 42nd Street Property Owners and Merchants Association's meeting that year. In the lobby of the building, a bronze plaque that read "in recognition of Mr. Chrysler's contribution to civic advancement" was unveiled. Former Governor Smith, former Assemblyman Martin G. McCue, and 42nd Street Association president George W. Sweeney were among those in attendance. By June, it was reported that 65% of the available space had been leased. By August, the building was declared complete, but the New York City Department of Construction did not mark it as finished until February 1932.

 

The added height of the spire allowed the Chrysler Building to surpass 40 Wall Street as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building was thus the first man-made structure to be taller than 1,000 feet (300 m); and as one newspaper noted, the tower was also taller than the highest points of five states. The tower remained the world's tallest for 11 months after its completion. The Chrysler Building was appraised at $14 million, but was exempt from city taxes per an 1859 law that gave tax exemptions to sites owned by the Cooper Union. The city had attempted to repeal the tax exemption, but Cooper Union had opposed that measure. Because the Chrysler Building retains the tax exemption, it has paid Cooper Union for the use of their land since opening. While the Chrysler Corporation was a tenant, it was not involved in the construction or ownership of the Chrysler Building; rather, the tower was a project of Walter P. Chrysler for his children. In his autobiography, Chrysler wrote that he wanted to erect the building "so that his sons would have something to be responsible for".

 

Van Alen's satisfaction at these accomplishments was likely muted by Walter Chrysler's later refusal to pay the balance of his architectural fee. Chrysler alleged that Van Alen had received bribes from suppliers, and Van Alen had not signed any contracts with Walter Chrysler when he took over the project. Van Alen sued and the courts ruled in his favor, requiring Chrysler to pay Van Alen $840,000, or six percent of the total budget of the building. However, the lawsuit against Chrysler markedly diminished Van Alen's reputation as an architect, which, along with the effects of the Great Depression and negative criticism, ended up ruining his career. Van Alen ended his career as professor of sculpture at the nearby Beaux-Arts Institute of Design and died in 1954. According to author Neal Bascomb, "The Chrysler Building was his greatest accomplishment, and the one that guaranteed his obscurity."

 

The Chrysler Building's distinction as the world's tallest building was short-lived. John Raskob realized the 1,050-foot Empire State Building would only be 4 feet (1.2 m) taller than the Chrysler Building, and Raskob was afraid that Walter Chrysler might try to "pull a trick like hiding a rod in the spire and then sticking it up at the last minute." Another revision brought the Empire State Building's roof to 1,250 feet (380 m), making it the tallest building in the world by far when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building. The Chrysler Building fared better commercially than the Empire State Building did: by 1935, the Chrysler had already rented 70 percent of its floor area. By contrast, Empire State had only leased 23 percent of its space and was popularly derided as the "Empty State Building".

 

Impact

 

Reception

 

The completed Chrysler Building garnered mixed reviews in the press. Van Alen was hailed as the "Doctor of Altitude" by Architect magazine, while architect Kenneth Murchison called Van Alen the "Ziegfeld of his profession", comparing him to popular Broadway producer Florenz Ziegfeld Jr. The building was praised for being "an expression of the intense activity and vibrant life of our day", and for "teem[ing] with the spirit of modernism, ... the epitome of modern business life, stand[ing] for progress in architecture and in modern building methods." An anonymous critic wrote in Architectural Forum's October 1930 issue: "The Chrysler...stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambitions and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards."

 

The journalist George S. Chappell called the Chrysler's design "distinctly a stunt design, evolved to make the man in the street look up". Douglas Haskell stated that the building "embodies no compelling, organic idea", and alleged that Van Alen had abandoned "some of his best innovations in behalf of stunts and new 'effects'". Others compared the Chrysler Building to "an upended swordfish", or claimed it had a "Little Nemo"-like design. Lewis Mumford, a supporter of the International Style and one of the foremost architectural critics of the United States at the time, despised the building for its "inane romanticism, meaningless voluptuousness, [and] void symbolism". The public also had mixed reviews of the Chrysler Building, as Murchison wrote: "Some think it's a freak; some think it's a stunt."

 

Later reviews were more positive. Architect Robert A. M. Stern wrote that the Chrysler Building was "the most extreme example of the [1920s and 1930s] period's stylistic experimentation", as contrasted with 40 Wall Street and its "thin" detailing. George H. Douglas wrote in 2004 that the Chrysler Building "remains one of the most appealing and awe-inspiring of skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". Architectural critic Ada Louise Huxtable stated that the building had "a wonderful, decorative, evocative aesthetic", while Paul Goldberger noted the "compressed, intense energy" of the lobby, the "magnificent" elevators, and the "magical" view from the crown. Anthony W. Robins said the Chrysler Building was "one-of-a-kind, staggering, romantic, soaring, the embodiment of 1920s skyscraper pizzazz, the great symbol of Art Deco New York".

 

The LPC said that the tower "embodies the romantic essence of the New York City skyscraper". Pauline Frommer, in the travel guide Frommer's, gave the building an "exceptional" recommendation, saying: "In the Chrysler Building we see the roaring-twenties version of what Alan Greenspan called 'irrational exuberance'—a last burst of corporate headquarter building before stocks succumbed to the thudding crash of 1929."

 

As icon

 

The Chrysler Building appears in several films set in New York and is widely considered one of the most positively acclaimed buildings in the city. A 1996 survey of New York architects revealed it as their favorite, and The New York Times described it in 2005 as "the single most important emblem of architectural imagery on the New York skyline". In mid-2005, the Skyscraper Museum in Lower Manhattan asked 100 architects, builders, critics, engineers, historians, and scholars, among others, to choose their 10 favorites among 25 of the city's towers. The Chrysler Building came in first place, with 90 respondents placing it on their ballots. In 2007, the building ranked ninth among 150 buildings in the AIA's List of America's Favorite Architecture.

 

The Chrysler Building is widely heralded as an Art Deco icon. Fodor's New York City 2010 described the building as being "one of the great art deco masterpieces" which "wins many a New Yorker's vote for the city's most iconic and beloved skyscraper". Frommer's states that the Chrysler was "one of the most impressive Art Deco buildings ever constructed". Insight Guides' 2016 edition maintains that the Chrysler Building is considered among the city's "most beautiful" buildings. Its distinctive profile has inspired similar skyscrapers worldwide, including One Liberty Place in Philadelphia, Two Prudential Plaza in Chicago, and the Al Kazim Towers in Dubai. In addition, the New York-New York Hotel and Casino in Paradise, Nevada, contains the "Chrysler Tower", a replica of the Chrysler Building measuring 35 or 40 stories tall. A portion of the hotel's interior was also designed to resemble the Chrysler Building's interior.

 

In media

 

While seen in many films, the Chrysler Building almost never appears as a main setting in them, prompting architect and author James Sanders to quip it should win "the Award for Best Supporting Skyscraper". The building was supposed to be featured in the 1933 film King Kong, but only makes a cameo at the end thanks to its producers opting for the Empire State Building in a central role. The Chrysler Building notably appears in the background of The Wiz (1978); as the setting of much of Q - The Winged Serpent (1982); in the initial credits of The Shadow of the Witness (1987); and during or after apocalyptic events in Independence Day (1996), Armageddon (1998), Deep Impact (1998), Godzilla (1998), and A.I. Artificial Intelligence (2001). The building also appears in other films, such as Spider-Man (2002), Fantastic Four: Rise of the Silver Surfer (2007), Two Weeks Notice (2002), The Sorcerer's Apprentice (2010), The Avengers (2012) and Men in Black 3 (2012). The building is mentioned in the number "It's the Hard Knock Life" for the musical Annie, and it is the setting for the post-game content in the Squaresoft video game Parasite Eve.

 

The Chrysler Building is frequently a subject of photographs. In December 1929, Walter Chrysler hired Margaret Bourke-White to take publicity images from a scaffold 400 feet (120 m) high. She was deeply inspired by the new structure and especially smitten by the massive eagle's-head figures projecting off the building. In her autobiography, Portrait of Myself, Bourke-White wrote, "On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute."

 

According to one account, Bourke-White wanted to live in the building for the duration of the photo shoot, but the only person able to do so was the janitor, so she was instead relegated to co-leasing a studio with Time Inc. In 1930, several of her photographs were used in a special report on skyscrapers in the then-new Fortune magazine. Bourke-White worked in a 61st-floor studio designed by John Vassos until she was evicted in 1934. In 1934, Bourke-White's partner Oscar Graubner took a famous photo called "Margaret Bourke-White atop the Chrysler Building", which depicts her taking a photo of the city's skyline while sitting on one of the 61st-floor eagle ornaments. On October 5, 1998, Christie's auctioned the photograph for $96,000. In addition, during a January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing costumes resembling the buildings that each architect designed.

 

(Wikipedia)

 

Das Chrysler Building ist ein 1930 fertiggestellter Wolkenkratzer im Stil des Art déco in Manhattan in New York City und zählt zu den Wahrzeichen der Metropole.

 

Der Büroturm befindet sich im Viertel Turtle Bay an der Lexington Avenue, Ecke 42nd Street in Midtown Manhattan. Er steht auf einem Grundstück der privaten Hochschule Cooper Union, hat die Adresse „405 Lexington Avenue“ und ist nur einen Block vom Grand Central Terminal entfernt. Schräg gegenüber steht mit dem Chanin Building ein weiterer bekannter Wolkenkratzer im Art-déco-Stil.

 

Das Chrysler Building ist 318,8 Meter (1046 Fuß) hoch und damit zusammen mit dem 2007 erbauten New York Times Tower auf Rang 13 der höchsten Gebäude in New York City. Unter den höchsten Gebäuden der Vereinigten Staaten nehmen beide Gebäude den 21. Rang ein (jeweils Stand 2023). Auftraggeber war Walter Percy Chrysler, der es ursprünglich für die Chrysler Corporation zwischen 1928 und 1930 bauen ließ. Für die Planung des Wolkenkratzers im Art-déco-Stil war der Architekt William Van Alen verantwortlich. Das Gebäude zählt zu den schönsten Wolkenkratzern jener Epoche.

 

Geschichte

 

Entstehungsbedingungen

 

Das Chrysler Building im Stadtkontext, gesehen vom Empire State Building aus. Weiter rechts der Trump World Tower

Paradoxerweise entstanden viele Wolkenkratzer in der Zeit der Weltwirtschaftskrise. Das liegt zum einen an der Hochphase vor der Krise: Das Bruttosozialprodukt der USA war nach dem Ersten Weltkrieg innerhalb von acht Jahren um 50 % gestiegen, und dieser Konjunktursprung führte zu zahlreichen Neubauten und Planungen von Geschäftshäusern. Zum anderen kamen den Bauherren bei der anschließenden Ausführung während der Krise die radikal gesunkenen Arbeitslöhne nach dem Börsencrash 1929 zugute. Sie konnten für das gleiche Geld wesentlich mehr Arbeiter einstellen als geplant. Die Macht der Gewerkschaften war gebrochen, die Arbeitslöhne waren niedrig, Arbeiter standen in Massen zur Verfügung. Ein Gebäude dieses Ausmaßes hätte unter normalen Verhältnissen in dieser kurzen Bauzeit nicht errichtet werden können. Pro Woche wurden durchschnittlich vier Stockwerke errichtet, für die damaligen Verhältnisse ein Rekord. (Ähnliche Effekte konnte man auch später beobachten: Das höchste Gebäude der Welt, der Burj Khalifa in Dubai, wurde 2010, in der Zeit der Finanzkrise, fertig. Geplant wurde er jedoch vor dem Wirtschaftsabschwung.)

 

Baugeschichte

 

Obwohl das Gebäude speziell für den Autohersteller Chrysler konstruiert und gebaut wurde, bezahlte die Firma weder für den Bau, noch besaß sie es jemals. Walter P. Chrysler hatte entschieden, privat dafür aufzukommen, um es an seine Kinder weitergeben zu können.

 

Die Grundsteinlegung für das Gebäude fand am 19. September 1928 statt. Am 27. Mai 1930 wurde es feierlich eingeweiht. Mit 319 Metern war es bei der Eröffnung das höchste Gebäude der Welt und auch das erste, das die 1000-Fuß-Marke (305 Meter) durchbrach. Bis zum Dach misst es 282 Meter; da die Metallspitze aber zur Grundstruktur des Gebäudes gehört, wird sie zur offiziellen Höhe mitgezählt.

 

Während der Erbauung hatte es bis in die letzten Tage einen Wettlauf mit dem Turm der Bank of Manhattan (heute 40 Wall Street oder The Trump Building) gegeben, den das Chrysler Building für sich entschied. Der Architekt William Van Alen hatte 1930 die 56 Meter hohe Spitze bis zum letzten Moment geheim gehalten, damit der Konkurrent, die Bank of Manhattan, deren Gebäude gerade 283 Meter Höhe erreicht hatte, nicht mehr reagieren konnte. Die einzelnen Bestandteile dieser Metallspitze waren im Heizungsschacht des Gebäudes zunächst gelagert und vormontiert worden. Dann wurden die riesigen Stahlplatten heimlich auf das 65. Geschoss gebracht, dort zusammengeschraubt und anschließend in einem Stück mit einem Drehkran auf das Gebäude aufgesetzt, das damit 319 Meter Höhe erreichte und die Konkurrenz deutlich übertrumpfte. Dieses Unterfangen dauerte weniger als 1½ Stunden. Dieser Stahlaufbau, genannt „Vortex“ (lat. Wirbel, Drehung), dient lediglich als Dekoration, wiegt 30 Tonnen und ist ein Beispiel des Art déco.

 

Allerdings blieb das Chrysler Building nur kurz das höchste Gebäude der Welt. 1931 wurde in Midtown Manhattan das Empire State Building mit einer Höhe von 381 Metern fertiggestellt und war damit deutlich höher als alle anderen Gebäude. Bis zum Jahr 1969 blieb das Chrysler Building jedoch der zweithöchste Wolkenkratzer der Welt und gehörte noch bis in die späten 1990er Jahre zu den „Top Ten“ der weltweit höchsten Gebäude.

 

Spätere Entwicklung

 

Im 67. Stockwerk befand sich eine besonders während der Prohibition bekannte Restaurant-Bar, der so genannte Cloud Club, in der ehemaligen ‚Wohnung‘ des Firmengründers Walter P. Chrysler.

 

Lediglich die Lobby des Chrysler Building ist der Öffentlichkeit zur Besichtigung zugänglich (inkl. eigenem Subway-Zugang, jedoch nur werktags). Um zu den noch im Stil des Art déco gehaltenen Aufzügen zu gelangen, braucht man einen speziellen Ausweis oder einen Termin bei einer der dort ansässigen Firmen.

 

Nach dem Tod von Walter P. Chrysler 1940 kam das Gebäude zur W.P Chrysler Building Corporation, die es zusammen mit der Erbenfamilie 1953 für 18 Millionen US-Dollar an den Immobilienmakler William Zeckendorf verkaufte. 1960 erwarben die Immobilieninvestoren Sol Goldman und Alex DiLorenzo mittels Finanzierung durch die Massachusetts Mutual Life Insurance Company (MassMutual) das Gebäude. Die wiederum übernahm 1975 die Anteile für 35 Millionen US-Dollar. Im Dezember 1976 wurde das Hochhaus zur National Historic Landmark erklärt.

 

Bis 1979 wurde das Gebäude für rund 23 Millionen US-Dollar komplett renoviert. Im September 1979 wurde es von Jack Kent Cooke übernommen. Nach dem Tod von Cooke 1997 übernahm das Immobilienunternehmen Tishman Speyer Properties zusammen mit The Travelers Companies, Inc. (ab 1998 Teil der Citigroup) das Gebäude für eine geschätzte Summe von 210 bis 250 Millionen US-Dollar (187 bis 223 Millionen Euro). Im März 2001 übernahm die deutsche Investmentgesellschaft TMW Immobilien AG[5] aus München über ihre US-amerikanische Tochter für rund 390 Millionen US-Dollar rund 75 Prozent des Gebäudes. Zu den größten Anteilseignern der TMW gehörten der Ergo Trust der Ergo Group, die Provinzial Versicherung sowie drei deutsche Privatbanken.

 

Zwischen Herbst 2001 und Juli 2008 befand sich das Gebäude im Besitz der zur Ergo Group gehörenden GVP Gesellschaft für Vertriebs- und Produktmanagement AG (heute Ideenkapital Financial Service AG) aus Düsseldorf, die hierfür einen geschlossenen Immobilienfonds (ProVictor) auflegte. Sie verkaufte das Gebäude zu einem Anteil von 90 Prozent am 9. Juli 2008 an den Staatsfonds Abu Dhabi Investment Council (Mubadala) für 800 Millionen US-Dollar (713 Millionen Euro).

 

Reuters-Informationen zufolge wurde im März 2019 das sanierungsbedürftige Chrysler Building für lediglich 150 Millionen US-Dollar an ein Unternehmen verkauft, das je zur Hälfte der österreichischen Signa Holding und dem amerikanisch-deutschen Unternehmen RFR Group der deutschstämmigen Immobilieninvestoren Aby Rosen und Michael Fuchs gehört.[1] Weiteren Medienberichten zur Folge waren der Grund für den extrem niedrigen Verkaufspreis des Chrysler Gebäudes an das Gemeinschaftsunternehmen von Signa und RFR der bevorstehende extrem hohe Bodenpachtanstieg von 7,75 Millionen Dollar im Jahr 2018 auf 31,5 Millionen US-Dollar im Jahr 2023. Bis 2028 soll die Pacht weiter auf 41 Millionen US-Dollar steigen und 2029 auf 67 Millionen US-Dollar. Eigentümer des Bodengrundes unter dem Gebäude ist seit 1902 die Cooper Union, die wiederum – als eine Stiftung – die Pacht steuerfrei einnimmt.

 

Nutzer des Gebäudes

 

Die Chrysler Corporation bezog das Gebäude 1930 als dessen Ankermieter und nutzte die Räumlichkeiten bis in die 1950er Jahre als Abteilungshauptquartier. Weitere Mieter der ersten Stunde waren Time und Texaco. Weil Time Bedarf an mehr Büroräumen hatte, zog es 1937 ins Rockefeller Center um. Texaco zog 1967 nach Purchase, New York, weil das Unternehmen die Arbeitsplätze in eine Vorortumgebung verlegen wollte.

 

Zu den Nutzern des Gebäudes in der Gegenwart gehören: Regus, Creative Artists Agency, Blank Rome, Clyde & Co, InterMedia Partners, Troutman Sanders Reprieve und YES Network.

 

Baustil

 

Das Gebäude wurde im Stil des Art déco errichtet. Am Gebäude finden sich Zierelemente aus rostfreiem Stahl, die an Wasserspeier (Gargoylen) erinnern, Flügelhelm-artige Figuren, die den Chrysler-Kühlerfiguren von 1926 nachempfunden sind,[23] und Adlerköpfe – das Wappentier der Vereinigten Staaten. Außerdem wurden am 31. Stockwerk Zierelemente in Form von Chrysler-Motorhauben und Kachelfriese in Form von Chrysler-Radkappen als Zierrat an der Fassade verwendet. Auch die Kuppel des Gebäudes ist aus nichtrostendem Stahl gefertigt.[2] Die Spitze bildet eine sich pyramidenhaft verjüngende Turmkrone aus Kacheln und Nickeltafeln, aus der eine 27 Tonnen schwere Nickelstahlnadel ragt.[24]

 

Die für die New Yorker Skyline so unverwechselbare Beleuchtung kommt durch unscheinbare Leuchtstofflampen zustande, die an den Fensterrahmen angebracht sind. Die Fenster sind als Schiebefenster gestaltet und lassen sich in allen Etagen öffnen.

 

Höhe

 

Bei seiner Fertigstellung im Jahr 1930 war das Chrysler Building mit 319 Metern Höhe das höchste Gebäude der Erde und übertraf das 283 Meter hohe Bank of Manhattan Company Building (heute 40 Wall Street). Auch überrundete es als erstes Bauwerk den Eiffelturm, der aufgrund kaum vorhandener Nutzflächen nicht als Gebäude, sondern lediglich als Bauwerk gewertet wird. Doch schon ein Jahr nach der Fertigstellung, im Mai 1931, wurde es vom Empire State Building um 62 Meter (381 Meter hoch) überholt. Fortan war es noch bis zur Fertigstellung des 344 Meter hohen John Hancock Center in Chicago im Jahr 1969 das zweithöchste Gebäude der Welt.

 

Innerhalb New Yorks wurde es 1972 und 1973 durch die Türme des World Trade Center (417 Meter und 415 Meter) erneut übertroffen. Nach deren Zerstörung 2001 wurde es zeitweise wieder zum zweithöchsten Gebäude New York Citys, bis 2009 der 366 Meter hohe Bank of America Tower fertig wurde (bereits 2007 erreichte der New York Times Tower dieselbe Höhe wie das Chrysler Building). Seit 2014 ist auch das Gebäude 432 Park Avenue höher. Inzwischen rangiert das Chrysler Building zusammen mit dem New York Times Tower nur noch auf Platz zwölf der höchsten Gebäude in New York. Unter Berücksichtigung seiner 2003 fertiggestellten Antenne ist auch das Conde Nast Building höher als das Chrysler Building. Seitdem der Eiffelturm über eine Fernseh- und Funkturmantenne verfügt, ist auch dieser wieder höher als das Chrysler Building (aktuell misst der Eiffelturm 330 Meter).

 

Ähnliche Gebäude

 

Im Laufe der Zeit sind in den USA, wie auch weltweit, eine Reihe von Wolkenkratzern entstanden, bei denen man sich in der Planung und Konzeption am Chrysler Building orientierte. Dies gilt insbesondere für die Spitze des Gebäudes. Besonders bekannt sind diesbezüglich Bauten wie der One Liberty Place in Philadelphia oder die Al Kazim Towers in Dubai, die jedoch beide niedriger als das Chrysler Building sind. Das New York-New York Hotel & Casino in Las Vegas zitiert unter anderem auch das Chrysler Building.

 

Schutzausweisung

 

Das Gebäude kam 1976 als National Historic Landmark ins National Register of Historic Places und wurde 1978 von der Landmarks Preservation Commission als New York City Landmark ausgewiesen.

 

Daten

 

Etagen: 77

Höhe: 318,92 m

Höhe Dach: 282 m

Höchstes Stockwerk: 274 m

Höchste Aussichtsetage: 238,66 m

Fenster: 3.750

Stahl: 21.000 t

Ziegelsteine: 4.000.000

Wasserrohre: 50 km

Elektrokabel: 1000 km

 

(Wikipedia)

In the mid 1960s Škoda manufacturer AZNP started to think about a successor for the 1000 MB and the later 100/110 series. Ital Design founder Giorgetto Giugiaro (It., 1938) was asked for ideas. In June 1969 useful sketches were approved, and in Aug. 1969 the first model 740 prototype was presented.

After overcoming many problems and setbacks, production could finally start in 1976.

 

The Škoda Type 742 and 746 share the same body. They were available as 105, 120 and as 125, depending on the engine. The type designation 130 Type 743 was reserved for the coupe.

In 1983 renewed 742 versions were presented. They received rectangular head lamps.

 

In the UK these cars were sold as Estelle. In France as 1050, because Peugeot had claimed the rights of using the 105 model name for their own cars.

 

1289 cc L4 rear engine.

Performance: 58 bhp.

890 kg.

Production Škoda Type 742 series: Aug. 1976-1989.

Production Škoda 742 series this 2nd version: Sept. 1983-1989.

Production Škoda Type 743 Coupe series: late 1981-1988.

Production Škoda Type 743 this 130 Coupe: Aug. 1984-1988.

 

This car was for sale in the Jihomoravský region (CZ) on April 4, 2017.

Asking prize was 85.000 Kč.

 

Found at rajveteranu.cz.

Original photographer, exact place and date unknown.

 

Amsterdam, April 14, 2017.

 

© 2017 Rajveteranu/Sander Toonen Amsterdam/Halfweg | All Rights Reserved

Franz von Bayros (1866–1924) was an Austrian commercial artist, illustrator, and painter best known for his controversial “Tales at the Dressing Table” portfolio. Von Bayros belonged to the Decadent movement in art, often relying on erotic themes and phantasmagoric imagery.

Von Bayros was born in Zagreb, in present-day Croatia. At the age of 17, he passed the entrance exam for the Vienna Academy with Eduard von Engerth. Von Bayros mixed in elegant society and soon belonged to the circle of friends of Johann Strauss II, whose stepdaughter Alice he married in 1896. The next year, von Bayros moved to Munich. In 1904, von Bayros gave his first exhibition in Munich, which was a great success. From 1904 until 1908, von Bayros traveled to Paris and Italy for his studies. Returning to Vienna, he felt himself a stranger. The outbreak of the First World War was yet another setback for von Bayros. The artist died at Vienna, from a cerebral hemorrhage.

To learn more about Franz von Bayros, please visit the following links:

Franz von Bayros at Wikipedia

Franz von Bayros at All-Art.org

Franz von Bayros at Coilhouse.net

By Joel Carlo|July 10th, 2009|Franz von Bayros|Comments Off on Various works by Franz von Bayros.

Those dogs are suffering along with the severe setback of tourist industry in Egypt in the last few years.

When you have to be somewhere in a matter of minutes, there's no time for setbacks. There's no time to fire up the ol' forklift and load the barricades into the box truck. So, save your self in the long run, and do it now. Saves time, and maybe even lives...

Public letter:

www.facebook.com/luxor.governorate/posts/550555628419623?...

 

Unbelievable irritation - Please share your opinion!

 

For years, we have tried to fill the public for Egypt with enthusiasm - straight, we experience a bitter setback!

 

The authorities deny visitors of the west-bank their loved walk across the hills at Sheikh Abd el-Qurna since this year - refers to spongy security consideration - what a disgrace!

 

Every year, I strolled alone or with friends over the hills, like several hundred others in order to enjoy the fantastic view over the Nile valley and the grand monuments. A wonderful experience for all guests and friends of Luxor, that nobody wants to miss ever!

 

There are not any comprehensible security-lacks for hikers in this spectacular landscape - not at all. Dozens security-officials, guards and three police-stations supervise the open area since years - mostly helpfully and kindly to their guests in the area. To talk with them at a small rest on the way, exchange cigarettes and smoke it by a cup of tea was always an pleasure.

 

Now, these days seem to be past - which a loss for all of us!

 

Please Luxor, your guests are friends - don't mediate them you suspects them they are enemies!

 

Manna Nader - with tears in the eyes.......

It's been nearly six months since the first designs of this jet were completed, and nearly three since it has been recognizably an F-15. Setbacks have left it sitting, and the inability to acquire the needed pieces (note the makeshift nosegear) as well as trouble with certain aspects of it (main landing gear retraction) delay the final pictures more and more. However, in this update, the canopy is near completion, and underwing pylons with two AIM-9 Sidewinder missiles have been built.

Oh well, this setback is a good excuse to start drinking early.

This very large fire truck belongs to the Hyalite Rural Fire District (formerly known as the Sourdough Fire Department) in Montana. This truck has a convoluted history and was hard to identify, it is a 2nd generation International Paystar 5600 setback axle 6x6 crewcab. The Paystar model was first introduced by International Harvester in 1973 and it remained virtually unchanged until the 2nd generation debuted for 1995. The 2nd generation Paystar could be purchased as a 5500 set forward axle model or a 5600 setback axle model. It remained in production through 2010 after which it was replaced by the Paystar 5900 SBA trucks which came out in 2008. This rig is so tall that they had to mount the headlamps in the bumper.

The building that drove the city to mandate setbacks to protect a view of the sky for surrounding buildings, leading to the iconic wedding cake style that dominated skyscrapers in NYC for decades

Brrrr...

Source: en.wikipedia.org/wiki/Stuttgart

 

Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.

 

Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.

 

Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.

 

Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.

 

Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.

 

Source: en.wikipedia.org/wiki/Cannstatter_Volksfest

 

The Cannstatter Volksfest is an annual three-week Volksfest (beer festival and travelling funfair) in Stuttgart, Germany. It is sometimes also referred to by foreign visitors as the Stuttgart Beer Festival, although it is actually more of an autumnal fair.

 

The festival takes place at the Cannstatter Wasen from late September to early October, spanning a period over three weekends, ending the second Sunday in October. The extensive Wasen area is in the Stuttgart city district of Bad Cannstatt, near the river Neckar. A smaller variant of the Stuttgart festival, the Stuttgart Spring Festival, is also held each year in Wasen.

Source: en.wikipedia.org/wiki/Stuttgart

 

Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.

 

Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.

 

Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.

 

Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.

 

Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.

 

Source: en.wikipedia.org/wiki/Mercedes-Benz_Museum

 

The Mercedes-Benz Museum is an automobile museum in Stuttgart, Germany. It covers the history of the Mercedes-Benz brand and the brands associated with it. Stuttgart is home to the Mercedes-Benz brand and the international headquarters of Daimler AG.

Frame :*SURLY* ecr Painted by COOK PAINT WORKS

Headset :*CHRIS KING* nothreadset

Front wheel :*SHUTTER PRECISION* × *WTB* KOM light

Rear wheel :*ROHLOFF* speed hub × *WTB* KOM light

Handle:*JONES* Bend H-Bar

Stem :*THOMSON* elite X4 stem

BB:*WHITE INDUSTRIES* BSA bottom brackets

Tire :*WTB* vigilante TCS tire

Shift Lever :*ROHLOFF*

Saddle :*WTB* pure V race saddle

Seat Post :*THOMSON* elite setback

Head Light :*SUPERNOVA* E3 Pro 2 light

Tail light:*BUSCH+MULLER* small smaller μ rear light

Grip:*ERGON*

Pedal :*MKS* lambda pedal

Fender:*HONJO*

 

Frame: *SURLY* straggler

Wheel : *VELOCITY* ailron rim × *WHITE INDUSTRIES* CLD disc hub

Tire: *PANARACER* gravel king SK

Handle: *SURLY* sunrise bar

Stem: *THOMSON* x4 stem

Bartape: *ESI* racers edge grip

Saddle: *BROOKS* cambium C17 saddle

Seat post: *THOMSON* elite setback seatpost

Headset: *WHITE INDUSTRIES* external headset

Brake lever: *PAUL* love lever

Brake: *PAUL* klamper post mount disc calliper

Crank: *WHITE INDUSTRIES* eno single speed crank

Skewer:*PAUL* quick release skewer

Eugene Landry (Shoalwater Bay Indian Tribe 1932-1988.)

Oil on canvas

20" x 16"

 

Joan Shipman (1937-2002) was a member of the Shoalwater Bay tribe.

 

-------------------------------------------------------------------------------------------

Eugene Landry: An Artist, a Time and a Tribe

May 28-29, 2022

www.eugenelandry.com

 

Shoalwater Bay Heritage Museum of the Shoalwater Bay Tribe, Tokeland, Washington.

www.shoalwaterbay-nsn.gov/

------------------------------------------------------------------------------------------

 

Portrait of an Artist

 

Eugene ''Gene'' Landry (1937-1988) was a noted Northwest Native artist, who painted from the confines of a wheelchair. His personal story is one of perseverance, of an artist who created despite setbacks, always with humor and style.

 

Landry's art offers a glimpse into a transitional and little-documented time in Northwest Native history. His paintings are important because they represent a Native artist's portrayal of his own people during a time when Native Americans were erased, marginalized, and misrepresented by stereotypes in media and public education.

 

Landry painted contemporary portraits of his people, depicting them as they were. As one of his models said, ''We're so small and isolated here. People think we're so different. At one time, we had a bunch of kids from Raymond come down, and they wanted to know where our feathers were."

 

Gene was born in the village of Taholah on the Quinault Indian

Reservation. His biological mother was Hoh and his father was Quileute and Swedish. As an infant, he was adopted by Myrtle (Charley) and Fred Landry and raised at Georgetown, Myrtle's reservation.

 

Identity

 

As the only child of Myrtle and Fred Landry, Gene was well provided for and deeply loved. His biological-mother, Isabelle Hudson, a full-blooded Hoh, is remembered as having dark reddish-brown hair. His father, Austin Rosander, was half Quiliuette and half Swedish. Although Gene was adopted as a baby, he maintained ties with his biological family, who lived in Grays Harbor and the surrounding area.

 

Gene's appearance did not conform to expectations of what an Indian was "supposed to look like." His bright red hair (sometimes referred to as "Hoh River blond") made him stand out. In high school, he styled his hair like James Dean and drove a red 1937 hot rod Ford coupe. He was a gifted athlete, known for his running and boxing prowess, but he wasn't

allowed to run track because he refused to cut his hair.

 

Gene's art training was not traditional to his culture. He reached advanced levels in art at Aberdeen and Ocosta High Schools, but there were no practitioners of Native arts around to mentor him. He explored and developed his talent using the means available, based on Western European art traditions. He would go on to create art with a native sensibility, using the tools available.

 

Art Student

 

Gene trained himself to use his non-dominant left hand to paint. In 1961, he enrolled at the Leon F. Derbyshire School of Fine Arts in Seattle. There was no wheelchair access, so Gene had to be carried up the stairs to the second floor classroom.

 

In 1962 Gene studied with noted Northwest sculptor Philip Levine at his Phoenix Gallery in Seattle. By 1964, Gene was showing his work and winning acclaim in the Pacific Northwest. Over the next four years, he exhibited at the Frye Museum, the West Coast Annual at the Seattle Civic Center, The Edmonds and Anacortes Art Festivals, and the La Grande All Indian Arts Festivals.

 

Gene met Sharon Billingsley, a model and painter who attended classes at Derbyshire, and they struck up a friendship that led to romance. The couple could often be found sketching street scenes side by side, Gene in his wheelchair, Sharon next to him on a folding stool.

 

Gene and Sharon married in California on May 28, 1965. They went to Paris to study art, then returned to the Northwest, living in Seattle, Tacoma, and Georgetown until their marriage ended in 1972.

 

Back to Georgetown, Washington

 

In the late l960s, Landry moved back to the Shoalwater Bay Reservation. He set up a studio inside a small cabin that had been moved to the reservation from North Cove's at Washaway Beach. A wheel chair ramp and wrap-around deck made it accessible for plein air painting. Situated on the shore of Shoalwater Bay, Gene painted still-lives utilizing objects that washed in on the tides: glass fishing floats, discolored rope, old bones, shells and feathers.

 

He also painted still lifes and portraits in oil, using his family and friends as models. These works span a pivotal time in the tribe's history, from near termination to federal recognition.

 

Fifty years have passed since Gene painted Winona Weber's portrait. When asked why Landry's art matters today, she replied:

 

“I am a historian at heart. Gene's art is part of our history. Also, a talent like his really deserves to be acknowledged. When I was working with the women's history project, I said I was happy to be breaking some stereotypes of native women. A woman said it should just be commonplace. But first you have to be visible to be usual. I would like to see Gene visible."

 

Later Years

 

Gene traveled throughout the Southwest, spending time in New Mexico and Arizona. He traveled to Mexico and the Philippines seeking native healers to help with his deteriorating health. He eventually lost function in his left arm but continued to make art, holding the brush in his teeth to reach higher places on the canvas.

 

In 1980 Gene moved to Santa Barbara. His house, perched on a bluff overlooking the sea, was filled with art, his own and others. He opened a gallery downtown and championed the work of local artists. In the mid 80s his business partner-who was also his care giver unexpectedly died. His own health declining, Gene returned to his parent's home on the reservation.

 

Gene Landry died April 7, 1988 at age 51. He is buried next to Myrtle Landry and his relations in the Indian section at Sunset Memorial in Hoquiam, Washington. The Shoalwater Bay Tribe’s Na ‘m ‘sc ‘ac Heritage Museum is located on the former site of the cabin and dome.

  

Illness, November 1955

 

The illness came without warning. When 17-year-old Gene suddenly lost consciousness, his parents wrapped him in blankets and drove two hours to Cushman Indian Hospital in Tacoma. There were closer facilities for emergency care, but they did not provide Indian Health services. Gene remained a patient at Cushman for two and a half years, undergoing treatment for tubercular meningitis. The disease paralyzed his legs, and he endured grueling physical therapy, but he continued to work on paintings from a hospital bed.

 

Gene's parents moved to Tacoma to be closer to the hospital. When Myrtle Landry raised concerns about his condition and the poor care, Gene was abruptly discharged. Myrtle Landry (Washington Women's Heritage Project 1980):

 

"One doctor said, 'Why don't you just go and leave him and forget about him?' I said, 'Just who do you think you're talking to anyway?' I said, 'I got feelings, even though I'm a full blood Indian, I got feelings.' He said, 'Well, he'll never amount to anything.' I said, 'Well, I'm sure as heck not gonna let him die here.' And boy I raised Cain with 'em. So they told us one day, 'You get out.'

 

And then the State decided they could do more for him than I could." The decision proved tragic. At a rehabilitation facility on Bainbridge Island, Gene fell while being moved by attendants and suffered a spinal injury. He lost the use of his right arm and the possibility of ever walking again. He was 21 years old.

   

Source: en.wikipedia.org/wiki/Stuttgart

 

Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.

 

Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.

 

Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.

 

Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.

 

Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.

 

Source: en.wikipedia.org/wiki/Mercedes-Benz_Museum

 

The Mercedes-Benz Museum is an automobile museum in Stuttgart, Germany. It covers the history of the Mercedes-Benz brand and the brands associated with it. Stuttgart is home to the Mercedes-Benz brand and the international headquarters of Daimler AG.

Just after I posted my last image, Daddy had a setback. He did well over the weekend but then he got confused again. He calls for me day and night, according to the reports I get from nurses, therapists, and his new roommate. He is doing well physically but he can't understand that he is in the hospital. I am just taking one day at a time. I will be off flickr for a while longer, but will try to post updates if there is anything new to report.

Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country house near Welshpool, in Powys, Wales. The seat of the Herbert family, earls of Powis, the castle is known for its formal gardens and for its interiors, the former having been described as "the most important", and the latter "the most magnificent", in the country. The castle and gardens are under the care of the National Trust. Powis Castle is a Grade I listed building, while its gardens have their own Grade I listing on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales.

 

The present castle was built in the 13th century. Unusually for a castle on the Marches, it was constructed by a Welsh prince, Gruffydd ap Gwenwynwyn, rather than by a Norman baron. Gruffydd was prince of the ancient Kingdom of Powys and maintained an alliance with the English king Edward I during the struggles of the later 13th century. He was able to secure the position of his son, Owain, although the kingdom itself was abolished by the Parliament of Shrewsbury in 1283. After his father's death, Owain was raised to the peerage as Owen de la Pole, 1st Lord of Powis. Following his own death c. 1293, and the death of his only son, he was succeeded by his daughter, Hawys Gadarn, "the Lady of Powis". Hawys married Sir John Charlton in 1309.

 

In the late 16th century the castle was purchased by Sir Edward Herbert, a younger son of William Herbert, 1st earl of Pembroke, beginning a connection between the family and the castle that continues today. The Herberts remained Roman Catholic until the 18th century and, although rising in the peerage to earls, marquesses and Jacobite dukes of Powis, suffered periods of imprisonment and exile. Despite these setbacks, they were able in the late 17th and early 18th centuries to transform Powis from a border fortress into an aristocratic country house, and surround it with one of the very few extant examples of a British Baroque garden.

 

In 1784 Henrietta Herbert married Edward Clive, eldest son of Clive of India, a match which replenished the much-depleted Herbert family fortune. In the early 20th century, George Herbert, 4th Earl of Powis, redeveloped the castle with the assistance of the architect George Frederick Bodley. Herbert’s wife, Violet, undertook work of equal importance in the garden, seeking to turn it into "one of the most beautiful, if not the most beautiful, in England and Wales". On the 4th Earl's death in 1952, his wife and his sons having predeceased him, the castle passed into the care of the National Trust.

 

History

First castles at Welshpool: 1111–1286

Unlike the castles at Conwy, Caernarfon, Harlech and nearby Montgomery, which were built by the English to subdue the Welsh, the castles at Welshpool were built by the Welsh princes of Powys Wenwynwyn as their dynastic seat.[1] In addition to the current site, two motte-and-bailey castles and a set of earthworks are located nearby.[2] The names Trallwg/Tallwm and Pola are used interchangeably in early primary sources, and it is unclear which of these sites is being referred to.[3]

 

The earliest reference dates from 1111, when Cadwgan ap Bleddyn is mentioned as having planned to construct a castle at Trallwng Llywelyn,[3] the oldest record of a native Welsh castle.[4] Domen Castell, a motte-and-bailey near the modern railway station, is considered the most likely site of Cadwgan's castle, although it is uncertain whether it was completed as he was assassinated the same year.[5] The first documentary account of an extant castle at Welshpool is a description of the successful 1196 siege by an English army, although the castle was retaken by the Welsh within the year.[5][6]

 

The earliest castle at the current site may have been a timber building constructed by Owain Cyfeiliog or his son, Gwenwynwyn (r. 1197–1216).[7] The present masonry structure contains 13th-century fabric,[8] most likely the work of Gruffydd ap Gwenwynwyn (r. 1241–1287) – although historians are uncertain when this took place.[a][10] In 1274, Gruffydd's "first castle" at Welshpool was destroyed by Llywelyn ap Gruffudd as punishment for his involvement in a scheme to assassinate Llywelyn.[b] The castle was documented again in 1286, when it was listed amongst Gruffydd's possessions as "la Pole Castr".[12] A detailed examination of Powis Castle's extant masonry carried out between 1987 and 1989 revealed early stonework incorporated into the later structure, putatively the remains of an early stone shell keep.[13] At the end of Edward I's conquest of Wales in 1282–83, the king permitted Gruffydd to rebuild his castle at Welshpool as a reward for his loyalty.[14]

 

Early history: 1286–1644

 

Edward Herbert, 1st Baron Herbert of Cherbury[c]

In 1286, four years after the conquest of Wales, Gruffydd's son, Owain ap Gruffydd ap Gwenwynwyn became the last hereditary prince of Powys when he renounced his royal title, and was granted the barony of de la Pole, (i.e. "of the Pool", a reference to Welshpool, formerly called just "Pool").[d][16][17] The ancient Kingdom of Powys had once included the counties of Montgomeryshire, much of Denbighshire, parts of Radnorshire and large areas of Shropshire, but by the 13th century had been reduced to two independent principalities – Powys Wenwynwyn and Powys Fadog – roughly equivalent to Montgomeryshire and South Denbighshire (plus Maelor Saesneg), respectively; Welshpool had become the capital of Powys Wenwynwyn, of which Owain had been heir. On the death of Owain, the castle passed to his daughter Hawys, who married Sir John Charlton.[17] The Charltons continued to live at Powis until the fifteenth century when two daughters, Joyce Tiptoft and Joan Grey inherited the castle and estates. Both were equally divided, each daughter and her husband living in a portion of the castle.[18]

 

In 1578 an illegitimate son of the last Baron Grey of Powis, began leasing the lordship and castle to a distant relative – Sir Edward Herbert (d. 1595), second son of Sir William Herbert, 1st Earl of Pembroke. Edward eventually bought the castle outright in 1587, beginning the connection between the Herberts and Powis Castle which continues today.[19] Sir Edward's wife was a Roman Catholic and the family's allegiance to Rome and to the Stuart kings was to shape its destiny for over a century.[16] Sir Edward began the transformation of Powis from a border fortress into an Elizabethan country house. The major remaining element of his work is the Long Gallery.[19]

 

Herbert's descendent William Herbert, 1st Baron Powis (c. 1573–1655), was a supporter of Charles I, and was granted the barony of Powis in 1629.[19] His loyalty during the English Civil War cost him his castle and his estates.[20] On 22 October 1644 Powis Castle was captured by Parliamentary troops and was not returned to the family until the restoration of Charles II in 1660.[21]

 

The Herberts: 1660–1800

 

The Hercules statue which stood originally in the Water Garden

On the restoration, the Herberts returned to Powis, and in 1674 William Herbert (c. 1626–1696) was created Earl of Powis (of the first creation). The state bedroom was installed in about 1665 and further improvements, including the construction of the Great Staircase followed in the 1670s. These developments were most probably carried out under the direction of William Winde, who may also have designed the terraced gardens. His employer, although restored to his estates, and raised in the peerage, was barred by his Catholic faith from high office under Charles II. On the accession of the King's brother, James in 1685, Herbert became one of the new king's chief ministers, and was again advanced in the peerage becoming Marquess of Powis in 1687, but fell at the Glorious Revolution of 1688 and followed James into exile in France.[e] William III granted the castle to his nephew, William Nassau de Zuylestein, 1st Earl of Rochford. Herbert died, still in exile, in 1696.[24]

 

Despite their 30-year exile, the Herberts were able to continue with developments at the castle and even to live there on an irregular basis, the Baroque water garden below the castle being completed at this time.[25] Their fortunes were also materially improved by the discovery of a lucrative lead mine on their Welsh estates.[24] The second Marquess, also William, was reinstated in 1722. On the death of his son, the third Marquess in 1748, the marquessate became extinct, while the castle and estates passed to a relative, Henry Herbert (c. 1703–1772), of Oakly Park in Shropshire, who was made 1st Earl of Powis (of the second creation) by George II.[26] Herbert married Barbara, the fifteen-year-old granddaughter of the 2nd Marquess, in 1751. Their eldest son, George Herbert, 2nd Earl of Powis (1755–1801), died unmarried and the earldom of the second creation became extinct.[f][27] Powis was much neglected during his tenure. John Byng, 5th Viscount Torrington, a diarist and traveller who chronicled his journeys into Wales in the 1780s and 1790s, described the castle in 1784, "In the gardens not even the fruit is attended to; the balustrades and terraces are falling down, and the horses graze on the parterres!!!"[28] The castle itself was in no better condition, a visitor in 1774 describing it as "in Neglect and Ruin".[27] Nonetheless, the potential of the site was recognised. George Lyttelton, the politician, poet and essayist, recorded his impressions in 1756, "About £3,000 laid out upon Powis Castle would make it the most august place in the Kingdom."[29]

 

The Clives and Herberts: 1801–1952

 

The Outer Courtyard with the Fame statue in the foreground

In 1784, Henry Herbert's daughter, Henrietta, married Edward Clive (1754–1839), the eldest son of Clive of India.[30] Clive had followed his father to India, and served as Governor of Madras. Henrietta's brother died in 1801, whereupon the title lapsed; in 1804, her husband was created first Earl of Powis (of the third creation). The Clive fortune paid for long overdue repairs to the castle, which were carried out by Sir Robert Smirke.[31][32] Their son, Edward (1785–1848), inherited his late uncle's Powis estates on his 21st birthday, taking the surname Herbert in compliance with his uncle's will.[30] Edward Herbert served in a range of administrations as an Anti-Catholic Tory, his speeches in the House of Commons being "cautious and pertinent, although marred by dull delivery". He died in 1848, following a shooting accident at Powis in which he was fatally injured by his second son.[33] No further major changes were made to the Powis estate during his time, or in the long tenure of his eldest son Edward Herbert, 3rd Earl of Powis (1818–1891), although the castle was well maintained. In honour of his great-grandfather, the earl was offered the viceroyalty of India by Benjamin Disraeli but declined, writing "Not worth considering. Powis" on the envelope containing the invitation.[34]

 

The final alterations to Powis Castle were undertaken at the beginning of the 20th century by George Frederick Bodley for George Charles Herbert, 4th Earl of Powis (1862–1952). The rooms designed by Bodley remain his only extant decorative scheme; the longevity of the 4th Earl, the deaths of his heirs, and his bequest of the castle to the National Trust saw the early 20th-century remodelling remain largely unaltered.[g][36] The 4th earl's wife, Violet (nee Lane-Fox), undertook the final transformation of the gardens of Powis Castle, which she felt had the potential to be "the most beautiful in England and Wales".[37] The Countess died following a car accident in 1929, and Lord Powis outlived both his sons, who died on active service, Percy from wounds received at the Battle of the Somme in 1916,[38] and Mervyn in a plane crash in 1943.[39] On his own death in 1952, he bequeathed the castle and gardens to the National Trust.[h][42]

 

The National Trust: 1952–present

The 4th earl was succeeded by his cousin, Edward Herbert, 5th Earl of Powis (1889–1974). Edward's heir was Christian Herbert, 6th Earl of Powis (1904–1988). He was succeeded by his cousin, George Herbert, 7th Earl of Powis (1925–1993),[42] who was in turn succeeded by his son, John, the 8th and current Earl.[43] The Herbert family continue to live in part of the castle, under an arrangement with the National Trust.[44] The Trust has undertaken a number of major works of restoration during its ownership, including the Marquess Gate,[45] the Grand Staircase,[46] and the sculpture of Fame in the Outer Courtyard.[i][47] The castle and its gardens receive around 200,000 visitors annually. Wikipedia

Two of my high school friends wrote me today to encourage me that we'll get through this latest setback. Made such a difference. Reminds me I should provide support to others myself!

Potty training setback

INSTAGRAM

built 1720 - 1729, Austro-Bavarian Baroque School

 

Its shape resembles a brick eight-column basilica with a setback and façade.

After the activity of the monks had been stopped by the Austrians in 1774 the church was used by the gymnasium students and the Greek-Catholic community in turns.

At the request of the Ukrainians the Austrian government transferred the church to them in 1849.

When the Stanislaviv Greek-Catholic diocese was formed according to the Pope’s bull, the church became the Cathedral.

On the road to becoming my true self, I will (and have) come across bumps in the road along the way.

 

Whether it's a temporary setback such as travel distance or in the community, I often overcome and find solutions to the problems that I face, day in, day out.

 

But sometimes, those problems can become a big issue.

 

As the Beast from the Disney classic, Beauty and the Beast, once said:

 

"The day, my life, ended."

 

A while ago, I was in the Beast's shoes, going through and processing a devastating, life alterating event which hit me for six.

 

A five year, drug filled, neighbourhood war in my part of town (and my unit complex) was all but too much for me in all aspects.

 

So, I had to ask for help from a local charity for assistance, which, although I was at my lowest point, had an op shop and this sparkly dress just happened to be half price....

Source: en.wikipedia.org/wiki/Stuttgart

 

Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.

 

Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.

 

Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.

 

Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.

 

Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.

 

Source: en.wikipedia.org/wiki/Schillerplatz_(Stuttgart)

 

Schillerplatz is a square in the old city centre of Stuttgart, Germany named in honour of the German poet, philosopher, historian, and dramatist Friedrich Schiller. Schillerplatz stands to the south west of Stuttgart's main square, Schlossplatz.

 

Source: en.wikipedia.org/wiki/Stiftskirche,_Stuttgart

 

The Stiftskirche (Collegiate Church) is an inner-city church in Stuttgart, the capital of Baden-Württemberg, Germany. It is the main church of the Evangelical-Lutheran Church in Württemberg (Evangelische Landeskirche in Württemberg) as well as the parish church of the evangelical (Lutheran) inner-city church district of Stuttgart.

Overview

 

Heritage Category: Listed Building

Grade: I

List Entry Number: 1308610

Date first listed: 22-Feb-1967

 

Location

 

Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN

County: Devon

District: West Devon (District Authority)

Parish: Chagford

National Park: DARTMOOR

National Grid Reference: SX 70146 87508

 

Details

 

Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)

  

© Historic England 2021

Solaris Urbino 12 CNG, ATAC Roma

 

Po kilku komplikacjach, kontrakt na gazowe autobusy dla ATAC trafił ostatecznie do Solarisa. Łącznie zamówiono trzysta dwadzieścia dwa Urbino 12 CNG. Jak widać, produkcja cały czas trwa.

EN: After several setbacks, the contract for gas buses for ATAC finally went to Solaris. A total of three hundred and twenty-two Urbino 12 CNG were ordered. As you can see, production is still going on.

As the tapered profile of Burj Khalifa reaches its highest extents, the cross-section area of the building begins to decrease at the corners every few stories. The rapid succession of setbacks allow for minimally inhabitable interior space, as most of the upper third of the tower is actually the spire. Below the fifth and final maintenance levels (accentuated in metallic silver elements), the core of the tower consists of three uniform 4x4 stud corners, attached via hinge plate at each adjacent corner. Technic axles span out from the core to attach each of the wings and are anchored to 120° axle hubs which line the entire lengths of vertically stacked axles at the center of the core. The overall assembly provides a much more rigid structure than the predecessor model which merely used clips and bars to attach the wings to the core.

 

Because of the rapidly dwindling cross-section area above the final maintenance level, however, the 120° axle hubs alternate between 60° alignments and provide a surprisingly stable internal spine. In fact, this overall stability is also due, in no small part, to the spiraling pattern of the setbacks themselves, essentially dividing into three what would otherwise become one large sheer plane per triangular cross-section. Of course, much of the connections in the upper levels consist of simple axle insertions into the undersides of sand blue bricks, but clearly I have no reservations toward breaking from connections that would qualify as legal by LEGO set design standards!

 

One person I wanted to see live for various reasons. I like him as an actor; I like the story and his biography… All his ups & downs make him a fascinating personality for me. From drugs to Academy Awards. Anyone who overcame any huge setback as an adult deserves more than respect!

St Paul's Abbey began as a priory founded in the early 1920s by Father Michael Heinlein. In 1924, some German Missionary Benedictines joined Heinlein. Despite initial setbacks (including financial difficulties and opposition from the Ku Klux Klan) the monastery quickly grew. However, the abbey experienced a steep dropoff by the 1960s, perhaps in response to Vatican II. Between 1960 and 1990, the population of monks went from 48 to 17. By 2000 the remaining monks asked for permission to look for homes at other abbeys and St. Paul's closed.

MARRABEL August 31

The ceremony of laying the foundation stone of the Loyal Marrabel Lodge Hall No 62, IOOF, Manchester Unity, was performed yesterday by the PGM of the Kapunda district, Brother G E Davis jun.

 

A large and representative gathering assembled. Brother Albert Stief called upon the Secretary (Brother G E Davis) to read the historical report of the lodge. The latter dealt extensively with the progress of it since its formation on September 1, 1864. Of the 13 foundation members, only one survives—Brother James Howlett—who was present at the ceremony.

 

The late PPGM Brother Joseph Downing, one of the recent directors of the order in South Australia, together with the late Brother Augustus Stief and Brother W Polkinghorne, assisted in forming the first committee, and initiated the 13 foundation members. During the 17 years of the lodge many difficulties and setbacks have occurred, but were surmounted with the aid of good officers, particularly the late secretary (Brother W. Polkinghorne), who filled that position for 39 years continuously, and the late Brother A Stief, who was always a ready and willing worker.

 

Mr S March presented Brother G E Davis with a trowel on behalf of the members of the Loyal Marrabel Lodge. PGM Brother G E Davis thanked the brethren for the honour conferred upon him and for their presentation. He congratulated the trustees on their management of affairs, which had led up to the erection of such a fine hall, and remarked that Mr W Cairns, of Riverton, was the architect, and Mr S March, of Kapunda, the contractor. He expressed the opinion that the hall would be a credit to them, an ornament to the town, and a monument to the Order of Oddfellows in South Australia. Mr Davis proceeded with the ceremony of laying the stone, and deposited documents, a daily paper, and some coins of the realm thereunder. He declared the stone well and truly laid.

 

Brothers J J Helleur, J T Matthews, J Windebank, and others congratulated the lodge on its progressive state…invited the assembly to adjourn to the hotel, where the toast, "Success to the hall” was honoured. [Ref: Observer Saturday 9-9-1911]

 

MARRABEL April 4

The Marrabel Oddfellows’ Hall was opened yesterday. The weather was fine, and residents and visitors from neighbouring towns assembled in strong force to participate in the celebrations.

A long programme was conducted to a successful issue. A procession of more than 100 Oddfellows marched from the old lodgeroom to the new hall. PPGM Brother A E Stief presided, and handed to Grand Master Brother F A Holmes, who performed the opening ceremony, a silver presentation key.

 

Grand Master Brother F A Holmes congratulated the Marrabel Lodge on its financial position, which enabled it to build such a fine hall.

 

PGM Brother G E Davis jun (Secretary) in presenting the report, stated that sick pay to the amount of £1,791: death benefits £960: surgeons' fees £2,250: and management expense, £1,518 had been paid out since the inauguration of the lodge. Thus through the agency of the Marrabel branch a total of £6,519 had been distributed.

The hall was erected and furnished at a cost of £1,700 and was opened free of debt.

 

A banquet was tendered to visiting Oddfellows, and various toasts were honoured

The public were entertained with various musical items in the main hall while the banquet was in progress in the lodgeroom.

In the evening the Olympic Star Picture Company showed to a packed house.

A ball terminated the proceedings. Brother H Traeger made an efficient MC. [Ref: Register Monday 8-4-1912]

 

*April 29 The Marrabel Quadrille Class

The Marrabel Quadrille Class opened their 1912 season on Saturday night with a very successful dance held in the Oddfellows' Hall. There were 29 couples present. Mr H C Traeger officiated as MC very efficiently, and Mr W Disher supplied the music. [Ref: Daily Herald 1-5-1912]

 

*Marrabel March 19

The Ceremony of opening the new bridge over the River Light was held this afternoon. The bridge, just completed, overcomes the previous frequent impassabilitv of the river, but the southern embankment is considered to have been limited a little in its construction.

 

Mr Young said that in the construction of this bridge a most awkward thing had to be considered, and that was the turn of the river just below the bridge. This turn had the effect of sending flood waters out across the road at one end of the bridge embankment. This matter required watching, and if in time it grew to be anything serious, the department would remedy it, probably by building the road a few feet higher for the distance necessary to throw the water back along the course of the river.

 

He particularly wanted to thank Mr H Wurst for allowing the Department to take earth from his property for the earthworks at the bridge, which fact in itself was a considerable saving to the Department owing to its easy accessibility to the job. He had much pleasure in asking Mrs O'Brien to perform the opening ceremony, and name the bridge, which was done amid cheers from the people assembled.

 

The assemblage then adjourned to the Oddfellows’ hall, where the function was continued in the form of a banquet. [Ref: Kapunda Herald 27-3-1914]

 

*The residents of Marrabel and the surrounding districts made a splendid response on Australia Day. The efforts of the general committee met with great success and exceeded all expectations. A thorough canvass of the district was made by a collecting committee, and more than £300 was collected previous to Australia Day. Friday's proceedings began with a combined procession of Marrabel, Hamilton, and Friedrichswalde school children, who marched from the Oddfellows' Hall to the public school, where they saluted the Union Jack.

 

A programme of sports was then carried out, old and young joining in, the festivities.

A public tea followed in the banqueting room of the hall and was well patronised. A social was held in the main hall in the evening.

 

A sale of the goods presented to the funds realized a substantial sum. A Commonwealth flag was sold on the Bugler system, and materially added to the funds.

The proceeds totalled £376, which is considered highly satisfactory for a small community. [Ref: Register 5-8-1915]

 

*A farewell social was tendered to Sgt Lloyd, and Privates C C Rowett and J Wilson in the Marrabel Oddfellows' Hall, on Saturday evening: Mr G E Davis ju., presided over a large gathering. A number of toasts were honoured. A wristlet watch was presented by Mr Kitchen to each of the soldiers. [Ref: Kapunda Herald 28-4-1916]

 

*On Wednesday evening, the 20th inst a public welcome was given in the Oddfellows' Hall to Pte J W Hildebrandt, who has returned from the front after nearly three years of active service abroad. The returned soldier was met at the Riverton station by his father (Mr August Hildebrandt), and sisters and brothers.

Pte Hildebrandt was one of the first men from this district to offer his services, and is the first to return. He has fought at Gallipoli, Egypt, and has been in the thick of the fighting in France, where he received a bullet wound in the knee, which put him out of action.

 

Pte Hildebrandt was welcomed home by Messrs F P Kitchen and W A Duncan, and was presented with a purse of money (24 guineas) by Mr A E Stief from the residents of Marrabel and district. [Ref: Kapunda Herald 1-3-1918]

 

*The first of a series of dances promoted by the Cheer Up Society was held in the Oddfellows' Hall on Wednesday evening of last week. There was a large gathering present. Admission was by gift of not less than 2/6 in value for trench comforts, and resulted in sufficient goods being collected to pack 16 7-lb parcels to the boys at the front, containing cakes, cigarettes, sweets, &c, and two large boxes of cake have been forwarded to the Cheer-Up Hut.

The supper was provided by the ladies. It is the intention of the society to hold dances once a month during the winter. [Ref: Kapunda Herald 10-5-1918]

 

*January 28

A large gathering assembled at the Oddfellow’ Hall on Monday evening when a farewell social was tendered the Rev Father Maher, who is being transferred to Gawler after a residence here extending over sixteen years.

 

Mr W A Duncan presided, Dr R McM Glynn, of Riverton, presented Father Maher with a purse of money from the residents of the district, also Miss Glynn (Father Maher’s housekeeper) with a Morris chair, and Mr Jack Little, who is in Father Maher's employ, with an envelope containing money. [Ref: Kapunda Herald 31-1-1919]

 

* November 1 — A welcome home social was tendered to Sister Amy Dorrington and Cpl Ben and Pte Leonard Girke, in the Oddfellows' Hall on Wednesday evening. There was a large gathering.

 

A guard of honour was formed by the school children, and the guests were welcomed home in an eloquent address by Mr F P Kitchen. Mr J G Wurst (Chairman of the Hamilton District Council) presented the returned sister and soldiers with a framed certificate from the District Council of Hamilton. The Rev Allen Webb, of Riverton, presented Sister Dorrington with a gold wristlet watch from her Marrabel friends. Sister Dorrington and Cpl and Pte Girke responded. [Ref: Register 4-11-1919]

 

* November 16

The English brides of Cpl Ben Girke and Pte Cecil Rowett were welcomed in the Oddfellows Hall last Tuesday afternoon by the residents of Marrabel and district.

 

A guard of honour was formed by the ladies, and the "Wedding march" and the National Anthem were played by Miss Rehder. The brides were greeted by the Rev Allan Webb, on behalf of the residents of the town and district. Afternoon tea was served in the main hall, and the tables were tastefully decorated. Wine and a wedding cake were presented by Mrs. Thomas Marlow. The toasts were proposed by Mr Webb, who was supported by Mr Robert Gill.

The bridegrooms, Cpl Girke and Pte Rowett responded for the brides, and Messrs J D Rowett and E Girke, senrs thanked the gathering for the cordial welcome tendered to their sons and wives. [Ref: Observer 29-11-1919]

 

*On Saturday last, in the presence of one of the largest crowds ever seen in Marrabel, the Soldiers' Memorial was unveiled by the "Soldiers Chum ", Mr Sammy Lunn, M.B.E.

 

In 1920 the Hamilton District Council appointed a committee, with Mr J G Wurst as chairman, and the district clerk (Mr A J Stief) as secretary, who raised money to purchase a block of ground adjoining the Marrabel Hall.

The work of erecting the monument was entrusted to Mr R W Tillett and he carried it out with great skill.

The Hon W Hannaford was proud and pleased to be present to honour the memory of the brave lads who fell fighting for King and Empire.

He was also proud of the nurses who had left Australia, and particularly two nurses, who held the highest distinction it was possible to attain. One of these, born and educated at Marrabel, Miss Louise Collis Dorrington, besides being awarded a number of French, Serbian, and American decorations, was lately awarded the diploma and medal of the Legion of Honour. [Ref: Advertiser 9-3-1922]

 

*April 2 The annual Roman Catholic picnic and sports were held in Mr Campion's paddock in fine weather today. The large attendance from all the surrounding districts was evidence of the popularity of the fixture.

Kapunda, Saddleworth, Riverton, Manoora, Auburn, Eudunda, and Robertstown sent their quotas, the result being a record attendance of approximately 1,090.

A grand ball and supper was given in the Oddfellows' Hall in the evening. [Ref: Observer 14-4-1923]

   

On the road to becoming my true self, I will (and have) come across bumps in the road along the way.

 

Whether it's a temporary setback such as travel distance or in the community, I often overcome and find solutions to the problems that I face, day in, day out.

 

But sometimes, those problems can become a big issue.

 

As the Beast from the Disney classic, Beauty and the Beast, once said:

 

"The day, my life, ended."

 

A while ago, I was in the Beast's shoes, going through and processing a devastating, life alterating event which hit me for six.

 

A five year, drug filled, neighbourhood war in my part of town (and my unit complex) was all but too much for me in all aspects.

 

So, I had to ask for help from a local charity for assistance, which, although I was at my lowest point, had an op shop and this sparkly dress just happened to be half price....

"The Saks Fifth Avenue flagship store is a department store in Midtown Manhattan, New York City on Fifth Avenue between 49th and 50th Streets. The original 10-story structure at 611 Fifth Avenue has served as the flagship store of Saks Fifth Avenue since its completion in 1924. The store also occupies part of 623 Fifth Avenue, a 36-story tower completed in 1990.

 

The original Saks Fifth Avenue Building was designed by Starrett & van Vleck in the classical style. It contains a facade made of Indiana limestone, brick, and cast-stone, with chamfered corners on Fifth Avenue at 49th and 50th Streets. Saks Fifth Avenue was the first department store on Fifth Avenue to comply with the 1916 Zoning Resolution, with setbacks on its upper floors. The tower addition at 623 Fifth Avenue was designed by Lee Harris Pomeroy Associates and Abramovitz Kingsland Schiff. The tower is partially designed in the style of the original structure.

 

The Saks Fifth Avenue Building was planned in the early 20th century by Horace Saks, head of Saks & Company, which had a flagship store at Herald Square. The building was constructed from 1922 to 1924 as "Saks-Fifth Avenue", a joint venture between Saks and his cousin Bernard Gimbel. Saks Fifth Avenue later became a department store chain in its own right, and the Fifth Avenue store became a flagship location. The original building was designated a New York City Landmark in 1984 to allow the development of the 623 Fifth Avenue tower annex. Over the years, the store has undergone numerous modifications.

 

Midtown Manhattan is the central portion of the New York City borough of Manhattan and serves as the city's primary central business district. Midtown is home to some of the city's most prominent buildings, including the Empire State Building, the Chrysler Building, the Hudson Yards Redevelopment Project, the headquarters of the United Nations, Grand Central Terminal, and Rockefeller Center, as well as tourist destinations such as Broadway, Times Square, and Koreatown. Penn Station in Midtown Manhattan is the busiest transportation hub in the Western Hemisphere.

 

Midtown Manhattan is the largest central business district in the world and ranks among the most expensive locations for real estate; Fifth Avenue in Midtown Manhattan commands the world's highest retail rents, with average annual rents at US$3,000 per square foot ($32,000/m2) in 2017. However, due to the high price of retail spaces in Midtown, there are also many vacant storefronts in the neighborhood. Midtown is the country's largest commercial, entertainment, and media center, and also a growing financial center.

 

The majority of New York City's skyscrapers, including its tallest hotels and apartment towers, are in Midtown. The area hosts commuters and residents working in its offices, hotels, and retail establishments, tourists and students. Times Square, the brightly illuminated hub of the Broadway Theater District, is a major center of the world's entertainment industry. Sixth Avenue also has the headquarters of three of the four major U.S. television networks.

 

New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

French postcard by Editions La Malibran, Paris, in the Collection Cinema Couleur, no MC 32, 1989. Photo: Mickey Rourke in Angel Heart (Alan Parker, 1987).

 

American actor and former boxer Mickey Rourke (1952) received critical praise for his deep, tortured characters in the Charles Bukowski biopic Barfly (1987) and the horror mystery Angel Heart (1987). In 1991, Rourke left acting and became a professional boxer for a time. After returning to acting, he had supporting roles in the remake of Get Carter (2000), and Once Upon a Time in Mexico (2003). Rourke made his mainstream comeback with lead roles in Sin City (2005) and The Wrestler (2008), for which he received a Golden Globe, and an Oscar nomination. Since then, Rourke has appeared in blockbusters as Iron Man 2 (2010) and Immortals (2011).

 

Philip Andre 'Mickey' Rourke Jr. was born in Schenectady, New York, in 1952, He was the son of Ann (Cameron) and Philip Andre Rourke, a bodybuilder. He has a brother, Joey, and an older sister, Patricia. The nickname Mickey was given to him as a child by his parents, who thought he looked like a mouse. When he was six, his parents divorced. A year later, his mother married Eugene Addis, a Miami Beach police officer, and mother and son moved to Miami Shores, Florida. There, he went to the Miami Beach Senior High School. At that time, he was more interested in baseball and boxing than in acting. Rourke joined a self-defense course at the Boys Club of Miami. Here he learned to box and began a career as an amateur boxer. At the age of 12, he won his first match in the 51-54 kg category. He then called himself Andre Rourke. Later, he moved to a gym on 5th Street in Miami and joined the Police Athletic League. In 1969, he briefly became a sparring partner of Luis Rodriguez, who at that time was the world light heavyweight champion. In 1971, he suffered a concussion during a boxing match, so doctors ordered him to stop boxing for a year. After working for a short time as a busboy at the famed Forge Restaurant on Miami Beach, Rourke moved back to New York to seek out a career in acting. he attended acting classes at the Lee Strasberg Theatre Institute. Rourke says of himself that he was a shy and reserved student, but very comfortable with improvisation. His teacher Sandra Seacat convinced him to move to Los Angeles. After a few small roles on television, Rourke made his film debut in the small role of Private Reese in Steven Spielberg's war comedy 1941 (1979). A year later, he appeared in Heaven's Gate (Michael Cimino, 1980), one of the biggest commercial failures in film history that meant the end of United Artists. A year later, he appeared alongside Kathleen Turner and William Hurt as a pyro expert in the thriller Body Heat (Lawrence Kasdan, 1982). This is generally regarded as his breakthrough.

 

In the 1980s, Mickey Rourke began to claim the lead role a little more often. He was one of Steve Guttenberg and Kevin Bacon's young pals in Barry Levinson's Diner (1982). He appeared as the sensitive and protective older brother of Matt Dillon in Francis Ford Coppola's Rumble Fish (1983). Rourke had his first lead role in The Pope of Greenwich Village (Stuart Rosenberg, 1984), co-starring with Eric Roberts. He reunited with Michael Cimino for the violent police film Year of the Dragon (1985), based on a scenario by Oliver Stone. Rourke gave a bravura performance as police captain Stanley White, fanatically determined to eliminate John Lone, the crime boss of New York's Chinatown. The film was hotly contested in the United States, however, with critics denouncing the negative portrayal of Chinese people and the overtly racist nature of its central character. He gained the status of sex symbol with the erotic drama 9½ Weeks (Adrian Lyne, 1986), which became one of Rourke's best-known films. He plays John, a man who starts an affair with Elizabeth (Kim Basinger). A year later, he played the lead in Angel Heart (Alan Parker, 1987), opposite Robert De Niro. The film was once again controversial in the United States, initially rated X (under 17) because of the sex scene between Rourke and the young Lisa Bonet, fresh off The Cosby Show. The sequence was eventually censored in the cinema and Rated R. For his next film, Barfly (Barbet Schroeder, 1987), the actor received rave reviews for his role as the alcoholic writer Henry Chinaski, based on Charles Bukowski. These rebellious anti-hero characters were especially well-liked in Europe and especially France where Rourke was a popular film idol.

 

Mickey Rourke wrote, produced, and starred in Homeboy (Michael Sereesin, 1988), a film about a near brain-dead prizefighter. It skipped theatrical release and went straight to home video. Rourke joined Walter Hill's Johnny Handsome (1989), then appeared in Wild Orchid (Zalman King, 1989). Divorced from his first wife Debra Feuer in 1989, he met actress-model Carré Otis on the set, who became his wife in 1992. The film was mocked by critics for its overall weakness and its sex scenes considered too explicit, some of which were cut to avoid the film being classified as pornographic. Rourke played another anti-hero in Desperate Hours (Michael Cimino, 1990) but was nominated for a Razzie Award for Worst Actor of the Year for his performances in The Wild Orchid and Desperate Hours. He worked with David Bowie on his album 'Never Let Me Down'', but his film career had taken a turn downhill. Another setback was Harley Davidson and the Marlboro Man (Simon Wincer, 1991), with Don Johnson. Rourke later admitted that he only made the film for the money. He decided to take up boxing again. He felt that he was self-destructive and had no respect for the actor Rourke. His boxing career did not go smoothly. Under the supervision of his coach, Chuck Zito of the Hells Angels, he was often injured. In retrospect, he would admit that he was too old to return to boxing, but that he had done so anyway for personal reasons. In 1995, he continued to work on his film career but he had to make do with supporting roles. In 1997, Mickey Rourke appeared on screen with his face surgically altered, his features enlarged and his body thickened in Double Team (Tsui Hark', 1997) opposite Jean-Claude Van Damme. Rourke also reprised his role as an s&m fetishist in Another 9 1/2 Weeks (Anne Goursaud, 1997), a virtual remake of the original, only sans the redeeming presence of Kim Basinger. He had a small part in Francis Ford Coppola's adaptation of John Grisham's The Rainmaker (1997). There were also quite a few roles that barely came to light. In the critically-worshipped The Thin Red Line (Terrence Malick, 1997), his role was edited out. Unemployed and broke, he had to sell his motorbike collection and his Los Angeles mansion to pay off his creditors and was temporarily committed when his friends became concerned about his suicidal tendencies. In 1999, he played an important role in the Flemish film Shades (Erik Van Looy, 1999). He also appeared as a transvestite prisoner in Steve Buscemi's Animal Factory (2000), and opposite Sylvester Stallone in Get Carter (Stephen T. Kay, 2000). The latter film, above all, enabled him to straighten out his financial situation, thanks to Stallone.

 

Mickey Rourke gave an impressive supporting performance in Sean Penn's police procedural-cum-harrowing study of obsession, The Pledge (2001) opposite Jack Nicholson. After Rourke played a role in the music video for the song 'Hero' by Enrique Iglesias, he appeared in Roberto Rodriguez's hit Once Upon a Time in Mexico (2003). As a harbinger of things to come, a powerful creative bond formed between the weathered, iconic Rourke and the tireless director on the Mexico set. In 2005 they again teamed for Rodriguez's and Frank Miller's eagerly anticipated big-screen adaptation of Miller's Sin City comics. Bruce Lawton writes at AllMovie: "Cast as lovelorn brute Marv, Rourke delivered an impressive performance as an imposing beast of a fellow bent on avenging the death of an angelic prostitute in this stylish noir comic book come to life, which gave him cult status among a new generation of fans." In 2004, Rourke delivered a memorable supporting performance in Tony Scott's Man on Fire alongside Denzel Washington. It marked the first film in a two-picture creative partnership between Scott and Rourke, the second half of which came to fruition with Domino (2005) starring Keira Knightley. In 2008, he collaborated with Darren Aronofsky on the film The Wrestler. Rourke was widely praised for his role as Randy "The Ram" Robinson, a wrestler who is way past his prime. Besides the typical elements of a sports drama, the film also contains some striking similarities with Rourke's own career as a boxer and actor. Mickey Rourke won a Golden Globe in 2009 for this role. Rourke would enjoy sustained success in the years to follow, appearing in films like The Expendables (Sylvester Stallone, 2010), and Iron Man 2 (Jon Favreau, 2010) with Robert Downey Jr. and Scarlett Johansson. The latter brought in more than $312 million in the United States. His later films include Immortals (Tarsem Singh, 2011), the thriller The Courier (Hany Abu-Assad, 2012), and the Western Dead in Tombstone (Roel Reiné, 2013).

 

Sources: Bruce Lawton (AllMovie), Chase Rosenberg (IMDb), Wikipedia (Dutch, French, and English), and IMDb.

 

And, please check out our blog European Film Star Postcards.

QHY5L-II & Meade 8" LX-50 SCT @F/20 (x2 Barlow)

 

First time I tried a mono camera on planetary. RGB- kept 500 frames of 1100 each channel processed in Registax 6. Imaged at 640x480 @54fps.

 

Much better color and detail than I've ever gotten before. Great first night with this camera. My SCT is in dire need of collimation. I had to wait until the clouds moved past several times to start imaging, so the conditions were poor. Despite these setbacks, I'm really happy with my results.

Built in 1970, this Brutalist-style office building stands along 3rd Street just to the north of the Pennsylvania State Capitol Complex. The building features a pale green glazed brick facade with a base featuring a setback and concrete columns framing large storefronts, horizontal concrete trim, stair and elevator towers with rounded corners and ribbed concrete exteriors flanking narrow vertical curtain walls on the front and rear of the building, a concrete planter and concrete base with angled sides and ribs, an attached two-story parking garage with the lower level below grade, window openings with decorative concrete frames that jut out from the building’s facade and feature angled sides, breeze block at the base, a light well a the front of the building with a metal fence surround, and cantilevered ends that partially shelter the adjacent raised entrance areas. The building is an excellent example of modernism in a downtown commercial context, and contributes meaningfully to the architectural diversity found in Downtown Harrisburg.

This one of the rarest plants in Britain and is in bloom at the moment.

  

www.first-nature.com/worldsites/uk-gait-barrow.php

  

Species Recovery Programme - the Lady's Slipper Orchid

 

This wonderful flower has become a potent symbol for how much of our wonderful wildlife heritage has been lost and continues to be lost as a result of the many pressures affecting our countryside - increasing industrialisation, commercial and housing development, intensive farming and the use of herbicides and pesticides, and water abstraction to name but a few.

 

The Lady's Slipper Orchid was recognised as a native European species in 1568, and the earliest record of a British plant is of a dried herbarium specimen from 1640, collected from the Ingleton area in Yorkshire. Although still widespread in some parts of Europe, the Lady's Slipper Orchid was always a rarity in Britian and consequently highly prized by plant collectors who, from the mid-18th Century, collected the plants with such ruthlessness that by 1888 great concern was being expressed at the disappearance of the Lady's Slipper Orchid from the wild. Regrettably the population continued to decline, resulting in its declared extinction by 1917.

  

In 1930 a single plant was discovered in Yorkshire, on a privately-owned site where visiting is strictly prohibited. As a result of close protection this plant continues to grow and is gradually increasing in vigour and flowering performance. The intense concern about the survival of this single plant led ultimately to the formation of the Cypripedium Committee, an organisation made up from members of Natural England, Yorkshire Wildlife Trust and the Yorkshire Naturalists Union; their primary aim was to ensure the safety of the single surviving plant. A secondary aim has been to propagate the plant and to attempt to re-introduce it to some of its former flowering sites, so that Lady's Slipper Orchids could be visited and enjoyed by the public. By this time, two other specimens of our native Lady's Slipper Orchid, collected from the Ingleton area of Yorkshire at the turn of the Century, were known of; these plants, which provide important genetic material, were being maintained in cultivation for possible cross-pollination with plants grown for the purposes of re-introduction. This long and difficult process received a major boost when in 1983 a generous donation was made by Sir Robert and Lady Sainsbury, resulting in the establishment of the Sainsbury Orchid Project at the Royal Botanic Gardens at Kew, in London.

 

After much work and many setbacks a reliable technique for the mass-reproduction of seedlings and a method for weaning the seedling plants have been established. As a result, in the autumn of 1989, the first seedlings were planted in the wild. Today, despite the many dangers and predations that threaten these young plants, there are some thriving young Lady's Slipper Orchids in a number of sites. It will be many years, however, before a healthy population of Lady's Slipper Orchids, free from the threat of extinction, can be established.

 

The Silverdale Plant

 

This specimen of the Lady's Slipper Orchid is thought to have been planted in Victorian times in some form of landscape gardening. It has been cared for over many years by dedicated local naturalists and has received formal protection since 2000 to ensure that visitors to the plant enjoy it without having a damaging impact on the plant and its location. As a result of an intensive programme of care, this is now a vigorous and beautiful plant with many gorgeous flowers. Controlled public access to this plant provides an opportunity for people to see the Lady's Slipper Orchid without adding pressure to the true wild sites where the re-introduced plants are in their most fragile stage of growth and development.

 

Despite all the care and protection given to the Silverdale plant it has been attacked by plant thieves on several occasions, and so access to it remains under review. Of all the threats that exist to our rare and beautiful wildflowers in Britian, human predation remains one of the greatest. Those selfish and obnoxious individuals who pick the flowers or dig up rare plants would do well to heed the words written about one of their kind, a Miss Thomasin Tunstall, who was responsible for so much collection and the resulting disappearance of many specimens of the Lady's Slipper Orchid in the 1600s:

 

'A worthy Gentlewoman indeed! O Mistress Thomasin if only you had loved these delights a little less ruinously for future generations! Do you sleep quiet, you worthy Gentlewoman, in Tunstall Church or does your uneasy sprite still haunt the Helks Wood in vain longing to undo the wrong you did? "Accursed for evermore, into the lowerest of the Eight Hot Hells, be all reckless uprooters of rarities". John Parkinson, 1629.

“It’s not about how much we lost. It’s about how much we have left.”

 

The Avengers assembled together to travel back in time, collect the Infinity Stones before Thanos did, and defeat him once and for all. Despite many setbacks and sacrifices, they eventually succeeded, but not in the way they expected.

 

Part 12 of 12 in the Avengers: Endgame time heist montage, but actually it’s the whole thing. Lights by @brickstuff.

Overview

 

Heritage Category: Listed Building

Grade: I

List Entry Number: 1308610

Date first listed: 22-Feb-1967

 

Location

 

Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN

County: Devon

District: West Devon (District Authority)

Parish: Chagford

National Park: DARTMOOR

National Grid Reference: SX 70146 87508

 

Details

 

Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)

  

© Historic England 2021

Art Deco was the hot architectural style in America during the 1920s and 1930s. The style is characterized by features like smooth wall surfaces (often shiny metal), with zigzags, chevrons, and other geometric motifs as decorative elements on the façade. The geometric motifs usually emphasize verticality, which is often enhanced by adding towers and vertical projections. Even figure sculptures display an angular geometric approach. One of the best examples of Art Deco style in New York State, and arguably in America, is the Niagara Mohawk Building in Syracuse. This dramatic seven-story structure, which is the headquarters of the Niagara Mohawk Power Company at 300 Erie Boulevard West, was built in 1932. It was designed by the Buffalo architectural firm of Bley & Lyman and the Syracuse architect Melvin L. King. The façade is constructed of gray brick and stone in a series of setbacks, with additional cladding in stainless steel, aluminum, and black glass. The ornamentation is truly opulent. There are parallel bands, zigzags, and chevrons. At the base of the tower six stories above the entrance, there is a 28-foot-high statue of a male figure with outstretched arms from which rays of light emanate like giant wings. The stunning sculpture is called, “Spirit of Light.” Niagara Mohawk gleams, shimmering in daylight and glittering at night with interior lighting and powerful exterior flood illumination.

300 Erie Boulevard West,Syracuse, New York

It was listed on the National Register of Historic Places as the Niagara Hudson Building in 2010.

The building was listed on the U.S. National Register of Historic Places in June, 2010. The listing was announced as the featured listing in the National Park Service's weekly list of June 25, 2010.

The building was built in 1932. It was headquarters for what was "then the nation's largest electric utility company".

It was nominated by New York State's Board of Historic Preservation for listing on the National Register of Historic Places in December, 2009. The Board described the building as "'an outstanding example of Art Deco architecture and a symbol of the Age of Electricity.

 

Architectural style:

Art Deco

Governing body:

Private

NRHP Reference#:

10000361

 

@ The Top Of The Grill, Brattleboro Vt.

 

Spring suffered a small setback in my area today 09 April, with snow showers leaving about a half inch of snow this morning. I am hoping the unopened blooms on my fruit trees survive this cold snap,

Frame :*LOW BICYCLES* MKii cross

Wheels :*VELOCITY* quill rim × *TUNE*

Tire :*VITTORIA* terreno wet

Brake:*PAUL* touring canti

Brake lever:*PAUL* e-lever

Crankset :*CANE CREEK* ee wings road crank × *WOLF TOOTH COMPONENTS* drop stop chainring

BB:*CHRIS KING*

Chain tensioner:*PAUL* melvin

Handle :*WHISKY* No.9 carbon riser bar

Stem :*THOMSON* elite X4

Seat Post :*THOMSON* elite setback seatpost

Saddle :*SELLE ITALIA* flite

Seat Clamp :*KENT ERIKSEN*

Grip:*OURY* V2 grip