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It's not very home-like, but this week, sweater means home.

It's the first day I get to eat at home since the beginning of this freaking crazy week. And there are more 2 days to end it!!!

Saturday I have a test for a German's certification, the written part, Monday the spoken part. Quite sure I'll pass it...

Tomorrow a game in a place that Nowhere is closer...I need some rest!

Glad I had a couple of seconds to achieve the 9th week...

 

I was almost forgetting: today is my grandma's birthday! =D

 

The General Specific - Band Of Horses

  

Brachiosaurus is a genus of sauropod dinosaur that lived in North America during the Late Jurassic, about 154 to 150 million years ago. It was first described by American paleontologist Elmer S. Riggs in 1903 from fossils found in the Colorado River valley in western Colorado, United States. Riggs named the dinosaur Brachiosaurus altithorax; the generic name is Greek for "arm lizard", in reference to its proportionately long arms, and the specific name means "deep chest". Brachiosaurus is estimated to have been between 18 and 22 meters (59 and 72 ft) long; body mass estimates of the subadult holotype specimen range from 28.3 to 46.9 metric tons (31.2 to 51.7 short tons). It had a disproportionately long neck, small skull, and large overall size, all of which are typical for sauropods. Atypically, Brachiosaurus had longer forelimbs than hindlimbs, which resulted in a steeply inclined trunk, and a proportionally shorter tail.

 

Brachiosaurus is the namesake genus of the family Brachiosauridae, which includes a handful of other similar sauropods. Most popular depictions of Brachiosaurus are in fact based on Giraffatitan, a genus of brachiosaurid dinosaur from the Tendaguru Formation of Tanzania. Giraffatitan was originally described by German paleontologist Werner Janensch in 1914 as a species of Brachiosaurus, B. brancai, but moved to its own genus in 2009. Three other species of Brachiosaurus have been named based on fossils found in Africa and Europe; two are no longer considered valid, and a third has become a separate genus, Lusotitan.

 

The type specimen of B. altithorax is still the most complete specimen, and only a few other specimens are thought to belong to the genus, making it one of the rarer sauropods of the Morrison Formation. It is regarded as a high browser, possibly cropping or nipping vegetation as high as 9 meters (30 ft) off the ground. Unlike other sauropods, it was unsuited for rearing on its hindlimbs. It has been used as an example of a dinosaur that was most likely ectothermic because of its large size and the corresponding need for sufficient forage, but more recent research suggests it was warm-blooded. Among the most iconic and initially thought to be one of the largest dinosaurs, Brachiosaurus has appeared in popular culture, notably in the 1993 film Jurassic Park.

 

Teessaurus Park is a 10 acre urban grassland recreational area and sculpture park opened in 1979 in the Riverside Park light industrial estate, Middlesbrough, on the southern bank of the River Tees. It was built on a former slag heap in what was the Ironmasters district and represents, without any irony, the iron and steel industry that used to exist on the site and in the area. The park has its own small car park and has become something of a nature reserve. The route of the Teesdale Way passes through the park.

 

The park was started as a result of entering an Art to Landscape competition organised by The Sunday Times and the Arts Council. Middlesbrough Council had commissioned a life size painted steel sculpture of a triceratops called Teessaurus from Genevieve Glatt that was fabricated by Harts of Stockton at a total cost of £16,000 and installed on a mound at the northern end of the park. The park was opened with this sculpture in 1979 and two infant triceratops were added later. From 1987 onwards, a life-size brachiosaurus, brontosaurus, mammoth, stegosaurus and tyrannosaurus sculptures were added at the sides of the park. These sculptures were built by workers on the government Youth and Employment Training Scheme at Amarc Training and Safety.

 

Middlesbrough is a town in the Middlesbrough unitary authority borough of North Yorkshire, England. The town lies near the mouth of the River Tees and north of the North York Moors National Park. The built-up area had a population of 148,215 at the 2021 UK census. It is the largest town of the wider Teesside area, which had a population of 376,633 in 2011.

 

Until the early 1800s, the area was rural farmland in the historic county of Yorkshire. The town was a planned development which started in 1830, based around a new port with coal and later ironworks added. Steel production and ship building began in the late 1800s, remaining associated with the town until the post-industrial decline of the late twentieth century. Trade (notably through ports) and digital enterprise sectors contemporarily contribute to the local economy, Teesside University and Middlesbrough College to local education.

 

Middlesbrough was made a municipal borough in 1853. When elected county councils were created in 1889, Middlesbrough was considered large enough to provide its own county-level services and so it became a county borough, independent from North Riding County Council. The borough of Middlesbrough was abolished in 1968 when the area was absorbed into the larger County Borough of Teesside. Six years later in 1974 Middlesbrough was re-established as a borough within the new county of Cleveland. Cleveland was abolished in 1996, since when Middlesbrough has been a unitary authority within the ceremonial county of North Yorkshire.

 

Middlesbrough started as a Benedictine priory on the south bank of the River Tees, its name possibly derived from it being midway between the holy sites of Durham and Whitby. The earliest recorded form of Middlesbrough's name is "Mydilsburgh", containing the term burgh.

 

In 686, a monastic cell was consecrated by St. Cuthbert at the request of St. Hilda, Abbess of Whitby. The manor of Middlesburgh belonged to Whitby Abbey and Guisborough Priory.[1] Robert Bruce, Lord of Cleveland and Annandale, granted and confirmed, in 1119, the church of St. Hilda of Middleburg to Whitby. Up until its closure on the Dissolution of the Monasteries by Henry VIII in 1537, the church was maintained by 12 Benedictine monks, many of whom became vicars, or rectors, of various places in Cleveland.

 

After the Angles, the area became home to Viking settlers. Names of Viking origin (with the suffix by meaning village) are abundant in the area; for example, Ormesby, Stainsby and Tollesby were once separate villages that belonged to Vikings called Orm, Steinn and Toll that are now areas of Middlesbrough were recorded in the Domesday Book of 1086. Other names around Middlesbrough include the village of Maltby (of Malti) along with the towns of Ingleby Barwick (Anglo-place and barley-wick) and Thornaby (of Thormod).

 

Links persist in the area, often through school or road names, to now-outgrown or abandoned local settlements, such as the medieval settlement of Stainsby, deserted by 1757, which amounts to little more today than a series of grassy mounds near the A19 road.

 

In 1801, Middlesbrough was a small farm with a population of just 25; however, during the latter half of the 19th century, it experienced rapid growth. In 1828 the influential Quaker banker, coal mine owner and Stockton and Darlington Railway (S&DR) shareholder Joseph Pease sailed up the River Tees to find a suitable new site downriver of Stockton on which to place new coal staithes. As a result, in 1829 he and a group of Quaker businessmen bought the Middlesbrough farmstead and associated estate, some 527 acres (213 ha) of land, and established the Middlesbrough Estate Company.

 

Through the company, the investors set about a new coal port development (designed by John Harris) on the southern banks of the Tees. The first coal shipping staithes at the port (known as "Port Darlington") were constructed with a settlement to the east established on the site of Middlesbrough farm as labour for the port, taking on the farm's name as it developed into a village. The small farmstead became a village of streets such as North Street, South Street, West Street, East Street, Commercial Street, Stockton Street and Cleveland Street, laid out in a grid-iron pattern around a market square, with the first house being built on West Street in April 1830. New businesses bought premises and plots of land in the new town including: shippers, merchants, butchers, innkeepers, joiners, blacksmiths, tailors, builders and painters.

 

The first coal shipping staithes at the port (known as "Port Darlington") were constructed just to the west of the site earmarked for the location of Middlesbrough. The port was linked to the S&DR on 27 December 1830 via a branch that extended to an area just north of the current Middlesbrough railway station, helping secure the town's future.

 

The success of the port meant it soon became overwhelmed by the volume of imports and exports, and in 1839 work started on Middlesbrough Dock. Laid out by Sir William Cubitt, the whole infrastructure was built by resident civil engineer George Turnbull. After three years and an expenditure of £122,000 (equivalent to £9.65 million at 2011 prices), first water was let in on 19 March 1842, and the formal opening took place on 12 May 1842. On completion, the docks were bought by the S&DR.

 

Iron and steel have dominated the Tees area since 1841 when Henry Bolckow in partnership with John Vaughan, founded the Vulcan iron foundry and rolling mill. Vaughan, who had worked his way up through the Iron industry in South Wales, used his technical expertise to find a more abundant supply of Ironstone in the Eston Hills in 1850, and introduced the new "Bell Hopper" system of closed blast furnaces developed at the Ebbw Vale works. These factors made the works an unprecedented success with Teesside becoming known as the "Iron-smelting centre of the world" and Bolckow, Vaughan & Co., Ltd became the largest company in existence.

 

By 1851 Middlesbrough's population had grown from 40 people in 1829 to 7,600. Pig iron production rose tenfold between 1851 and 1856 and by the mid-1870s Middlesbrough was producing one third of the entire nations Pig Iron output. It was during this time Middlesbrough earned the nickname "Ironopolis".

 

On 21 January 1853, Middlesbrough received its Royal Charter of Incorporation, giving the town the right to have a mayor, aldermen and councillors. Henry Bolckow became mayor, in 1853.

 

A Welsh community was established in Middlesbrough sometime before the 1840s, with mining being the main form of employment. These migrants included figures who would become important leaders in the commercial, political and cultural life of the town:

 

John Vaughan established Teesside's first ironworks in 1841, The Vulcan Works at Middlesbrough. Vaughan had worked his way up through the industry at the Dowlais Ironworks in south Wales and encouraged hundreds of the skilled Welsh workers to follow him to Teesside.

Edward Williams (iron-master), although he was the grandson of the famous Welsh Bard Iolo Morganwg, Edward had started as a mere clerk at Dowlais. His move to the Tees saw him rise to ironmaster, alderman, magistrate and Mayor of Middlesbrough. Edward was also the father of Aneurin and Penry, who both became Liberal MPs for the area.

E.T. John arrived from Pontypridd as a junior clerk in Williams' office. John became the director of several industrial enterprises and a radical politician.

Windsor Richards, an Engineer and manager, oversaw the town's transition from iron to steel production.

Much like the contemporary Welsh migration to America, the Welsh of Middlesbrough came almost exclusively from the iron-smelting and coal districts of South Wales. By 1861 42% of the town's ironworkers identified as Welsh and one in twenty of the total population. Place names such as "Welch Cottages" and "Welch Place" appeared around the Vulcan works, and Middlesbrough became a centre for the Welsh communities at Witton Park, Spennymoor, Consett and Stockton on Tees (especially Portrack). David Williams also recorded that a number of the Welsh workers at the Hughesovka Ironworks in 1869 had migrated from Middlesbrough.

 

A Welsh Baptist chapel was active in the town as early as 1858, and St Hilda's Anglican church began providing services in the Welsh language. Churches and chapels were the centres of Welsh culture, supporting choirs, Sunday Schools, social societies, adult education, lectures and literary meetings. By the 1870s, many more Welsh chapels were built (one reputed to seat 500 people), and the first Eisteddfodau were held.

 

By the 1880s, a "Welsh cultural revival" was underway, with the Eisteddfodau attracting competitors and spectators from outside the Welsh communities. In 1890 the Middlesbrough Town Hall hosted the first Cleveland and Durham Eisteddfod, an event notable for its non-denominational inclusivity, with Irish Catholic choirs and the bishop of the newly created Roman Catholic Diocese of Middlesbrough as honoured guests.

 

In the early twentieth century this Eisteddfod had become the biggest annual event in the town and the largest annual Eisteddfod outside Wales. The Eisteddfod had a clear impact on the culture of the town, especially through its literary and music events, by 1911 the Eisteddfod had twenty-two classes of musical competition only two of which were for Welsh language content. By 1914, thirty choirs from across the area were competing in 284 entries. A choral tradition remained part of the town's culture long after the eisteddfod and chapels had gone. In 2012 an exhibition at the Dorman Museum marked the Apollo Male Voice Choir's 125 years as an active choir in the town.

 

Industrial Wales was noted for its "radical Liberal-Labour" politics, and the rhetoric of these politicians clearly won favour with the urban population of the North East. Penry Williams and Jonathan Samuel won the seats of Middlesbrough and Stockton-on-Tees for the Liberal Party and Penry's brother, Aneurin would also win the newly created Consett seat in 1918.

 

Sir Horace Davey stressed his Welsh lineage and stated that "it was scarcely an exaggeration to say that Welshmen had founded Middlesbrough", courting the Welsh vote that saw him elected MP for Stockton. However, others complained that local Conservative candidates were losing to "Fenians and Welshers" (Irish and Welsh people).

 

These sentiments had grown by 1900 when Samuel lost his seat after a Unionist complained publicly that the town had been "forced to submit to the indignity of being trailed ignominiously through the mire by Welsh constituents". Samuel lost the seat but regained it in 1910 with a campaign that made few, if any, references to his Welsh background.

 

From 1861 to 1871, the census of England & Wales showed that Middlesbrough consistently had the second highest percentage of Irish born people in England after Liverpool. The Irish population in 1861 accounted for 15.6% of the total population of Middlesbrough. In 1871 the amount had dropped to 9.2% yet this still placed Middlesbrough's Irish population second in England behind Liverpool. Due to the rapid development of the town and its industrialisation there was much need for people to work in the many blast furnaces and steel works along the banks of the Tees. This attracted many people from Ireland, who were in much need of work. As well as people from Ireland, the Scottish, Welsh and overseas inhabitants made up 16% of Middlesbrough's population in 1871. A second influx of Irish migration was observed in the early 1900s as Middlesbrough's steel industry boomed producing 1/3 of Britain's total steel output. This second influx lasted through to the 1950s after which Irish migration to Middlesbrough saw a drastic decline. Middlesbrough no longer has a strong Irish presence, with Irish born residents making up around 2% of the current population, however there is still a strong cultural and historical connection with Ireland mainly through the heritage and ancestry of many families within Middlesbrough.

 

The town's rapid expansion continued throughout the second half of the 19th century, fuelled by the iron and steel industry. In 1864 the North Riding Infirmary (an ear, nose and mouth hospital) opened in Newport Road; this was demolished in 2006.

 

On 15 August 1867, a Reform Bill was passed, making Middlesbrough a new parliamentary borough, Bolckow was elected member for Middlesbrough the following year. In 1875, Bolckow, Vaughan & Co opened the Cleveland Steelworks in Middlesbrough beginning the transition from Iron production to Steel and by the turn of the century. Henry Bolckow died in 1878 and left an endowment of £5,000 for the infirmary.

 

In the latter third of the 19th century, Old Middlesbrough was starting to decline and was overshadowed by developments built around the new town hall, south of the original town hall, the town's population reaching 90,000 by the dawn of the 20th century.[9] In 1900, Bolckow, Vaughan & Co had become the largest producer of steel in Great Britain and possibly came to be one of the major steel centres in the world.

 

In 1914, Dorman Long, another major steel producer from Middlesbrough, became the largest company in Britain. It employed a workforce of over 20,000 and by 1929 and gained enough to take over from Bolckow, Vaughan & Co's dominance and to acquire their assets. The steel components of the Sydney Harbour Bridge (1932) were engineered and fabricated by Dorman Long of Middlesbrough. The company was also responsible for the New Tyne Bridge in Newcastle.

 

Several large shipyards also lined the Tees, including the Sir Raylton Dixon & Company, Smith's Dock Company of South Bank and Furness Shipbuilding Company of Haverton Hill.

 

Middlesbrough was the first major British town and industrial target to be bombed during the Second World War. The Luftwaffe first attacked the town on 25 May 1940 when a lone bomber dropped 13 bombs between South Bank Road and the South Steel Plant. One of the bombs fell on the South Bank football ground making a large crater in the pitch. The bomber was forced to leave after RAF night fighters were scrambled to intercept. Two months after the first bombing Prime Minister Winston Churchill visited the town to meet the public and inspect coastal defences.

 

German bombers often flew over the Eston Hills while heading for targets further inland, such as Manchester. On 30 March 1941 a Junkers Ju 88 was shot down by two Spitfires of No. 41 Squadron, piloted by Tony Lovell and Archie Winskill, over Middlesbrough. The aircraft dived into the ground at Barnaby Moor, Eston; the engines and most of the airframe were entirely buried upon impact.

 

On 5 December 1941 a Spitfire of No. 122 Squadron, piloted by Sgt Hutton, crashed into rising ground near Mill Farm, Upsall, on the lower slopes of Eston Hills. Poor visibility due to bad weather and low cloud is believed to have been the cause of the crash.

 

On 15 January 1942, minutes after being hit by gunfire from a merchant ship anchored off Hartlepool, a Dornier Do 217 collided with the cable of a barrage balloon over the River Tees. The blazing bomber plummeted onto the railway sidings in South Bank leaving a crater twelve feet deep. In 1997 the remains of the Dornier were unearthed by a group of workers clearing land for redevelopment; the remains were put on display for a short while at Kirkleatham museum.

 

On 4 August 1942 a lone Dornier Do 217 picked its way through the barrage balloons and dropped a stick of bombs onto the railway station. One bomb caused serious damage to the Victorian glass and steel roof. A train in the station was also badly damaged although there were no passengers aboard. The station was put out action for two weeks.

 

The Green Howards was a British Army infantry regiment very strongly associated with Middlesbrough and the area south of the River Tees. Originally formed at Dunster Castle, Somerset in 1688 to serve King William of Orange, later King William III, this regiment became affiliated to the North Riding of Yorkshire in 1782. As Middlesbrough grew, its population of men came to be a group most targeted by the recruiters. The Green Howards were part of the King's Division. On 6 June 2006, this famous regiment was merged into the new Yorkshire Regiment and are now known as 2 Yorks, The 2nd Battalion The Yorkshire Regiment (Green Howards). There is also a Territorial Army (TA) company at Stockton Road in Middlesbrough, part of 4 Yorks which is wholly reserve.

 

Post Second World War to contemporary era

By the end of the war over 200 buildings had been destroyed within the Middlesbrough area. The borough lost 99 civilians as a result of enemy action.

 

Areas of early and mid-Victorian housing were demolished and much of central Middlesbrough was redeveloped. Heavy industry was relocated to areas of land better suited to the needs of modern technology. Middlesbrough itself began to take on a completely different look.

 

Middlesbrough's 1903 Gaumont cinema, originally an opera house until the 1930s, was demolished in 1971. The Cleveland Centre opened in the same year. In 1974, Middlesbrough and other areas around the Tees, became part of the county of Cleveland. This was to create a county within a single NUTS region of England, with the UK joining the European Union predecessor (European Communities) a year earlier.

 

Middlesbrough's Royal Exchange building was demolished, to make way for the road. A multi-storey the Star and Garter Hotel built in the 1890s near to the exchange on the site of a former Welsh Congregational Church, was also demolished. The Victorian era North Riding Infirmary was demolished in 2006 and replaced by a hotel and supermarket.

 

The Cleveland Centre opened in 1971, Hill Street shopping centre opened in 1981 and Captain Cook Square opened in 1999.

 

Middlesbrough F.C.'s modern Riverside Stadium opened on 26 August 1995 next to Middlesbrough Dock. The club moved from Ayresome Park their previous home in the town for 92 years.

 

With the abolition of Cleveland County in 1996, Middlesbrough again became part of North Yorkshire.

 

The original St.Hilda's area of Middlesbrough, after decades of decline and clearance, was given a new name of Middlehaven in 1986 on investment proposals to build on the land. Middlehaven has since had new buildings built there including Middlesbrough College and Middlesbrough FC's Riverside Stadium amongst others. Also situated at Middlehaven is the "Boho" zone, offering office space to the area's business and to attract new companies, and also "Bohouse", housing. Some of the street names from the original grid-iron street plan of the town still exist in the area today.

 

The expansion of Middlesbrough southwards, eastwards and westwards continued throughout the 20th century absorbing villages such as Linthorpe, Acklam, Ormesby, Marton and Nunthorpe[9] and continues to the present day.

A change of pace

 

A few years ago I talked myself into an invitation to get a special tour of an old hydro power plant that is only a few miles from my house. It happens to be one of the first hydroelectric power stations built in the world, and as you can see by the date of the wall was turned on in 1898.

 

This is the first of several images I took there, but its also probably one of the best I got. It turned out to be a very challenging shoot. First of all the entire facility is two hundred feet down an open elevator shaft that was dug into the solid rock by the waterfall where this was built. I had to have an engineer with me at all moments and could only go in very specific places. (If you look closely you can see that this is spinning and actually generating electricity at the time I took this) Generators like this actually cast out fields of energy and if me or my tripod were to get to close the electricity could leap out and kill me. So I had to be a good boy and not climb all over the equipment like I wanted to. It was very hard to get the lens into good positions with these limitations. I also was not allowed to bring any lights down, So had to work with the very dark ambient light that was there, mostly open bulbs hanging from the ceiling. And since I'm in a deep dark cave, no windows of course, not any fill at all really. It was also *very loud* so I could not communicate very well with my minder. Given all those restrictions, I am happy with this result.

 

*****

 

If you want to geek out a bit about hydro power, read on: As I write these words, this particular power plant is being retrofitted with modern generators, so this old beast is now gone. This in fact was the oldest generator in the plant and even though it was constructed around 1898 was still functioning and putting out power that people in our region use. (Apparently the magnetos were rewound sometime in the 70's and they had to hire experts who could come in and rebuild this in the old school ways. There were I think 6 generators in the cave, but only two I think in the beginning. The man who built the power station had the foresight to use AC power (Westinghouse) rather than Edison's DC power. Edison built a plant at Niagara falls that made DC power but moving the DC power to the customers was very expensive and difficult, and it did not last long. The world chose AC power of course and DC power went away like sony's betamax. After building this power plant, the other challenge was that the power had to be carried by one of the first transmission lines ever built back to Tacoma. (some 45 miles I think) a massive task in its own for the times as they had to clear there way through wild forest. (Some of the key technology in this AC generator was made possible by the inventions of Nikolai Tesla who claimed to get his inventions completely realized in dreams or simultaneous flashes of insight. )

 

At this power plant they've added more generators about 4 times so they can capture more of the hydroelectric potential. Each time they added new versions the efficiency and capacity just about doubled. So if the first one made x power from x flow of water, the next generation drew 2x (twice as much) water and was twice as efficient. so each generation of new equipment meant quadrupling of energy efficiancy. And that has held true until this day. The most recent generators, are very powerful and effiecient relative to this old equipment. But until this last retro fit that started in 2009, they never replaced any of the old ones. So for the last hundred years are so they have been getting less than half of what could have been gotten from this precious clean resource. Why you wonder? Cheap petrochemicals made it more efficient to just burn more gas or coal rather than spend money to replace the old equipment. That era is coming to an end obviously and hence they are doing this major improvement. One of the reasons this is all of interest to me is that its revealing of how human societies make decisions. Choosing dirty fuels and not facing the hidden costs to health and the environment that when added up probably cost us more than just refitting the hydro power plant earlier. (It should also be noted that hydro power alone could not have given us all our energy needs so we probably would have been burning dirty fuels all along. But not facing real costs never gives us a chance to think about it in the first place. Maybe we would have developed other alternatives.)

 

So.... just across the mountains from this waterfall, on the eastern side of the Cascade range, is Grand Coulee Damn which still is one of the largest hydro electric power plants in the world. It was built during the depression with federal development money, (so sometimes government does get it right) and even though its only about 40 years later than this place, Grand Coulee generates electricity on a massive scale. (compare the generator above to this: scienceservice.si.edu/pages/010041.htm ) So much electricity, that when the aircraft industry started needing lots of aluminum for all the airplanes they were building because of world war II, They eventually turned to The Pacific Northwest because the amounts of electricity you need to smelt aluminum are vast. And that is why, my friends, Boeing is in the Seattle region today. Cheap electricity. Also of interest, they have since put a whole series of damns on the Columbia river and make lots and lots of power. Guess what the The 'Aluminum Plant' hog of electricity is today? Server Farms. Google, Microsoft and yes Yahoo/flickr all need massive amounts of power to store data, these very words and photos actually. And that is why they are building their server farms up here in the Pacific North West. Lots of relatively cheap electricity for spinning drives and the air conditioning to keep them cool. Server Farms take up more power than the largest Steel foundries. That always blows my mind a bit. So you see, in a strange ways you could never have imagined, this image here in my stream has many hidden meanings. Who could have predicted way back in 1898, that this machine would one day create the energy to preserve the image of itself and help spread those pixels across the world

Forced abortions on eastern workers

Women-specific discrimination in the system of Nazi forced labor

There are limits to understanding the extent of oppression in National Socialism in a differentiated way. The ordering look seduces to unification. In the discussions about compensatory payments for forced labor, such a shortcoming was revealed: the living conditions of men and women.

Thousands of forced laborers were deported for the armament industrial triangle Linz-St.Valentin-Steyr. Every third employed person in the catchment area of ​​the employment office in Linz was a foreigner in 1943. Most came from the Soviet Union and were called "Eastern workers". After Jews, Roma, Sinti and concentration camp inmates, they stood as "Slavic subhumans" defamed at the lowest level of the racist Nazi hierarchy. In view of the wartime reduced male population, foreigners became a potential threat for the "purity" of the German woman. In the sexual-political confrontation of this problem, the "hometown of the Führer" was one step ahead of the German Reich: the

first brothel for foreign men was established in 1940 in Linz.

... that they get pregnant

This problem did not arise with the forced female laborers - they were considered asexual beings. By the loss of family, language, culture isolated and by the label "East" degraded, these young women sought to banish the forlornness in a foreign country with security and love. In July 1942, August Eigruber, Gauleiter Oberdonau, alerted the Reichsführer SS and Chief of the German Police Heinrich Himmler: "I have thousands of foreigners in Gau Oberdonau and I make the conclusion that these foreign workers ... become pregnant". The Nazi apparatus met this situation unprepared. The only thing was clear: the workforce woman was not allowed to be diminished.

The pregnant eastern workers were admitted to the "gynecological clinic of the Reichsgau Oberdonau", as the state women's clinic was called at that time. An "Eastern Women's Barrack", specially equipped with 40 beds, was set up in the institution's garden. The Provincial Women's Hospital fulfilled one of the requirements for the establishment of such special departments: their midwife school was to use the "inferior" classified birthing mothers for training purposes. Since May 1943, the "eastern workers barrack" got another function: the pregnant forced laborers should not only give birth, but also abort.

Misogynistic double standard

The feminist double standard of the Nazi state is evident in the legislation. Since March 1943, the carrying out of a termination of pregnancy among German women was punishable by death. For pregnant women from the East and the Polish women, it also rested in the power of their employers, the employment office or the police, to apply for the abortion following the mandatory notification of the pregnancy. The "Abortion Order" was decided by two physicians from Linz, who acted as reviewers of the medical association. The complex compulsive situation relativizes every hint of 'freedom of choice'.

Tamara P., 20 years old, from Stalino, 5-month pregnancy: "On the order of the surveyors office abortion"; Paraska K., 18, from Kharkov, 6-7. Month pregnant: "admitted for the termination of pregnancy, etc. etc."

From May 1944 to February 1945, ie in ten months, 719 women were admitted to the State Women's Hospital for abortion. For three months - until the evacuation of the barracks to Bad Hall in February 1944 was completed - the abortions had taken place in the general hospital in Linz. Otherwise, there were occasional births and abortions among forced laborers.

While in Germany individual doctors are known who tried to prevent abortions of forced laborers - and were not punished -, for such efforts in the medical profession of both hospitals in Linz so far no traces have been found. The many abortions of "normal" pregnancies also in the 5th to the 7th month of these disenfranchised women makes the executors appear rather as willing executors of the inhuman Nazi population policy.

... threaten to be displaced

To simply subsume in the discussion of compensation payments women as "forced laborers" would mean not integrating them. In familiar apparent gender neutrality, a masculine image of "forced labor" dominates and women-specific discrimination - of which forced abortion is only one - threatens to be forgotten and repressed. Therefore, the symbolic reparation for forced laborers who have born or aborted, is of great effect: so that the 'general' history of forced labor is neither distorted nor inadequately received and discussed.

Gabriela Hauch, Univ-Prof. for Modern History and Contemporary History at the Johannes Kepler University Linz, member of the Historical Commission.

 

Zwangsabtreibungen an Ostarbeiterinnen

Frauenspezifische Diskriminierungen im System der NS-Zwangsarbeit

Man stößt an Grenzen, um das Ausmaß der Unterdrückung im Nationalsozialismus differenziert nachzuvollziehen. Der ordnende Blick verführt zu Vereinheitlichung. In den Diskussionen um die Entschädigungszahlungen für Zwangsarbeit offenbarte sich ein derartiges Manko: die Lebensbedingungen von Männern und Frauen.

Für das Rüstungsindustriedreieck Linz-St.Valentin-Steyr wurden zigtausende Zwangsarbeiter/innen verschleppt. Jede/r dritte Erwerbstätige im Einzugsbereich des Arbeitsamtes Linz war 1943 Ausländer/in. Die meisten kamen aus der Sowjetunion und wurden „Ostarbeiter/innen“ genannt. Nach Juden, Roma, Sinti und KZ-Häftlingen standen sie, als ,slawische Untermenschen‘ diffamiert, auf der untersten Stufe der rassistischen NS-Hierarchie. Angesichts der kriegsbedingt reduzierten männlichen Bevölkerung gerieten Ausländer zur potentiellen Gefahr für die ,Reinheit‘ der deutschen Frau. In der sexualpolitischen Begegnung dieses Problems zeigte sich die „Patenstadt des Führers“ dem Deutschen Reich einen Schritt voraus: das

erste Bordell für ausländische Männer wurde 1940 in Linz eingerichtet.

… dass sie schwanger werden

Diese Problematik stellte sich bei den Zwangsarbeiterinnen nicht – sie galten als asexuelle Wesen. Durch den Verlust von Familie, Sprache, Kultur vereinsamt und die Kennzeichnung „Ost“ degradiert, suchten diese jungen Frauen die Verlorenheit in der Fremde mit Geborgenheit und Liebe zu bannen. Im Juli 1942 alarmierte August Eigruber, Gauleiter Oberdonau, den Reichsführer SS und Chef der deutschen Polizei Heinrich Himmler: „Ich habe im Gau Oberdonau Tausende von Ausländerinnen und mache nun die Feststellung, dass diese ausländischen Arbeiterinnen … schwanger werden“.2 Den NS-Apparat traf diese Situation unvorbereitet. Klar war nur: die Arbeitskraft Frau durfte nicht vermindert werden.

Die schwangeren Ostarbeiterinnen wurden in die „Frauenklinik des Reichsgaues Oberdonau“, wie die Landesfrauenklinik damals hieß, eingeliefert. Eine eigens mit 40 Betten versehene „Ostarbeiterinnen-Baracke“ wurde im Anstaltsgarten errichtet.3 Die Landesfrauenklinik erfüllte eine der Soll-Bestimmungen zur Einrichtung solch spezieller Abteilungen: ihre Hebammen-Schule sollte die als ,minderwertig‘ klassifizierten Gebärenden zu Übungszwecken nutzen. Seit Mai 1943 bekam die „Ostarbeiterinnen-

Baracke“ eine weitere Funktion: die schwangeren Zwangsarbeiterinnen sollten nicht nur gebären, sondern auch abtreiben.

frauenverachtende Doppelmoral

Die frauenverachtende Doppelmoral des NS-Staates wird in der Gesetzgebung offensichtlich.4 Seit März 1943 fiel die Durchführung eines Schwangerschaftsabbruches an deutschen Frauen unter die Todesstrafe. Für schwangere Ostarbeiterinnen und Polinnen lag es – nach der verpflichtenden Meldung der Schwangerschaft – auch in der Macht ihrer Arbeitgeber/innen, dem Arbeitsamt oder der Polizei, den Abbruch zu beantragen. Die „Anordnung zum Schwangerschaftsabbruch“ entschieden zwei Linzer Ärzte, die als Gutachter der Ärztekammer fungierten. Die komplexe Zwangssituation relativiert jede Andeutung von ,Entscheidungsfreiheit‘.

Tamara P., 20 Jahre, aus Stalino, 5-monatige Schwangerschaft: „Über Anordnung der Gutachterstelle Schwangerschaftsunterbrechung“; Paraska K., 18 Jahre, aus Charkow, 6-7. Monat schwanger: „Zur

Schwangerschaftsunterbrechung eingewiesen“ usw. usw.

Von Mai 1944 bis Februar 1945, also in zehn Monaten, wurden 719 Frauen zur Abtreibung in die Landesfrauenklinik eingewiesen. Während drei Monaten – bis die Evakuierung der Baracke nach Bad Hall im Februar 1944 abgeschlossen war – hatten die Abtreibungen im Allgemeinen Krankenhaus in Linz stattgefunden. Ansonsten fanden dort vereinzelt Geburten und Schwangerschaftsabbrüche bei Zwangsarbeiterinnen statt.

Während in Deutschland einzelne Ärzte bekannt sind, die Abtreibungen an Zwangsarbeiterinnen zu verhindern suchten – und dafür nicht bestraft wurden 5 –, konnten derartige Bemühungen in der Ärzteschaft beider Linzer Krankenhäuser bislang keine Spuren gefunden werden. Die vielen Abbrüche von „normal verlaufenden“ Schwangerschaften auch im 5. bis in das 7. Monat bei diesen entrechteten Frauen, lässt die Durchführenden vielmehr als willige ExekutorInnen der menschenverachtenden NS-Bevölkerungspolitik erscheinen.

…drohen verdrängt zu werden

Frauen bei den Diskussionen rund um die Entschädigungszahlungen schlicht unter „Zwangsarbeiter“ zu subsumieren, hieße, sie nicht sie zu integrieren. In vertrauter Schein-Geschlechtsneutralität dominiert ein männliches Bild von „Zwangsarbeit“ und die frauenspezifischen Diskriminierungen – wovon die Zwangs/Abtreibung nur eine darstellt – drohen vergessen und verdrängt zu werden. Deswegen ist die symbolische Wiedergutmachung für Zwangsarbeiterinnen, die geboren oder abgetrieben haben, voller Wirkungsmacht: damit die ,allgemeine‘ Geschichte der Zwangsarbeit weder verzerrt noch lückenhaft rezipiert und diskutiert wird.

Gabriela Hauch, Univ-Prof. für Neuere Geschichte und Zeitgeschichte an der Johannes Kepler Universität Linz, Mitglied der Historikerkommission.

www.gedenkdienst.at/index.php?id=237

Treviso

 

US (and China)-specific NMS Passat.

Join EBRD leaders as they discuss the key needs and objectives for projects in their countries and regions over the next 24 months. Learn about upcoming projects and opportunities, and gain information to match these needs against your company’s objectives and value proposition. Getting information early can give companies time to plan and prepare. Don’t miss this event with a specific US industry focus!

♥♡♬Subscribe for more GameTunes music: www.youtube.com/channel/UCihBjFk_YKCtE87X2fIY-vQ?sub_conf... ♥♡♬Video Game Soundtrack OST:https://www.youtube.com/playlist?list=PL7rCHtwQyv2g-2vGKEfDpkJQ7R86JnK7V GameTunes is a collection of video game soundtracks spanning from retro gaming consoles such as Nintendo and Genesis to today’s Xbox and Playstation. So you can relive some nostalgia or just listen to some epic game music to help you battle your way through the work day. We also have specific long running playlists from each genera such as RPG music, fighting games, adventure and platform so GameTunes has something for every gamer geek out there.

Although it is not a specific fear, it is one of my fears which I am including under the large umbrella of 'social phobias'.

 

Honestly, I was just playing around with shutter speed and seeing what I could do with it, and this is what came out and I thought it fat my project.

 

View On Black

More on my Bike obsession.

I have tried to break down the bike and focus on specific elements.

Sisters' Meals Festival Of Miao Ethnic Group

 

The Sisters’ Rice Festival is sometimes called Sisters’ Meal Festival or Eat Sisters’ Rice Festival. The legend is there was once an old man and his wife who had three beautiful daughters. One day while they played on the riverside, the young girls felt lovesick. Zhang Guolao, a bearded God who carried a bamboo tubular drum, possessed the spirits of the girls, telling them to prepare five-colored rolls of glutinous rice filled with shrimp, fish and other special things. When young men came down from the mountain, the beautiful girls presented the rice to them. In this way, the young girls found their marriage partners

 

Sisters’ Meal festival, which takes in the Spring, is specific to southeast Guizhou. During the third lunar month in Shidong, Taijiang County in Southeast Guizhou Province, girls flock to the mountains to collect wild flowers and berries to dye the glutinous rice known as Sister’s Rice and everyone cooks up a storm! A storm of glutinous rice that is — dyed in several colors and formed into balls. Each girl prepares her rice with a symbol then wraps it in a handkerchief or put inside small baskets

The Miao minority “Sisters’ Rice Festival” is a celebration of spring and of love. Dressed in finest embroidered and appliqued clothing, adorned in all their freshly shined silver jewelry, young women set out to attract a suitable mate. That’s the traditional goal, but fun is the name of the game! Two, sometimes three, festival days are filled with dancing, singing, eating, drinking lots of rice wine, watching bull fights and cockfights, and horse racing.

 

The Festival brings villagers from many remote areas together, the girls beautifully dressed in their embroidered costumes. A kaleidoscope of colors, local customs and traditions, signature costumes and hairstyles provide a never-ending fashion show. It is said that the Miao originated from the egg of a butterfly that emerged from a maple tree. The butterfly married a bubble and laid twelve eggs. A mythical bird called the Jiyu watched over the eggs for twelve years and finally they hatched into a Miao man known as Jiangyang, a Thunder God known as Leigong, a water buffalo, snake, dragon, tiger, centipede, elephant and four other omens. All of these symbols are found in the exquisite embroidery and colorful decoration of these artistically talented people.

 

In anticipation of the Sisters’ Rice Festival, the grandmothers, mothers and other female relatives polish and shine the collection of silver neck rings, bracelets, anklets, earrings, hair pins and combs, rings and pendants, phoenix crowns and headpieces that the young courting-age girls will wear. The Miao believe that silver, representing light, dispels evil spirits. Silver is also a symbol of wealth and beauty, and some young women wear several kilograms of it at one time. Dazzling embroidered skirts, blouses, aprons and jackets are decorated with many different tooled silver ornaments. Pretty necks are encircled with bands of silver and linking silver chains that support large shining lockets, glittering beads and hanging tassels. Elaborate silver headpieces crown the heads of the girls as they proudly display their self-made costumes.

 

The festival always begins with special family meals. Sharing traditional foods such as rice that has been colored with the dyes of different leaves, berries and flowers, then cooked in bamboo tubes, and homemade rice wine, is similarly practised among the many Miao tribes. Some of the dyed rice is molded into balls that hold hidden treasures. These rice balls are presented to the young men who come to visit, and each treasure has a different meaning. Pine needles mean “You should give me embroidery needles.” and corn silk is a suggestion of fine yarn. A thorn tells the lucky fellow “You are the one!” Chopsticks or red flower pistils say, “Let’s marry quickly — the sooner the better.” And a single chopstick, some garlic or chili means, “Find someone else!”

Meanwhile, you will find many elders at the cockfighting competitions, trading at the daylong markets, or leisurely rowing long dugout canoes on the river beside the festival ground. This is a time of camaraderie and “catching up.” Mid-morning approaches, and the elders rush off to the bullfights. Excitement rises as the mighty bulls lock horns, trying to wrestle each other to the ground. All day long, one bull after another is defeated and then the final match begins. The winning bull brings great honor and riches to his owner for the following year, so although it is festival, the participants enter into the fights with a certain seriousness. Such anxiety calls for much merriment, eating, drinking and friendly betting. The champion bull’s horns are festooned with chickens, ducks, red ribbons and flowers as he is led around the battleground and through the town, snorting proudly for all to see. Finally he is bathed in the soothing waters of the Qingshui. The crowds thin out as people join picnics and special feasts.

 

The Qingshui riverside becomes lively and exciting as the music and dancing begins. As they walk and dance, the lovely Miao girls jingle and shimmer in the sun. Their cheeks burn with excitement while they flirt with handsome young men, each of whom is searching for a beauty worthy of his strength and handsomeness. Towards evening the newly formed couples break away and begin singing together.

When darkness falls, the festival beat increases as the dragon dances begin. Candles are lit inside the 25-meter-long hollow paper dragons. Battles begin as the fiery dragons weave in and out of the hooting crowds chasing each other. Drums and fireworks complete the noisy atmosphere. Into the evening, the elders continue to make the rounds, greeting their friends, swapping stories and songs, sharing tobacco and wine As the moon rises high in the night sky, young lovers wander off. The mountain paths are busy with the sounds of tinkling footsteps and clear melodious voices singing gentle love songs to the tunes of Lusheng pipes. Long into the night, the partying continues… Bamboo flutes and wooden drums echo sounds throughout the valley as the dawn breaks, beginning the next day’s festivities. As crowds slowly gather, the lovely dancing girls strut like peacocks while the boys look on admiringly

Identifying a specific species of lacewing at this stage is remarkably difficult, but I'd like to introduce y'all to some species of Ceraeochrysa, known colloquially as trash bugs! Another more fitting name is aphid lions, due to their absolutely abhorrent appetite and general aggression towards aphids and other small sap suckers.

 

I spotted him from halfway across the yard, as he looked like a sentient, shrunken snowball roaming the dying carcass of my tea (Camellia sinensis) plant in the corner of the garden. Once I leaned in, I knew I had a good one for show and tell!

 

The atrociously large mound on his back is made of the carcasses of his prey, mixed together wit a bit of debris, and glued together with mounds of the waxy secretions left over from his targets. For a bit of somber scale, this fella was around 5mm long, and the mound on his back was easily longer than him by multiple millimeters. It was also approaching the same number in altitude.

 

These guys are ridiculously ruthless, and will mince their meals using their mighty mandibles. I actually filmed a short clip of a related species feeding on an aphid a few weeks back, and I'll link it below. Because they are so small, they almost seem "dainty" from a distance, so I'm really glad I was able to capture this perspective and show the menacing mug of the monster under the mountain of muck!

 

This portrait was captured at 1:1 using my Vivitar (Komine) 90mm f2.8 Macro. This photo is cropped and rotated upside down, because I thought it framed the fearsome features of his face better. This sap sucker serial killer is around 5mm long!

 

The video I mentioned above can be found here!

 

www.flickr.com/photos/willieluker/55267356501/in/datepost...

Day 236 of 365: a year in songs and photos

Song: R. Kelly, I Believe I Can Fly

 

Of course there is a specific reason I used this song. Gimme a minute.

 

We made it through graduation sunshine intact today. Maybe too much sunshine. It was about 100 degrees and humid and we're all sunburned and dehydrated, but it was worth every second. Watching my daughter out there - receiving her diploma as well as performing the Star Spangled Banner in sign language - it was amazing and wonderful and beautiful and bittersweet.

 

There's so much I could write about my daughter and why I am so proud of her, and how she struggles with a lot of things, including OCD, and gets through all of them and why her graduating with not just good grades, but good friends and the admiration of all her teachers is such a moment of pride.

 

Anyhow. Before I cry again.

 

This is something I wrote on June 20, 2001, as Natalie was preparing to graduate from elementary school. Fifth grade. I still think about the words I wrote that day, and how everything that happened in 5th grade had such a huge impact on the girl who accepted her high school diploma today, and the person she is.

 

June 20, 2001

 

There is a sign hanging up in Natalie's classroom. It states, as the song goes, "I Believe I Can Fly." If Natalie believes she can fly, it is because her teacher has given her wings.

 

Natalie graduates from elementary school tomorrow. It has been a long, stressful and demanding road to this day. From pre school, when I was told she would never read on her age level or do math, to this year - just yesterday - when she brought home her Math Olympics certificate. From kindergarten, when she had no friends, to 5th grade, when the phone never stopped ringing.

 

The years before this one were difficult. They were marked by low self esteem, learning difficulties, peer pressure, dejection, rejection, and my own depression. Natalie struggle through 3rd grade to fit in, anywhere. To be a better reader, a better basketball player, a better student. To have a friend, even just one. To be happy. She never stopped trying. She never gave up. And I never gave up on her.

 

This year has seen Natalie grow from an insecure, quiet mouse, to a lion that roared.

 

I believe that each child has in them unique talents and gifts that will go unrecognized unless they have the right teacher. I believe that a child's love and excitement for school is in direct proportion to their love and admiration for their teacher. Natalie loved school this year. She treasured it. She looked forward to each day, each project, each challenge. She persevered through homework that seemed to never end and books that were difficult to understand. She never gave up. She became a writer. She found her voice, and in turn, found her unique talent. She had a teacher who worked that talent, who nurtured it and watered it like a beautiful flower.

 

Never once this year did Natalie complain about school. Never once did she beg to stay home. Never once did she complain about being alone on the playground or lonely after school. Never once did she make a disparaging remark about her teacher. She smiled. She spoke out loud. She made eye contact. She excelled in math and read voraciously. She was in chorus and band and drama, giving her best in all. She stood her ground on an otherwise all boy team in basketball. She stood up to a bully. She stood up for her friends. She found her voice. She found it in the form of her 5th grade teacher, who made every single child in her class feel as if they were the most important, talented special person on the earth.

 

She may never have a teacher like that again. I can only be thankful that she did this once, that she had this teacher at a pivotal point in her life, when she was teetering on the brink of a very large crack. Because of this teacher, Natalie did not fall through that crack. She will not be one of those lost kids who never quite fit in, never quite enjoy school, never quite smile. She will shine in whatever she does because she has been given wings by one very special person. Because of her, Natalie will always believe she can fly.

  

---------

 

And she did fly. She became everything Mrs. Wirth expected of her. I thank Mrs. Wirth not just for changing Natalie's life, but for helping me to see Nat's potential, to see past everything everyone else had predicted for her, and for teaching me how to extract my daughter's full potential, as well as the incredible personality that was hiding inside that little girl. I thank Mrs. Wirth for the absolute pride I had today as Natalie graduated high school.

     

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

Laminated sugar pine, modeling paste, graphite

8'h x 17'w' x 2'deep

 

CURIA, Nine Sectioned Lay-Ins With Predella is the fifth part of THE NARCISSUS PENTOLOGY (1971-1982). It was begun in November, 1979, and completed during the winter of 1981-1982.

 

THE NARCISSUS PENTOLOGY:

Homage to Paul Apostle

Vatican Corridor, A Non-Specific Autobiography

Glimpses of the Queen, 21 Studies for a Portrait of B.T. in the Form of a Triangle

Sanctuary, Autobiography of a Studio Bench

Curia, Nine Sectioned Lay-Ins With Predella

 

In his book, THE TENTH ARCH, the artist wrote the following:

 

"CURIA is my last major carving. It is one of the very few works of my own that continue to give me pleasure when revisited. I continue to respond to its maturing golden pine and white predella. It is also one of those pieces that lie on the curve of change...and, of course, the amusing conceit of that mallet and chisel....

 

"At a forum, standing in front of CURIA, I was asked why there were more men than women (being 6 vs. 3). My answer was that the women, though one half in number, were placed at points of power: beginning, middle and end. It is true in the broad structures of connection and inter-connection. Power is feminine.

 

"As my life in the studio evolves, I feel more and more part of a consistent whole. The figures that comprise CURIA are as they are because this is the ordering of my life. My answer was simply the recognition of the fact that, indeed, there is symmetry and that this symmetry is part of a larger symmetry, and on and on. There is a true sense of delight in recognizing ones place in things."

 

Collection:

Fresno Art Museum

Fresno, California

 

The tools used by the artist in the creation of the last four parts of the NARCISSUS PENTOLOGY were mallet, wood chisels, files and sandpaper. When CURIA was finished, the mallet and principal chisel used throughout the carving process were permanently affixed to the raised portion of the predella.

 

“CURIA is the only one of the five works that does not physically include the viewer as cohabiter of its space. It exists as a line... CURIA is a canonization. For better or worse, each of us has our own particular set of saints—those who have in one way or another worked miracles. These nine are mine wherein Alice Brown (my paternal grandmother) shares equally with the likes of Rilke and Michelangelo. As they have created me, I am re-creating them and this process of creation and re-creation is unending until the end of civilization itself.” Robert Cremean

 

Each of us may have his or her own personal curia of saints, those whose influence upon us has been inspiring and profound. The nine members of this particular CURIA, in the form of a line, are the personal saints of Robert Cremean, three women and six men, all actual individuals, three of whom are still living. Robert Cremean not only honors the individuality of each but also places them within one of three triptychs. The first three are the prime influences upon his youth: a grandmother, a lover and a sculptor. The second triptych consists of three writers who most influenced and challenged him during his early middle years. And the final triptych consists of a sculptor, a writer and an intellectual sparing partner. These three, like the others of his curia, deeply challenged him on all levels: intellectually, spiritually and personally. The positioning of the three women within CURIA is noteworthy: the first figure was the prime influence of his youth, the middle figure the catalyst of his intellectual blossoming, and the last an intellectual sparing partner who brutally tested without remorse any and all ideas he presented her or that together they encountered.

 

The first figure on the left is Alice Brown, the paternal grandmother of the artist who is represented by the child she is embracing. It was her unabashed love of life, her “naughtiness” at a time when her particular innocent behavior was frowned upon by both her Ohio family and surely by her church, that endlessly delighted him. She was the matriarch who embarrassed her family but thrilled her grandson each time she could not contain an immoderate expression of her joy, an elderly lady raising her legs much too explosively high when riding a wild steed on the merry-go-round, for example. Her family blamed her exuberance and her socially uncharacteristic behavior on the facts of her own genetic heritage; she was, after all, part Cherokee and Iroquois! She imbued in her grandson that particular “naughty”and sardonic sense of humor and play that remains almost a trademark of the personality of the artist. He continues to speak of her with undiminished and respectful love.

 

The second figure was his first truly beloved, a fellow student at Cranbrook Academy of Arts in Bloomfield Hills, Michigan. Although their actual time together was not of long duration, the love and the friendship has endured, at times placidly and at others stormily enough to result in years of silence between them. In his hands is held a dove, the universal symbol of peace and of love. Perhaps it was with “J” that the artist first recognized with apodictic certainty the nature and the power of his own sexuality and of his responsibility to be respectful and true to it.

 

The third figure is that of the sculptor Donatello whose poetic clarity, sensitivity and sculptural vocabulary challenged and stimulated his imagination, works that not only occupy a particular space but which dominate and expand it and give it life, and in particular the bronze David housed in the Bargello in Florence.

 

The fourth figure, the first of the second triptych, is that of Hermann Hesse whose intellectual brilliance further galvanized his imagination to overcome the residual ideas and restrictive attitudes ingrained in him during his childhood.

 

The fifth figure is that of a writer with a profound and articulate intellect, a close friend, the person who, at a most critical moment in the life of the artist appeared and intellectually sparred with him without fear and without reservation. They maintained an intense conversation, a debate, that raged with mutual respect and with love for more than three years and that continued sporadically for many years thereafter. “D” occupies the central pivotal position in CURIA as she did in the life of the artist. Although never married and without child, she appears in CURIA to have her hands resting upon an apparent pregnancy. And those hands not only are her own but are, metaphorically within this triptych, those both of Hermann Hesse on her right and of Rainer Maria Rilke on her left, hands resting upon ideas and possibilities in gestation within.

 

The sixth figure is that of Rainer Maria Rilke. He is a personal saint of particular import to the artist, his words and ideas quoted by the artist within his own work and in lectures given by him, particularly those taken from The Notebooks of Malte Laurids Brigge.

 

The seventh figure and the first of the final triptych is Michelangelo, the chin of the bearded mature side of his double image resting upon his mallet. It would appear obvious why Michelangelo would be a member of the artist’s personal curia but it should be noted that particular works were of prime importance to Robert Cremean and continue to be so: the unfinished marble pietà in the cathedral, Santa Maria del Fiori, and the unfinished slaves in the Académia in Florence.

 

The eighth figure is that of J.A. Baker, British author of The Peregrine. When he read it, the artist was both deeply moved by the language and by the observed habits and flight of the peregrine. The figure of the author is holding a falcon, a bird in balance with the dove of the second figure in CURIA but, unlike it, is powerful and restive, recognizing the necessity to take flight both actually and metaphorically. It was at this particular moment in his life, and with the reading of The Peregrine, that the artist knew that his continuing to adhere to the socially and culturally expected and demanded behavior of an artist within the restrictive cultural metaphor was both hypocritical and impossible. The poetic majesty, the unbridled freedom, and the decisive actions of the peregrine, however cruel they may appear to the eye of the romantic initiate, metaphorically mirrored all too clearly what he felt and what would be the personal and practical decisions he would make thereafter that would radically and irrevocably change his life and the direction of his career, including his disassociation thereafter with any commercial art gallery.

 

The ninth and last of the figures of CURIA is that of B.T., a powerful intellect the artist met at the Huntington Hartford Foundation in the late 1950s. Her influence upon him was profound and their “friendship” continued for more than thirty turbulent years during which they were engaged in an endless conversation/debate, usually over vodka martinis, that invariably ended with angry exchanges followed by a delicious, often forgotten meal. When he first met her, Robert Cremean recognized that although he had read extensively he was not a reader. B.T. provided him with a specific reading list, authors he had never before encountered, authors whose works quite literally changed his view of nearly everything he had previously and thereafter encountered. Virginia Wolfe, amongst dozens of others, was prominent on the list. It was B.T. who became the subject of the third part of THE NARCISSUS PENTOLOGY, Glimpses of the Queen, 21 Studies for a Portrait of B.T. in the Form of a Triangle as well as Seven Studies for a Portrait of B.T. that preceded it.

 

At the foot of the nine figures of CURIA is the artist’s diary of sorts, an illustrative narrative in bas relief and pencil. And within the narrative is a small pyramidal platform on which are permanently placed the mallet and principle chisel used by the artist during all the years of carving. This, then, is the last carving in wood done by Robert Cremean who has made clear that he will never again take up mallet and chisel.

 

(Robert Cremean: Metaphor and Process, the video, may be seen at www.youtube.com/watch?v=mgrxW8xSvrA)

The feeling that an unornamented city lacks a "soul" or "roots" is a very common reaction to the stark, functionalist landscapes that dominated the 20th century. When we strip away the symbols, myths, and localized craftsmanship from our buildings, we often lose the narrative that connects us to our ancestors and our specific geographic place.

 

However, to understand Adolf Loos, it is necessary to separate the unintended consequences of modernism from his actual historical intentions. Applying concepts like "cancel civilization" or an anti-esoteric crusade to Loos is anachronistic and misinterprets his philosophy.

 

Here is a factual look at what Loos was actually fighting against, and why he believed removing ornament was a step forward, rather than a deliberate erasure of memory.

 

The Real Target: Fake History, Not Esotericism

Loos was not fighting against ancient esoteric traditions or sacred geometry. He was reacting against the Eclecticism of late 19th-century Vienna (the Ringstrasse style) and the emerging Art Nouveau (Secessionist) movement.

 

In Loos's time, the rising middle class was building factories and apartment blocks, but pasting cheap, mass-produced plaster gargoyles, Renaissance columns, and Baroque flourishes onto them. To Loos, this was not a preservation of sacred tradition; it was a cheap, dishonest theatrical set. He felt that slapping ancient symbols onto a modern electrical plant or a bank insulted the true meaning of those symbols.

 

Separation of Art and Utility

Loos did not want to destroy culture or memory; he wanted to protect it by separating it from everyday utility. He believed that a house or a chair was a functional object, not a canvas for artistic or spiritual expression.

 

In his view, forcing a craftsman to carve intricate, meaningless patterns into a modern object was a waste of human life and energy. He wanted to free the craftsman from tedious labor so that society could focus its spiritual and artistic energy on actual art—like painting, music, and sculpture—rather than on decorating a shoehorn or a building facade.

 

A Love for the Classics, Not a Hatred of the Past

It is a massive misconception that Loos hated the past or wanted to erase history. In fact, Loos deeply revered ancient Roman and Greek architecture. He believed the ancients had perfected certain forms, and he frequently used classical proportions and rich, traditional materials (like deeply veined marble and polished wood) in his interiors.

 

His famous, unbuilt entry for the Chicago Tribune Tower in 1922 was literally designed as a massive, towering Doric column. He didn't want to cancel the past; he believed that modern humanity should express its "roots" through the honest use of high-quality, natural materials and perfect proportions, rather than through carved, superficial symbols.

 

The Unintended Legacy

While Loos sought honesty and clarity, the architects who followed him (the International Style) often took his ideas to an extreme. They stripped away not just applied ornament, but also local context, climate adaptation, and human scale, leading to the "soulless" concrete blocks that many people criticize today. Loos opened the door, but he did not necessarily envision the totally homogenized, glass-and-steel cities that eventually covered the globe.

 

Looking back at those deeply symbolic buildings from the 19th century compared to the stark minimalism of the 20th, do you think it is possible for contemporary architecture to reconnect with that esoteric, symbolic "soul" without simply copying the styles of the past?

Loos was reacting against the Eclecticism of late 19th-century Vienna (the Ringstrasse style) and the emerging Art Nouveau (Secessionist) movement.

 

In Loos's time, the rising middle class was building factories and apartment blocks, but pasting cheap, mass-produced plaster gargoyles, Renaissance columns, and Baroque flourishes onto them. To Loos, this was not a preservation of sacred tradition; it was a cheap, dishonest theatrical set. He felt that slapping ancient symbols onto a modern electrical plant or a bank insulted the true meaning of those symbols.

 

Separation of Art and Utility

Loos did not want to destroy culture or memory; he wanted to protect it by separating it from everyday utility. He believed that a house or a chair was a functional object, not a canvas for artistic or spiritual expression.

 

In his view, forcing a craftsman to carve intricate, meaningless patterns into a modern object was a waste of human life and energy. He wanted to free the craftsman from tedious labor so that society could focus its spiritual and artistic energy on actual art—like painting, music, and sculpture—rather than on decorating a shoehorn or a building facade.

 

A Love for the Classics, Not a Hatred of the Past

It is a massive misconception that Loos hated the past or wanted to erase history. In fact, Loos deeply revered ancient Roman and Greek architecture. He believed the ancients had perfected certain forms, and he frequently used classical proportions and rich, traditional materials (like deeply veined marble and polished wood) in his interiors.

 

His famous, unbuilt entry for the Chicago Tribune Tower in 1922 was literally designed as a massive, towering Doric column. He didn't want to cancel the past; he believed that modern humanity should express its "roots" through the honest use of high-quality, natural materials and perfect proportions, rather than through carved, superficial symbols.

 

The Unintended Legacy

While Loos sought honesty and clarity, the architects who followed him (the International Style) often took his ideas to an extreme. They stripped away not just applied ornament, but also local context, climate adaptation, and human scale, leading to the "soulless" concrete blocks that many people criticize today. Loos opened the door, but he did not necessarily envision the totally homogenized, glass-and-steel cities that eventually covered the globe.

 

Looking back at those deeply symbolic buildings from the 19th century compared to the stark minimalism of the 20th, do you think it is possible for contemporary architecture to reconnect with that esoteric, symbolic "soul" without simply copying the styles of the past?

Before the 20th century, architecture was fundamentally communicative. The concept of "architecture parlante" (speaking architecture) dictated that a building should visually announce its function, its status, and its values to anyone walking by.

 

Architects used this symbolic language for several key reasons:

 

Civic Legibility: In eras where literacy was not universal, a building had to explain itself visually. A courthouse featured the scales of justice; a bank displayed the caduceus of Mercury (symbolizing commerce) or cornucopias (wealth); a theater featured the masks of comedy and tragedy.

 

Historical Lineage and Power: By borrowing symbols from ancient Greece, Rome, or the Gothic era, institutions legitimized themselves. A 19th-century bank designed like a Greek temple wasn't just a place to store money; it was using the symbols of antiquity to project permanence, security, and democratic ideals.

 

The 19th-Century Eclectic Boom: During the Industrial Revolution, new types of buildings emerged (train stations, massive department stores, large factories). Architects, unsure of what a "train station" should look like, masked these modern iron-and-glass structures behind heavily ornamented, symbolic stone facades to make them feel familiar and grand.

 

For centuries, a facade was essentially a billboard, heavily layered with a recognized dictionary of mythological and historical symbols.

 

Adolf Loos fundamentally despised this approach. In his explosive and highly influential 1908 essay, Ornament and Crime, he argued that applying symbols and ornaments to modern buildings was not just bad taste—it was a societal regression.

 

Here is why Loos "canceled" symbolic architecture:

 

Cultural Evolution: Loos argued that as civilizations evolve, they naturally shed ornamentation. He controversially compared architectural ornament to tattoos, claiming that what was acceptable for ancient or "primitive" societies was degenerate for modern, civilized humanity. To him, an unadorned surface was a sign of intellectual maturity.

 

The Masking of Reality: Loos believed that 19th-century architecture was dishonest. He hated that a modern, bustling capitalist city like Vienna was dressed up to look like a Renaissance theme park. He wanted buildings to reflect the reality of the modern, industrial age: efficient, clean, and rational.

 

Economic and Social Waste: He made a strong economic argument. Carving intricate symbols into stone took immense time, labor, and money. Loos viewed this as wasted human effort that slowed down progress and kept craftsmen engaged in meaningless, repetitive work instead of producing affordable, modern goods.

 

Material Truth over Carved Symbols: Loos did not hate beauty; he just hated applied beauty. He believed that the natural grain of rich wood, the veining of marble, and the clean proportions of a wall were beautiful enough on their own. The material itself should be the decoration, without the need to carve a mythical god into it.

 

"Ornament and Crime" is an essay and lecture by modernist architect Adolf Loos that criticizes ornament in useful objects.

 

History

Contrary to popular belief that it was composed in 1908, Adolf Loos first gave the lecture in 1910 at the Akademischer Verband für Literatur und Musik in Vienna. The essay was then published in 1913 in Les Cahiers d’aujourd’hui in French as Ornement et Crime. Only in 1929 was the essay published in German in the Frankfurter Zeitung, as Ornament und Verbrechen. It was the architect Henry Kulka, who assisted Loos during a reprint of the essay in 1931 in Trotzdem, that altered the original year to 1908 after he consulted Loos, who either didn't remember well or wanted to assume primacy in the confrontation against the Secessionists.[1]

 

Content

The essay was written when Art Nouveau—known as Secession in Austria and which Loos had excoriated even at its height in 1900—was showing a new way forward for modern art. The essay was important in articulating some moralizing views, inherited from the Arts and Crafts movement, which would be fundamental to the Bauhaus design studio, and would help define the ideology of modernism in architecture.

 

"The evolution of culture marches with the elimination of ornament from useful objects", Loos proclaimed, thus linking the optimistic sense of the linear and upward progress of cultures with the contemporary vogue for applying evolution to cultural contexts.[2] Loos's work was prompted by regulations he encountered when he designed a building without ornamentation opposite a palace. He eventually conceded to requirements by adding window flower boxes.[3]

 

In the essay, Loos explains his philosophy, describing how ornamentation can have the effect of causing objects to go out of style and thus become obsolete. It struck him that it was a crime to waste the effort needed to add ornamentation, when the ornamentation would cause the object to soon go out of style. Loos introduced a sense of the "immorality" of ornament, describing it as "degenerate", its suppression as necessary for regulating modern society. He took as one of his examples the tattooing of the "Papuan" and the intense surface decorations of the objects about him—Loos says that, in the eyes of western culture, the Papuan has not evolved to the moral and civilized circumstances of modern man, who, should he tattoo himself, would either be considered a criminal or a degenerate.[4][5]

 

Loos never argued for the complete absence of ornamentation, but believed that it had to be appropriate to the type of material.[3]

 

Loos concluded that "No ornament can any longer be made today by anyone who lives on our cultural level ... Freedom from ornament is a sign of spiritual strength".[5]

 

See also

Form follows function

Modern architecture

Utilitarian design

References

Christopher Long, “Ornament, Crime, Myth, and Meaning”, 85th ACSA Annual Meeting Proceedings, Architecture: Material and Imagined, 1997.

Canales, Jimena; Herscher, Andrew (2005). "Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos" (PDF). Architectural History. 48: 235–256. doi:10.1017/S0066622X00003798. JSTOR 40033840.

Wise, Michael (4 December 2013). "Reassessing an Uproar in Architecture". New York Times. New York. Retrieved 27 July 2016.

Adolf Loos (1908). Ornament and Crime (PDF). Innsbruck, reprint Vienna, 1930. Archived (PDF) from the original on 2015-04-03.

Rawson, Jessica (1984). Chinese ornament: the lotus and the dragon. London: British Museum Publications. p. 19. ISBN 0-7141-1431-6.

Further reading

Reyner Banham, 1960. Theory and Design in the First Machine Age, Characteristic attitudes and themes of European artists and architects, 1900–1930.

Siegfried Giedion. Space, Time and Architecture: The Growth of a New Tradition.

Adolf Loos, "Ornament und Verbrechen" Adolf Loos: Sämtliche Schriften in zwei Bänden – Erster Band, Vienna, 1962.

Joseph Rykwert. "Adolf Loos: the new vision in Studio International, 1973.

Janet Stewart, Fashioning Vienna: Adolf Loos's Cultural Criticism, London: Routledge, 2000

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Categories: Modernism1910 essays1910 in artArt criticismOrnamentsDecorative arts

 

en.wikipedia.org/wiki/Ornament_and_Crime

Chassisnumber: 1100B*311918*

There are many cars loved for one reason or another. Some recall specific aspects of our history. Few, like the Fiat 1100, tell so many stories of Italy, from the late 30s to the late 60s. The 1100 was born from an offshoot of the Fiat 508C, the Nuova Balilla 1100 and was nicknamed "musone" due to the imposing grille. The Fiat 508 C was first introduced in 1937, powered by a 1,089cc 4-cylinder engine, instead of the previous 1-liter Balilla. Power increased by a third, to 32 hp at 4,000 rpm. At the time, its comfort, handling and performance were prodigious, making it "the only car for the people that was also the car for a driver". Unusual for a low-priced car of the time was the independent front suspension. In 1939 the car underwent a makeover of the nose and became the Fiat 1100, sometimes known “retrospectively” as the 1100 A to distinguish it from the following models. The car had received a taller and more defined grille, which earned it the popular nickname of 1100 "musone": with horizontal chrome bars, the top three extending backwards on window-shaped openings on each side of the engine hood, redesigned. There were six body types available, all derived from the previous model: sedan, convertible sedan, convertible, sports sedan, long wheelbase and taxi. No significant changes were made to the mechanics of the car. After World War II, in 1948, the 1100 received some mechanical and interior updates and was renamed 1100 B. The revised 1100 B engine produced 35 hp at 4,400 rpm, thanks to larger intake and exhaust manifolds and to a larger carburetor. Inside, a new steering wheel and new instrumentation. The 1100 B was available as a sedan, long wheelbase and taxi. A total of 25,000 units were built between 1948 and 1949. The 1100 B only lasted a year, until 1949, when the car was reintroduced with a new trunk and a new name, 1100 E.

 

23 and 24 April 1950: at the Mille Miglia, no less than 204 of the registered starters were production cars. In that year, history meets legend: after thirteen hours of driving that led him to victory, with about seven minutes ahead of the crew that followed, Count Giannino Marzotto got out of his car wearing a double-breasted suit and a tie matching the color of his car, a Ferrari 195 S Berlinetta Touring in an unusual pastel blue livery. But other stories alternate that year during the race; one is the one that brings, with race number 114, the Fiat 1100 B with chassis no. 311918 to cover the 1500 km route without fail, with the crew Paolo Rossi - Alessandro Rossi, to rank 125th overall and 35th in the Turismo 1100 category, maintaining a respectable average speed of 86.24 kph on the course. The car has therefore obtained the certification of the 1000 Miglia Register and the proof of the time is evidenced by numerous photos that portray it both in Brescia and in the passage through Florence. The car also raced the Volante d’Argento, in September of the same year, ranking an honorable 3rd position in class. The car then seems to have had a quieter life in later years, mostly in Italy. The car was restored in its wonderful ash blue and wears the same livery with which it raced in 1950, with the same race numbers, the insignia of the “Squadra Garisenda” team, the third central headlight.

Project Room

Barry McGee (TWIST)

Site-Specific Loft Installation

 

"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."

 

Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.

 

I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it. He said they got to talking and then Barry asked, "Can I build a loft?" And they did. A real interesting space. Well worth a visit in my opinion.

I've spent a lot of time this year cleaning out the thicket on the outside fringe of the property and planting some specific ferns, flowers, shrubs, and trees... in another five years or so, I might have the makings of a Callaway Gardens here, albeit on a much (much) smaller scale. I can't wait to see everything come together and bloom... "Patience, Grasshopper." Shut up!

 

The forest floor throughout much of North Carolina consists of loam, and much of that consists of clay, and it's some tough stuff to dig up. If I get a good start after breakfast, I can usually have a fairly deep hole dug before the sun sets... and I have plenty of experience with a shovel. In that hole goes organic clay breaker to help roots of those things I plant make a better path through that loam, and then the plant and garden soil specific to what I'm planting in that hole. I've moved a lot of dirt.

 

I was taking a break, so I thought I'd get a picture of that dirt when this lizard just walked into the frame and photobombed it. Actually, it had found its way into an open bag of clay breaker... I had poured it out with the material into a hole, where it became captive to the camera.

 

I have tried to get a decent picture of one of these critters since I've had a camera. I see them all the time lounging outside the house and in the garden... until I approach them with the camera. You can almost hear them say, "¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba! ¡Epa! ¡Epa! ¡Epa! Yeehaw!", as they zip off at about 200 mph... I think they got lessons from Speedy Gonzales, though how they get up to speed on those spindly legs, only God knows.

 

This particular one stayed relatively calm and cool in the bottom of the hole. I shot it using a 400mm zoom lens and an extension tube to stay far enough away so it would stay that way. Commonly called blue-tailed skinks in these parts, they're actually juveniles of the American five-lined skink. Their colors change as they become adult, and they look quite different.

 

I was quite happy to get such a sharp shot, especially of that electric blue tail. It's one of the few times in my life that I've been able to get a reptile to cooperate. Even as a kid, I had been chased out of many a good fishin' hole by alligators or notoriously bad-tempered cottonmouths, as well as finding myself face-to-face with rattlesnakes a couple of times. Thankfully, I've been able to walk away unscathed... or should I say run, for the most part? Either way, I refused to cooperate on their terms. That reminds me, do you know what you've got when an alligator clamps onto your arm? Reptile dysfunction.

Crown room: The rooms of the southern suite, overlooking the Upper Garden, had no specific purpose and were often used as guest rooms. Their decor, based on Rastrelli's designs, has been preserved, with some modifications. The main decoration of the rooms was silk wallpaper. Each room had its own pattern and color scheme. The Grand Palace of Peterhof ranked first among Russian palaces for the luxury and variety of its silk wallpapers.

 

The final room, adjacent to the central part of the palace, was designed in 1770 by Felten as a formal bedchamber. At its back is an alcove niche containing a carved, gilded bed, typical of similar 18th-century interiors. It was probably made by Italian craftsmen. The walls are covered with Chinese silk wallpaper depicting the porcelain-making process. The ceiling is adorned with a painting of "Venus and Adonis." The room is connected by a passage to a similar room in the northern, female half of the palace. However, it wasn't until a quarter of a century later that Paul I became the first owner of the bedchamber. The architect V. Brenna designed a stand for the crown especially for him. From then on, the room was known as the Crown Room.

I attended AllFord at Alford this afternoon Sunday 19th August 2018, its a yearly event attended by Ford car lovers and owners displaying their cherished vehicles within the grounds of Grampian Transport Museum in Alford, Aberdeenshire .

 

I had my Nikon D750 with me, I walked the grounds capturing cars that caught my eye or have a specific interest for me, after the event had ended I stayed around to watch the cars leave etc, climbing over the barrier and up a small hill I noticed a row of Aston Martins all parked together, excitement overtook me and I snapped away capturing each car in detail, finally I whipped out my iphone to capture the scene on video, this file is the result.

 

Aston Martin DB5

 

The Aston Martin DB5 is a British luxury grand tourer that was made by Aston Martin and designed by the Italian coachbuilder Carrozzeria Touring Superleggera. Released in 1963, it was an evolution of the final series of DB4. The DB series was named honouring Sir David Brown (the owner of Aston Martin from 1947 to 1972).

 

Although not the first in the DB series, the DB5 is famous for being the most recognised cinematic James Bond car, first appearing in the James Bond film Goldfinger (1964).

 

Design

The principal differences between the DB4 Series V and the DB5 are the all-aluminium engine, enlarged from 3.7 L to 4.0 L; a new robust ZF five-speed transmission (except for some of the very first DB5s); and three SU carburettors.

 

This engine, producing 282 bhp (210 kW), which propelled the car to 145 mph (233 km/h), available on the Vantage (high powered) version of the DB4 since March 1962, became the standard Aston Martin power unit with the launch in September 1963 of the DB5.

 

Standard equipment on the DB5 included reclining seats, wool pile carpets, electric windows, twin fuel tanks, chrome wire wheels, oil cooler, magnesium-alloy body built to superleggera patent technique, full leather trim in the cabin and even a fire extinguisher. All models have two doors and are of a 2+2 configuration.

Like the DB4, the DB5 used a live rear axle.

 

At the beginning, the original four-speed manual (with optional overdrive) was standard fitment, but it was soon dropped in favour of the ZF five-speed.

 

A three-speed Borg-Warner DG automatic transmission was available as well.

The automatic option was then changed to the Borg-Warner Model 8 shortly before the DB6 replaced the DB5.

 

Standard coupé:

* Engine: 3,995 cc (243.8 cu in) Inline-6

* Power: 282 bhp (210 kW) at 5,500 rpm (210) Net HP

* Torque: 288 lb·ft (390 N·m) at 3,850 rpm

* Weight: 1,502 kg (3,311 lb)

* Top Speed: 143 mph (230 km/h)[8]

* 0–60 mph (97 km/h) Acceleration: 8 s

 

James Bond's DB5

 

Two Aston Martin DB5s were built for production, one of which had no gadgets.

The Aston Martin DB5 is one of the most famous cars in the world thanks to Oscar-winning special effects expert John Stears, who created the deadly silver-birch DB5 for use by James Bond in Goldfinger (1964). Although Ian Fleming had placed Bond in a DB Mark III in the novel, the DB5 was the company's latest model when the film was being made.

 

The car used in the film was the original DB5 prototype, with another standard car used for stunts. To promote the film, the two DB5s were showcased at the 1964 New York World's Fair, and it was dubbed "the most famous car in the world",and subsequently sales of the car rose.[12] In January 2006, one of these was auctioned in Arizona; the same car was originally bought in 1970 from the owner, Sir Anthony Bamford, by a Tennessee museum owner.[13] A car, mainly used for promoting the movie, is now located in the Louwman Museum, Netherlands.

 

The first DB5 prototype used in Goldfinger with the chassis number DP/216/1 was later stripped of its weaponry and gadgetry by Aston Martin and then resold. It was then retrofitted by subsequent owners with nonoriginal weaponry. The Chassis DP/216/1 DB5 was stolen in 1997 from its last owner in Florida and is currently still missing.

Within the universe of James Bond, the same car (registration BMT 216A) was used again in the following film, Thunderball, a year later.

 

A different Aston Martin DB5 (registration BMT 214A) was used in the 1995 Bond film, GoldenEye, in the which the car is Bond's personal vehicle. Three different DB5s were used for filming. A variation of the registration number (BMT2144) was used on the BMW 750IL in Tomorrow Never Dies (1997) and was set to make a cameo appearance in the Scotland-set scenes in The World Is Not Enough (1999), but these were cut in the final edit. Yet another DB5 appeared in Casino Royale (2006), this one with Bahamian number plates and left-hand drive (where the previous British versions had been right-hand drive).

 

Another silver-birch DB5 with the original registration BMT 216A is used in the 23rd James Bond film, Skyfall, during the 50th anniversary of the release of the first James Bond film Dr. No.

 

In the film "M" (Judi Dench) describes the car as "not very comfortable". The DB5 is destroyed in the film's climactic finale. It is seen again in Spectre, firstly in Q's underground workshop in various stages of rebuild, and at the film's ending, fully rebuilt, with Bond driving away with it.

 

On 1 June 2010, RM Auctions announced the upcoming auction of a DB5 used in both Goldfinger and Thunderball. The owner (Jerry Lee, president/owner of WBEB Radio in Philadelphia, Pennsylvania) originally bought the car from the Aston Martin company in 1969. At the auction, the DB5 was sold for £2.6 million.

 

In popular culture

 

Although the DB5 is often credited as being the first car James Bond drives in the movies, it is in fact not. The first "Bond car" was a 1962 Sunbeam Alpine Series II used in the very first movie Dr. No. The DB5 is however unquestionably the most recognised cinematic James Bond car.

 

It was also used by actor Roger Moore, as he played a James Bond parody character in the film The Cannonball Run. Moore plays Seymour Goldfarb, Jr., a man who believes himself to be both Roger Moore and James Bond, who participates in a madcap, cross-country road race. The registration number BMT 216A, and the original bond car in its original dark red paintjob also appear in "The Noble Sportsman", a 1964 episode of "The Saint" TV series starring Roger Moore.

 

The 1983 reunion telefilm The Return of the Man from U.N.C.L.E.: The Fifteen Years Later Affair includes a brief cameo by George Lazenby as "JB", a white-tuxedoed British man shown driving an Aston Martin DB5, who assists Napoleon Soloduring a car chase. "It's just like On Her Majesty's Secret Service," enthuses a female character at the conclusion of the cameo. This special came out in 1983, the same year as Octopussy and Never Say Never Again.

 

It appears in several video games such as 007 Racing, Driver San Francisco (Deluxe Edition), James Bond 007: Agent Under Fire, From Russia with Love, and James Bond 007: Blood Stone. The From Russia with Love movie was released in 1963, one year before Goldfinger (in which the DB5 used the first time), but the video game used the car.

 

It appeared in animated form in James Bond Jr. in the very first episode "The Beginning". In the episode it was able to transform into a plane and could be driven by remote control. The car was destroyed in a plane crash and its remains recycled into a red sports car, which the PAL VHS cover identifies as the "Aston Martin Super".

A version of the car appeared in Grand Theft Auto: London 1969, being called a "James Bomb".

 

Leonardo DiCaprio was seen driving one in Catch Me If You Can, imitating Bond (even down to the suit) in Goldfinger.

In 2003, it appears in the action comedy film Charlie's Angels: Full Throttle, driven by Bernie Mac's character, Jimmy Bosley. It is only seen once in which Bosley is driving a witness, Max Petroni (portrayed by Shia LaBeouf) to his mother's house, to be safe from the O'Grady Crime Syndicate.

 

The 2004 French spy comedy film, called Double Zéro (directed by Gérard Pirès) also showed a DB5. It can be seen once in the film, when the two main characters go to meet the parody of Q.

 

In 2011, an Aston Martin DB5 appeared in heavily stylized form as "Finn McMissile", a British secret agent voiced by Michael Caine in the 2011 Pixar film Cars 2. The car character was a homage to the Bond DB5 although has also been known to bear resemblance to the Volvo P1800, as used by the fictional British secret agent Simon Templar in The Saint.

 

In 2013, Grand Theft Auto V featured a car called the "JB 700" that heavily alluded to being a DB5, or was based on the DB5; specifically the one used by James Bond. Need for Speed: Most Wanted released a DLC named "Movie Legends" that featured the car.

 

The music video for the Usher song Burn, features a DB5. The exact same car with the same registration number appears a number of times in the short lived TV series Fastlane, it later turned out to be fake.

 

In the 2015 TV series Thunderbirds Are Go a DB5 can be seen as Lady Penelope gets into Fab 1 in the first episode Ring Of Fire.

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

 

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

 

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

 

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

 

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

 

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

 

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

 

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

 

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

 

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

 

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

 

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

 

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

 

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

 

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

 

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

 

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

 

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

 

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

 

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

 

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

 

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

 

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

 

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

 

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

 

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

 

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

 

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

 

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

 

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

 

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

 

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

 

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

 

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

 

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

 

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

 

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

 

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

 

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

 

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

 

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

 

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

 

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

 

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

 

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

 

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

 

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

 

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

 

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

 

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

 

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

 

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

 

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

 

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

 

WIKIPEDIA

MGA really knows how to get a secure hold of my wallet. Not only am I a raging L.O.L. Surprise tot addict, but I have a specific affinity for large packs of dolls. This kind of set did not exist when I was a kid. I've mentioned it time and time again on all the various doll packs I own. But back in those days, the mini Disney dolls were about the only ones you could buy in sets of more than two dolls (there was of course the occasional sister pack that had three, maybe four). As time goes on, it seems that the number of dolls kids own increases exponentially every year. This is probably due to the scale of mass production and monetary inflation. Dolls cost very much the same as they did when I was a kid (thus sometimes the lack in quality). I think that their availability and the fact that many dolls cost less than they would have years ago attributes to why kids tend to own more now. A twelve pack of dolls would have seemed excessive back in the 90s/early 2000s. It would have been completely unheard of back in the 1960s (those gift sets with Barbie and a few outfits would now retail for $80 plus). I've always been drawn to the lure of a doll pack because I didn't have access to them growing up (other than of course sister sets and couple packs). I will say that the excessive packaging and needless surprise gimmick with these L.O.L. sets is off putting. If I know who is in the set, why all the extra waste?

 

I didn't even know this set existed until the day I saw it at the store. It must have come out very recently, because just a few weeks prior, I had updated my L.O.L. guide. That meant I scoured the internet for various new L.O.L. releases to catalogue them. At the time, there were only 3 and 6 packs available. Those were no bargain, and I did not understand why MGA didn't encourage you to "collect them all." Some characters appeared in many of the sets. So if you bought them all, you'd have duplicates, even triplicates, in the case of some dolls. I didn't honestly think I'd get any of the Confetti Pop re-releases for this reason. But then I saw the 12 Pack at Target one December Saturday in 2020. There was a plethora of sales going on that morning. The most appealing one was for this gigantic pack. I wasn't going to buy it...I was trying to be responsible and frugal. But Colleen urged me to double back and at least look at the price. We had read the wrong price tag originally--thinking this was on sale for $80, marked down for $100. We realized that said price sticker was for the Ultimate Collection packs (the Series 1 re-releases). When I scanned this set, it was marked down by 50%!!! Originally it retailed for a whopping $130. I'm not sure why these dolls were priced more than the Series 1 gals. My best guess is that they are better quality (in terms of paint), and they do seem to come with a few more accessories. Since we had two gift cards that more than covered the cost, we had to get this set. It was also the last one left at our store!

 

This 12 Pack was so much fun to open. Well, it was annoying with all the confetti that made a mess in the living room. I ended up opening the balls over a trash bag because the mess the confetti was creating stressed me out. The balls were annoying to work with too, because the accessories/clothes were jammed into little compartments. Many items were deformed because of this, or were very difficult to get out. I wish they had just sold the dolls fully dressed, on display in the package. But kids for whatever reason love the stupid surprise aspect (even when you know what is in the pack...insert eye roll). I love these dolls even more than my Ultimate Collection ones. Of course there are some characters I prefer from the Series 1 Re-releases. But overall, this set was very nice quality and the dolls are super cute. Most have decently painted faces and details, rather than the sloppy mess that was my Ultimate Collection Merbaby pack (no shade, I adore that set and their flaws don't detract any love). Some dolls surprised us both. Dawn, Sprints, and Rip Tide for example were characters I never paid any mind to before. But when I opened these cuties, I fell in love. Dawn is actually one of my faves from the pack. The ones I was most looking forward to getting also did not disappoint. I have always loved V.R.Q.T., Dusk, Go-go Gurl, Showbaby, and Boss Queen. All of these tots are fantastic, and make my two houses so much more colorful and fun!

See this train in the video here: www.youtube.com/watch?v=o0vv1KGBt80

 

Seen racing through Ashford International with Train 9O20 from London St Pancras to Paris Gare du Nord is Belgian based Eurostar Class 373, 373108.

 

Today's primary mode of international train travel between Britain and the rest of Europe (and by rest of Europe just Paris and Brussels), the Class 373 Trans-Manche Super Train (TMST) sets, better known to you and I as the Eurostar.

  

When plans were forwarded for the construction of the Tunnel, it was intended that a specific set of trains would be built to work services between Continental Europe and Britain, and thus the Class 373 Eurostar sets and the Class 9 Le Shuttle car carrying trains were put into development. The idea was for a high capacity version of France's iconic and incredibly reliable TGV Sud-Est set, together with a set of shorter units to work the proposed Regional Eurostar services within the United Kingdom. However, this was not without various problems.

 

When planning the Channel Tunnel, intentions were to build a High Speed Line on this side of the Channel in a similar fashion to what France was doing with the LGV Nord from Paris to Calais. Originally the route was intended to go to London Victoria, but was later changed to possibly going to London St Pancras with the hopes of having connections to routes to the north, what we now call High Speed Two. However, all these plans were sunk with the passing of the 1987 High Speed Railways Act, which prohibited the construction of any High Speed Lines this side of the Tunnel. This was also combined by the construction of a beautiful, yet completely pointless international station at Waterloo. As such, the Eurostar would have to be built to a lower British loading gauge in order to work the regular commuter routes into London, which also meant that these sets would only ever attain a top speed of about 90mph on British tracks, and would be constantly fighting for priority against regular Network SouthEast passenger trains.

 

Additionally, legislation regarding what trains can use the Channel Tunnel meant the train's length had to be very specific. Spacing of fire exits inside the Tunnel are at 375m intervals, and the Tunnel legislation required trains to be this length so that at least one part of the train would be near an exit. As such, the Class 373 sets were built to be this long, consisting of 18-cars, which made them phenomenally long and pretty much useless at any other station. The legislation has since meant that the rolling stock of other operators, be they French TGV's or German ICE trains, are not allowed to use the tunnel. Legislation also required that the trains be half-sets, so that if the train happens to catch fire or something, half the set can be detached and run out of the tunnel to safety, even though chances are in a fire the power will have gone off!

 

With the class now designed, construction was left up to French builder GEC-Alstom at their Belfort factory, and the first sets were released into testing in 1992. Designated PS1 (Pre-set 1), several units were tested in the Strasbourg area, while a small number were sent over to Britain for testing on the 3rd Rail network. In all, 42 half-sets were built, which combined to make 21 full 18-car sets, the ownership of which was split between the triparty shareholders of Eurostar. 22 sets were delivered to British Rail, 8 to the Belgian railway operator SNCB, and 32 to the French railway operator SNCF, who also retained a fleet of three sets for use on their own Regional services between Paris and Lille.

 

The Channel Tunnel opened in May 1994, and Eurostar began operations between London Waterloo, Paris Gare du Nord and Brussels Midi on November 14th 1994. At the same time, plans were in motion for the 'Regional Eurostar' services that would work from London Waterloo to destinations in the north of England and Scotland, including Manchester, Leeds, Glasgow, Edinburgh, Liverpool and Birmingham. Initially in 1995, sets of Class 43 HST's were employed working out of Waterloo, and running along the West London Line to Willesden, where they joined the West Coast Mainline and continued north to their respective destination. However, the reason why 'Regional Eurostar' was simply dead on arrival was due to the fact that there was no regional High Speed Line to allow for any reduced journey times. If anything, running trains out of Waterloo and then through the suburbs of West London was much longer than just catching an Underground train to King's Cross or Euston and proceeding via regular InterCity trains. Because of this, the trailblazer Regional Eurostar HST sets were more often than not running empty, not making any of their money back.

 

But British Rail continued to push the whole idea forward, and developed a fleet of seven 14-car Class 373 sets to work the service. Testing of these units took place between London and Manchester, although Eurostar sets did find their way to Glasgow at some point. This was also added to by the construction of a mulit-million Pound Eurostar depot at Longsight in Manchester, built to accommodate the 14-car trains. However, lack of demand due to the ineffective nature of the services meant that the Regional Eurostar idea simply died the death, and by 1998 all testing had ceased and the trains were put in storage, with the huge Longsight Depot only ever seeing one Eurostar set before closing completely, having never reopened since.

 

However, East Coast Mainline operator GNER saw potential in these units, and thus took them under their wing to work a new service known as the 'White Rose' between London, York and Leeds from May 2000 onwards. Painted into a very attractive dark blue with orange waistband, the 'White Rose' sets were indeed popular, although their sheer size was something of a constraint, being restricted to only 110mph and not being allowed on certain sections of the route due to the huge amounts of power they drew. The 'White Rose' services lasted until 2005 when GNER's lease on the sets ran out and the trains were put back into storage, but have since been sent to France to work Regional services there, although these sets are now destined for the scrapyard.

 

As for the Cross-Channel sets, the construction of High Speed One in 2007 did finally allow these trains to travel at the speeds they were built for, now running at an almost uninterrupted 186mph from London to Paris and Brussels with the exception of the 100mph speed limit inside the Tunnel itself. Today all sets are in use and are proposed for a second refurbishment to see them in operation until 2020, being complimented by the new Class 374 e320 sets being built by Siemens of Germany.

 

At the moment only a handful of powercars have been refurbished with updated equipment and traction motors, whilst the passenger cars are still in their mid-life configuration that was updated in 2004. Although the intention is to get round to this eventually, there is talk that Eurostar isn't going to bother refurbishing the passenger cars due to the introduction of the Class 374's, which can be understood seeing as if they're going to be taken out of service there's no point giving them a refresh, but they're not going to be replaced for a good few years yet!

 

Overall, I'm sad to say that the Class 373's, as good and reliable as they are, have been prime examples of how not to run a railway. Trains with so much potential to give Britain and Europe greater connections both economically and socially have been so bafflingly underutilised that you find yourself wondering why they even bothered to begin with! The Regional Eurostar concept is a classic example of how to get an internal high speed railway concept completely and 100% wrong, with these £5 million trains being so heavily underused that again you have to question why anyone ever built them. In fact, one of the seven Regional sets has never actually worked a day in its entire life, and now, only 20 years later, is going to the scrap heap having carried pretty much nobody!

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.

 

With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.

 

Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.

 

Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.

 

HISTORY

ANCIENT

Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.

 

In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.

 

Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.

 

Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.

 

The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.

 

PORTUGUESE CONTACTS

The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.

 

DUTCH EAST INDIA

In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.

 

In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:

 

I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.

 

The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.

 

AFTERWARD THE DUTCH GOVERNORS

exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.

 

n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.

 

Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.

 

During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.

 

INDIPENDENCE FROM THE DUTCH

In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.

 

CONTEMPORARY

The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.

 

The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.

 

As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.

 

GEOGRAPHY

The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.

 

Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.

 

The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.

 

The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.

 

Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.

 

To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.

 

CLIMATE

Being just 8 degrees south of the equator, Bali has a fairly even climate year round.

 

Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.

 

ECOLOGY

Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.

 

Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.

 

Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.

 

Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.

 

The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.

 

A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.

 

Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.

 

ENVIRONMENT

Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.

 

From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).

 

Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.

 

ECONOMY

Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.

 

AGRICULTURE

Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.

 

The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.

 

TOURISM

The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.

 

The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.

 

An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.

 

In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.

 

Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.

 

Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.

 

In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.

 

In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.

 

Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.

 

Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.

 

Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.

 

SEX TOURISM

In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.

 

Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.

 

By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.

 

TRANSPORTATION

The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.

 

A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.

 

In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.

 

A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.

 

On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.

 

In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.

 

On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.

 

To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.

 

DEMOGRAPHICS

The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.

 

ETHNIC ORIGINS

A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.

 

CASTE SYSTEM

Bali has a caste system based on the Indian Hindu model, with four castes:

 

- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.

- Wesia (Vaishyas) – the caste of merchants and administrative officials

- Ksatrias (Kshatriyas) – the kingly and warrior caste

- Brahmana (Bramhin) – holy men and priests

 

RELIGION

Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.

 

Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.

 

Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.

 

Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.

 

LANGUAGE

Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.

 

English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.

 

CULTURE

Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.

 

The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.

 

Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.

 

Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.

 

Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.

 

Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.

 

Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.

 

WIKIPEDIA

Not to be too specific with a title but this is exactly as it says it is. I wanted to get some textures going in a bit more detail than I was able to get in the photo uploaded before this one. Alas, I don't have a series of moss to entertain you.

 

I grew up with this stuff all over my front yard. There were time I'd be walking barefoot on gravel or hot pavement and I would seek the comfort of the moss to rest my aching feet. The moss is still there but I don't go barefoot as often as I used to . . . because I know better now.

Wikipedia says:

Resurrection of Packard name

 

Packard® Motor Car Company, a registered Arizona Corporation, is the registered owner of the Packard Name Trademark for automobiles and parts. The Company uses the trademark by licensing various companies to use the Packard name, and the Company also manufactures and markets Packard branded automobile parts.[17]

 

The Company answers e-mails and phone calls on a daily basis from people wanting information about Packard, past and present. The Company assists people and companies world wide, requesting specific Packard parts and puts them in touch with suppliers.[18]

 

In 1995, Roy and Barbara Gullickson purchased the rights to the Packard name and, subsequently, had the company design and build a new V12-powered luxury sedan, hoping to attract support for short-run manufacturing. The enterprise has been promoted on a website[19] which details the prototype, featuring an overhead-valve, fuel injected 525 cu in (8,600cc) all-aluminum V12 engine. The car was shown at Pebble Beach Concours d'Elegance in 2003. The 1998 prototype and Company, such that it was, were put up for sale in 2008. As with the Avanti Motor Corporation around the same time, there were interested parties, but no eventual takers. Both remain in limbo, the last great remains of a distilled empire, Studebaker-Packard Corporation, once the 75th largest corporation in the United States.

Installations @ "Site_Specific JOZI Land Art SPRING"

IMG_1805

2Site specific art installation at the Saatchi contemporary art gallery, London, UK. 20:50 takes its name from the type of recycled engine oil used: it is thick and pitch black..

 

"Richard Wilson is one of Britain's most celebrated sculptors. He is known for his interventions in architectural space which draw heavily from the worlds of engineering and construction ..." "Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil. " quote from Saatchi art gallery.

 

This installation is in the basement of the Saatchi gallery. The metal "chute" from left to right appears to be a maintenance chute into the installation. Used sump oil fills the basement . It is black and totally reflective. At first it is impossible to tell there is anything there. There is a smell of oil, yes - but why? Where does it come from?

 

The bubbles in the previous photo showed that the blackness was not a floor, but black liquid over the floor. By looking and observing it became apparent that the oil covers the floor to some considerable depth, and reflects the ceiling, the lights, the walls and windows. A kind of "hall of mirrors". I was fascinated by the shades of grey and by trying to create abstract patterns from the space. My favourite part of the installation was the smell of the oil - which I cannot pass onto to you. Motorcyclists know that scent!

 

The ‘newspaper stand’ is soon becoming a forgotten way to communicate with the public. With more online news subscriptions being made, newspaper companies are leaving these structures abandoned. I want to use this endangered specie as a new way to communicate with the public once more. This is achieved using the concept of ‘site specific’ in the real world as well as the online world, and also by introducing a different concept of ‘time specific’. This technique helps to create a story on the street as well as the webpage in which the images are added to. Each newspaper stand represents a single page in the story “The Story of How Things Came to Bee”. Once the newspaper stand is placed back in the location from which it was originally borrowed from, a picture is taken at the exact time in which the story takes place. By adding the images to the webpage it allows for a narrative to bee created by using ‘notes’ (these are viewed by scrolling over the image) which can not bee seen on the street. Lastly, a map showing the locations of the newspaper stand is sited as well, allowing the online viewer to travel to each location and view these scenes in real life.

 

"Telephone companies have been abandoning their public telephone booths by taking out the phones and leaving the structures beehind. (Probably due to the rise in cell phone users.) I want to reuse these structures as a way of communication with the public once more by replacing that empty space with paper-mache beehives. To me, this symbolizes the irony beehind the question, 'where have so many of the bees gone' and the theory that cell phone signals have been misguiding their normal patterns of migration"

View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.

 

WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.

 

Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).

 

To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.

 

Text source :

www.wiels.org/site2/event.php?event_id=160

PrintOclock - Tarifs et dlais de choc

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Mars landing sophisticated core technology 1. New high-speed heavy rocket technology $ 12.7 billion

2. The special material of aerospace technology special radiation $ 2.5 billion

3. Microgravity confrontation - technology, pharmaceutical space syndrome, Mars emergency medical system $ 1.5 billion, $ 4.5 billion

4. Special radiation multifunction smart Mars spacesuit medical warehouse $ 2.4 billion

5. The aeronautical emergency treatment technology life once, twice maintain security, rescue system $ 1.3 billion

6. rovers, Mars spacecraft, the Mars telescope, giant cell, Rover $ 3.8 billion

7. Life on Mars warehouse / micro base station on Mars, Martian soil nutrients $ 3.9 billion

8. Water - synthetic oxygen conversion technology for producing $ 1.2 billion

9. Mars LASH barge technology, semi-automatic / manual return flight back to Mars Technology $ 7.2 billion

10. Remote telemetry, communications technology

$ 1.5 billion

11. The other $ 5.7 billion

************************************************** *********** / special multi-purpose multi-purpose anti-radiation cosmic universe Wear - $ 1.5 billion

Aeromedical emergency cabin $ 7.5 billion

Multifunctional intelligent life support system $ 3 billion

Mars Rover $ 300 million

Aerospace / water planet Synthesis 1.2 one billion US dollars

Cutting-edge aerospace technology transfer core, a high precision and advanced technology, confidential technology, in order to avoid technical and commercial secrets leak, causing leaks and developers in major economic loss. Therefore, according to international practice, advanced security technology temporarily apply for international patents. You can later apply for an application in the relevant art decryption. It is noted. Technology transfer projects listed prices are reference price, the offer price, the specific projects where appropriate discount 15% -38%, will be agreed upon. International transfers in US dollars or other common international currency. Transfer technology transfer related technology required to sign trade agreement or contract, can be formal or electronic versions.

Contact, e-mail

banxin123 @ gmail.com, fangda337svb125 @ gmail.com, mdin.jshmith @ gmail.com,fangruid44o7@gmail.com, technology entry fee / $ 2,550,000, signed in accordance with international practice, after signing the contract, namely the delivery of technical entry fee of $ 2.55 million or international currency of payment, technology margin of 25%, after the delivery of technical drawings, the balance lump sum. Agreement or contract signed by both parties, the English, the French text, parts one and two, to take effect upon signature. Any breach will compensate the other party losses, liquidated damages of $ 1.25 million. But unforeseen exceptional circumstances In addition, the parties may agree to terminate the agreement and contract, no compensation. Peaceful Uses of Outer project uses technology, global commercial enterprises related establishments company may transferee. The transferee company Organziation enterprises according to related contracts and agreements, international patent applications, patent rights attributed to its purchase technical side, the licensor party no longer enjoys its technical invention patents. Transfer of technology patent formula category in the form of technology, drawings, text and other technical documents, assignment of patent drawings in accordance with the prevailing universal national patent drawings, English, French or other common international language. For detailed technical design diagrams, schematics, block diagrams, installation drawings transferor to the transferee not provided, only patented formula class technical drawings. Seller can provide technical advice or technical support, the transferee must be paid 3% to 15% of the technology consultancy. Transfer of technical drawings and technical drawings electronic version of a file each, contact e-mail encryption. Specific bank or bank transfer or electronic bank account and the other notified.

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Fangruida: human landing on Mars 10 cutting-edge technology

[Fangruida- human landing on Mars 10 innovative and sophisticated technologies]

Aerospace Science and space science and technology major innovation of the most critical of sophisticated technology R & D project

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

Aerospace Science Space Science and Technology on behalf of the world's most cutting-edge leader in high technology, materials, mechatronics, information and communication, energy, biomedical, marine, aviation aerospace, microelectronics, computer, automation, intelligent biochips, use of nuclear energy, light mechanical and electrical integration, astrophysics, celestial chemistry, astrophysics and so a series of geological science and technology. Especially after the moon landing, the further development of mankind to Mars and other planets into the powerful offensive, the world's major powers eager to Daxian hand of God, increase investment, vigorously develop new sophisticated technology projects for space to space. Satellite, space station, the new spacecraft, the new space suits, the new radiation protection materials, intelligent materials, new manufacturing technology, communications technology, computer technology, detector technology, rover, rover technology, biomedical technology, and so one after another, is expected to greater breakthroughs and leaps. For example, rocket technology, spacecraft design, large power spacecraft, spacesuits design improvements, radiation multifunctional composite materials, life health care technology and space medicine, prevention against microgravity microgravity applicable drugs, tracking control technology, landing and return technology. Mars lander and returned safely to Earth as a top priority. Secondly, Mars, the Moon base and the use of transforming Mars, the Moon and other development will follow. Whether the former or the latter, are the modern aerospace science, space science basic research, applied basic research and applied research in the major cutting-edge technology. These major cutting-edge technology research and innovation, not only for human landing on Mars and the safe return of great significance, but for the entire space science, impact immeasurable universe sciences, earth sciences and human life. Here the most critical of the most important research projects of several sophisticated technology research and development as well as its core technology brief. Limit non-scientific techniques include non-technical limits of technology, the key lies in technology research and development of technology maturity, advanced technology, innovative, practical, reliable, practical application, business value and investment costs, and not simply like the idea mature technology achievements, difficult to put into things. This is the high-tech research and development, testing, prototype, test application testing, until the outcome of industrialization. Especially in aerospace technology, advanced, novelty, practicality, reliability, economy, maturity, commercial value and so on. For technical and research purely science fiction and the like may be irrelevant depth, but not as aerospace engineering and technology practice. Otherwise, Mars will become a dream fantasy, and even into settling crashed out of danger.

Regardless of the moon or Mars, many technical difficulties, especially a human landing on Mars and return safely to Earth, technical difficulties mainly in the following aspects. (Transformation of Mars and the Moon and other planets and detect other livable technology more complex and difficult, at this stage it is difficult to achieve and therefore not discussed in detail in this study). In fact, Mars will be the safe return of a full set of technology, space science, aerospace crucial scientific research development, its significance is not confined to Mars simply a return to scientific value, great commercial value, can not be measure.

1. Powered rocket, the spacecraft overall structural design not be too complex large, otherwise, the safety factor to reduce the risk of failure accidents. Fusion rocket engine main problem to be solved is the high-temperature materials and fuel ignition chamber (reaction chamber temperatures of up to tens of millions of supreme billion degrees), fissile class rocket engine whose essence is the miniaturization of nuclear reactors, and placed on the rocket. Nuclear rocket engine fuel as an energy source, with liquid hydrogen, liquid helium, liquid ammonia working fluid. Nuclear rocket engine mounted in the thrust chamber of the reactor, cooling nozzle, the working fluid delivery and control systems and other components. This engine due to nuclear radiation protection, exhaust pollution, reactor control and efficient heat exchanger design and other issues unresolved. Electrothermal rocket engine utilizing heat energy (resistance heating or electric arc heating) working medium (hydrogen, amines, hydrazine ), vaporized; nozzle expansion accelerated after discharged from the spout to generate thrust. Static rocket engine working fluid (mercury, cesium, hydrogen, etc.) from the tank enter the ionization chamber is formed thrust ionized into a plasma jet. Electric rocket engines with a high specific impulse (700-2500 sec), extremely long life (can be repeated thousands of times a starter, a total of up to thousands of hours of work). But the thrust of less than 100N. This engine is only available for spacecraft attitude control, station-keeping and the like. One nuclear - power rocket design is as follows: Firstly, the reactor heats water to make it into steam, and then the high-speed steam ejected, push the rocket. Nuclear rocket using hydrogen as working substance may be a better solution, it is one of the most commonly used liquid hydrogen rocket fuel rocket carrying liquid hydrogen virtually no technical difficulties. Heating hydrogen nuclear reactor, as long as it eventually reaches or exceeds current jet velocity hydrogen rocket engine jet speed, the same weight of the rocket will be able to work longer, it can accelerate the Rockets faster. Here there are only two problems: First, the final weight includes the weight of the rocket in nuclear reactors, so it must be as light as possible. Ultra-small nuclear reactor has been able to achieve. Furthermore, if used in outer space, we can not consider the problem of radioactive residues, simply to just one proton hydrogen nuclei are less likely to produce induced radioactivity, thus shielding layer can be made thinner, injected hydrogen gas can flow directly through the reactor core, it is not easy to solve, and that is how to get back at high speed heated gas is ejected.

Rocket engine with a nuclear fission reactor, based on the heating liquid hydrogen propellant, rather than igniting flammable propellant

High-speed heavy rocket is a major cutting-edge technology. After all, space flight and aircraft carriers, submarines, nuclear reactors differ greatly from the one hand, the use of traditional fuels, on the one hand can be nuclear reactor technology. From the control, for security reasons, the use of nuclear power rocket technology, safe and reliable overriding indicators. Nuclear atomic energy in line with the norms and rules of outer space. For the immature fetal abdominal hatchery technology, and resolutely reject use. This is the most significant development of nuclear-powered rocket principle.

Nuclear-powered spaceship for Use of nuclear power are three kinds:

The first method: no water or air space such media can not be used propeller must use jet approach. Reactor nuclear fission or fusion to produce a lot of heat, we will propellant (such as liquid hydrogen) injection, the rapid expansion of the propellant will be heated and then discharged from the engine speed tail thrust. This method is most readily available.

The second method: nuclear reactor will have a lot of fast-moving ions, these energetic particles moving very fast, so you can use a magnetic field to control their ejection direction. This principle ion rocket similar to the tail of the rocket ejected from the high-speed mobile ions, so that the recoil movement of a rocket. The advantage of this approach is to promote the unusually large ratio, without carrying any medium, continued strong. Ion engine, which is commonly referred to as "electric rocket", the principle is not complicated, the propellant is ionized particles,

Plasma Engine

Electromagnetic acceleration, high-speed spray. From the development trend, the US research scope covers almost all types of electric thrusters, but mainly to the development of ion engines, NASA in which to play the most active intake technology and preparedness plans. "

The third method: the use of nuclear explosions. It is a bold and crazy way, no longer is the use of a controlled nuclear reaction, but to use nuclear explosions to drive the ship, this is not an engine, and it is called a nuclear pulse rocket. This spacecraft will carry a lot of low-yield atomic bombs out one behind, and then detonated, followed by a spacecraft propulsion installation disk, absorbing the blast pushing the spacecraft forward. This was in 1955 to Orion (Project Orion) name of the project, originally planned to bring two thousand atomic bombs, Orion later fetal nuclear thermal rocket. Its principle is mounted on a small rocket reactor, the reactor utilizing thermal energy generated by the propellant is heated to a high temperature, high pressure and high temperature of the propellant from the high-speed spray nozzle, a tremendous impetus.

Common nuclear fission technologies, including nuclear pulse rocket engines, nuclear rockets, nuclear thermal rocket and nuclear stamping rockets to nuclear thermal rocket, for example, the size of its land-based nuclear power plant reactor structure than the much smaller, more uranium-235 purity requirements high, reaching more than 90%, at the request of the high specific impulse engine core temperature will reach about 3000K, require excellent high temperature properties of materials.

Research and test new IT technologies and new products and new technology and new materials, new equipment, things are difficult, design is the most important part, especially in the overall design, technical solutions, technical route, technical process, technical and economic particularly significant. The overall design is defective, technology there are loopholes in the program, will be a major technical route deviation, but also directly related to the success of research trials. so, any time, under any circumstances, a good grasp of the overall control of design, technical design, is essential. otherwise, a done deal, it is difficult save. aerospace technology research and product development is true.

3, high-performance nuclear rocket

Nuclear rocket nuclear fission and fusion energy can rocket rocket two categories. Nuclear fission and fusion produce heat, radiation and shock waves and other large amounts of energy, but here they are contemplated for use as a thermal energy rocket.

Uranium and other heavy elements, under certain conditions, will split their nuclei, called nuclear fission reaction. The atomic bomb is the result of nuclear fission reactions. Nuclear fission reaction to release energy, is a million times more chemical rocket propellant combustion energy. Therefore, nuclear fission energy is a high-performance rocket rockets. Since it requires much less propellant than chemical rockets can, so to its own weight is much lighter than chemical rockets energy. For the same quality of the rocket, the rocket payload of nuclear fission energy is much greater than the chemical energy of the rocket. Just nuclear fission energy rocket is still in the works. 

Use of nuclear fission energy as the energy of the rocket, called the atomic rockets. It is to make hydrogen or other inert gas working fluid through the reactor, the hydrogen after the heating temperature quickly rose to 2000 ℃, and then into the nozzle, high-speed spray to produce thrust. 

A vision plan is to use liquid hydrogen working fluid, in operation, the liquid hydrogen tank in the liquid hydrogen pump is withdrawn through the catheter and the engine cooling jacket and liquid hydrogen into hydrogen gas, hydrogen gas turbine-driven, locally expansion. Then by nuclear fission reactors, nuclear fission reactions absorb heat released, a sharp rise in temperature, and finally into the nozzle, the rapid expansion of high-speed spray. Calculations show that the amount of atomic payload rockets, rocket high chemical energy than 5-8 times.

Hydrogen and other light elements, under certain conditions, their nuclei convergent synthesis of new heavy nuclei, and release a lot of energy, called nuclear fusion reaction, also called thermonuclear reaction. 

Using energy generated by the fusion reaction for energy rocket, called fusion energy rocket or nuclear thermal rockets. But it is also not only take advantage of controlled nuclear fusion reaction to manufacture hydrogen bombs, rockets and controlled nuclear fusion reaction needs still studying it.

Of course there are various research and development of rocket technology and technical solutions to try.

It is envisaged that the rocket deuterium, an isotope of hydrogen with deuterium nuclear fusion reaction of helium nuclei, protons and neutrons, and release huge amounts of energy, just polymerized ionized helium to temperatures up to 100 million degrees the plasma, and then nozzle expansion, high-speed ejection, the exhaust speed of up to 15,000 km / sec, atomic energy is 1800 times the rocket, the rocket is the chemical energy of 3700 times.

Nuclear rocket engine fuel as an energy source, with liquid hydrogen, liquid helium, liquid ammonia working fluid. Nuclear rocket engine mounted in the thrust chamber of the reactor, cooling nozzle, the working fluid delivery and control systems and other components. In a nuclear reactor, nuclear energy into heat to heat the working fluid, the working fluid is heated after expansion nozzle to accelerate to the speed of 6500 ~ 11,000 m / sec from the discharge orifice to produce thrust. Nuclear rocket engine specific impulse (250 to 1000 seconds) long life, but the technology is complex, apply only to long-term spacecraft. This engine due to nuclear radiation protection, exhaust pollution, reactor control and efficient heat exchanger design and other issues not resolved, is still in the midst of trials. Nuclear rocket technology is cutting-edge aerospace science technology, centralized many professional and technical sciences and aerospace, nuclear physics, nuclear chemistry, materials science, the long term future ___-- wide width. The United States, Russia and Europe, China, India, Japan, Britain, Brazil and other countries in this regard have studies, in particular the United States and Russia led the way, impressive. Of course, at this stage of nuclear rocket technology, technology development there are still many difficulties. Fully formed, still to be. But humanity marching to the universe, nuclear reactor applications is essential.

Outer Space Treaty (International Convention on the Peaceful Uses of Outer Space) ****

Use of Nuclear Power Sources in Outer Space Principle 15

General Assembly,

Having considered the report of its thirty-fifth session of the Committee on the Peaceful Uses of Outer Space and the Commission of 16 nuclear

It can be attached in principle on the use of nuclear power sources in outer space of the text of its report, 17

Recognize that nuclear power sources due to small size, long life and other characteristics, especially suitable for use even necessary

For some missions in outer space,

Recognizing also that the use of nuclear power sources in outer space should focus on the possible use of nuclear power sources

Those uses,

Recognizing also that the use of nuclear power sources should include or probabilistic risk analysis is complete security in outer space

Full evaluation is based, in particular, the public should focus on reducing accidental exposure to harmful radiation or radioactive material risk

risk,

Recognizing the need to a set of principles containing goals and guidelines in this regard to ensure the safety of outer space makes

With nuclear power sources,

Affirming that this set principles apply exclusively on space objects for non-power generation, which is generally characteristic

Mission systems and implementation of nuclear power sources in outer space on similar principles and used by,

Recognizing this need to refer to a new set of principles for future nuclear power applications and internationally for radiological protection

The new proposal will be revised

By the following principles on the use of nuclear power sources in outer space.

Principle 1. Applicability of international law

Involving the use of nuclear power sources in outer space activities should be carried out in accordance with international law, especially the "UN

Principles of the Charter "and" States in the Exploration and Use of Outer Space, including the Moon and Other Celestial Bodies Activities

Treaty "3

.

2. The principle terms

1. For the purpose of these principles, "launching State" and "launching State ......" two words mean, in related

Principles related to a time of nuclear power sources in space objects exercises jurisdiction and control of the country.

2. For the purpose of principle 9, wherein the definition of the term "launching State" as contained in that principle.

3. For the purposes of principle 3, the terms "foreseeable" and "all possible" two words are used to describe the actual hair

The overall likelihood of students that it is considered for safety analysis is credible possibilities for a class of things

Member or circumstances. "General concept of defense in depth" when the term applies to nuclear power sources in outer space refers to various settings

Count form and space operations replace or supplement the operation of the system in order to prevent system failures or mitigate thereafter

"Official Records of the General Assembly, Forty-seventh Session, Supplement No. 20" 16 (A / 47/20).

17 Ibid., Annex.

38

fruit. To achieve this purpose is not necessarily required for each individual member has redundant safety systems. Given space

Use and special requirements of various space missions, impossible to any particular set of systems or features can be specified as

Necessary to achieve this purpose. For the purpose of Principle 3 (d) of paragraph 2, "made critical" does not include

Including such as zero-power testing which are fundamental to ensuring system safety required.

Principle 3. Guidelines and criteria for safe use

To minimize the risk of radioactive material in space and the number involved, nuclear power sources in outer space

Use should be limited to non-nuclear power sources in space missions can not reasonably be performed

1. General goals for radiation protection and nuclear safety

(A) States launching space objects with nuclear power sources on board shall endeavor to protect individuals, populations and the biosphere

From radiation hazards. The design and use of space objects with nuclear power sources on board shall ensure that risk with confidence

Harm in the foreseeable operational or accidental circumstances, paragraph 1 (b) and (c) to define acceptable water

level.

Such design and use shall also ensure that radioactive material does not reliably significant contamination of outer space.

(B) the normal operation of nuclear power sources in space objects, including from paragraph 2 (b) as defined in foot

High enough to return to the track, shall be subject to appropriate anti-radiation recommended by the International Commission on Radiological Protection of the public

Protection goals. During such normal operation there shall be no significant radiation exposure;

(C) To limit exposure in accidents, the design and construction of nuclear power source systems shall take into account the international

Relevant and generally accepted radiological protection guidelines.

In addition to the probability of accidents with potentially serious radiological consequences is extremely low, the nuclear power source

Design systems shall be safely irradiated limited limited geographical area, for the individual radiation dose should be

Limited to no more than a year 1mSv primary dose limits. Allows the use of irradiation year for some years 5mSv deputy agent

Quantity limit, but the average over a lifetime effective dose equivalent annual dose not exceed the principal limit 1mSv

degree.

Should make these conditions occur with potentially serious radiological consequences of the probability of the system design is very

small.

Criteria mentioned in this paragraph Future modifications should be applied as soon as possible;

(D) general concept of defense in depth should be based on the design, construction and operation of systems important for safety. root

According to this concept, foreseeable safety-related failures or malfunctions must be capable of automatic action may be

Or procedures to correct or offset.

It should ensure that essential safety system reliability, inter alia, to make way for these systems

Component redundancy, physical separation, functional isolation and adequate independence.

It should also take other measures to increase the level of safety.

2. The nuclear reactor

(A) nuclear reactor can be used to:

39

(I) On interplanetary missions;

(Ii) the second high enough orbit paragraph (b) as defined;

(Iii) low-Earth orbit, with the proviso that after their mission is complete enough to be kept in a nuclear reactor

High on the track;

(B) sufficiently high orbit the orbital lifetime is long enough to make the decay of fission products to approximately actinides

Element active track. The sufficiently high orbit must be such that existing and future outer space missions of crisis

Risk and danger of collision with other space objects to a minimum. In determining the height of the sufficiently high orbit when

It should also take into account the destroyed reactor components before re-entering the Earth's atmosphere have to go through the required decay time

between.

(C) only 235 nuclear reactors with highly enriched uranium fuel. The design shall take into account the fission and

Activation of radioactive decay products.

(D) nuclear reactors have reached their operating orbit or interplanetary trajectory can not be made critical state

state.

(E) nuclear reactor design and construction shall ensure that, before reaching the operating orbit during all possible events

Can not become critical state, including rocket explosion, re-entry, impact on ground or water, submersion

In water or water intruding into the core.

(F) a significant reduction in satellites with nuclear reactors to operate on a lifetime less than in the sufficiently high orbit orbit

For the period (including during operation into the sufficiently high orbit) the possibility of failure, there should be a very

Reliable operating system, in order to ensure an effective and controlled disposal of the reactor.

3. Radioisotope generators

(A) interplanetary missions and other spacecraft out of Earth's gravitational field tasks using radioactive isotopes

Su generator. As they are stored after completion of their mission in high orbit, the Earth can also be used

track. We are required to make the final treatment under any circumstances.

(B) Radioisotope generators shall be protected closed systems, design and construction of the system should

Ensure that in the foreseeable conditions of the track to withstand the heat and aerodynamic forces of re-entry in the upper atmosphere, orbit

Conditions including highly elliptical or hyperbolic orbits when relevant. Upon impact, the containment system and the occurrence of parity

Physical morpheme shall ensure that no radioactive material is scattered into the environment so you can complete a recovery operation

Clear all radioactive impact area.

Principle 4. Safety Assessment

1. When launching State emission consistent with the principles defined in paragraphs 1, prior to the launch in applicable under the

Designed, constructed or manufactured the nuclear power sources, or will operate the space object person, or from whose territory or facility

Transmits the object will be to ensure a thorough and comprehensive safety assessment. This assessment shall cover

All relevant stages of space mission and shall deal with all systems involved, including the means of launching, the space level

Taiwan, nuclear power source and its equipment and the means of control and communication between ground and space.

2. This assessment shall respect the principle of 3 contained in the guidelines and criteria for safe use.

40

3. The principle of States in the Exploration and Use, including the Moon and Other Celestial Bodies Outer Space Activities Article

Results of about 11, this safety assessment should be published prior to each transmit simultaneously to the extent feasible

Note by the approximate intended time of launch, and shall notify the Secretary-General of the United Nations, how to be issued

This safety assessment before the shot to get the results as soon as possible.

Principle 5. Notification of re-entry

1. Any State launching a space object with nuclear power sources in space objects that failed to produce discharge

When radioactive substances dangerous to return to the earth, it shall promptly notify the country concerned. Notice shall be in the following format:

(A) System parameters:

(I) Name of launching State, including which may be contacted in the event of an accident to Request

Information or assistance to obtain the relevant authorities address;

(Ii) International title;

(Iii) Date and territory or location of launch;

(Iv) the information needed to make the best prediction of orbit lifetime, trajectory and impact region;

(V) General function of spacecraft;

(B) information on the radiological risk of nuclear power source:

(I) the type of power source: radioisotopes / reactor;

(Ii) the fuel could fall into the ground and may be affected by the physical state of contaminated and / or activated components, the number of

The amount and general radiological characteristics. The term "fuel" refers to as a source of heat or power of nuclear material.

This information shall also be sent to the Secretary-General of the United Nations.

2. Once you know the failure, the launching State shall provide information on the compliance with the above format. Information should as far as possible

To be updated frequently, and in the dense layers of the Earth's atmosphere is expected to return to a time when close to the best increase

Frequency of new data, so that the international community understand the situation and will have sufficient time to plan for any deemed necessary

National contingency measures.

3. It should also be at the same frequency of the latest information available to the Secretary-General of the United Nations.

Principle 6. consultation

5 According to the national principles provide information shall, as far as reasonably practicable, other countries

Requirements to obtain further information or consultations promptly reply.

Principle 7. Assistance to States

1. Upon receipt of expected with nuclear power sources on space objects and their components will return through the Earth's atmosphere

After know that all countries possessing space monitoring and tracking facilities, in the spirit of international cooperation, as soon as possible to

The Secretary-General of the United Nations and the countries they may have made space objects carrying nuclear power sources

A fault related information, so that the States may be affected to assess the situation and take any

It is considered to be the necessary precautions.

41

2. In carrying space objects with nuclear power sources back to the Earth's atmosphere after its components:

(A) launching State shall be requested by the affected countries to quickly provide the necessary assistance to eliminate actual

And possible effects, including nuclear power sources to assist in identifying locations hit the Earth's surface, to detect the re substance

Quality and recovery or cleanup activities.

(B) All countries with relevant technical capabilities other than the launching State, and with such technical capabilities

International organizations shall, where possible, in accordance with the requirements of the affected countries to provide the necessary co

help.

When according to the above (a) and subparagraph (b) to provide assistance, should take into account the special needs of developing countries.

Principle 8. Responsibility

In accordance with the States in the Exploration and Use of Outer Space, including the Moon and Other Celestial Bodies activities, including the principles of Article

About Article, States shall bear international responsibility for their use of nuclear power sources in outer space relates to the activities

Whether such activities are carried on by governmental agencies or non-governmental entities, and shall bear international responsibility to ensure that this

Such activities undertaken by the country in line with the principles of the Treaty and the recommendations contained therein. If it involves the use of nuclear power sources

Activities in outer space by an international organization, should be done by the international organizations and States to participate in the organization

Undertakes to comply with the principles of the Treaty and the recommendations contained in these responsibilities.

Principle 9. Liability and Compensation

1. In accordance with the principle of States in the Exploration and Use, including the Moon and Other Celestial Bodies Outer Space Activities Article

And the Convention on International Liability for Damage Caused by Space Objects covenant of Article 7

Provisions, which launches or on behalf of the State

Each State launching a space object and each State from which territory or facility a space object is launched

Kinds of space object or damage caused by components shall bear international liability. This fully applies to this

Kind of space object carrying a nuclear power source case. Two or more States jointly launch a space object,

Each launching State shall in accordance with the above Article of the Convention for any damages jointly and severally liable.

2. Such countries under the aforesaid Convention shall bear the damages shall be in accordance with international law and fair and reasonable

The principles set out in order to provide for damages to make a claim on behalf of its natural or juridical persons, national or

International organizations to restore to the state before the occurrence of the damage.

3. For the purposes of this principle, compensation should be made to include reimbursement of the duly substantiated expenses for search, recovery and clean

Cost management work, including the cost of providing assistance to third parties.

10. The principle of dispute settlement

Since the implementation of these principles will lead to any dispute in accordance with the provisions of the UN Charter, by negotiation or

Other established procedures to resolve the peaceful settlement of disputes.

Here quoted the important provisions of the United Nations concerning the use of outer space for peaceful nuclear research and international conventions, the main emphasis on the Peaceful Uses of provisions related constraints .2 the use of nuclear rockets in outer space nuclear studies, etc., can cause greater attention in nuclear power nuclear rocket ship nuclear research, manufacture, use and other aspects of the mandatory hard indicators. this scientists, engineering and technical experts are also important constraints and requirements. as IAEA supervision and management as very important.

2. radiation. Space radiation is one of the greatest threats to the safety of the astronauts, including X-rays, γ-rays, cosmic rays and high-speed solar particles. Better than aluminum protective effect of high polymer composite materials.

3. Air. Perhaps the oxygen needed to rely on oxidation-reduction reaction of hydrogen and ilmenite production of water, followed by water electrolysis to generate oxygen. Mars oxygen necessary for survival but also from the decomposition of water, electrolytically separating water molecules of oxygen and hydrogen, this oxygen equipment has been successfully used in the International Space Station. Oxygen is released into the air to sustain life, the hydrogen system into the water system.

4. The issue of food waste recycling. At present, the International Space Station on the use of dehumidifiers, sucked moisture in the air to be purified, and then changed back to drinkable water. The astronauts' urine and sweat recycling. 5. water. The spacecraft and the space station on purification system also makes urine and other liquids can be purified utilization. 6. microgravity. In microgravity or weightlessness long-term space travel, if protective measures shall not be treated, the astronauts will be muscle atrophy, bone softening health. 7. contact. 8. Insulation, 9 energy. Any space exploration are inseparable from the energy battery is a new super hybrid energy storage device, the asymmetric lead-acid batteries and supercapacitors in the same compound within the system - and the so-called inside, no additional separate electronic control unit, this is an optimal combination. The traditional lead-acid battery PbO2 monomer is a positive electrode plate and a negative electrode plate spongy Pb composition, not a super cell. : Silicon solar cells, multi-compound thin film solar cells, multi-layer polymer-modified electrode solar cells, nano-crystalline solar cells, batteries and super class. For example, the solar aircraft .10. To protect the health and life safety and security systems. Lysophosphatidic acid LPA is a growth factor-like lipid mediators, the researchers found that this substance can on apoptosis after radiation injury and animal cells was inhibited. Stable lysophosphatidic acid analogs having the hematopoietic system and gastrointestinal tract caused by acute radiation sickness protection, knockout experiments show that lysophosphatidic acid receptors is an important foundation for the protection of radiation injury. In addition to work under high pressure, the astronauts face a number of health threats, including motion sickness, bacterial infections, blindness space, as well as psychological problems, including toxic dust. In the weightless environment of space, the astronaut's body will be like in preadolescents, as the emergence of various changes.

Plantar molt

After the environment to adapt to zero gravity, the astronaut's body will be some strange changes. Weightlessness cause fluid flow around the main flow torso and head, causing the astronauts facial swelling and inflammation, such as nasal congestion. During long-term stay in space

Bone and muscle loss

Most people weightlessness caused by the impact may be known bone and muscle degeneration. In addition, the calcium bones become very fragile and prone to fracture, which is why some of the astronauts after landing need on a stretcher.

Space Blindness

Space Blindness refers astronaut decreased vision.

Solar storms and radiation is one of the biggest challenges facing the long-term space flight. Since losing the protection of Earth's magnetic field, astronauts suffer far more than normal levels of radiation. The cumulative amount of radiation exposure in low earth orbit them exceeded by workers close to nuclear reactors, thereby increasing the risk of cancer.

Prolonged space flight can cause a series of psychological problems, including depression or mood swings, vulnerability, anxiety and fear, as well as other sequelae. We are familiar with the biology of the Earth, the Earth biochemistry, biophysics, after all, the Earth is very different astrophysics, celestial chemistry, biophysics and astrophysics, biochemistry and other celestial bodies. Therefore, you must be familiar with and adapt to these differences and changes.

Osteoporosis and its complications ranked first in the space of disease risk.

Long-term health risks associated with flying Topics

The degree of influence long-term biological effects of radiation in human flight can withstand the radiation and the maximum limit of accumulated radiation on physiology, pathology and genetics.

Physiological effects of weightlessness including: long-term bone loss and a return flight after the maximum extent and severity of the continued deterioration of other pathological problems induced by the; maximum flexibility and severity of possible long-term Flight Center in vascular function.

Long-term risk of disease due to the high risk of flight stress, microbial variation, decreased immune function, leading to infections

Radiation hazards and protection

1) radiation medicine, biology and pathway effects Features

Radiation protection for interplanetary flight, since the lack of protective effect of Earth's magnetic field, and by the irradiation time is longer, the possibility of increased radiation hazard.

Analysis of space flight medical problems that may occur, loss of appetite topped the list, sleep disorders, fatigue and insomnia, in addition, space sickness, musculoskeletal system problems, eye problems, infections problems, skin problems and cardiovascular problems

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Development of diagnostic techniques in orbit, the development of the volume of power consumption, features a wide range of diagnostic techniques, such as applied research of ultrasound diagnostic techniques in the abdominal thoracic trauma, bone, ligament damage, dental / sinus infections and other complications and integrated;

Actively explore in orbit disposal of medical technology, weightlessness surgical methods, development of special surgical instruments, the role of narcotic drugs and the like.

——————————————————————————————-

However, space technology itself is integrated with the use of the most advanced technology, its challenging technical reserves and periodic demanding

With the continuous development of science and technology, space agencies plan a manned landing on the moon and Mars, space exploration emergency medicine current concern.

Space sickness

In the weightless environment of space, in the weightless environment of space, surgery may be extremely difficult and risky.

Robot surgeons

Space disease in three days after entering the space started to ease, although individual astronauts might subsequently relapse. January 2015 NASA declared working on a fast, anti-nausea and nasal sprays. In addition, due to the zero-gravity environment, and anti-nausea drugs can only be administered by injection or transdermal patches manner.

Manned spaceflight in the 21st century is the era of interplanetary flight, aerospace medicine is closely watched era is the era of China's manned space flourish. Only the central issue, and grasp the opportunity to open up a new world of human survival and development.

Various emergency contingency measures in special circumstances. Invisible accident risk prevention. Enhancing drugs and other screening methods immunity aerospace medicine and tissue engineering a microgravity environment. Drug mixture of APS, ginseng polysaccharides, Ganoderma lucidum polysaccharides, polysaccharides and Lentinan, from other compounds. Drug development space syndrome drug, chemical structure modification will be an important part.

These issues are very sensitive, cutting-edge technology is a major difficulty landing on Mars. Countries in the world, especially the world's major space powers in the country strategies and technical research, the results of all kinds continue to emerge. United States, Russia, China, Europe, India, Japan and other countries is different. United States, Russia extraordinary strength. Many patented technology and health, and most belong to the top-secret technology. Especially in aerospace engineering and technological achievements is different from the general scientific literature, practical, commercial, industrial great, especially the performance of patents, know-how, technical drawings, engineering design and other aspects. Present Mars and return safely to Earth, the first manned, significance, everything is hard in the beginning, especially the first person to land on Mars This Mars for Human Sciences Research Mars, the moon, the earth, the solar system and the universe, life and other significant. Its far greater than the value of direct investments and business interests.

In addition, it is the development of new materials, suitable for deep space operations universe, life, and other detection, wider field.

Many aerospace materials, continuous research and development of materials are key areas of aerospace development, including material rocket, the spacecraft materials, the suit materials, radiation materials, materials and equipment, instruments, materials and so on biochemistry.

Temperature metal-based compound with a metal matrix composite body with a more primordial higher temperature strength, creep resistance, impact resistance, thermal fatigue and other excellent high temperature performance.

In B, C, SiC fiber reinforced Ti3Al, TiAl, Ni3Al intermetallic matrix composites, etc.

W Fiber Reinforced with nickel-based, iron-based alloys as well as SiC, TiB2, Si3N4 and BN particle reinforced metal matrix composites

High temperature service conditions require the development of ceramic and carbon-based composite materials, etc., not in this eleven Cheung said.

Fuel storage

In order to survive in space, people need many things: food, oxygen, shelter, and, perhaps most importantly, fuel. The initial quality Mars mission somewhere around 80 percent of the space launch humans will be propellant. The fuel amount of storage space is very difficult.

This difference in low Earth orbit cause liquid hydrogen and liquid oxygen - rocket fuel - vaporization.

Hydrogen is particularly likely to leak out, resulting in a loss of about 4% per month.

When you want to get people to Mars speed to minimize exposure to weightlessness and space radiation hazards

Mars

Landings on the Martian surface, they realized that they reached the limit. The rapid expansion of the thin Martian atmosphere can not be very large parachute, such as those that will need to be large enough to slow down, carry human spacecraft.

Therefore, the parachute strong mass ratio, high temperature resistance, Bing shot performance and other aspects of textile materials used have special requirements, in order to make a parachute can be used in rockets, missiles, Yu arrows spacecraft and other spacecraft recovery, it is necessary to improve the canopy heat resistance, a high melting point polymeric fiber fabric used, the metal fabric, ceramic fiber fabrics, and other devices.

Super rigid parachute to help slow the landing vehicle.

Spacecraft entered the Martian atmosphere at 24,000 km / h. Even after slowing parachute or inflatable, it will be very

Once we have the protection of the Earth magnetic field, the solar radiation will accumulate in the body, a huge explosion threw the spacecraft may potentially lethal doses of radiation astronauts.

In addition to radiation, the biggest challenge is manned trip to Mars microgravity, as previously described.

The moon is sterile. Mars is another case entirely.

With dust treatment measures.

Arid Martian environment to create a super-tiny dust particles flying around the Earth for billions of years.

Apollo moon dust encountered. Ultra-sharp and abrasive lunar dust was named something that can clog the basic functions of mechanical damage. High chloride salt, which can cause thyroid problems in people.

Mars geological structure and geological structure of the moon, water on Mars geology, geology of the Moon is very important, because he, like the Earth's geology is related to many important issues. Water, the first element of life, air, temperature, and complex geological formations are geological structure. Cosmic geology research methods, mainly through a variety of detection equipment equipped with a space probe, celestial observations of atmospheric composition, composition and distribution of temperature, pressure, wind speed, vertical structure, composition of the solar wind, the water, the surface topography and Zoning, topsoil the composition and characteristics of the component surface of the rock, type and distribution, stratigraphic sequence, structural system and the internal shell structure.

Mars internal situation only rely on its surface condition of large amounts of data and related information inferred. It is generally believed that the core radius of 1700 km of high-density material composition; outsourcing a layer of lava, it is denser than the Earth's mantle some; outermost layer is a thin crust. Compared to other terrestrial planets, the lower the density of Mars, which indicates that the Martian core of iron (magnesium and iron sulfide) with may contain more sulfur. Like Mercury and the Moon, Mars and lack active plate movement; there is no indication that the crust of Mars occurred can cause translational events like the Earth like so many of folded mountains. Since there is no lateral movement in the earth's crust under the giant hot zone relative to the ground in a stationary state. Slight stress coupled with the ground, resulting in Tharis bumps and huge volcano. For the geological structure of Mars is very important, which is why repeated explorations and studies of Martian geological reasons.

Earth's surface

Each detector component landing site soil analysis:

Element weight percent

Viking 1

Oxygen 40-45

Si 18-25

Iron 12-15

K 8

Calcium 3-5

Magnesium 3-6

S 2-5

Aluminum 2-5

Cesium 0.1-0.5

Core

Mars is about half the radius of the core radius, in addition to the primary iron further comprises 15 to 17% of the sulfur content of lighter elements is also twice the Earth, so the low melting point, so that the core portion of a liquid, such as outside the Earth nuclear.

Mantle

Nuclear outer coating silicate mantle.

Crust

The outermost layer of the crust.

Crustal thickness obtained, the original thickness of the low north 40 km south plateau 70 kilometers thick, an average of 50 kilometers, at least 80 km Tharsis plateau and the Antarctic Plateau, and in the impact basin is thin, as only about 10 kilometers Greece plains.

Canyon of Mars there are two categories: outflow channels (outflow channel) and tree valley (valley network). The former is very large, it can be 100 km wide, over 2000 km long, streamlined, mainly in the younger Northern Hemisphere, such as the plain around Tyre Chris Canyon and Canyon jam.

In addition, the volcanic activity sometimes lava formation lava channels (lava channel); crustal stress generated by fissures, faults, forming numerous parallel extending grooves (fossa), such as around the huge Tharsis volcanic plateau radially distributed numerous grooves, which can again lead to volcanic activity.

Presumably, Mars has an iron as the main component of the nucleus, and contains sulfur, magnesium and other light elements, the nuclear share of Mars, the Earth should be relatively small. The outer core is covered with a thick layer of magnesium-rich silicate mantle, the surface of rocky crust. The density of Earth-like planets Mars is the lowest, only 3.93g / cc.

Hierarchy

The crust

Lunar core

The average density of the Moon is 3.3464 g / cc, the solar system satellites second highest (after Aiou). However, there are few clues mean lunar core is small, only about 350 km radius or less [2]. The core of the moon is only about 20% the size of the moon, the moon's interior has a solid, iron-rich core diameter of about 240 kilometers (150 miles); in addition there is a liquid core, mainly composed of iron outer core, about 330 km in diameter (205 miles), and for the first time compared with the core of the Earth, considered as the earth's outer core, like sulfur and oxygen may have lighter elements [4].

Chemical elements on the lunar surface constituted in accordance with its abundance as follows: oxygen (O), silicon (Si), iron (Fe), magnesium (Mg), calcium (Ca), aluminum (Al), manganese (Mn), titanium ( Ti). The most abundant is oxygen, silicon and iron. The oxygen content is estimated to be 42% (by weight). Carbon (C) and nitrogen (N) only traces seem to exist only in trace amounts deposited in the solar wind brings.

Lunar Prospector from the measured neutron spectra, the hydrogen (H) mainly in the lunar poles [2].

Element content (%)

Oxygen 42%

Silicon 21%

Iron 13%

Calcium 8%

Aluminum 7%

Magnesium 6%

Other 3%

Lunar surface relative content of each element (% by weight)

Moon geological history is an important event in recent global magma ocean crystallization. The specific depth is not clear, but some studies have shown that at least a depth of about 500 kilometers or more.

Lunar landscape

Lunar landscape can be described as impact craters and ejecta, some volcanoes, hills, lava-filled depressions.

Regolith

TABLE bear the asteroid and comets billions of years of bombardment. Over time, the impact of these processes have already broken into fine-grained surface rock debris, called regolith. Young mare area, regolith thickness of about 2 meters, while the oldest dated land, regolith thickness of up to 20 meters. Through the analysis of lunar soil components, in particular the isotopic composition changes can determine the period of solar activity. Solar wind gases possible future lunar base is useful because oxygen, hydrogen (water), carbon and nitrogen is not only essential to life, but also may be useful for fuel production. Lunar soil constituents may also be as a future source of energy.

Here, repeatedly stressed that the geological structure and geological structure of celestial bodies, the Earth, Moon, Mars, or that this human existence and development of biological life forms is very important, especially in a series of data Martian geological structure geological structure is directly related to human landing Mars and the successful transformation of Mars or not. for example, water, liquid water, water, oxygen, synthesis, must not be taken lightly.

____________________________________________________________----

Mars landing 10 Technology

Aerospace Science and space science and technology major innovation of the most critical of sophisticated technology R & D project

[

"1" rocket propulsion technology ion fusion nuclear pulse propulsion rocket powered high-speed heavy rocket technology, space nuclear reactors spacecraft] brought big problems reflected in the nuclear reaction, nuclear radiation on spacecraft launch, control, brakes and other impact.

In particular, for the future of nuclear power spacecraft, the need to solve the nuclear reactor design, manufacture, control, cooling, radiation shielding, exhaust pollution, high thermoelectric conversion efficiency and a series of technical problems.

In particular, nuclear reactors produce radiation on astronauts' health will pose a great threat, which requires the spacecraft to be nuclear radiation shielding to ensure astronaut and ship the goods from radiation and heat from the reactor influence, but this will greatly increase the weight of the detector.

Space nuclear process applications, nuclear reaction decay is not a problem, but in a vacuum, ultra-low temperature environment, the nuclear reaction materials, energy transport materials have very high demands.

Space facing the reality of a nuclear reactor cooling cooling problems. To prevent problems with the reactor, "Washington" aircraft carrier to take four heavy protective measures for the radiation enclosed in the warship. These four measures are: the fuel itself, fuel storage pressure vessel, reactor shell and the hull. US Navy fuel all metal fuel, designed to take the impact resistance of the war, does not release fission product can withstand more than 50 times the gravity of the impact load; product of nuclear fission reactor fuel will never enter loop cooling water. The third layer of protection is specially designed and manufactured the reactor shell. The fourth layer is a very strong anti-impact combat ship, the reactor is arranged in the center of the ship, very safe. Engage in a reactor can only be loaded up to the aircraft, so as to drive the motor, and then drive the propeller. That is the core advantage of the heat generated by the heated gas flow, high temperature high pressure gas discharge backward, thereby generating thrust.

.

After installation AMPS1000 type nuclear power plant, a nuclear fuel assembly: He is a core member of the nuclear fuel chain reaction. Usually made into uranium dioxide, of which only a few percent uranium-235, and most of it is not directly involved in the nuclear fission of uranium 238. The uranium dioxide sintered into cylindrical pieces, into a stainless steel or a zirconium alloy do metal tubes called fuel rods or the original, then the number of fuel rods loaded metal cylinder in an orderly composition of the fuel assembly, and finally put a lot of vertical distribution of fuel assemblies in the reactor.

Nuclear reactor pressure vessel is a housing for containing nuclear fuel and reactor internals, for producing high-quality high-strength steel is made to withstand the pressure of dozens MPa. Import and export of the coolant in the pressure vessel.

The top of the pressure vessel closure, and can be used to accommodate the fixed control rod drive mechanism, pressure vessel head has a semi-circular, flat-topped.

Roof bolt: used to connect the locking pressure vessel head, so that the cylinder to form a completely sealed container.

Neutron Source: Plug in nuclear reactors can provide sufficient neutron, nuclear fuel ignition, to start to enhance the role of nuclear reactors and nuclear power. Neutron source generally composed of radium, polonium, beryllium, antimony production. Neutron source and neutron fission reactors are fast neutron, can not cause fission of uranium 235, in order to slow down, we need to moderator ---- full of pure water in a nuclear reactor. Aircraft carriers, submarines use nuclear reactor control has proven more successful.

Rod: has a strong ability to absorb neutrons, driven by the control rod drive mechanism, can move up and down in a nuclear reactor control rods within the nuclear fuel used to start, shut down the nuclear reactor, and maintain, regulate reactor power. Hafnium control rods in general, silver, indium, cadmium and other metals production.

Control rod drive mechanism: He is the executive body of nuclear reactors operating system and security protection systems, in strict accordance with requirements of the system or its operator control rod drives do move up and down in a nuclear reactor, nuclear reactor for power control. In a crisis situation, you also can quickly control rods fully inserted into the reactor in order to achieve the purpose of the emergency shutdown

Upper and lower support plate: used to secure the fuel assembly. High temperature and pressure inside the reactor is filled with pure water (so called pressurized water reactors), on the one hand he was passing through a nuclear reactor core, cooling the nuclear fuel, to act as a coolant, on the other hand it accumulates in the pressure vessel in play moderated neutrons role, acting as moderator.

Water quality monitoring sampling system:

Adding chemical system: under normal circumstances, for adding hydrazine, hydrogen, pH control agents to the primary coolant system, the main purpose is to remove and reduce coolant oxygen, high oxygen water suppression equipment wall corrosion (usually at a high temperature oxygen with hydrogen, especially at low temperatures during startup of a nuclear reactor with added hydrazine oxygen); when the nuclear reactor control rods stuck for some reason can not shutdown time by the the system can inject the nuclear reactor neutron absorber (such as boric acid solution), emergency shutdown, in order to ensure the safety of nuclear submarines.

Water system: a loop inside the water will be reduced at work, such as water sampling and analysis, equipment leaks, because the shutdown process cooling water and reduction of thermal expansion and contraction.

Equipment cooling water system:

Pressure safety systems: pressure reactor primary coolant system may change rapidly for some reason, the need for effective control. And in severe burn nuclear fuel rods, resulting in a core melt accident, it is necessary to promptly increase the pressure. Turn the regulator measures the electric, heating and cooling water. If necessary, also temporary startup booster pump.

Residual Heat Removal System: reactor scram may be due to an accident, such as when the primary coolant system of the steam generator heat exchanger tube is damaged, it must be urgently closed reactors.

Safety Injection System: The main components of this system is the high-pressure injection pump.

Radioactive waste treatment systems:

Decontamination Systems: for the removal of radioactive deposits equipment, valves, pipes and accessories, and other surfaces.

Europe, the United States and Russia and other countries related to aircraft carriers, submarines, icebreakers, nuclear-powered research aircraft, there are lots of achievements use of nuclear energy, it is worth analysis. However, nuclear reactor technology, rocket ships and the former are very different, therefore, requires special attention and innovative research. Must adopt a new new design techniques, otherwise, fall into the stereotype, it will avail, nothing even cause harm Aerospace.

[ "2" spacecraft structure]

[ "3"] radiation technology is the use of deep-sea sedimentation fabric fabrics deepwater technology development precipitated silver metal fibers or fiber lint and other materials and micronaire value between 4.1 to 4.3 fibers made from blends. For radiation protection field, it greatly enhances the effects of radiation and service life of clothing. Radiation resistant fiber) radiation resistant fiber - fiber polyimide polyimide fibers

60 years the United States has successfully developed polyimide fibers, it has highlighted the high temperature, radiation-resistant, fire-retardant properties.

[ "4" cosmic radiation resistant clothing design multifunctional anti-aging, wear underwear] ① comfort layer: astronauts can not wash clothes in a long flight, a lot of sebum, perspiration, etc. will contaminate underwear, so use soft, absorbent and breathable cotton knitwear making.

② warm layer: at ambient temperature range is not the case, warm layer to maintain a comfortable temperature environment. Choose warm and good thermal resistance large, soft, lightweight material, such as synthetic fibers, flakes, wool and silk and so on.

③ ventilation and cooling clothes clothes

Spacesuit

In astronaut body heat is too high, water-cooled ventilation clothing and clothing to a different way of heat. If the body heat production more than 350 kcal / h (ventilated clothes can not meet the cooling requirements, then that is cooled by a water-cooled suit. Ventilating clothing and water-cooled multi-use compression clothing, durable, flexible plastic tubing, such as polyvinyl chloride pipe or nylon film.

④ airtight limiting layer:

⑤ insulation: astronaut during extravehicular activities, from hot or cold insulation protection. It multilayer aluminized polyester film or a polyimide film and sandwiched between layers of nonwoven fabric to be made.

⑥ protective cover layer: the outermost layer of the suit is to require fire, heat and anti-space radiation on various factors (micrometeorites, cosmic rays, etc.) on the human body. Most of this layer with aluminized fabric.

New space suits using a special radiation shielding material, double design.

And also supporting spacesuit helmet, gloves, boots and so on.

[ "5" space - Aerospace biomedical technology, space, special use of rescue medication Space mental health care systems in space without damage restful sleep positions - drugs, simple space emergency medical system

]

[ "6" landing control technology, alternate control technology, high-performance multi-purpose landing deceleration device (parachute)]

[ "7" Mars truck, unitary Mars spacecraft solar energy battery super multi-legged (rounds) intelligent robot] multifunction remote sensing instruments on Mars, Mars and more intelligent giant telescope

[8 <> Mars warehouse activities, automatic Mars lander - Automatic start off cabin

]

[ "9" Mars - spacecraft docking control system, return to the system design]

Space flight secondary emergency life - support system

Spacecraft a

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

"When driving to Canada, know the last name of the person you are visiting." One of Dad's friends was selling a car in Canada. They were both driving with the intention of leaving the car that was being sold behind in Canada. When the border patrol asked Dad what he was doing in Canada, he didn't know the answers to the questions, and so he told the border patrol to ask the guy in the car behind him. Needless to say, they didn't make it through the border that day.

 

"Don't leave your keys in a running vehicle in the middle of Washington D.C." Dad double-parked, went into the building for a few minutes, and his car got stolen during that time. It was a pretty easy target. Thanks to the DC Police, they were able to locate the vehicle. Dad told Carolyn about how the guys had moved in. "They took my umbrella out, and put their umbrella in." They also left some drugs in the ashtray. The DCPD doesn't need to search vehicles when they are returning them from being stolen.

 

"Always check your oil before long trips." Carolyn doesn't think there's a specific story about this one, but dad would remind us the importance of checking the oil constantly.

 

The existence of the White Flamingo Hotel." Dad would travel a lot for bridge tournaments, and he would always make sure to not spend any more money than necessary. So sometimes he would find a parking lot, park his white suburban there and sleep overnight. One time, his bridge friends asked him which hotel he stayed at, and he didn't want to embarrass himself by admitting he slept in his car, so he said, "I stayed at the White Flamingo!"

 

There's another story about the White Flamingo that Dad told Carolyn. He found a parking lot, parked the suburban, and then went to sleep. Then he was rudely awakened by someone tapping on the window. It turned out to be a cop who had to question him because the parking lot he found turned out to be a school. This might have been the time they searched his vehicle, and took everything out and tore it apart. When they didn't find any drugs, they didn't even put everything back for him.

 

"How to calculate gas mileage." No brainer.

 

"Watch out when he subtly cracks a window in the car." Those farts were silent, but deadly.

 

"It's fun to drive through the sitting flock of seagulls in the Taco Bell parking lot."

 

"Alternate routes to I-95 during rush hour." Lorton was a particularly useful route.

 

"Traffic cones are helpful when parking is scarce."

 

"How to track down a driver who hit one of your vehicles." During Thanksgiving Break, Carolyn got rear-ended in the blue Suburban. The Suburban appeared to have no damage, but the girl's car wasn't so lucky. Her whole front bumper was laying on the ground. She had initially asked Carolyn for a ride, and she indicated the direction she lived in. Then she said she would be able to make it, and went on her way. Turns out, the suburban did have damage to the shocks, and Dad was annoyed that Carolyn didn't get the girl's information. So we went driving around until we found a smashed up car. We had found it right away, but Carolyn's memory had lied to her. It was a sky blue car, but Carolyn was sure that it was a dark car. We ended up going back to where the accident and we found a piece of the bumper. That was most definitely sky blue.

 

"What todo if a Suburban breaks down on Tanyard Hill." Tanyard Hill is a very narrow, very twisty, very windy road that connects the town to Old Bridge Road. Carolyn was low on gas, and she was planning on getting some the next time she went out. However, Dad had other ideas. He was working on the cars and moved the Surbuban and left the engine running. When Carolyn came back, she was like "Oh no, it's low on gas!" So she quickly attempted to drive it to the gas station, but alas, it was not to be. The Suburban puttered out halfway down Tanyard Hill Road. She walked back and collected her dad and her sister to help her get some gas. It was quite the adventure!

 

"D-R-O-F is Ford spelled backwards." Dad would always quiz us when he was driving us around. He tried to make the questions harder as we got smarter.

 

"When you're driving, and you need to adjust the steering wheel to stay in the lane, make a small adjustment. Dad let Carolyn sit on his lap to steer the car once.

 

"If you ever get lost in D.C., just read the signs."

 

"The Japanese use balsa steel." This came up when Vicky bought her first car, and Isuzu Rodeo. Dad said their steel is supposedly of lower quality.

 

"Lipton Onion soup mix is a great addition to hamburgers." Dad's hamburgers were sooooo delicious! If you don't have real onions, the lipton onion is a nice tip.

 

"You can grill, no matter the weather, even when it is snowing."

 

"Fast food restaurants have a 'peek hole' and know if a single car is placing multiple orders."

 

"Friendly's should be named Slowly's." We used to go to Friendly's a lot, but one time we went there, and we were waiting so long and nobody even gave us a menu or acknowledged our presence in the slightest. Eventually, we got fed up and decided to leave. As we were walking at, Dad loudly exclaimed, "This place should be called SLOWLY'S!". Sooooo embarrassing.

 

"Falling asleep with a bag of Hershey Kisses bears messy results." Carolyn's Dad thought her mom pooped the bed, but it turned out to be the melted Hershey Kisses that he was eating when he fell asleep.

 

"Making gravy is a fine art." You need the gizzards for it.

 

"Filet mignon is delicious"

 

"The Jewish Mother out of Virginia Beach makes delicious Peanut Butter pie."

 

"The phrases 'pass gas', 'the good Lord', '___', 'kibitz', 'flim-flam', 'chit-chat'." Carolyn always thinks of her dad when we are watching My Little Pony: Friendship is Magic and the Flim-Flam brothers show up.

 

"Priceline.Com, melatonin"

 

"Be kind to strangers. Sometimes it is okay to pick up hitchhikers."

 

"Buzzards perch on the same townhouse at the same time every morning."

 

"When a cat skins half of its tail in a doorway, a vet visit is not necessary." Dad was grilling, and our cat, Rabei, was waiting by the door for his chance to exit when the door opened. Dad opened the door to enter with a plate full of hamburgers, and he closed the door behind him with his foot. Carolyn happened to see the whole thing, and she saw Rabei was halfway out the door when her dad closed it. She scolded Dad for not being more careful, and she said, "Look, he's still stuck in the door!" We opened the door, but there was no cat there. Just the tail. When Rabei showed up again, he had a little rat tail for awhile until it eventually fell off.

 

"Don't feed two dogs too close together." "A broomstick is an effective means of breaking up a dog fight." These two go together. One day, when Carolyn's sister, Vicky, was feeding Midnite and Licorice, she didn't put the piles far enough apart. They got into a huge fight, and Dad broke them up with a broom.

 

"It's hard to bury a dog in the middle of winter."

 

"Salt Lake City officials do not care for horse-drawn carriages pulling right up to the entrance of the convention center." Vicky would travel to bridge tournaments with Dad. There is probably a story behind this one.

 

"Never underlead an Ace." Carolyn's father played a lot of bridge. A LOT of bridge.

 

"Putting pennies on railroad tracks yields pretty trinkets." It was a lot of fun how they got all stretched out.

 

"How to putt." Carolyn's dad played a lot of golf, too. We spent a lot of time at the driving range and playing miniature golf. One time, we were playing mini-golf, and Dad's ball hit the wall of the windmill. Dad exclaimed, "DUMB-DUMB SAWYER!" and flung his putter in frustration. And he ended up bending the putter.

 

"Men in their fifties can attend raves." And Goth Clubs.

 

"Women go to strip clubs in packs--they never go alone like the men."

 

"Natural gas does not have an odor." Dad worked at the gas light company.

 

"The value of working in the office after hours." You bring your kids with you and let them run free in the cubicles. Such fun we had calling each other on the phones and pretending to be important business-people. And writing on the whiteboards, and stapling papers. It was awesome getting to go to work with Dad. And it was always on the weekends and nobody else was there.

 

"Don't pretend to be a priest and that a wintergreen lifesaver is the holy Eucharist."

 

"How to flim-flam a movie theatre and get a senior discount." When you're prematurely gray, that's pretty easy. Then there was the time when my dad went to go see a movie, but the movie was canceled, so the movie theatre was giving coupons for the inconvenience. So Dad went home, put on a disguise so he wouldn't be recognized as already getting a coupon, and gathered us all up so that he could get even more coupons.

 

"Take advantage of rebates." We got so much useless junk from Comp-USA that one time just because of the promise of a rebate.

 

"How to split logs." Dad had been cutting logs since he was a little boy.

 

"Installing sink and light fixtures backwards is endearing." The cold and hot were reversed on our kitchen sink.

 

"Trees are important."

 

"Don't walk on your knees. The Good Lord might think you don't want your calves and take them away in a car accident."

 

"You should pop pimples when they are green." When Vicky was in high school, she read a magazine that warned her that picking at zits could cause scarring on your face, so she didn't pick at them. One day, she got into the car with a huge massive pimple on her chin, and Dad scolded her, "You're supposed to pop them when they look like that!"

 

"You can catch HIV from oral sex."

 

"Crutches and plastic bags on the ground do not mix." Dad broke his knee and had a tough time getting used to the crutches.

 

"Don't play with mercury." This was when we were really little, Dad brought all these metal things home from work, and they would leak mercury. That stuff was so much fun and looked like it'd be an awesome toy, but alas, we were not allowed near it since it's poisonous and all.

 

"Men can get manicures." Dad was already an expert at getting manicures when Carolyn got married. Dad took Caroly and Vicky to the beauty parlor and proudly said, "Three manicures, please." And we saw the lady counting in her head as she looked at Carolyn, looked at Vicky, and then looked at Dad and got all confused about the third manicure.

 

Something about the zoom feature of a photocopier.

 

"If a hen and a half lays an egg and a half in a day and a half, six hens will lay twenty-eight eggs in seven days." This was another one of those car-quizzes.

 

"Air-conditioned dorms is an important feature in college selection." Dad went to college in Texas.

 

"Garbage men don't need to know Latin."

 

"If you think of someone, call them up to chit-chat, even if it is three in the morning." That is when you have the best conversations.

 

"Don't renige on your commitments." If you told Dad you'd play bridge with him, you're committed. It's hard to scrounge up a good partner at the last minute.

 

"Love your in-laws as if they were your own parents." Dad visited Grandma Lib in the nursing home a lot after she broke her back.

 

"Comedies are the best kind of movies. Especially when the one you are with laughs loudly." Dad was a huge fan of comedy movies.

 

"One will adjust to seeing sick, hurting, and dying loved ones." Carolyn's Dad took them to visit Grandpa in the hospital when we were younger. It was the first time Carolyn ever visited anyone in the hospital and she didn't really know what was going on until they got to Grandpa's room and there was Grandpa.

 

Lowell.

melatonin, picture.

Things We've Learned From Dad.

 

Ryan and Vicky's house, Occoquan, Virginia.

 

November 7, 2013.

Art by Vicky.

  

... Read my blog at ClintJCL at wordpress.com

  

Lowell Sawyer was Carolyn's father, who died in August of 2012. He will be missed.

  

BACKSTORY: For Father's Day in 2003, Vicky compiled a bunch of memories about what we learned from Dad. Carolyn decided to take a picture of it hanging in the townhouse.

Large-scale site-specific public art installation located near Jean Dry Lake and Interstate 15, approximately ten miles south of Las Vegas, Nevada. Comprised of seven towers of colorful, stacked boulders standing more than thirty feet high, Seven Magic Mountains is situated within the Ivanpah Valley adjacent to Sheep Mountain and the McCullough, Bird Spring, and Goodsprings ranges of mountains. A creative expression of human presence in the desert, Seven Magic Mountains punctuates the Mojave with a poetic burst of form and color.

The very specific type-20 Polaroid film has been discontinued for almost 50 years, so i decided to (slighlty) modify the camera to use classic medium-format film instead.

 

See next photo for more informations : www.flickr.com/photos/stiveune/13842124345/in/set-7215762...

Definition: Indy describes a specific type of grab, where the skater or snowboarder reaches his or her back hand down and grabs the toe side of the skateboard or snowboard between the rider's feet. The Indy is the most common type of grab in skateboarding and snowboarding.

 

The Indy can be a sticky trick to name - a lot of skaters use the term Indy for any grab where the back hand is holding the board between the toes, but technically, this is only true in snowboarding. In skateboarding, traditionally the term Indy refers to the same grab, but it implies it is backside.

www.ansedemoidrey.com/specific/formats/page.jsp?id=64

I'm afraid I know nothing specific about these cast metal lions, nor the dovecote behind them.

 

They proudly sit at the entrance to the valley garden of Plas Newydd, the late-18th century home of Miss Sarah Ponsonby and Lady Eleanor Butler, the famous 'Ladies of Llangollen', who had eloped from Ireland. Their unorthodox lifestyle attracted the interest of Regency society, and numerous visits from such dignitaries as the Duke of Wellington, Josiah Wedgwood and Romantic poets Wordsworth, Shelley and Byron.

None of whom would have recognised this view; the formal gardens and monochrome colour scheme postdate the Ladies.

 

Better On Black?

A lovely Deep South Svastra, S. petulca to be specific. A nice pollen shot. You can see the huge bushy pollen carrying hairs on its hind legs, designed to carry dry pollen unlike Honey Bees and Bumble Bees which mix their pollen with nectar. I am guessing it is some sort of composite given it is blow out orange and that Svastras are known to favor that family of plants. Collected by Mimi Jenkins near Charleston, SC and Anders Croft's first bee photographs (Excellent work Anders, remind me to double your pay).

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All photographs are public domain, feel free to download and use as you wish.

 

Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200

 

Beauty is truth, truth beauty - that is all

Ye know on earth and all ye need to know

" Ode on a Grecian Urn"

John Keats

 

You can also follow us on Instagram - account = USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:

 

Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World

www.qbookshop.com/products/216627/9780760347386/Bees.html...

 

Basic USGSBIML set up:

www.youtube.com/watch?v=S-_yvIsucOY

 

USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.

www.youtube.com/watch?v=Bdmx_8zqvN4

 

PDF of Basic USGSBIML Photography Set Up:

ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf

 

Google Hangout Demonstration of Techniques:

plus.google.com/events/c5569losvskrv2nu606ltof8odo

or

www.youtube.com/watch?v=4c15neFttoU

 

Excellent Technical Form on Stacking:

www.photomacrography.net/

 

Contact information:

Sam Droege

sdroege@usgs.gov

301 497 5840