View allAll Photos Tagged specific
Any specific names or locations?
Any contributions to the Bapco Photographic and Film Archive will be gratefully accepted, please contact the Public Relations Department on pr_department@bapco.net so we can safely archive any old Bahrain film or images.
Sport Specific Performance and our golf supplements were on hand to support Jordan Farmar of the World Champion Los Angeles Lakers at his celebrity golf classic. We talked sports, golf, and more with celebrities including Jordan, Lakers teammate Luke Walton, baseball great Darryl Strawberry, former Laker Byron Scott, PGA Tour pro and recent runner up of the US Open Ricky Barnes, NFL QB and former Heisman Trophy winner Matt Leinart, and more.
There are a few things I remember from school, the phrase specific gravity being one of them. This is a glass container holding coloured liquid, itself floating inside a liquid in a glass tube.
Shot with a micro four thirds lens on my Nikon D610, so no aperture reading (no electric contacts).
My first attempt at the Droste effect. A specific kind of recursive picture one that in heraldry is termed mise en abyme. An image exhibiting the Droste effect depicts a smaller version of itself in a place where a similar picture would realistically be expected to appear. This smaller version then depicts an even smaller version of itself in the same place, and so on. Only in theory could this go on forever; practically, it continues only as long as the resolution of the picture allows, which is relatively short, since each iteration geometrically reduces the picture's size. It is a visual example of a strange loop, a self-referential system of instancing which is the cornerstone of fractal geometry
© 2011 Mike Johnson
Neck (site-specific sculpture)
Year: 2005
Materials: polyurethane, acrylic, glitter flake, feather boas, faux pearls, felt, rope, cardboard
Dimensions: 118 x 54 x 54 inches
Information: For my 1-month residency at BUILD, I presented “Neck”, that I assembled at the gallery site. Combining experimental materials such as glitter-flaked polyurethane, feather boas, and faux pearls I created a large-scale sculpture that evoked the cheap luster associated with child Beauty Pageants, celebrity tabloids, and the tawdry unsolved murder of JonBenet Ramsey. I activated the space with an imposing piece that drew its inspiration from dark source material, but maintained a lighter-than-air opulence that spoke to my interests in extravagant impulses and transmogrified beauty.
Instalação produzida para a disciplina Linguagens da Arquitetura e da Cidade, sob orientação dos professores David Sperling e Fábio Lopes.
4o. ano do Curso de Arquitetura e Urbanismo da EESC|USP São Carlos.
junho.2007
Alunos: Ana Carvalho, Karen Piccoli, Paula Vilela e Ricardo Travassos.
Fotos: Ricardo Travassos
There is no specific name for this site so i had to give it this title but it really have the most epic view for Tasmania ...
To follow me on twitter :
twitter.com/#!/DamonProduction
To follow me on youtube :
www.youtube.com/DamonProduction
To follow me on facebook :
A further tour to Fourvière, Lyon, France for a specific visit of l'Antiquaille on October 20, 2022. I did also a new Kodak Tri-X film with my Zorki-4K camera and its Jupiter-8 1:2 f=50 mm normal lens.
The Zorki was loaded with the Kodak Tri-X (TX) exposed for 400 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed at 20°C using Tetenal Ultrafin developer at dilution 1+10 for 9min.
Théâtres romains, October 20, 2022
69005 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
After several films, and the range finder adjusted, I found the Zorki-4K very pleasant to use. The camera is clearly very reliable and the film smoothly advanced and rewound. I equipped the lens with a FOCA UV-protection filter (Made in France) and the hood of my Focaflex. All views are presented either framed or full-size.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
Vernacular signs— "local, site-specific, handmade or hand-crafted signage produced as a unique piece of art or a small run advertisement..."
Advertisements painted by hand directly onto the brickwork of buildings were once a common sight in cities, towns and villages across the country. The rise of printed billboards soon led to their decline but many still survive, often faded, clinging to the walls that host them. These 'Ghostsigns' provide a window into the past and evidence of the craftsmanship that once went into their production. However, they are disappearing fast, often due to weathering but also as a result of property development and demolition.
Sheridan, WY is lucky to have a good deal of these signs still remaining....
Actress: Emilia Brandi
Photographer: Angelo Maggio
Onions - In Pasto Al Mare was a site-specific play I directed for the Caparrotti beach, Pizzo, Calabria, Italy at the CaLABria, theatre lab Aug-Sep, 2014. In October the piece preformed at the Quarticciolo theatre in Rome.
Ann Hamilton, Untitled, remains installed at Seattle's Central Library, in the World Language/ESL section. It consists of wooden floor boards with words in 11 languages in relief. The words spell out (backwards) the first sentences of certain books in their respective languages. How much more site-specific can you get? Very beautiful and adds to this libraries feeling of a cathedral of knowledge.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
These site specific outdoor sculptures were found on the sidewalk in Brooklyn, NY created by unknown groups. They contain materials choosen specifically from household objects to represent the used unwanted and decrepid. Despite the negative nature of the contents, the sculpture itself is presented as either transparent or obscured but always with the purpose of communicating an image about the community living and working within the walls behind these totems. These can include messages of prosperity, order, dispair, growth, conformity, humor and enlightenment, as well as the occasional social or cultural commentary. Their obvious aesthetic appeal and placement among contemporaries such as Gavin Turk and Joshua Allen Harris make them an undeniable voice in the dialog of waste.
c-print 8x10in
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024). S.v., Documentazione archivistica storica integrativa sugli scavi e gli studi della collina della Velia anni '30; in: RARA 2023 (07/2009 bis 01/2023). wp.me/pbMWvy-3Jm
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661629811
___
** Nota: tutte le fotografie in questo post sul blog e il successivo album FLICKR (se non specificato da altre fonti) sono citate dalla fonte originale di: Video = Mercati di Traiano Museo dei Fori Imperiali / Fb (24 e 31/01/2024). **
** Note: All photographs in this blog posting and the subsequent FLICKR album (unless specified from other sources) are cited from the original source of: Video = Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024). **
___
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120668
1). ROMA - N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120683
Buongiorno! Ecco la registrazione della prima videoconferenza dei Martedì da Traiano incentrati sulla mostra in corso.
Nella conferenza che ha aperto il nuovo ciclo dei Martedì da Traiano i curatori ci illustrano il proprio lavoro: il perché della mostra, come è stato definito il percorso allestitivo e come sono stati scelti gli oggetti da esporre, fino alle nuove acquisizioni che le ricerche condotte in questa occasione hanno prodotto, senza dimenticare i molteplici aspetti legati alla comunicazione e alla didattica.
Vi aspettiamo più tardì per il secondo appuntamento!
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072270
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072295
Fonte / source, Video & foto:
--- Roma, Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.facebook.com/MercatiTraianoForiImperiali/videos/92823...
--- Roma, I Martedì da Traiano / Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto. Mercati di Traiano Museo dei Fori Imperiali (24/01-28/02/2023).
www.mercatiditraiano.it/it/mostra-evento/i-marted-da-trai...
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661629636
--- Roma - 1932, l’elefante e il colle perduto (08/04/2022 - 05/03/2023) - Mercati di Traiano Museo dei Fori Imperiali (04/2022 - 03/2023).
Una selezione di circa 100 opere, tra reperti archeologici, progetti grafici, oggetti d’arte e video, alcuni esposti per la prima volta, racconta la storia della perduta Velia e del “suo” elefante. Prorogata al 5 marzo 2023.
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120923
A 90 anni dalla scoperta, sono stati restaurati i resti fossili di elefante (Elephas antiquus) trovati alla base della collina Velia. L’intervento ha costituito l’occasione per proporre un insieme di opere, che gettano luce su un settore dell’area archeologica centrale interessato negli anni Trenta del Novecento da distruzioni e trasformazioni urbanistiche profonde.
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120948
Un centinaio di queste opere, tra cui reperti archeologici, progetti grafici e opere d’arte, interamente provenienti dalle collezioni capitoline, alcuni dei quali identificati in occasione di recenti ricerche ed esposti al pubblico per la prima volta, compongono questa mostra.
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661915789
Mercati di Traiano Museo dei Fori Imperiali (04/2022 - 03/2023).
www.mercatiditraiano.it/it/mostra-evento/1932-l-elefante-...
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661629851
1.1). ROMA - La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072540
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072555
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661915929
2). ROMA - Documentazione archivistica storica integrativa sugli scavi e gli studi della collina della Velia anni '30; per: N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
Foto: ROME – Dr. Claudio Parisi Presicce, the Via Dell’ Impero: Exhibit – “1932, the Prehistoric Elephant and the Lost Velia Hill.” The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022); in: RARA 2022 (08/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991110596
Foto / PDF = Umberto Croppi et al., “Via dell’impero. Nascita di una strada, demolizioni e scavi: 1930-1936. Scavi archeologici, sterri e demolizioni per l’apertura di via dell’Impero.” Roma: Comune di Roma (22/07/2009): 1-5
www.flickr.com/photos/imperial_fora_of_rome/52661129627
2.1). ROMA - Umberto Croppi, Umberto Broccoli, Claudio Parisi Presicce & Maria Elisa Tittoni, "Via dell'impero. Nascita di una strada, demolizioni e scavi: 1930-1936. Scavi archeologici, sterri e demolizioni per l’apertura di via dell’Impero. Roma: Comune di Roma (22/07/2009): 1-5 (in PDF) = RARA 2023: Rieditato e rivisto da M. G. Conde (2009 e ancora 2023), Washington DC, USA (31/01/2023)
--- PDF = Umberto Croppi et al., Roma: Comune di Roma (22/07/2009): 1-5 wp.me/pbMWvy-3Jm
Fonte / source:
--- RARA 2023 / Documentazione archivistica storica (2009/2023).
romaarcheologiaerestauroarchitettura.wordpress.com/
Foto: Arch. Italo Gismondi, La Domus di eta imperiale ritrovata (e distrutta) sulla Velia durante gli scavi per realizzione di Via Dell` Impero; in: Giuseppina Pisani Sartorio, Archeologia Viva, No. 6 (1986) (RARA 2022 [Materiali d’archivio] 29/05/2011).
www.flickr.com/photos/imperial_fora_of_rome/52203119511
3). RARA 2023. ROMA - Il Colle Velia e la Via Dell’Impero, Arch. Italo Gismondi, 1931-33: Mostra “1932, l’elefante e il colle perduto.” Museo dei Fori Imperiali / Fb (05/07/2022) & I. Gismondi, in: Giuseppina Pisani Sartorio, Archeologia Viva, No. 6 (1986). wp.me/pbMWvy-2Ta
Foto: Antonio Munoz & Italo Gismondi, Così nacque via dell’Impero: “Ipotesi di sistemazione del muro di contenimento di Villa Rivaldi su progetto di Antonio Muñoz (disegno di S. De Angelis). Museo di Roma, MR-42232” [c. 1930?], in: Pier Federico Caliari (2017); in: RARA 2022 (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51987489977
--- RARA 2023. ROMA - VIA DELL’ IMPERO e “1932, L’ELEFANTE E IL COLLE PERDUTO”; in: Museo di Fori Imperiali (07/04/2022).” ROMATODAY (07/04/2022). S.v., Vedi anche: Roma e l’era pliocenica e i resti di elefante scoperti sul Campidoglio (fine del XIX secolo?), il Foro Romano ([ = una zanna di un ippopotamo] c. 1900-07?), la Velia (1932) e il Foro di Cesare (1941?). Anche: Antonella Aquiloni, Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021) & Dott.ssa Rossella Rea, La Repubblica (10/10/2009): 1 & 27 wp.me/pbMWvy-2Am
Foto: Antonella Aquiloni, “Roma – Montevarchi: restauro e ritorno.” Il Museo per restaurare un Elephas antiquus rinvenuto nei Fori Imperiali nel 1932. Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51659368228
--- RARA 2023. ROMA - Antonella Aquiloni, “Roma – Montevarchi: restauro e ritorno.” Il Museo per restaurare un Elephas antiquus rinvenuto nei Fori Imperiali nel 1932. Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021). wp.me/pbMWvy-2aM
Foto: Roma – I Fori Imperiali, la Velia duranta ti periodo pliocenico & ‘L` Elephas Antiquus’; in: IL GIORNALE D’ITALIA (06/07/1932): 3 & (24/05/1932): 3
www.flickr.com/photos/imperial_fora_of_rome/51784422691
--- RARA 2023. Roma – I Fori Imperiali, la Velia duranta ti periodo pliocenico & ‘L` Elephas Antiquus’; in: IL GIORNALE D’ITALIA (06/07/1932): 3 & (24/05/1932): 3. S.v., Roma – Il Sottosuolo dei Fori e ‘L’ Elephas Antiquus’ Della Via Dell’ Impero [05/1932]; in: “Tra elefanti e bufali, Roma era come la savana.” GEDI WATCH / You-Tube (25/11/2021) [05:35]. S.v., Dr. Antonella Aquiloni, Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021) & IL MESSAGGERO (26/05/1932). wp.me/pbMWvy-2kj
Foto: ROMA – Il Sottosuolo dei Fori e ‘L’ Elephas Antiquus’ Della Via Dell’ Impero; in: IL GIORNALE D’ ITALIA (24/05/1932): 3 & IL MESSAGGERO (26/05/1932): 5.
www.flickr.com/photos/imperial_fora_of_rome/51418823412
--- RARA 2023. ROMA - IL GIORNALE D’ ITALIA (24/05/1932): 3 & IL MESSAGGERO (26/05/1932): 5; Alessandra Tomassetti (2008) = A. M. Colini / F. di Cesare: “Mandibola di Elefante Antiquus” (1932). ANCHE: LA REPUBBLICA (10/10/2009): 27 & Sotterranei del Vittoriano & lo scheletro di un elefante preistorico,” Il Giornale (20/05/2002): 31. wp.me/pbMWvy-1Rd
Foto: Roma, I Fori Imperiali & Via Dell’ Impero (1930-32); in: Comune DI ROMA / SIMARTWEB (04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991671005
4). RARA 2023. ROMA - Dr. Claudio Parisi Presicce, the Via Dell’ Impero: Exhibit – “1932, the Prehistoric Elephant and the Lost Velia Hill.” The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022), (08/04/2022). wp.me/pbMWvy-2Az
Foto: ROMA – “Dalle casse chiuse per 70 anni nuovi tesori della vecchia Roma. Il Venerdi La Repubblica (18/12/2009): 106 (in PDF); in RARA 2023 / Archivio (26/11/2011).
www.flickr.com/photos/imperial_fora_of_rome/4195082962
PDF = ROMA – Il Venerdi La Repubblica (18/12/2009): 106 (in PDF); in RARA 2023 / Archivio (26/11/2011). wp.me/pbMWvy-3Jm
Foto 1a : ROMA – “Fori Imperiali, il mistero delle 500 casse. Bronzi, mosaici, affreschi e persino una tela di lino: riemergono i reperti catalogati nel ’39. Ora in caveau.” Corriere Della Sera (12/09/2010): 3; in: RARA 2023 / Archivio (13/09/2010).
www.flickr.com/photos/imperial_fora_of_rome/4988366532
Foto 1b : ROMA – “Fori Imperiali, il mistero delle 500 casse. Bronzi, mosaici, affreschi e persino una tela di lino: riemergono i reperti catalogati nel ’39. Ora in caveau.” Corriere Della Sera (12/09/2010): 3; in: RARA 2023 / Archivio (13/09/2010).
Any specific names or locations?
Any contributions to the Bapco Photographic and Film Archive will be gratefully accepted, please contact the Public Relations Department on pr_department@bapco.net so we can safely archive any old Bahrain film or images.
I think that if you need a dry erase board to make your no parking sign, it might be easier to just not allow parking at all.
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
This tree is a symbol of the friendship between the Japanese Gilu and the Viennese district of Meidling.
City Park
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Sport Specific Performance and our golf supplements were on hand to support Jordan Farmar of the World Champion Los Angeles Lakers at his celebrity golf classic. We talked sports, golf, and more with celebrities including Jordan, Lakers teammate Luke Walton, baseball great Darryl Strawberry, former Laker Byron Scott, PGA Tour pro and recent runner up of the US Open Ricky Barnes, NFL QB and former Heisman Trophy winner Matt Leinart, and more.
I talked with Dori today and learned that at this point she’s willing to help, but she knows of no specific plans on how best to proceed. I’d like to suggest one to get the conversation rolling. It has several components.
First, i think photos are absolutely critical to our recruiting success because they will build interest and support from members and allow us to add life and interest to the newsletter and web site. Bottom line - I see them as very important.
I have been roughing out a plan in my head of how best to do this in a volunteeer organization. Here’s what I’m thinking.
1. Create a cadre of photographers - people who are willing to take pictures at events and study groups they attend and who have some reasonable photographic skills. Pat and Dori are obvious choices and have both said they would be willing. I can think of several others, and I’m sure there are more I don’t know about. The basic idea is to spread the work out and get as much coverage as possible.
2. Draw up some guidelines on what we are looking for in terms of photos - what makes an appealing photo for our purposes. I’d be glad to draft this. We then might want to publish them on the Web site, tell folks about them in the newsletter, etc.
3. Encourage facilitators to either take pictures themselves - if they don’t mind - or see if they can enlist someone in their study group who is willing to take this on as an assignment. (I know some facilitators already take shots, so the next problem is to get them into a pipeline for selection and use.) This would be particularly important in groups that are activity oriented and have some visual appeal, such as bridge, art, music, history, field trips, etc.
4. Set up a central mechanism for collecting the images and making them available to people doing publications/web sites/pr - me, Al, Bev, or whomever. I suggest we use a simple system that is accessible to selected people over the internet by password and visible to all for this process - something that would allow photos to be uploaded and organized from home or office. My first thought is Flickr. I have an account there, but it hasn’t served my purpose as well as Facebook, so I haven’t used it much. However, i think it could work very well for this purpose, though there might be something better. If you are not familiar with it and want to take a quick look, I suggest you go here:
In any event, we can load photos into it and organize them into albums by subject matter, plus add whatever details we need about the photos. One person - presumably Dori - could take overall responsibility for this - become our Flickr editor - but people taking photos could send them to that person - or perhaps to Al and/or me - and we could also upload them to Flickr as long as we agree on a format. Photos in Flickr carry exif data so we automatically would have information about when - and in some cases where - a photo was taken. Other information could be added by Dori or whomever.
Then if we need a photo for the Web site, a newsletter, or whatever, we simply go to Flickr and download a copy. (Probably should make note on the Flickr web site where and when we used the photo - or planned to use it. )
Your thoughts, suggestions, ideas?
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
Interview with Ing. Michel van Rijn (President RijnPlant Breeding BV and board member RijnPlant BV)
Which nations are the main selling markets of RijnPlant in recent years? Facing the economy crisis, how is the current state of each of them?
RijnPlant Breeding and RijnPlant Sales have different markets to supply to, As a Anthurium, Bougainvillea and Calathea young plant producer, RijnPlant Breeding sells its products to over 50 countries worldwide. After Holland as our largest market, PR China, Brazil and USA are major markets . Daughter-company RijnPlant Sales is responsible for the sales of 65% of the European Anthurium pot plant production. Target markets are not only limited to western European countries, also Poland and Russia are become more and more important markets.
Over the last years we see a large increase in our young plant sales in all export countries. We are proud on this result, which is achieved with years of hard work. Important factors to achieve this result are having transparent and direct communication with all our customers. Even when we need to work with agents because of the amount of sales in a certain country, we keep the direct communication. This makes it easy for customers to get the lastest information regarding cultivation and availability of new varieties directly from our De Lier based head office. Another key point is our strategy by offering specific varieties on a area-exclusive base. This system, which we already use for years in Europe, works also very well in Asia and USA We want our customers in a country to cooperate together instead of competing, we have seen that this works well by giving customers exclusive rights on a certain variety. Our customers who have exclusive rights on different varieties do not need to compete on price. Instead, they start to communicate with each other on the cultivation skill and market trend.
When looking to the sales of finished plants RijnPlant is also giving extra services to their customers. With our cooperate brand ‘RijnPlant Group’, we use the combined power of 13 major pot Anthurium companies in The Netherland to supply a whole range of Anthurium plants, from 9-cm pots till 27-cm pots to the European retail market. To put it in a figure: RijnPlant Group is responsible for 65% of the European Anthurium pot plant production. Their production is +- 15 million pots annually and making an turnover of around 50 million Euros. With working with such a cooperate brand our growers and our own production facilities, can handle larger orders, for example make by chains of garden centres and IKEA. Several times per year our sales staff have meetings with the purchasing department of the big retail companies to discuss the choices for the coming period and to make a good strategy for the long-term. Together with retail we can discuss with flower type or flower colour will be more popular in the coming years ór with flower types we will make popular by taking control of the market in a certain way. Since RijnPlant is participating in many links of the supply chain, we feel the pressure on the market at this moment. This situation is not positive for the whole economy and for horticulture , but it is proven in the past that when you invest during the tough times, you will be stronger after it. That is the way we will fight this ‘crisis’. Now is the time to improve production and introduce new varieties. On short -term everyone wants to get stronger sales by making extra promotion. We see it as important to make both promotion to our direct customers, the retail, by giving suggestions about added value we can give our plants. Examples are the use of coloured cover pots , ceramic pots, special sleeves etc. Next to that it is also important to influence the ‘customer of your customer’, the end-consumer. RijnPlant is one of the first companies who make promotion on television in The Netherlands. Every week our products are shown in the major Dutch gardening program. Promotion on television and easy to recognize retail concepts in garden centres makes it easy for the consumer to find our products. Our sleeves around the plants and the distinctive labels attached to the pots, make clear to every consumer that it is a top quality product!
RijnPlant is a young plant supplier and also an end-product producer, does it cause the competition between RijnPlant and your own customers?
RijnPlant is started as a grower of Anthuriums many years ago. Already quickly we get involved in breeding, since the available varieties couldn’t meet our high standard. During the years we are grown to a company that is very active in the sales of young plants. At this moment RijnPlant produces +- 20% of the total European Anthurium pot plant production itself (and RijnPlant Group produces about 65%)! To avoid that we become a competitor of our customers, but also to avoid our customers compete we each other we have adopted the exclusivity system. From the point of view of RijnPlant Breeding we see all customers as equal. This means that we deal with our two production facilities the same as with our customers. They get the same young plants and they both have to negotiate with the sales manager from the sales department about new varieties, and contract details etc. All the 13 companies grow different varieties in different pot sizes, with this system they can be of an added value for each other and for the RijnPlant Group. What seems to be competitive strategy works out as a cooperate strategy!
What is RijnPlant's opinion about more and more Dutch floricultural firms invest, cooperate, and produce locally in China? Do you have the same plan for the future? Why (reasons of the decision)?
Over the past years we have seen that larger horticultural firms have experienced large expansion outside Europe. On one side these firms moved their production to Asia to produce for the European market, this especially happens with flower bulb business and seed producing industry and tissue culture labs . On the other side also sales for these companies are increased in Asia, what also have great influence on the choice of production area. For RijnPlant the last thing caused the decision to start up an own company in Shanghai, PR China. Over the last 10 years our sales in China are growing by the year and in order to offer our customers the best plant quality and the best cultivation support with a sharp price our move to Shanghai is very logical. People from outside think that only cheap labor is the driving force why daughter companies are founded in China, but it isn’t. For such a high quality product like Anthurium with a cultivation time, based on starting material, of at least 8 months, you want to give your customers good plant material and good support. In the actual case when using air freight, plants are on their way for some days in ‘less controlled’ . Next to this, our own facility will also be used as a showroom for our excising and our new varieties. Coming April, just after Horti Expo 2009 our production will start and three months later, the first Anthuriums will be send to our customers which our spread over whole China. In our opinion the move of European companies to Asia and to China in special is positive. It is a great step to present ‘Dutch quality’ products for a affordable price to markets for which our plants were (too) expensive. It is a win-win situation: better quality for grower, better price for grower, more varieties on market for end -consumers, good presentation for Dutch horticultural sector.
Can you introduce more details about the RijnPlant China to our readers? For example,
I. Will you produce pot plant end-products at Shanghai?
II. Will it involve the breeding section in Shanghai?
III. How about the technical conduct on production? Will you send staff member from Holland to Shanghai? or train local Chinese staff member by serial training program?
Already for several years RijnPlant has intensive contacts with parties to realize a company in China. Our Shanghai-based company will solely focus on the production of young plants by growing tissue-cultured plants to a larger size. It is true that we combine in Holland the supplies of young plants and in-house production of finished plants, but as said in China we will only produce for our customers. In the past, when we imported our plants into China, it was too expensive to ship larger young plants to our customers. Now we start in Shanghai, we offer the extra service of supplying young plants of bigger sizes. Next to 10-12cm high plants in 2,5cm plugs, we also offer 20-25cm high plants in larger plugs to the grower.
The breeding skills; our mother plants, the way we make crossings and the way we select novelties, are top secret. Breeding new varieties is a process that takes many years and costs a lot of efforts. We will not start breeding at our Shanghai facility, but in fact we will do intensive testing in Shanghai to ensure we offer the best novelties to our customers in Asia. It will also make it easier for growers to see which varieties RijnPlant can offer to the Chinese market.
Not only good material is important to make the best end product, also you need good people to give the plants a good treatment. For our Chinese company we have chosen to send the general manager from Holland and to select some key persons from China. The Chinese employees who will have higher functions have received higher education in Holland in order to ensure their skills and knowledge.
How much percentage of the production cost can be reduced when the facility start to produce Anthurium young plants in China? What are the main factors of reducing cost? Will the reduction also be shown on the price of young plants?
Quality is the issue that counts most. All arguments to start a company in China are given by the fact that we want to give the Chinese/Asian growers the best plant quality possible. Because of production in China we can give the young plants the same conditions like we use in Holland for growing up, but we eliminate the step of international transportation. We have learned that this transport, although executed carefully, can harm the plants especially plants of larger size. Quality has first priority, but this is also a chance to save costs for our customers. Since we have domestic production, the costs for international freight costs and import costs are eliminated which can save the grower more than 10% on his total plant costs.
What are the most popular varieties in Asia and China in recent years, and how about the amount of each variety? Can you give a brief introduction about RijnPlant's partnership in China?
Compared with Europe, Asia is a different market. A different market asks for a special strategy and distinctive varieties. Since we started in 1999 to export our products to China, we were not totally aware of this. The climate in China is not the same through the whole country, so some varies did perform very well in Guangzhou are where at a Beijing-based customer this varieties was not performing 100%. Anno 2008, we offer special for the Chinese market a range of extra strong varieties. All these varieties are trialed first at our research facility in Holland. In the next step these varieties are commercially grown at one or more production facilities in Holland to see the real characteristics of the varieties. When we are quite sure about the good performance of a variety in Holland , we will send it as a trial to Asian growers. As you can see, we take quite a time to really challenge new varieties before we send them to our customers. Like in Europe, we offer our varieties on a exclusive base in asia. All our top varieties are supplied to max. two companies in China. With this strategy we make the grower a monopolist, so make promotion nationwide himself and attract the retail to buy from him..
Though the PBR has started running in China, the illegal propagation still can be found in China. Will it affect the operation of regional exclusive right? And how is the effect of regional exclusive right strategy in China so far (reactions from the market)?
To be honest: our system of regional exclusive rights make it easier to fight illegal propagation. The last years we have tried together with other breeders to convince key parties in China that PBR is necessary in order to increase investment in China. Like for all patent-related issues, a company is working for many years on a certain project, is investing tens of thousands Euro’s in order to actually get a distinctive and unique new product. When we cannot earn back this investment, we can also not continue to introduce new varieties to the market. Our customers in China are very keen to get exclusive rights in special varieties in their portfolio. It gives them the chance to be unique in the market. The first contracts about the exclusivity agreements ended last year and all growers have asked to give us a new contract for 2-3 years. As we see now this systems works very well!
Many people think that there is a gap between end consumers and producers/breeders in Chinese floricultural field. The end-consumers do not have enough knowledge on caring the pot plant they bought. Also, it still lacks the atmosphere of “consuming floriculture products and using them in daily life” in the Chinese market. Thus, many Chinese horticulture enterprises wish to have a governmental institute which specially works on introducing and promoting floricultural consumptions. Is there any similar institute in Holland? Or what is RijnPlant’s opinion/experience on this issue?
In Holland we have the ‘Bloemembureau Holland’ (Flower Council Holland) who makes promotion for the Dutch horticultural industry worldwide. On the other side we also see that major horticultural companies are actively involved in promotion campaigns for their products. It is good to have a central institute which has a coordinating function to make promotion to the florists, retail and customers. Next to that I think that it would be interesting to copy the European phenomenon to organize ‘consumer exhibitions’ in China. Flower should be seen as part of the daily life. People are many times thinking how to design their interior with nice furniture and wall papers etc., but flower should also been seen as a part of the house interior! As RijnPlant we see this not as our primary task, but we are very willing to help our customers by making promotion campaigns and giving consultancy to them.
What is RijnPlant's opinion about the future trend of floricultural consumption in China? Is the China market attracted to RijnPlant?
Over the years RijnPlant is active on Chinese market, we see an increasing demand from consumers to specific RijnPlant varieties. What happens with cars and with clothing, also happens with Anthuriums now! When people buying a car, they never ask for ‘a red car ’, but they ask for a BMW or a Mercedes. In the market we experience the increasing demand for ‘Red King’, ‘Red Victory’, ‘Fantasy Love’ etc. just to name a few of the more than 200 RijnPlant varieties. For RijnPlant it is also important that our products have such strong names, and with specific promotion we also want to further build on these names. We need to make it easy for consumers; when they need a strong Anthurium, they ask for one of the varieties named above. The regular trend China regarding Anthurium focus on large flowering red varieties. Therefore RijnPlant has bred those kind of varieties that does well in Chinese climate and are loved by the consumers. Like in Holland we also see in China a new trend, and we hope this trend is a ongoing trend for the future to also try other colors. In Holland consumers started to buy ‘different’ colors already 10 years ago, but now we also see the change in China. ‘New’ colors for Chinese market are pink (Adios Kiss, Pink Love), white (White King, Pr. Alexia White) and orange (Orange King, Amazing Queen). Because of the conservative market it is still a big task to make growers understand these news trends so they can anticipate on it. Sometimes growers have to take a small risk by trialing new varieties and new colors, but they shouldn’t forget that.
How much does RijnPlant know about China market? Do you have some investigation about China market? If so, what is the conclusion?
For RijnPlant getting to know new markets is very important. Many horticultural companies have a R&D department for plant research, but personally I think they also do more R&D on the markets they supply to. RijnPlant started some years ago with doing very in-depth researches on markets we supply our young plants and/or flowering plants to. And already the first results made us so very excited, to get unique and very important information, that we continued that. One of our latest market research was a market analysis made of the market in China. With this research we cooperated with London Business University and HAS Den Bosch. Because Anthuriums are produced in the greenhouse, you should avoid to do all research from your desk. Like with sales and after-sales, direct communication with growers is important. Together with our staff and our agents in China, we have done many interviews among the majority of the Chinese Anthurium growers.
According to this market research, red color varieties dominate the current market as mentioned above. Most growers anticipate the selling price of Anthurium pot plants will decrease (57 %) or keep stably (36%) and the demand will increase (71%) or keep stably (29%) in five years. The trend of Anthurium pot plant size is mainly medium-size (14-22 cm) (41%). However, it is a notable result that the demand of small-size (9- 14 cm) Anthurium pot plant will be increased expectedly (37%).
On the other hand, we also have a deeper understanding about the Chinese Anthurium growers’ worry: they are very concerned about the selling prices of their Anthurium product, which is estimated decreasing in the future. Growing the same varieties with competitors and a lower quality of their own products are also major difficulties growers are facing.
Can you give a brief introduction of the development and history of RijnPlant? What is the characteristic of RijnPlant?
The initial foundation of RijnPlant was in the year 1944 when Mr. Leo van Rijn sr. started to grow vegetables under co-called cold frames. In 1968 two of the sons of Leo sr. grew total of 30.000 m2 of vegetables nearby the city of Delft. In 1975, when Leo jr. joined the company they started to grow a first 4.500 m2 of pot plants. During the following years the company has showed a fast growth to reach the current 30 ha. full with pot plants. One of the characteristics of RijnPlant being a family-owned business is the close distance between management and work floor. All of the six board members (three from the second generation and three from the third generation) have worked in all RijnPlant departments before getting management positions. They know what is going on at the work floor and keep personal touch with employees and their work.
There are plenty native plant species in China. An important issue for Chinese is developing the nature resource by breeding programs. Can you share the experience of breeding Anthurium? (how did you start it? What are the breeding goals?) Did RijnPlant consider that developing other Chinese native species of plants? Or is there any plan about cooperating with local research institutes?
RijnPlant sees and understand the value of native plant species in China. China, with its various climate regions is a centre of origin for a lot of plant families. As a breeding it is important not to forget you are working with living material. The centre of origin of Anthurium can be founded in the Latin American Andes region. We can find there a large source of germplasm, which have potential interesting characteristics that can be bred into commercial varieties. Over the last 20 years we have mastered the skills of being an Anthurium breeder very well and we have a large collection of botanical Anthurium species. Breeding takes a lot of time and efforts, at this moment we are working on new varieties that can come on the market with large quantities in +- 8 years. That 8-10 years to introduce novelties is the necessary time span for Anthurium breeding. Growers can recognize RijnPlant varieties because of their strong flower colors, quick growth, the production of many flowers and the ability to perform well in different climates.
As far as he knows, RijnPlant focuses on Anthurium and Bougainvillea. Is there any plan to start with other items in the future?
Like all companies we are always looking what other crops are interesting to do business in. In the past we had a large farm in Brazil to grow Dracaena propagation material which we exported to Holland where we sold it to the market. Over last 20 years we have become the world-wide expert in the field of Anthurium breeding and young plant production. Our cultivation process is highly automated to do the planting, replanting and sorting. From the beginning on we are committed to help our customers as good as possible and we define this good help as two factors: 1) good plant quality and 2) good services. Other crops we focus on now are Bougainvillea and Calathea . The first one is mainly sold to Europe, USA and Japan. Calathea is a crop with a very high potential for RijnPlant, our sales in Europe were very strong the last year. That strong, that we couldn’t supply our novelties to export markets. In the comings years we will be able to introduce new, own bred and patented varieties, to the Asian market. For all our business we see that it was a hard job to become the best in the market, but to stay the best in the market is even more difficult. Therefore we have chosen to keep our main focus on Anthuriums and Calathea , but who knows we will surprise the Chinese market in one of the coming years for new crops.
Capitolo primo. L’astratta qualità del ricordo. (2016/2017).
Installazione site specific al Museo Civico Villa dei Cedri per la mostra "In(de)finiti luoghi".
Ticino, Svizzera.
Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation at Villa dei Cedri Museum for the exhibition "In(de)finiti luoghi".
Ticino, Swizterland.
Even though we've selected a specific newspaper, we can't just browse it page by page. We must now do another search, either by keyword or a specific issue, and the results will be a series of individual articles.
In this case, I choose to search the Liberty Bell for any articles talking about slavery, slaves, or slavers, published any time after 1850.
Page 51
When Robert Cremean walked through the seemingly
endless corridors of the Vatican Museum in Rome, he was
struck not only by the vastness of the place but by the
number of sculptures it contains, many of which are
neutered by a fig leaf. To him, the sculptures in the museum
represented an enormous collection of mixed metaphors and
only a rare few met his definition of “transparency.” On the
fourth page of his Preparatory Study for VATICAN
CORRIDOR, A Non-Specific Autobiography he wrote:
The enclosure of one metaphor by another—one culture by
another—one time segment by another. “Paganism” is preserved
through forfeit of genitalia—neutered by a fig leaf. Miles of
historical artifacts enclosed within an historical artifact. And yet
there are a few presences that are not dead—not neutered. A few
glimpses— Man existing without metaphor. A few Transparencies.
Are these not worth the endless walk?
Within the concept “One man=all men,” VATICAN
CORRIDOR, A Non-Specific Autobiography was conceived as
an actual and metaphorical record of the journey through
the life of the artist and, by extension, a projection of the
possibilities we all share and may attain. Within both of the
facing walls are ten carved life-sized figures symbolically
conjoined by arches to form a “corridor of the self. ” As Robert
Cremean wrote:
Each arch represents three years and the Corridor of Self-Analysis
begins with my seventeenth year.
It was within the time span of the First Arch he declared
himself a sculptor.
Prior to acquiring the materials necessary for the actualizing
of the sculpture in wood, he spent two months creating
the detailed preparatory study for the entire work, a process
he had followed on only two prior occasions, one for
DONOR WITH CRUCIFIXION and the other, although more
suggestive than detailed, for HOMAGE TO PAUL APOSTLE.
From the first three pages of searching to the final pages of
resolution, the artist’s graphic description of the threedimensional
work provides us with the opportunity to read
the artist’s philosophical concepts for that specific work of
art and to understand how these concepts are interpreted
symbolically through the human figure. Since this is an
actual and a metaphorical autobiography, the Preparatory
Study for VATICAN CORRIDOR, A Non-Specific Autobiography
literarily addresses both.
Because each of the ten arches in the Preparatory Study
and in the completed sculpture spans a period of three years
in the artist’s life, the Tenth Arch was a projection five years
into the future and was at last updated twenty-two years
later in the writing in 1995, and with the publication by
Manuscript Press in 1996, of THE TENTH ARCH, the sculptural
Tenth Arch realized in the form of a book.
As the name implies, the sculpture is in the form of an
actual corridor. It measures eight feet tall, forty feet in length,
and with a width of ten feet. The facing walls of the corridor
are each formed by ten carved blocks of laminated sugar pine
planks for an overall measurement each of 8' x 24½" x 16".
The first figure of the Outer Wall, the “who,”is nearly fully
revealed in the round. But by the Tenth Arch, it has been transposed
into a negative, much like a waste-mold, only the egg
shape of the final transposition still in place. Block by block
and transposition after transposition, the three-dimensional
figure is displaced by a concavity as the wall that contained it
grows thicker and thicker. The reverse is true in each of the
corresponding figures and blocks of the Inner Wall. Each part
of the human figure is symbolic of a particular sense and/or
concept and with its transference the figure of the Inner Wall,
the “what,” becomes more complete.
Shown here is the final page of the manuscript which
lists the actual parts of the Anatomy of Transposition. It is
followed by the first four pages which serve both as an
explanation of the Preparatory Study and of the concept of
the entire sculpture. Each page of the original manuscript
measures 17" x 14".
AERIAL BOUNDARIES by Loris Cecchini (setting)
Site-specific installation for the courtyard of Palazzo Strozzi in Florence
curated by Franziska Nori
30 April to 1 July 2012
photo © Martino Margheri
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
SPECIFIC’s water treatment project is an innovative product, which spun out of our work on titanium dioxide layers in photovoltaic cells. A photoactive coating of titanium dioxide (TiO2) nanotechnology on water containers, roofs or walls, is activated by UV, and degrades organic pollutants. There are many possible applications of this technology, but the potential for use by the textile industry to remove dyes from waterways is perhaps the most significant.
Ashley Pursglove explains how it all works.
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.
Each of there bodys creates the same shape but a very specific shape there way there feet lay together.
Sport Specific Performance and our golf supplements were on hand to support Jordan Farmar of the World Champion Los Angeles Lakers at his celebrity golf classic. We talked sports, golf, and more with celebrities including Jordan, Lakers teammate Luke Walton, baseball great Darryl Strawberry, former Laker Byron Scott, PGA Tour pro and recent runner up of the US Open Ricky Barnes, NFL QB and former Heisman Trophy winner Matt Leinart, and more.
To Share a Photo on Facebook:
1. Click on the set you would like to browse
2. Click on a specific photo
3. Click on the square with an arrow coming out in the bottom corner of the photo
4. Click on the Facebook icon in the popup window
4. Follow instructions in pop-up window
To Download a Photo:
1. Click on the set you would like to see (Awards, Pre/Post Race, Finish, etc.)
2. Click on a specific photo from the set
3. Right click on the photo and select a size
4. Click the download link above the photo sizes above the photo.
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)
Matadero Madrid presenta Visita guiada, una intervención site specific que ha realizado Elena Alonso (Madrid, 1981) para el programa Abierto x Obras, que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. La propuesta de la artista parte de la idea de encontrarnos en una cámara aislada, donde no existe apenas comunicación entre el interior y el exterior, y del concepto de conservación, que ha estado ligado a este espacio a lo largo de su historia.
Tras sucesivas visitas a la nave, la artista comenzó a fijarse en toda la información visual que había quedado plasmada en paredes y techos. Lo que más llamó su atención fueron una serie de agujeros repartidos por la cubierta de las naves laterales, clausurados en la última reforma.
La intervención propone un recorrido por la nave utilizando como guía un pasamanos. Una línea trazada en el plano como un dibujo, que en esta ocasión toma forma escultórica. Su elaboración con distintos materiales, como madera, cemento, corcho, escayola pintada o cobre, pone de manifiesto el interés de la artista por la artesanía y el diseño, y ofrecen al visitante el deleite a la vista y al tacto de los materiales trabajados.
En la penumbra de la nave encontramos esta particular guía que nos lleva a descubrir una nueva perspectiva del espacio. Los agujeros han sido reabiertos, por ellos entra la luz y se vislumbra otra galería superior, antes oculta a la mirada del visitante.
En esta intervención artística hallamos un juego de contrastes, de impedimentos y de posibilidades. En cierta manera, recuerda a las cuevas visitables donde el recorrido nos va mostrando la particular geomorfología que conserva en su ambiente antes estático. En este caso, la cuidada elaboración del pasamanos contrasta con la brutalidad del espacio.
El pasamanos es a su vez una guía y una barrera, una línea que sortea y adorna la arquitectura de la nave. Una pieza que podemos ver y tocar, y que nos lleva a descubrir un lugar inesperado sobre nuestras cabezas, pero que solo podemos llegar a entrever desde la distancia.
Elena Alonso (Madrid, 1981) Licenciada en Bellas Artes y Máster en Arte, Creación e Investigación por la Universidad Complutense de Madrid, ha realizado también estudios en Suecia y Helsinki. Desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las problemáticas vinculadas a la afectividad con el entorno. Ha expuesto de forma individual en el Museo ABC (El espacio alrededor, 2016); Espacio Valverde (Canto Blando, 2016; Composición de lugar, 2014; La tapadera, 2012); en la Sala de Arte Joven de la Comunidad de Madrid (2011); y en la Cable Factory de Helsinki (Paredes de piel, 2007).
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que invita a artistas a realizar una pieza de nueva producción incentivando el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Una sala de más de 800 metros cuadrados que todavía conserva su aspecto original y las huellas de un incendio sucedido en los años 90. Un espacio característico por su estructura diáfana de arcos volados y columnas. Desde 2007, Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, Eugenio Ampudia o Darya von Berner, entre otros.
(public domain photos provided by the United States Geological Survey)
---------------------------------
In geology, "landslides" are referred to as mass wasting. There are many specific types of mass wasting including mudflows, debris flows, earth flows, rock falls, debris falls, rock slides, debris slides, lahars, avalanches, solifluction, slump, and creep.
These satellite photos show the location of a large landslide along southeastern Alaska's Tracy Arm (also known as the Tracy Fjord). The landslide occurred at 5:26 AM, local time, on 10 August 2025. Much debris entered the water and generated a tsunami.
----------------------------------
Caption from the United States Geological Survey:
Comparison of (a) pre- and (b) post-event satellite images showing the source area of the August 10th landslide that impacted Tracy Arm. The dashed line in (a) shows the approximate location of the front of South Sawyer Glacier on August 7th, 2025. Part (b) shows the approximate extent of the landslide source area, the area of the South Sawyer Glacier that was impacted by the landslide, and the approximate extent of tsunami runup on the opposite side of the fjord. Pre- and post-event images are from June 22, 2025 and August 13, 2025, respectively. Approximate headscarp and tsunami runup elevations were measured from a 5 meter-resolution, interferometric synthetic aperture radar digital elevation model collected in 2012.
----------------------------------
Info. from the United States Geological Survey:
A landslide above the toe of the South Sawyer Glacier failed into the waters of Tracy Arm, south of Juneau, Alaska, producing a tsunami on Sunday, August 10th, 2025, at 5:26 AM, Alaska Daylight Time / 13:26 Universal Time. No injuries or fatalities have been reported. This page may be updated as more information about the event is obtained.
Steep, mountainous landslide areas are inherently unstable and will continue to change for years following an initial landslide. Continued rockfall and smaller-scale landslide events from the exposed landslide scar are expected and could impact the water, potentially causing future local tsunami. As such, this area remains hazardous.
-----
In the early morning of August 10th, 2025, a landslide occurred in Tracy Arm, Alaska, about 80 miles (130 kilometers) south-southeast of Juneau. The landslide generated a tsunami in the fiord. The Alaska Earthquake Center first detected this event, noting seismic waves indicative of a landslide occurring at about 5:30 AM local time. Kayakers camped on Harbor Island, located at the mouth of Tracy Arm, reported their gear being swept away by a wave. Preliminary interpretation of photos taken by kayakers in the area indicates that the landslide generated a tsunami at least 30 meters (approximately 100 feet) high at Sawyer Island, a small island located where the fiords containing South Sawyer and North Sawyer glaciers meet. The tsunami was also recorded far from the landslide on a National Oceanic and Atmospheric Administration coastal tide gauge in Juneau. The National Tsunami Warning Center reported that the maximum tsunami wave height at the gauge was 36 centimeters (approximately 14 inches) above the tide, and that the waves continued for hours.
A satellite image acquired on Wednesday, August 13th clearly shows the landslide location on the north side of the fiord containing South Sawyer Glacier. Some or most of the material appears to have directly entered the water adjacent to the terminus of the glacier. Preliminary estimates indicate a volume of up to ~100 million cubic meters (~130 million cubic yards). On Wednesday, August 13th, United States Geological Survey personnel conducted a helicopter-borne aerial survey of the area, capturing photos. Satellite and digital elevation model analysis indicate a runup height of 470–500 meters (1500–1600 feet) opposite the landslide. Runup heights reported here are preliminary and are subject to change with additional field validation.
-----
Landslides that form above, and which could fail into water bodies including lakes, fjords, and bays, are relatively common in the steep and glaciated mountains of Alaska. The 1958 Lituya Bay landslide-generated tsunami had a peak runup of 530 meters (~1,740 feet). In 2015, a large landslide in Taan Fjord generated a tsunami with runup directly across from the landslide exceeding 190 meters (620 feet). Most recently, in August 2024 a landslide produced a tsunami 17 meters (56 feet) high in Pedersen Lagoon.
----------------------------------
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.