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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.
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
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** 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). **
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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).
Remains of a specific medieval fortress, which was built into four basalt towers, which are the remains of an ancient volcano. It was a guard castle with a large tower, which stood high above the landscape with a great outlook at the delta of Elbe river, an important trade route at that time. The original wooden castle stood at least in the 11th Century, and was modified to a stone castle sometimes in the 12th Century. It was expanded in the late 14th Century, attacked in 1444 and damaged, improvized repairs have been done but in the next year another enemies burned the castle down and killed all the men defending it (they were buried under the castle in a mass grave, which is still there). The castle is mentioned as abandoned in 1515, but the buildings under the core were used until WW2. Most of the stone walls sacked down the hill, creating still visible debris fields, today the basalt towers are pretty well accessible, and it is possible to climb to the highest point and have a beautiful look around the landscape.
Abiti da Sposa Gonfio Pizzo Strapless Non specificato Lunghezza A Terra Organza Ball Gown
www.modame.it/abiti-da-sposa-gonfio-pizzo-strapless-non-s...
20. - 22. September 2013
Jesuit College, Jicin.
Starting workshop of continuous program was focus on a source of light and the lighting source in Site-specific space.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Photo by Gigi Giannella, Hackney Downs. 10 minutes dance being performed in different locations in the world in memory of Gill Clarke from 11.45am 27th November 2011. Initiated by Rosemary Lee and Lauren Potter.
Welcome to my Amazon, here are the latest and most fashionable mobile phone shell ：http://www.amazon.com/iPhone-DAYIMM-August-Alsina-Transparent/dp/B014ZFF7BC/ref=sr_1_1?ie=UTF8&qid=1445993041&sr=8-1&keywords=Sweet+iphone+6+case
The GAZ M21 Volga is an automobile produced in the Soviet Union by GAZ (Gorkovsky Avtomobilniy Zavod, in English "Gorky automobile factory") from 1956 to 1970. The first car to carry the Volga name, it was developed in the early 1950s. Volgas were built with high ground clearance (which gives it a specific "high" look, contrary to "low-long-sleek" look of Western cars of similar design), rugged suspension, strong and forgiving engine, and rustproofing on a scale unheard of in the 1950s.
The Volga was stylistically in line with the major American manufacturers of the period in which it was introduced, and incorporated such then-luxury features as the reclining front seat, cigarette lighter, heater, windshield washer and three-wave radio.
The GAZ M-21 Volga became the biggest and most luxurious car officially sold to individual owners in the USSR in large quantities; though its very high price made it unavailable for most car buyers, 639,478 cars were produced in total.
The three series of GAZ-21
Three series GAZ-21 were released, most easily distinguished by the grille. The first series (1956–58), known as the Star, featured a lattice of three large horizontal bars in the centre of which was a medallion with a star. Vehicles of the second series (1958–1962), known as the Shark, featured a grille with 16 vertical slits. Finally, the third series (1962–1970), known as the Baleen, featured a grille with 34 thin vertical rods.
The design process leading to the GAZ-21 began in November 1953. Alexander Nevzorov, head of the design team, was given a free hand to develop whatever he wanted to reach the objective of competing with American automobiles. Designer Lev Eremeyev decided to follow the fashion set by the Chevrolet Bel Air, Plymouth Savoy, and Ford Mainline; the finished product bears a resemblance to the 1955 Mainline, although according to archive documents, the latter was purchased for comparison and on-road testing by GAZ only in mid-1954, after the first prototypes of the GAZ-21 had already been built and tested. The prototype appeared in the first quarter of 1954, powered by an inline four with overhead camshaft (driven by chain) and cross-flow hemispherical head. Since the OHV engine was not ready in time, production M21s had a 65 PS (48 kW; 64 hp) 2,432 cc (148.4 cu in) sidevalve four, based on the GAZ-20's. The Volga was offered with a three-speed transmission, either manual (with synchronized second and third gears) or automatic. Front suspension was independent, while the rear was a live axle with semielliptical springs; lever shock absorbers were on all four corners. Lubrication was by a central oiling system, from a drum and foot-operated pump; the oil lines were prone to puncturing, and not all of the 19 lubricated points were supplied equally. The Volga offered front seats able to fold flat (not unlike a contemporary Nash option) and came standard with cigarette lighter and a radio (still optional on most U.S. cars). The three variants were the standard M21G, an M21B taxi (with a taximeter in place of the radio and bucket seats in front instead of a bench), and a tropical model, the M21GYU, all with the GAZ leaping deer hood ornament. Drag coefficient was a surprisingly good 0.42. The only thing that the Volga and Mainline had in common was the Ford-O-Matic automatic transmission, which the GAZ plant liecensed for use in their vehicles, and even then only a few early Volgas had this transmission, before the design adopted a manual transmission.
The Volga made its public debut in 1955, with a three cars on a demonstration drive from Moscow to the Crimea, two automatic models and a manual. It was, however, still far from production-ready; in the first year, 1956, only five cars were assembled, the first on 10 October 1956. Full-scale production began in 1957, with a list price of 5,400 rubles. The new 1957 production cars, known as Series Ones, had a brand-new 2,445 cc (149.2 cu in) OHV engine, the first model produced by Zavolzhskiy Motorniy Zavod (Zavolzhye Engine Factory, ZMZ). Unusual for the era, it had aluminum block and head, with gear-driven camshaft and compression ratio of 6.6:1; it produced 70 PS (51 kW; 69 hp) at 4,000 rpm and 123 lb⋅ft (167 N⋅m) at 2,200 rpm.
The automatic transmission model was soon discontinued, with only 700 built: it was widely criticized as being too difficult for Soviet drivers to maintain, few service stations were available to do the work and few private mechanics were qualified, and a shortage of transmission oil existed. From 1958, a three-speed manual, with synchromesh on the top two gears, was the only transmission available; this was the M21V, while the taxi became the M21A. The automatic did go on to be used in the low-production GAZ-13 Chaika, which was also maintained by professionals. Standard equipment on all models included spare parts and two tool kits, with spanners, wrenches, screwdrivers, a tire pump, and a can of paint to fix minor dings.
Also, export models were built, M21D with the manual transmission and M21E with the automatic, both with a higher 7.2:1 compression engine, producing 80 PS (59 kW; 79 hp).
Cars produced in the fall of 1958 combined features of the first and second series.
Second-series Volgas were introduced in 1959, with a new grille painted the body color or in chrome. Halfway through the 1959 production run (model year 19591⁄2), a vinyl cover was added to the dash. Added were windscreen washers and tubeless tires. Just before the second-series production concluded, telescopic shocks replaced the lever type. The 1961 Volgas were priced at 5,100 rubles.
Variants of this series included the M21I and M21A taxi with the 70 PS (51 kW; 69 hp) inline four, and the M21K and right-hand drive M21H (for export) with the 80 PS (59 kW; 79 hp) engine.
The Volga was shown at the 1958 Brussels World's Fair and together with the GAZ-52 truck and the GAZ-13 Chaika, it won the award. In the same year, production for export began. The second-series Volgas became known for having no frills, but outstanding durability, helped by the 230 mm (9.1 in) ground clearance. In 1959, a Volga took a class win at the Thousand Lakes Rally in Finland, and third at the Acropolis Rally. That year, the central lubrication system was deleted, in favor of a more traditional local grease-application nipple.
In early 1962, a small number of cars were built that combined features of the second and third series.
The third series was produced from 1962 to 1970. The 1962 models dropped the leaping-deer hood ornament, and had a new grille. It used a 6.7:1 compression engine of 75 PS (55 kW; 74 hp) with an optional 7.65:1 compression of 80 PS (59 kW; 79 hp) (usually reserved for the export models). The headliner changed from cloth to vinyl, and the radio became optional. It was offered as the standard M21L, M21T taxi, and right-hand drive M21N export model.
Also in 1962, GAZ advertised a station wagon/estate model, the M22; most of these were exported or reserved for official use. The first station wagons/estates were delivered in 1963, and were designated M22 (75 PS (55 kW; 74 hp)), M22G (export, 75 hp (56 kW; 76 PS)), M22T (export, 85 PS (63 kW; 84 hp)); ambulances were M22B (75 PS (55 kW; 74 hp)) and M22BK (85 PS (63 kW; 84 hp)). An M22 prototype four-wheel drive station wagon/estate was also built, as was an M22A van.
Belgian importer Sobimpex N.V. assembled Volgas locally for sale in Western Europe. These were often fitted with diesel engines; the cars arrived in Antwerp without an engine and with the gearbox in the trunk. Originally (beginning in 1960) Sobimpex fitted a 1.6-liter Perkins 4.99 unit, a larger Rover engine supplanted that in 1963, and the more modern Indenor four-cylinder units replaced the Rover engine in 1964. Belgian-built cars were marketed as "Scaldia-Volgas", named after the Latin name for the river Scheldt. While the diesel models cost considerably more than ones with the original engine, they were quite popular for their economy and reliability, and outsold the petrol models in both Belgium and the Netherlands.
Models
The car's large size and tough construction made it popular in the police and taxi trades, and V8-powered versions (designated GAZ M23) were produced for the KGB. An automatic transmission was briefly offered in the late 1950s, but later discontinued due to lack of service stations, and then, through the 1960s, on the KGB's V8 version only, with the driver's controls being very similar to the discontinued "civil" automatic.
The M21 Volga was produced in sedan form from 1956 to 1970 and station wagon form (GAZ M22 Universal) from 1962 to 1970. This left the design quite outdated by the 1960s. GAZ developed a boxier, more modern replacement, and in 1970, the M21 platform was discontinued by GAZ. Until the late 1970s, however, spare parts were produced by different plants all over the USSR, and some plants were rebuilding M21s using spare parts, wrecked, and junked cars. In 1988, about 80,000 M21 Volgas were registered in the USSR. Based on the GAZ-21, a number of pick-up trucks were also built on its basis by various autonomous auto repair plants from all around the country. As these plants worked separately, there was no single design for these vehicles.
The Deluxe variant has additional chrome trim around the windows and spanning the front and rear headlights, with the rear ones being fin-shaped. They also usually included the 79 hp (59 kW) engines instead of the standard 69 hp (51 kW) ones.
One M21 was given to Yuri Gagarin after his orbital flight; Gagarin was very fond of his Volga.
The UAZ-469 all-terrain vehicle uses a GAZ-21A engine, and the RAF-977 minibus used the GAZ-21 engine and drivetrain.
A special-variant GAZ-23 Volga was produced for Soviet special services only, with a 160 PS (120 kW; 160 hp) 5.53-litre V8 engine from the Chaika. These were also equipped with the Chaika's automatic transmission. This allowed the M23 to reach 170 km/h (110 mph). Only 603 of the M23s were built between 1962 and 1970.
Photographic documentation of "The Fear of Loss", a site-specific performance piece choreographed by Nadine Joseph with score by Daniel Nubian. The piece was performed by Nadine Joseph and Daniel Nubian in the men's toilet at Wits Theatre, University of the Witwatersrand, Johannesburg, South Africa. 14 May 2015. Shot on Nikon D800 with a single Nikkor 24mmf1.4 lens.
Vladimír Turner
Site- specific installation
Prague 2014
Dividing vacant lot into three separate parcels. Each parcel has got it's color. Pedestrians are pushed to walk strictly on a beaten paths. Situation suggests citizens of Vršovice neigborhood in prague to think about the public space, it's non/commercial value and future.
Organized by 4+4 Days In Motion
Cory Wagner, Give/Take, site specific outdoor installation. The artist will construct 150 - 200 poles with 5 inch diameter balls. Wagner considers the balls to be both art objects and toys.The impetus for the piece is to have the work disintegrate through an act of generosity, since the balls are available to anyone who wishes to accept the gift. However, the true gift comes at night when the phosphorescent balls glow, looking very much like heavenly bodies floating in space.
Vladimír Turner
Site- specific installation
Prague 2014
Dividing vacant lot into three separate parcels. Each parcel has got it's color. Pedestrians are pushed to walk strictly on a beaten paths. Situation suggests citizens of Vršovice neigborhood in prague to think about the public space, it's non/commercial value and future.
Organized by 4+4 Days In Motion
Images from a the project 'La Legend de le mort' (The tale of death) a site specific piece performed at Buckland Abbey in collaboration with a French theatre group based in Brest.
by Gemma Ward
Limited edition site-specific artist's book created for Padua's City Hall. Edition of 1000. Pencil drawing and offset print. Available for sale on ETSY: www.etsy.com/listing/127185491/in-comune?ref=shop_home_ac...; Edizione di libro d'artista site-specific realizzata per il Municipio (Palazzo Moroni) di Padova. Edizione bilingue (italiano e inglese) di 1000 copie. Disegno a matita e stampa tipografica. In vendita su ETSY: www.etsy.com/listing/127185491/in-comune?ref=shop_home_ac...
Franco Menicagli
A CHI NON PIACE GUARDARE IL CIELO?
(allestimento)
Installazione site specific per il Cortile di Palazzo Strozzi (16.10-16.11.2014)
© photo Mario Guidi
Page 52
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".
festival della politica - 9 settembre - Il pensiero italiano e la sua specificità - in foto da sinistra Andrea TAGLIAPIETRA,Massimo DONÀ,Davide SPANIO
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Vladimír Turner
Site- specific installation
Prague 2014
Dividing vacant lot into three separate parcels. Each parcel has got it's color. Pedestrians are pushed to walk strictly on a beaten paths. Situation suggests citizens of Vršovice neigborhood in prague to think about the public space, it's non/commercial value and future.
Organized by 4+4 Days In Motion
Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.
The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).
According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”
Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.
In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.
After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)
Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).
En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.
After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).
While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.
Local Onondaga County citizens and visiting spectators attend the 74th Annual Scottish Games and Celtic Festivals held at Long Branch Park in Liverpool, NY Aug. 8, 2015. The venue consists of various events to include handcrafting vendors, piping, drumming, dancing and various athletic competitions.
Long Branch Park was originally established in 1882 by Ben and George Maurer and has a deep history of facilitating years of entertainment such as boxing, amusement parks and a trolley system. In 1912 the park was destroyed by a tornado resulting in significant property damage forcing closure until Ben was able to rebuild it. Since 1933 the park has been in operation and held annual events such as Oktoberfest, Scottish Games and a Regatta.
Highland games, also referred to as Scottish Games, predate back centuries when various Scottish Clans would settle rivalries through competing events such as drumming, dancing, foot races and “Heavy” events. Specific heavy events incorporate strength challenges like the “caber toss” which, a contender lifts a giant log vertically off the ground and attempts to flip it away from his position to reach a certain distance. Rivalry Clans submit their strongest competitors to represent them during these games as a show of pride and tradition.
During the spring and summer months, thousands of competitors and tens of thousands gather all over the world to celebrate and participate in these games of tradition. Each event has a council or committee responsible for the organization and coordination of these ceremonial events, competitions and venue locations.
USMC Photo by Staff Sgt. Jonathan T. Spencer/Released
"Stone and Silk" és una peça site-specific de la cia.Siberia/Paloma Muñoz que interactua directament amb l'arquitectura: el pati d'armes i el terrat del Castell de Montjuïc.
Dijous 15 d'octubre de 2020 a les 18.45h al Castell de Montjuïc
Una coproducció de l’Ajuntament de Barcelona (programa Creacio i Museus) amb la col·laboració de Graner, el Castell de Montjuïc, el Festival Grec de Barcelona i la Biennal del Pensament 2020.
Fotografies de Nora Baylach (La Vertical)
Picture by Sukjin Kim. Queens Crescent Market, Kentish Town, London. 3rd December 2011. Part of Space for Change exhibition. Performance: Fumi Tomioka and Katsura Isobe
In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight. Each person in the crowd replies with a similarly joyous response.
The capital of the Republic of Cyprus is also its cultural heartbeat.
Nicosia is the capital and largest city on the island of Cyprus, as well as its main business centre.
There is one thing the photograph must contain, the humanity of the moment.
We are making photographs to understand what our lives mean to us.
The best thing about a picture is that it never changes, even when the people in it do.
The camera is an instrument that teaches people how to see without a camera.
I really believe there are things nobody would see if I didn’t photograph them.
Brickhouse Tileworks specializes in the design and creation of one-of-a-kind, site-specific works of art. Every tile at Brickhouse is meticulously hand crafted for our customers. Whether you are looking for three-dimensional sculpted-relief, hand painted, mosaic or handmade field tiles, our artists will work with you to meet your specific needs. Add exquisite beauty and personalized style to your home, indoors or out, with Brickhouse tiles.
Brickhouse will create a one of a kind custom look for your kitchen, bathroom, fireplace, pool or anywhere you’d like to personalize your home; and we can also produce breathtaking full mural designs. Work with Brickhouse artists to create custom-designed tiles or select from the original Brickhouse Tile Line. At Brickhouse Tileworks we are dedicated to the design and development of high-quality tiles that are distinctive, one-of-a-kind works of art.
Brickhouse Tileworks specializes in the design and creation of one-of-a-kind, site-specific works of art. Every tile at Brickhouse is meticulously hand crafted for our customers. Whether you are looking for three-dimensional sculpted-relief, hand painted, mosaic or handmade field tiles, our artists will work with you to meet your specific needs. Add exquisite beauty and personalized style to your home, indoors or out, with Brickhouse tiles.
Brickhouse will create a one of a kind custom look for your kitchen, bathroom, fireplace, pool or anywhere you’d like to personalize your home; and we can also produce breathtaking full mural designs. Work with Brickhouse artists to create custom-designed tiles or select from the original Brickhouse Tile Line. At Brickhouse Tileworks we are dedicated to the design and development of high-quality tiles that are distinctive, one-of-a-kind works of art.
Madison, Alabama
The specific name, "pectinicornis", means "comb-horned". The common name was coined based on typical seasonal occurrence in the east, in contrast with the "Spring Fishfly", C. rastricornis.
Both sexes have pectinate antennae, from Latin pectin, the linguistic stem of pecten, a comb.
Found in eastern and central North America, including southern Canada near ponds, lakes, and the quiet part of streams. Adults come to lights.
The larvae are aquatic and eat a variety of food, including preying on other invertebrates. Leaving the water to pupate under park or inside rotting logs, adults emerge to mate, living perhaps a week. Life cycle may just be one year but is not known for sure.
In specific types of industries, it is a requirement to wear steel toe work boots for Safety. Construction and Engineering industries along with some outdoor occupations where you work with heavy machinery and objects and where there is a risk of falling objects or compression deem for you to...
Site-Specific Series, presented by Guelph Contemporary Dance Festival
Photo by Dawn Owen, for the Ontario Arts Council and the Ministry of Culture at the spOtlight festival, June 2009. www.spOtlightfestival.ca
______
Série propre au site, présenté par Guelph Contemporary Dance Festival
Photo de Dawn Owen, prise au festival En vedette en juin 2009, pour le Conseil des arts de l’Ontario et le ministère de la Culture. www.festivalenvedette.ca
specific to beech wood. It appears in autumn on dead trunks and on fallen branches, and occasionally it also grows on dead branches high up in living trees.
Provided that the skin is thoroughly washed to remove the mucus (or peeled from the caps), these mushrooms are edible, although their slimy covering is probably enough to put most people off. Only larger caps are worth collecting, because the flesh is thin and insubstantial.
Specific classes and learning objectives for the proposed Music Therapy Degree program
Department of Music and Dance; Box 1 / Folder 26
Conor McGrady
"Peripheral Vision"
Site-Specific Installation
Centre for Jerusalem Studies
Al Quds University, Hammam al Ein
Jerusalem Show VII: Fractures, Intervals
curated by Basak Senova
organized by Al Ma'mal
part of Qalandiya International II
Photo by Issa Freij
MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.
Dal primo numero di FART (Fabbrica dell'ARTe) - www.museomaam.it/media/fart01.pdf:
VERONICA MONTANINO. La sua “Stanza dei Giochi” inagura di fatto la lunga lista degli interventi ambientali promossi dal MAAM. Tra le sue opere site specific ricordiamo anche “Momirabilia”, il grande assemblaggio bianco realizzato per “Cattedralehouse”, e “Gaia e Urano”, opera “in comunione” con Franco Losvizzero.
VM: “L’invito rivoltomi da Giorgio de Finis a lavorare al MAAM l’ho accolto con grande curiosità perché mi dava l’opportunità, non comune, di prendere parte ad un’utopia concreta. Ero già convinta che l’arte fosse una pratica utopica di per sé, perché propone sempre un’esperienza di non adeguamento all’ordine costituito delle cose. Ma nel progetto di Giorgio de Finis utopico è non soltanto pensare che l’arte possa incidere sulla realtà circostante e sul tessuto sociale, ma soprattutto il credere ad un’opera d’arte “collettiva”. Ciò che mi è apparso subito chiaro, infatti, era che ogni intervento doveva funzionare come tassello di un’immagine complessiva più ampia, che il significato più vero, quello a cui il suo ideatore mira, sarebbe emerso alla fine nell’immagine d’insieme”.
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