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(HGM 1807 M, Heisey Glass Museum, Newark, Ohio, USA)
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"3362 Charter Oak" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
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From Bredehoft (2004):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
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From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
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.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 2018.10.67 M, Heisey Glass Museum, Newark, Ohio, USA)
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"3404 Spanish" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Cobalt" refers to a type of colored glass that Heisey produced. It is also known as "Stiegel Blue".
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
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From Bredehoft (2004):
Stiegel Blue: 1932-1941. Commonly called cobalt blue. Heisey's has exceptionally good color.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
July 24th, 25th, 26th 2009 - Indietracks, an indiepop festival - Midland Railway Butterley, Swanwick Junction
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
Josefsberg – Ötscher 2014
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
New York - 1911
George Bellows
American, 1882 - 1925
Completed in February 1911, New York is a large, ambitious painting in which George Bellows captures the essence of modern life in New York City. Although the viewer looks uptown toward Madison Square from the intersection of Broadway and 23rd Street, Bellows did not intend to represent a specific, identifiable place in the city. He instead drew on several bustling commercial districts to create an imaginary composite, an impossibly crowded image that would best convey a sense of the city’s frenetic pace.
By assembling all of these diverse elements into one scene, Bellows revolutionized the conventions of the traditional American urban vista and surpassed the efforts of other contemporary urban realists, like Robert Henri and John Sloan. A critic commented that New York is full of “motion, of stirring existence. Trucks are darting through the crowd. Men and women are hurrying across the streets, trolleys are clanging their way in and out, a policeman is keeping people from being run over, you feel the rush, you hear the noise, and you wish you were safely home.”
George Bellows was born in Columbus, Ohio, on August 12, 1882, the only child of a successful building contractor from Sag Harbor, Long Island, New York. He entered Ohio State University in 1901, where he played baseball and basketball and made drawings for college publications. He dropped out of college in 1904, went to New York, and studied under Robert Henri at the New York School of Art, where Edward Hopper, Rockwell Kent, and Guy Péne du Bois were his classmates. A superb technician who worked in a confident, painterly style, Bellows soon established himself as the most important realist of his generation. He created memorable images of club fights, street urchins swimming in the East River, and the Pennsylvania Station excavation site and garnered praise from both progressive and conservative critics. In 1909 he became one of the youngest artists ever admitted as an associate member of the National Academy of Design.
In 1910 Bellows began teaching at the Art Students League and married Emma Story, by whom he had two daughters. After 1910 Bellows gradually abandoned the stark urban realism and dark palette characteristic of his early work and gravitated toward painting landscapes, seascapes, and portraits. His style changed as he explored the color theories of Hardesty Maratta and Denman Ross, and later Jay Hambidge’s compositional system of dynamic symmetry.
Bellows helped organize the Armory Show in 1913, in which five of his paintings and a number of drawings were included. That year he was elected a full member of the National Academy of Design. He had leftist political views and contributed illustrations to the Socialist publication The Masses from 1912 to 1917. Bellows began to make lithographs in 1916, and his exceptional talent engendered a revival of interest in the medium. He worked in Maine, in Carmel, California, and in Middletown, Rhode Island, and was a founding member of the Society of Independent Artists and a charter member of the Association of American Painters and Sculptors. In 1919 he taught at the Art Institute of Chicago. After painting the landscape near Woodstock, New York, in 1920, he bought a house there the following year. He died of appendicitis in New York on January 8, 1925, at the age of 42.
Bellows, who never went to Europe, is regarded as a quintessential American artist whose vigorous style enabled him to explore a wide range of subjects from scenes of modern urban life to portraits of his daughters, to turbulent Maine seascapes. As an early biographer noted, Bellows “caught the brute force of the prize fighter, the ruggedness of the country pasture, the essence of childhood and recorded them appropriately not only for his own generation but for all time.”
___________________________________________
For previous visit in 2024, see:
www.flickr.com/photos/ugardener/albums/72177720320706623/
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Specific Design Element Assessment
-Trees, bushes and shrubs are placed around the space to provide visual interest and a connection to nature
Relevant Land Use Code Sections
20.25A.160.D.4.h - Provide landscaping to define and animate the space wherever possible
20.25A.160.D.4.i - Incorporate trees and landscaping to provide enclosure and soften the experience of the built environment
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 1216 L 2, Heisey Glass Museum, Newark, Ohio, USA)
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"4085½ Kohinoor" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Zircon" refers to a type of colored glass that Heisey made - in this case, greenish.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Zircon: 1936-1939. A turquoise blue-green. The last color introduced before World War II curtailed the use of color. Revamped and reintroduced later as Limelight.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
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.
On September 24th, 2024, EM hosted its SSAB Chairs meeting and gave members a tour of various sites across the Oak Ridge reservation.
From MOVING FLAT, a dance that occured on the sand flats of Provincetown, MA at low tide and sunset in September. This site specific piece was choreographed by David Figueroa and Teresa Czepiel.
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.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
To Share a Photo on Social Media:
1. Click on the set you would like to browse
2. Click on a specific photo
3. Click on the arrow pointing right on the ride lower side of the screen
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. Click the arrow pointing down towards the bar which is on the right side of the screen.
4. Click the photo sizes you would like and then click download.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 4406 M, Heisey Glass Museum, Newark, Ohio, USA)
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"325 Pillows" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Rose bowl" refers to a container for water and floating rose petals - this produces an pleasant scent.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
Our site-specific installation and temporary consulate of Flux Factory titled, "The Infamous and Only Somewhat Ambassadorial Outpost of the Semi-Legitimate Nation of Flux" at Spanien 19C in Aarhus, Denmark.
@algonquinoutfit : Boxing Day Sale: All clothing, footwear, hats, mitts and gloves, buy 1 at 20% off, buy 2 at 30% off and buy 3 or more and save 40% off everything! Plus save 10-40% off great outdoor gear too. One day only! t.co/PunXZ6F489 (via Twitter twitter.com/algonquinoutfit/status/1077675356289679360)
July 24th, 25th, 26th 2009 - Indietracks, an indiepop festival - Midland Railway Butterley, Swanwick Junction
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
(HGM 866 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1184 Yeoman" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Our site-specific installation and temporary consulate of Flux Factory titled, "The Infamous and Only Somewhat Ambassadorial Outpost of the Semi-Legitimate Nation of Flux" at Spanien 19C in Aarhus, Denmark.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
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.
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