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Paul Weller preceded the Who in their Hyde Park appearance last night and warmed the crowds for The Who (before that Kaiser Chiefs had warmed up the Crowds for Paul Weller :)). When the Who played their first set, Roger Daltrey said that they normally did not do requests but that this had been requested by a very special person and that they dedicated Pictures of Lily to Paul Weller :) I loved the stage design with video art and sequences, here the late great Keith Moon posing as the pinup Lily :D
Envisioned as a last response measure, the Artemis-class is a rapid but inefficient orbiter designed to fight in planetary orbit.
A two-stage design, the entire stack consists of 4 solid rocket boosters flanking a liquid-fuelled rocket, which detaches from the second stage when expended. The second stage is powered by 4 conventional liquid-fuelled rockets, each with a drop tank of extra fuel which can be discarded when empty. There are also 4 RCS thrusters on the main stage, and 4 smaller nozzles on the crew module.
Concealed during takeoff by large protective panels, the craft loses these after breaking through the atmosphere. Along with the first stage rockets, they are in designed to be reusable, allowing them to be mated to another starfighter.
Once in planetary orbit, the Artemis can use its many thrusters to force itself into different orbits and engage hostile forces. For this purpose, 8 missiles are loaded, along with two autocannons that fire caseless ammunition. A large magazine, designed only to dispense bullets when the guns have fully deployed, sits in between them. Directly between the missiles is the fire suppression system, which can freeze with liquid nitrogen any malfunctioning ordnance.
The craft is powered by two large batteries, but auxiliary power can be generated by the solar panels on the opposite side of the craft. While not particularly efficient, it is an adequate backup.
Much internal space is taken up by the RCS fuel tank and the attached compressor. Opposite this piece of vital equipment is the communications array, which allows the crew of two to liaise with Earth-based command and control personnel, as well as detect enemies.
Up front in the detachable pilot's module, the two-man crew split their responsibilities between piloting and target acquisition. The module is equipped with a separate life-support and fire suppression system.
When the mission is complete (or the ordnance is expended), the piloting module can detach itself and return to Earth. Similar to the Space Shuttles of old, the underside of the module is covered in black heat-resistant tiles.
__________
Very happy with this. Threading those pneumatic tubes around the model was one of the most fun parts. Making realistic use of as much of the framework space was an interesting challenge.
Maker: Frank Eugene (1865-1936)
Born: USA
Active: USA
Medium: Photogravure
Size: 4 1/2" x 6 1/2"
Location: USA
Object No. 2016.806
Shelf: A-7
Publication: Caffin, Charles, Photography As A Fine Art, Doubleday, Page & Company, New York, 1901, pg 86
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997,
La Boheme, Museum Ludwig/Steidl, Koln, 2010, pg 266
Robert Doty, Photography as a Fine Art, George Eastman House, Rochester, 1960, pg 8
Other Collections: MOMA
Notes: from American Pictorial Photography: Series Two. New York: Published for "Camera Notes" by the Publication Committee of the Camera Club, 1900. Portfolio (18 plates) : photogravures ; 19 x 15 cm. and smaller. Limited to 150 copies. No 6.
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery and in 1929 opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. (source: The Phillips Collection)
Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world. Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences. He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.” A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers. In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer. In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council. In 1904 one gravure published in Camera Work, No. 5 (January). In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs. A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York. In 1909 two more of his gravures were published in Camera Work, No. 25 (January). In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July). More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors." In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world. Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927. Eugene died of heart failure in Munich in 1936.
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This week in 1961, Michoud Assembly Facility was selected as the production site for Saturn rockets. Here, in one of the initial assembly steps for the first stage of the Saturn IB rocket, Michoud workers position a “Spider Beam” to the central liquid-oxygen tank of the S-IB stage. Designed by NASA’s Marshall Space Flight Center and built by Chrysler Corp. at Michoud, the S-IB stage used eight H-1 engines to produce a combined thrust of 1.6 million pounds. Today, NASA’s Space Launch System rockets and Orion spacecraft for the first three Artemis missions are being built at Michoud. The NASA History Program is responsible for generating, disseminating and preserving NASA’s remarkable history and providing a comprehensive understanding of the institutional, cultural, social, political, economic, technological and scientific aspects of NASA’s activities in aeronautics and space. For more pictures like this one and to connect to NASA’s history, visit the Marshall History Program’s webpage.
Image credit: NASA
On september the 13th 2013 we made the first edition of the Glowing Vibes event in Second Life. This is a totally fictional event that was created by inQue. Glowing Vibes was one of the first electronic dance music events with a whole huge stage design and light show.
Aftervideo: www.youtube.com/watch?v=lyZfaaP_JB8
Stagedesign by: Daim Aima
TAO:Drum Heart directed by Amon Miyanmoto, Costumes by Junko Koshino, and Stage Design by Rumi Matsui.
(2016 Taiko Drum-0723)
As Published on New York Business:
Envisioned as a last response measure, the Artemis-class is a rapid but inefficient orbiter designed to fight in planetary orbit.
A two-stage design, the entire stack consists of 4 solid rocket boosters flanking a liquid-fuelled rocket, which detaches from the second stage when expended. The second stage is powered by 4 conventional liquid-fuelled rockets, each with a drop tank of extra fuel which can be discarded when empty. There are also 4 RCS thrusters on the main stage, and 4 smaller nozzles on the crew module.
Concealed during takeoff by large protective panels, the craft loses these after breaking through the atmosphere. Along with the first stage rockets, they are in designed to be reusable, allowing them to be mated to another starfighter.
Once in planetary orbit, the Artemis can use its many thrusters to force itself into different orbits and engage hostile forces. For this purpose, 8 missiles are loaded, along with two autocannons that fire caseless ammunition. A large magazine, designed only to dispense bullets when the guns have fully deployed, sits in between them. Directly between the missiles is the fire suppression system, which can freeze with liquid nitrogen any malfunctioning ordnance.
The craft is powered by two large batteries, but auxiliary power can be generated by the solar panels on the opposite side of the craft. While not particularly efficient, it is an adequate backup.
Much internal space is taken up by the RCS fuel tank and the attached compressor. Opposite this piece of vital equipment is the communications array, which allows the crew of two to liaise with Earth-based command and control personnel, as well as detect enemies.
Up front in the detachable pilot's module, the two-man crew split their responsibilities between piloting and target acquisition. The module is equipped with a separate life-support and fire suppression system.
When the mission is complete (or the ordnance is expended), the piloting module can detach itself and return to Earth. Similar to the Space Shuttles of old, the underside of the module is covered in black heat-resistant tiles.
__________
Very happy with this. Threading those pneumatic tubes around the model was one of the most fun parts. Making realistic use of as much of the framework space was an interesting challenge.
Villa Rufolo (1270) is located in Ravello on the Amalfi coast in Italy. This is one of the most popular view's in the area. Built by Nicola Rufolo, one of the richest Patricians of Ravello, on a ledge and it has become a famous attraction for thousands of visitors. The villa was mentioned by Giovanni Boccaccio in his Decameron and it is the place where Richard Wagner in 1880 was inspired for the stage design of his opera Parsifal.
All rights reserved - Copyright © Henri Hirschfeld
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
TAO:Drum Heart directed by Amon Miyanmoto, Costumes by Junko Koshino, and Stage Design by Rumi Matsui.
(2016 Taiko Drum-0762-2)
This was our semi Thanksgiving series artwork we wanted to make it busy but readable, also our stage design matched the busy words background as we blew up about 30 noticeable and significant word boxes and put them along the back wall to help us brand the series in. It was sweet!
Edition 2022 - Bright Brussels
HYDRA - Module / Nicolas Paolozzi
The symbolism of the snake through abstract and minimal aesthetics.
From Greek mythology to the Chinese culture, the snake is present in the imagination of cultures worldwide. Benevolent, protective, intimidating and sometimes evil, the chimeric animal has a range of temperaments. This interpretation highlights the ambivalent feelings of humans towards the animal: its fluid, winding and undulating body is hypnotic and enchanting, while its metallic structure and thorny articulations evoke a feeling of hostility or fear. The flows of light, which set the animal's skeleton in motion at the whim of its instincts, strengthen this dual perception. As you near it, you can hear its murmurs, part of a soothing atmosphere of sound.
Module produces works at a point where architecture, design and new technologies intersect. The Lyon agency, created by the artist-architect ?Nicolas?Paolozzi, produces sculptural, light, sound and interactive installations that revamp public spaces.
Nicolas?Paolozzi?a designed his first artistic installations with the RDV collective, which he founded in 2011. Bringing together skills from different backgrounds, the project evolved towards the transversal practice of architecture. In a process of continual experimentation, the collective explored the possibilities provided by images and sound through numerous projects: stage design, exhibitions, performances, ephemeral micro-architecture.
With the creation of Module in 2017, Nicolas has gone further by developing the concept of large-scale architecture in his works. Considering space as a set of interactions, he designs hybrid structures oscillating between tangible and intangible materials. As living creatures, his installations are given rhythm by the sound creations of the composer Baptiste Martineau. They evolve over time and provide the spectator with an immersive and singular experience of reality.
Copyright:
Sound design: Baptiste Martineau
Associate production: Module
Co-production: Festival of Lights 2020/2021
The festival of lights in Brussels
Bright Brussels, the festival of lights returns to brighten up the capital this winter!
Four evenings and three routes will take you on a journey to discover of some twenty immersive and poetic artistic works. From 10 to 13 February, the Royal Quarter, the European Quarter and the Flagey neighborhood will be illuminated by enchanting light installations. The festival will also feature a fringe programme, including evening events in the museums.
It's become a tradition for the lights of Bright Brussels to warm us up in the dead of winter and, best of all, it's completely free!
( Bright Brussels is a light festival, a fascinating route through the city consisting of a dozen light installations that are artistic, interactive, playful,... and simply captivating. )
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Kecak dance is the most popular show on Bali and is always full of spectators at the show every day at Uluwatu.The Kecak dance is performed at various places and events on Bali.
The show (originally) all male, is sung and danced without musical instruments. At Uluwatu the seated outdoor Theatre stands on solid rock with a height of many tens of meters, Performances are stage designed in such a way that it has the majestic Indian Ocean as its backdrop and timed for the unmissable,captivating and breathtaking Sunset views.
For video, please visit youtu.be/LYhx6JYGJCQ
Where the Wild Things Are: Last year we carved up a storm of stories and this went down a treat. Everyone loved it including the sculptyures. After reviewind the list of stories of stories covered we chose this.
Michela chose to reate her own version of the popular book. Last year it was created by Jan.
Michela Ciappini graduated with a degree in stage design at the Academy of Fine Arts in Bologna. For several years she devoted herself to creation of scenes for Opera, prose and experimental theatre.
In 2004 Michela started to sculpture in sand and 2010 she started to do sculptures working on ice-snow festival and competitons around the World.
Now Michela is travelling the world making sand and ice sculptures.
Known for Painting, drawing, sculpture, printmaking, ceramics, stage design, writing
Pablo Ruiz Picasso (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian airforces during the Spanish Civil War.
Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the slightly older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.
Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles.
Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art.
en.wikipedia.org/wiki/Pablo_Picasso
Born in Plaza de la Merced 15, Málaga, Spain
Orginal photo Franz-Hubmann + Picasso's "The Accordionist Painting" en.wikipedia.org/wiki/The_Accordionist#/media/File:The_Ac...
Artwork by TudioJepegii
yeah, I'm pretty sure that you can still remember the project I'v been working(pegs and elfs and what not. Well I have remade the stage design. You can propably still see some of pegs at there. Since I'll have also accordeon on the stage, I wanted to explore that theme more and this is where we are now. Idea is that you can quite quickly make big or small forms and transform that from one theme to another. And you can also empty that space quickly.
atelier ying, nyc.
You may see some of the elements in the tablescape behind the drawing: water glass as optical prism (the obscura version) which would then entertain the idea of a Film Camera as a city plaza which might pose the idea of a Morandi tablescape as a composition of the elements. It's the scale of the design variants (and the optical paths) that allows one to muse on architecture and is the most interesting facet; whether a human scale is important in the realm of cameras as it is in architecture. Yes for camera obscura, no for a camera that shifts the viewer's perceptions (vistas) of reality irregardless of dimension. Which brings the question of whether a camera's function is as a portable window (vista) or a creator of space (experience)?
A lot of black gauze holds the stage pieces to each other as one unit which covers a light-tight enclosure that may shift in form. The front stage table centers the subject as a default sighting device. The closest cousin to this camera is a Speed Graphic. For this reason I categorize it with my other designs for Weegee the photographer.
Design, concepts, text, photograph & drawing are copyright 2016 by David Lo
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2.606, 1966. Photo: Arno Fischer.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
The Postcard
A postally unused Mirro-Krome postcard that was published by the H. S. Crocker Co. Inc. of Oklahoma City, Oklahoma on behalf of the Jefferson National Expansion Historical Association of St. Louis, Missouri.
Although the card was not posted, it bears recipients' names and an address:
To: Pete & Barbara,
(Prince Albert),
Newton Street,
Macclesfield,
Cheshire,
England.
Alas, the Prince Albert closed for good in January 2022. Plans are currently (2023) in place for the building to be converted into a 7-bedroomed house of multiple occupation.
The card also bore a message:
"Hello Pete & Barbara,
Weather is 80 degrees -
Phew!
Flight good. Been to top
of this arch - 630 feet -
lovely view.
Also been to Chicago -
smashing.
See you later,
BUGS!"
The St. Louis Gateway Arch
The Gateway Arch is a 630-foot (192 m) tall monument in St. Louis, Missouri. Clad in stainless steel and built in the form of a weighted catenary arch, it is the world's tallest arch, and Missouri's tallest accessible building.
Some sources consider it the tallest human-made monument in the Western Hemisphere. Built as a monument to the westward expansion of the United States and officially dedicated to "the American people", the Arch, commonly referred to as "The Gateway to the West", is a National Historic Landmark in Gateway Arch National Park.
It has become an internationally recognized symbol of St. Louis, as well as a popular tourist destination.
The Arch was designed by Finnish-American architect Eero Saarinen in 1947. Construction of the Arch began on the 12th. February 1963, and was completed on the 28th. October 1965, at an overall cost of $13 million (equivalent to $86.5 million in 2018).
The monument opened to the public on the 10th. June 1967. It is located at the 1764 site of the founding of St. Louis on the west bank of the Mississippi River.
Inception and Funding (1933–1935)
Around late 1933, civic leader Luther Ely Smith looked at the St. Louis riverfront area and envisioned that building a memorial there would revive the riverfront and stimulate the economy.
He suggested this to mayor Bernard Dickmann, who on the 15th. December 1933 raised it in a meeting with city leaders. They sanctioned the proposal, and the nonprofit Jefferson National Expansion Memorial Association (JNEMA -pronounced "Jenny May") was formed.
Smith was appointed chairman, and Dickmann vice chairman. The association's goal was to create:
'A suitable and permanent public memorial to the men who made possible the western territorial expansion of the United States, particularly President Jefferson, his aides Livingston and Monroe, the great explorers, Lewis and Clark, and the hardy hunters, trappers, frontiersmen and pioneers who contributed to the territorial expansion and development of these United States, and thereby to bring before the public of this and future generations the history of our development and induce familiarity with the patriotic accomplishments of these great builders of our country.'
Many locals however did not approve of depleting public funds for the cause. Smith's daughter SaLees related that:
"When people would tell him we needed
more practical things, he would respond
that 'spiritual things' were equally important."
The association expected that $30 million would be needed to undertake the construction of such a monument (about $508 million in 2021 dollars). It called upon the federal government to foot three-quarters of the bill ($22.5 million).
The suggestion to renew the riverfront was not original, as previous projects had been attempted, but lacked popularity. However the Jefferson memorial idea emerged amid the economic disarray of the Great Depression, and promised new jobs.
The project was expected to create 5,000 jobs for three to four years. Committee members began to raise public awareness by organizing fundraisers and writing pamphlets. They also engaged Congress by planning budgets and preparing bills, in addition to researching ownership of the land they had chosen:
"Approximately one-half mile in length
from Third Street east to the present
elevated railroad."
In January 1934, Senator Bennett Champ Clark and Representative John Cochran introduced to Congress an appropriation bill seeking $30 million for the memorial, but the bill failed to garner support due to the large amount of money solicited.
On the 15th. June 1934, President Franklin D. Roosevelt signed a bill into law, instituting the United States Territorial Expansion Memorial Commission. The commission comprised 15 members. It first convened on the 19th. December 1934 in St. Louis, where members examined the project and its planned location.
Meanwhile, in December 1934, the JNEMA discussed organizing an architectural competition to determine the design of the monument, and by January 1935, local architect Louis LeBeaume had drawn up competition guidelines.
On the 13th. April 1935, the commission certified JNEMA's project proposals, including memorial perimeters, the "historical significance" of the memorial, the competition, and the $30 million budget.
Dickmann and Smith applied for funding from two New Deal agencies—the Public Works Administration (headed by Harold Ickes) and the Works Progress Administration (headed by Harry Hopkins). On the 7th. August 1935, both Ickes and Hopkins promised $10 million, and said that the National Park Service (NPS) would manage the memorial.
A local bond issue election granting $7.5 million (about $127 million in 2021 dollars) for the memorial's development was held on the 10th. September 1935 and passed.
On the 21st. December 1935 President Roosevelt signed an Executive Order approving the memorial, designating the 82-acre area as the first National Historic Site. The order also appropriated $3.3 million through the WPA, and $3.45 million through the PWA.
However some taxpayers began to file suits to block the construction of the monument, which they called a "boondoggle".
Initial Planning (1936–1939)
The NPS acquired the historic buildings within the historic site—through condemnation rather than purchase—and demolished them. By September 1938, condemnation was complete.
The condemnation was subject to many legal disputes which culminated on the 27th. January 1939, when the United States Circuit Court of Appeals ruled that condemnation was valid. A total of $6.2 million was distributed to land owners on the 14th. June.
Demolition commenced on the 9th. October 1939, when Dickmann extracted three bricks from a vacant warehouse.
Led by Paul Peters, adversaries of the memorial delivered to Congress a leaflet titled:
"Public Necessity
or Just Plain Pork".
In March 1936, Representative John Cochran commented during a House meeting that:
"I would not vote for any measure
providing for building the memorial
or allotting funds to it".
Peters and other opponents asked Roosevelt to rescind his Executive Order, and to redirect the money to the American Red Cross. Smith stated that:
"They are opposed to anything that
is ever advanced in behalf of the city."
Because the Mississippi River played an essential role in establishing St. Louis's identity as the gateway to the west, it was felt that a memorial commemorating it should be near the river. Railroad tracks that had been constructed in the 1930's on the levee obstructed views of the riverfront from the memorial site.
When Ickes declared that the railway must be removed before he would allocate funds for the memorial, President of the St. Louis Board of Public Service Baxter Brown suggested that:
"A new tunnel would conceal the
tracks and re-grading of the site
would elevate it over the tunnel.
These modifications would open
up the views to the river."
Although rejected by NPS architect Charles Peterson, Brown's proposal formed the basis for the ultimate settlement.
By May 1942, demolition was complete. The Old Cathedral and the Old Rock House, because of their historical significance, were the only buildings retained within the historic site.
The Old Rock House was dismantled in 1959 with the intention of reassembling it at a new location, but pieces of the building went missing. Part of the house has been reconstructed in the basement of the Old Courthouse.
Design Competition (1945–1948)
In November 1944, Smith asserted that:
"The memorial should be transcending
in spiritual and aesthetic values, best
represented by one central feature: a
single shaft, a building, an arch, or
something else that would symbolize
American culture and civilization."
In January 1945, the JNEMA announced a two-stage design competition that would cost $225,000 to organize. Smith and the JNEMA struggled to raise the funds, garnering only a third of the required total by June 1945. The passage of a year brought little success, and Smith frantically underwrote the remaining $40,000 in May 1946. In February 1947, the fund stood at $231,199.
On the 30th. May 1947, the contest officially opened. It comprised two stages—the first to narrow down the designers to five, and the second to single out one architect and his design. The design was required to include:
-- An architectural memorial or memorials to Jefferson.
-- Preservation of the site of Old St. Louis—landscaping, provision of an open-air campfire theater, re-erection or reproduction of a few typical old buildings, and provision
of a Museum interpreting the Westward movement.
-- A living memorial to Jefferson's 'vision of greater opportunities for men of all races and creeds.'
-- Recreational facilities, both sides of the river.
-- Parking facilities, access, relocation of railroads,
and placement of an interstate highway.
On the 1st. September 1947, submissions for the first stage were received by the 7-member jury. The submissions were labeled by numbers only, and the names of the designers were kept anonymous.
Upon four days of deliberation, the jury narrowed down the 172 submissions to five finalists, and announced the corresponding numbers to the media on the 27th. September 1947.
Eero Saarinen's design (No. 144) was among the finalists, and comments written on it included:
"Relevant, beautiful, perhaps inspired
would be the right word." (Roland Wank) (....Yes, really.)
"An abstract form peculiarly happy
in its symbolism." (Charles Nagel).
Eero Saarinen's father Eliel Saarinen also submitted a design; however the secretary who sent out the telegrams informing finalists of their advancement mistakenly sent one to Eliel rather than Eero.
The family celebrated with champagne, and two hours later, a competition representative called to correct the mistake. Eliel broke out a second bottle of champagne to toast his son.
Saarinen changed the height of the Arch from 580 feet to 630 feet (190 m), and wrote that:
"The Arch symbolizes the gateway
to the West, the national expansion,
and whatnot."
He wanted the landscape surrounding the Arch:
"To be so densely covered with trees
that it will be a forest-like park, a green
retreat from the tension of the downtown
city."
The deadline for the second stage arrived on the 10th. February 1948, and on the 18th. February, the jury chose Saarinen's design unanimously, praising its "profoundly evocative and truly monumental expression."
The following day, during a formal dinner at Statler Hotel that the finalists and the media attended, Saarinen was pronounced the winner of the competition, and awarded the checks—$40,000 to his team, and $50,000 to Saarinen. The competition was the first major architectural design that Saarinen had developed unaided by his father.
The design drew varied responses. Representative H. R. Gross opposed the allocation of federal funds for the Arch's development. Some local residents likened it to:
"A stupendous hairpin and a
stainless steel hitching post."
The most aggressive criticism emerged from Gilmore D. Clarke, whose February 26th. 1948, letter compared Saarinen's Arch to an arch imagined by fascist Benito Mussolini, rendering the Arch a fascist symbol.
This allegation of plagiarism ignited fierce debates among architects about its validity. Douglas Haskell from New York wrote that:
"The use of a common form is not
plagiarism. This particular accusation
amounts to the filthiest smear that
has been attempted by a man highly
placed in the architectural profession
in our generation."
The jury refuted the charges, arguing that:
"The arch form is not inherently fascist,
but is indeed part of the entire history
of architecture."
Saarinen considered the opposition absurd, asserting:
"It's just preposterous to think that a
basic form, based on a completely
natural figure, should have any
ideological connection."
By January 1951, Saarinen had created 21 drawings, including profiles of the Arch, scale drawings of the museums and restaurants, various parking proposals, the effect of the levee-tunnel railroad plan on the Arch footings, the Arch foundations, the Third Street Expressway, and the internal and external structure of the Arch. Fred Severud made calculations for the Arch's structure.
Final Preparations (1959–1968)
Moving the railroad tracks was the first stage of the project. On the 6th. May 1959, the Public Service Commission called for ventilation to accompany the tunnel's construction, which entailed placing 3,000 feet of dual tracks into a tunnel 105 feet west of the elevated railroad, along with filling, grading, and trestle work.
In August 1959, demolition of the Old Rock House was complete, with workers beginning to excavate the tunnel. In November, they began shaping the tunnel's walls with concrete. On the 17th. November 1959, trains began to use the new tracks.
Construction of the Arch
The MacDonald Construction Co. of St. Louis was awarded the contract for the construction of the Arch and the visitor center. The Pittsburgh-Des Moines Steel Company served as the subcontractor for the shell of the Arch.
In 1959 ground was broken, and in 1961, the foundation of the structure was laid. Construction of the Arch itself began on the 12th. February 1963, as the first steel triangle on the south leg was eased into place.
These steel triangles, which narrowed as they spiraled to the top, were raised into place by a group of cranes and derricks. The Arch was assembled with 142 twelve foot-long (3.7 m) prefabricated stainless steel sections. Once in place, each section had its double-walled skin filled with concrete, prestressed with 252 tension bars.
In order to keep the partially completed legs steady, a scissors truss was placed between them at 530 feet (160 m), later removed as the derricks were taken down. The whole endeavor was expected to be completed by fall of 1964, in observance of the St. Louis bicentennial.
Contractor MacDonald Construction Co. arranged a 30-foot (9.1 m) tower for spectators, and provided recorded accounts of the undertaking. In 1963, a million people went to observe the progress, and by 1964, local radio stations began to broadcast when large slabs of steel were about to be raised into place.
St. Louis Post-Dispatch photographer Art Witman documented the construction for the newspaper's Sunday supplement Pictures, his longest and most noted assignment. He visited the construction site frequently from 1963 to 1967, recording of every stage of progress.
With assistant Renyold Ferguson, he crawled along the catwalks with the construction workers up to 190m above the ground. He was the only news photographer on permanent assignment at the construction, with complete access. He primarily worked with slide film, but also used the only Panox camera in St. Louis to create panoramic photographs covering 140 degrees. Witman's pictures of the construction are now housed in the State Historical Society of Missouri.
The project manager of MacDonald Construction Co., Stan Wolf, said that a 62-story building was easier to build than the Arch:
"In a building, everything is straight up,
one thing on top of another. In this Arch,
everything is curved."
Delays and Lawsuits
Although an actuarial firm predicted that thirteen workers would die while building the Arch, no workers were killed during the monument's construction. However, construction of the Arch was nevertheless often delayed by safety checks, funding uncertainties, and legal disputes.
Civil rights activists regarded the construction of the Arch as a token of racial discrimination. On the 14th. July 1964, during the workers' lunchtime, civil rights protesters Percy Green and Richard Daly, both members of Congress of Racial Equality, climbed 125 feet (38 m) up the north leg of the Arch:
"To expose the fact that federal funds
are being used to build a national
monument that was racially
discriminating against black contractors
and skilled black workers."
As the pair disregarded demands to come down, protesters on the ground demanded that at least 10% of the skilled jobs should be given to African Americans. Four hours later, Green and Daly dismounted from the Arch to charges of trespassing, peace disturbance, and resisting arrest.
In 1965, NPS requested that the Pittsburgh-Des Moines Steel remove the prominent letters "P-D-M" (its initials) from a creeper derrick used for construction, contending that it was promotional, and violated federal law with regards to advertising on national monuments.
Although Pittsburgh-Des Moines Steel initially refused to pursue what it considered a precarious venture, the company relented after discovering that leaving the initials in place would cost $225,000 and after that, $42,000 per month.
On the 26th. October 1965, the International Association of Ironworkers delayed work to ascertain that the Arch was safe. After NPS director Kenneth Chapman gave his word that conditions were "perfectly safe," construction resumed on the 27th. October.
Topping out and Dedication
President Lyndon B. Johnson and Mayor Alfonso J. Cervantes decided on a date for the topping-out ceremony, but the Arch had not been completed by then. The ceremony date was reset to the 17th. October 1965; workers strained to meet the deadline, taking double shifts, but by the 17th. October, the Arch was still not complete.
The chairman of the ceremony then anticipated the ceremony to be held on the 30th. October 1965, a Saturday, to allow 1,500 schoolchildren, whose signatures were to be placed along with others in a time capsule, to attend. Ultimately, PDM set the ceremony date to the 28th. October.
The time capsule, containing the signatures of 762,000 students and others, was welded into the keystone before the final piece was set in place. On the 28th. October 1965, the Arch was topped out as Vice President Hubert Humphrey observed from a helicopter.
A Catholic priest and a rabbi prayed over the keystone, a 10-ton, eight-foot-long (2.4 m) triangular section. It was slated to be inserted at 10:00 a.m. local time, but was in fact done 30 minutes early, because thermal expansion had constricted the 8.5-foot (2.6 m) gap at the top by 5 inches (13 cm). To mitigate this, workers used fire hoses to spray water on the surface of the south leg to cool it down and make it contract.
The keystone was inserted in 13 minutes with only 6 inches (15 cm) remaining. For the next section, a hydraulic jack had to pry apart the legs six feet (1.8 m). By noon, the keystone was secured. Some filmmakers, in hope that the two legs would not meet, had chronicled every phase of construction.
The Gateway Arch was expected to open to the public by 1964, but by 1967 the public relations agency had stopped forecasting the opening date. The Arch's visitor center opened on the 10th. June 1967, and the tram began operating on the 24th. July.
The Arch was dedicated by Hubert Humphrey on the 25th. May 1968.He declared that the Arch was:
"A soaring curve in the sky that links
the rich heritage of yesterday with
the richer future of tomorrow. It brings
a new purpose and a new sense of
urgency to wipe out every slum.
Whatever is shoddy, whatever is ugly,
whatever is waste, whatever is false,
will be measured and condemned in
comparison to the Gateway Arch."
About 250,000 people were expected to attend the dedication, but rain canceled the outdoor activities, with the ceremony being transferred to the visitor center. After the dedication, Humphrey crouched beneath an exit as he waited for the rain to subside so that he could walk to his vehicle.
After Completion
The project did not provide 5,000 jobs as expected - as of June 1964, workers numbered fewer than 100. The project did, however, incite other riverfront restoration efforts, totaling $150 million. Building projects included a 50,000-seat sports stadium, a 30-story hotel, several office towers, four parking garages, and an apartment complex.
The idea of a Disneyland amusement park that included "synthetic riverboat attractions" was considered, but later abandoned. The developers hoped to use the Arch as a commercial catalyst, attracting visitors who would use their services. One estimate found that since the 1960's, the Arch has incited almost $503 million worth of construction.
Characteristics of the Arch
Both the width and height of the Arch are 630 feet (192 m). The Arch is the tallest memorial in the United States, and the tallest stainless steel monument in the world.
The cross-sections of the Arch's legs are equilateral triangles, narrowing from 54 feet (16 m) per side at the bases to 17 feet (5.2 m) per side at the top. Each wall consists of a stainless steel skin covering a sandwich of two carbon-steel walls with reinforced concrete in the middle from ground level to 300 feet (91 m), with carbon steel to the peak.
The Arch is hollow to accommodate a unique tram system that takes visitors to an observation deck at the top.
The structural load is supported by a stressed-skin design. Each leg is embedded in 25,980 tons of concrete 44 feet (13 m) thick and 60 feet (18 m) deep.
Twenty feet (6.1 m) of the foundation is in bedrock. The Arch is resistant to earthquakes, and is designed to sway up to 18 inches (46 cm) in either direction, while withstanding winds of up to 150 miles per hour (240 km/h).
The structure weighs 42,878 tons, of which concrete composes 25,980 tons; structural steel interior, 2,157 tons; and the 6.3mm thick grade 304 stainless steel panels that cover the exterior of the Arch, 886 tons.
This amount of stainless steel is the most used in any one project in history. The base of each leg at ground level had to have an engineering tolerance of 1⁄64 inch (0.40 mm), or the two legs would not meet at the top.
Mathematics of the Arch
The Arch is a weighted catenary - its legs are wider than its upper section. A hyperbolic cosine function describes the shape of a catenary. The catenary arch is the stablest of all arches, since the thrust passes through the legs and is absorbed in the foundations, instead of forcing the legs apart.
The Gateway Arch however is not a common catenary, but an inverted weighted catenary. Saarinen chose a weighted catenary over a normal catenary curve because it looked less pointed and less steep. In 1959, he caused some confusion about the actual shape of the Arch when he wrote:
"This Arch is not a true parabola, as is often
stated. Instead it is a catenary curve—the
curve of a hanging chain—a curve in which
the forces of thrust are continuously kept
within the center of the legs of the Arch."
Lighting the Arch
The first proposal to illuminate the Arch at night was announced on the 18th. May 1966, but the plan never came to fruition. However in July 1998, funding for an Arch lighting system was approved by St. Louis's Gateway Foundation, which agreed to take responsibility for the cost of the equipment, its installation, and its upkeep.
In January 1999, MSNBC arranged a temporary lighting system for the Arch so the monument could be used as the background for a visit by Pope John Paul II.
Since November 2001, the Arch has been bathed in white light between 10 p.m. and 1 a.m. via a system of floodlights. Designed by Randy Burkett, it comprises 44 lighting fixtures situated in four pits just below ground level.
On the 5th. October 2004, the U.S. Senate approved a bill permitting the illumination in pink of the Arch in honor of breast cancer awareness month. Both Estée Lauder and May Department Store Co. had championed the cause.
One employee said that the Arch would be:
"A beacon for the importance of
prevention and finding a cure."
While the National Park Service took issue with the plan due to the precedent it would set for prospective uses of the Arch, it yielded due to a realization that it and Congress were "on the same team," and because the illumination was legally obligatory; on the 25th. October 2004, the plan was carried out.
The previous time the Arch was illuminated for promotional purposes was on the 12th. September 1995, under the management of local companies Fleishman-Hillard and Technical Productions, when a rainbow spectrum was shone on the Arch to publicize the debut of Ringling Bros. and Barnum & Bailey Circus' Wizard of Oz on Ice at the Kiel Center.
Public Access to the Arch
In April 1965, three million tourists were expected to visit the Arch annually after completion; 619,763 tourists visited the top of the Arch in its first year open. On the 15th. January 1969, a visitor from Nashville, Tennessee, became the one-millionth person to reach the observation area; the ten-millionth person ascended to the top on the 24th. August 1979.
In 1974, the Arch was ranked fourth on a list of "most-visited man-made attractions." The Gateway Arch is one of the most visited tourist attractions in the world, with over four million visitors annually, of which around one million travel to the top.
The Arch was listed as a National Historic Landmark on the 2nd. June 1987, and is also listed on the National Register of Historic Places.
The Visitor Center
The underground visitor center for the Arch was designed as part of the National Park Service's Mission 66 program. The 70,000-square-foot (6,500 m2) center is located directly below the Arch, between its legs.
Although construction of the visitor center began at the same time as construction of the Arch itself, it did not conclude until 1976 because of insufficient funding; however, the center opened with several exhibits on the 10th. June 1967. Access to the visitor center is provided through ramps adjacent to each leg of the Arch.
The center houses offices, mechanical rooms, and waiting areas for the Arch trams, as well as its main attractions: the Museum of Westward Expansion and two theaters displaying films about the Arch.
The older theater opened in May 1972; the newer theater, called the Odyssey Theatre, was constructed in the 1990's and features a four-story-tall screen. Its construction required the expansion of the underground complex, and workers had to excavate solid rock while keeping the disruption to a minimum so that the museum could remain open.
The museum houses several hundred exhibits relating to the United States' westward expansion in the 19th. century, and opened on the 10th. August 1977.
The visitor center and museum underwent a $176 million expansion and renovation that was completed in July 2018. The renovation included a 46,000-square-foot underground addition featuring interactive story galleries, video walls, a fountain and a café.
The Observation Area
Near the top of the Arch, passengers exit the tram compartment and climb a slight gradient to enter the observation area. This arched deck, which is over 65 feet (20 m) long and 7 feet (2.1 m) wide, can hold up to about 160 people, equivalent to the number of people from four trams.
Sixteen windows per side, each measuring 7 by 27 inches (180 mm × 690 mm), offer views up to 30 miles (48 km) to the east across the Mississippi River and southern Illinois with its prominent Mississippian culture mounds at Cahokia Mounds, and to the west over the city of St. Louis and St. Louis County beyond.
Modes of Ascent
There are three modes of transportation up the Arch: two sets of 1,076-step emergency stairs (one per leg), a 12-passenger elevator to the 372-foot (113 m) height, and a tram in each leg.
Each tram is a chain of eight cylindrical, five-seat compartments with a small window on the doors. As each tram has a capacity of 40 passengers and there are two trams, 80 passengers can be transported at one time, with trams departing from the ground every 10 minutes.
The cars swing like Ferris-wheel cars as they ascend and descend the Arch. This movement gave rise to the idea of the tram as "half-Ferris wheel and half-elevator."
The trip to the top takes four minutes, and the trip down takes three minutes.
The tram in the north leg entered operation in June 1967, but visitors were forced to endure three-hour-long waits until the 21st. April 1976, when a reservation system was put in place.
The south tram was completed in March 1968. Commemorative pins were awarded to the first 100,000 passengers.
As of 2007, the trams have traveled 250,000 miles (400,000 km), conveying more than 25 million passengers.
Incidents Associated With the Arch
-- July 1970
On the 8th. July 1970, a six-year-old boy, his mother, and two of her friends were trapped in a tram in the Arch's south leg after the monument closed. According to the boy's mother, the group went up the Arch around 9:30 p.m. CDT, but when the tram reached the de-boarding area, its doors did not open.
The tram then traveled up to a storage area 50 feet (15 m) above the ground, and the power was switched off. One person was able to pry open the tram door, and the four managed to reach a security guard for help after being trapped for about 45 minutes.
-- July 2007
On the 21st. July 2007, a broken cable forced the south tram to be shut down, leaving only the north tram in service until repairs were completed in March 2008. Around 200 tourists were stuck inside the Arch for about three hours because the severed cable contacted a high-voltage rail, causing a fuse to blow.
The north tram was temporarily affected by the power outage as well, but some passengers were able to exit the Arch through the emergency stairs and elevator. It was about two hours until all the tram riders safely descended, while those in the observation area at the time of the outage had to wait an additional hour before being able to travel back down.
An Arch official said the visitors, most of whom stayed calm during the ordeal, were not in any danger, and were later given refunds. The incident occurred while visitors in the Arch were watching a fireworks display, and no one was seriously injured in the event. However, two people received medical treatment: one person needed oxygen, and the other was diabetic.
-- March 2008
Almost immediately after the tram returned to service in 2008, however, it was closed again for new repairs after an electrical switch broke. The incident, which occurred on the 14th. March, was billed as a "bad coincidence."
-- February 2011
On the morning of the 9th. February 2011, a National Park Service worker was injured while performing repairs to the south tram. The 55-year-old was working on the tram's electrical system when he was trapped between it and the Arch wall for around 30 seconds, until being saved by other workers.
Emergency officials treated the injured NPS employee at the Arch's top before taking him to Saint Louis University Hospital in a serious condition.
-- March 2011
On the 24th. March 2011, around one hundred visitors were stranded in the observation area for 45 minutes after the doors of the south tram refused to close. The tourists were safely brought down the Arch in the north tram, which had been closed that week so officials could upgrade it with a new computer system.
The National Park Service later attributed the malfunction to a computer glitch associated with the new system, which had already been implemented with the south tram. No one was hurt in the occurrence.
-- June 2011
Around 2:15 p.m. local time on the 16th. June 2011, the Arch's north tram stalled due to a power outage. The tram became stuck about 200 feet (61 m) from the observation deck, and passengers eventually were told to climb the stairs to the observation area.
It took National Park Service workers about one hour to manually pull the tram to the top, and the 40 trapped passengers were able to return down on the south tram, which had previously not been operating that day because there was not an abundance of visitors.
An additional 120 people were at the observation deck at the time of the outage, and they also exited via the south tram. During the outage, visitors were stuck in the tram with neither lighting nor air conditioning. No one was seriously injured in the incident, but one visitor lost consciousness after suffering a panic attack, and a park ranger was taken away with minor injuries. The cause of the outage was not immediately known.
Stunts and Accidents Associated With the Arch
-- June 1966
On the 16th. June 1965, the Federal Aviation Administration cautioned that aviators who flew through the Arch would be fined, and their licenses revoked. At least ten pilots have disobeyed this order, beginning on the 22nd. June 1966.
-- December 1973
In 1973, Nikki Caplan was granted an FAA exception to fly a hot air balloon between the Arch's legs as part of the Great Forest Park Balloon Race. During the flight, on which the St. Louis park director was a passenger, the balloon hit the Arch and plummeted 70 feet before recovering.
-- July 1976
In 1976, a U.S. Army exhibition skydiving team was permitted to fly through the Arch as part of Fourth of July festivities, and since then, numerous skydiving exhibition teams have legally jumped onto the Arch grounds, after having flown their parachutes through the legs of the Arch.
-- June 1980
The Arch has been a target of various stunt performers, and while such feats are generally forbidden, several people have parachuted to or from the Arch regardless. In June 1980, the National Park Service declined a request by television producers to have a performer jump from the Arch.
-- November 1980
On the 22nd. November 1980, at about 8:45 a.m. CST, 33-year-old Kenneth Swyers of Overland, Missouri, parachuted onto the top of the Arch. His plan was to release his main parachute and then jump off the Arch using his reserve parachute to perform a base jump.
Unfortunately, after landing the wind blew him to the side, and he slid down the north leg to his death. The accident was witnessed by several people, including Swyers' wife, also a parachutist. She said that:
"My husband was not a hot
dog, daredevil skydiver. He
had prepared for the jump
two weeks in advance."
Swyers, who had made over 1,600 jumps before the incident, was reported by one witness as follows:
"He landed very well on the
top of the Arch, but had no
footing."
Swyers was reportedly blown to the top of the Arch by the wind and was unable to save himself when his reserve parachute failed to deploy. The Federal Aviation Administration said the jump was unauthorized, and investigated the pilot involved in the incident.
-- December 1980
On the 27th. December 1980, St. Louis television station KTVI reported receiving calls from supposed witnesses of another stunt landing. The alleged parachutist, who claimed to be a retired professional stuntman, was said to be wearing a Santa Claus costume when he jumped off an airplane around 8:00 a.m. CST.
He parachuted onto the Arch, grasped the monument's beacon, and used the same parachute to glide down unharmed. KTVI said it was told:
"The feat was done as an act of
homage to Swyers, and was a
combination of a dare, a drunk,
and a tribute."
However on the day after the alleged incident, authorities declared the jump a hoax. A spokesperson for the St. Louis Metropolitan Police Department said no calls were received about the jump until after it was broadcast on the news, and the Federal Aviation Administration said the two calls it had received were very similar.
One caller also left an out-of-service phone number, while the other never followed up with investigators. Arch officials said they did not witness any such jump, and photos provided by the alleged parachutist were unclear.
-- February 1986
An appeal by stuntman Dan Koko to be allowed to jump from the Arch was turned away in February 1986. Koko, who was a stunt double for Superman, wanted to perform the leap during Fourth of July celebrations.
-- September 1992
On the 14th. September 1992, 25-year-old John C. Vincent climbed to the top of the Gateway Arch using suction cups, and proceeded to parachute back to the ground. He was later charged with two misdemeanors: climbing a national monument, and parachuting in a national park.
Federal prosecutor Stephen Higgins called the act a "great stunt" but said that:
"It is something the Park
Service doesn't take lightly."
Vincent, a construction worker and diver from Harvey, Louisiana, said:
"I did it just for the excitement,
just for the thrill."
He had previously parachuted off the World Trade Center in May 1991. He said that scaling the Arch "wasn't that hard," and that he had considered a jump off the monument for a few months.
In an interview, Vincent said he visited the Arch's observation area a month before the stunt, to see if he could use a maintenance hatch for accessing the monument's peak. Due to the heavy security, he instead decided to climb up the Arch's exterior using suction cups, which he had used before to scale shorter buildings.
Dressed in black, Vincent began crawling up the Arch around 3:30 a.m. CST on the 14th. September 1992, and arrived undetected at the top around 5:45 a.m., taking an additional 75 minutes to rest and take photos before finally jumping.
During this time, he was seen by two traffic reporters inside the One Metropolitan Square skyscraper.
Vincent was also spotted mid-air by Deryl Stone, a Chief Ranger for the National Park Service. Stone reported seeing Vincent grab his parachute after landing and run to a nearby car, which quickly drove away.
However, authorities were able to detain two men on the ground who had been videotaping the jump. Stone said 37-year-old Ronald Carroll and 27-year-old Robert Weinzetl, both St. Louis residents, were found with a wireless communication headset and a video camera, as well as a still camera with a telephoto lens.
The two were also charged with two misdemeanors: disorderly conduct, and commercial photography in a national park.
Vincent later turned himself in, and initially pleaded not guilty to the charges against him. However, he eventually accepted a guilty plea deal in which he testified against Carroll and Weinzetl, revealing that the two consented to record the jump during a meeting of all three on the day before his stunt occurred.
Federal magistrate judge David D. Noce ruled on the 28th. January 1993 that Carroll had been involved in a conspiracy, and was guilty of both misdemeanor charges; the charges against Weinzetl were dropped by federal prosecutors. In his decision, Noce stated:
"There are places in our country where the
sufficiently skilled can savor the exhilaration
and personal satisfaction of accomplishing
courageous and intrepid acts, of reaching
dreamed-of heights and for coursing
dangerous adventures.
However other places are designed for the
exhilaration of mere observation, and for the
appreciation of the imaginings and the works
of others. The St. Louis Arch and the grounds
of the Jefferson National Expansion Memorial
are in the latter category."
After his guilty plea, Vincent was sentenced to a $1,000 fine, 25 hours of community service, and a year's probation. In December 1992, Vincent was sentenced to ninety days in jail for violating his probation.
-- 2013
In 2013, Alexander Polli, a European BASE jumper, planned to fly a wingsuit under the Arch, but had his demo postponed by the FAA.
Security
Two years after the 1995 Oklahoma City bombing, $1 million was granted to institute a counter-terrorism program for the Arch. Park officials were trained to note the activity of tourists, and inconspicuous electronic detection devices were installed.
After the September 11 attacks on the WTC in 2001, security efforts became more prominent, and security checkpoints moved to the entrance of the Arch's visitor center. At the checkpoints, visitors are screened by magnetometers and x-ray equipment, devices which have been in place since 1997.
The Arch also became one of several U.S. monuments placed under restricted airspace during 2002 Fourth of July celebrations.
In 2003, 10-foot-long (3.0 m), 32-inch-high (81 cm), 4,100-pound (1,900 kg) movable Jersey barriers were installed to impede terrorist attacks on the Arch.
Later that year, it was announced that these walls were to be replaced by concrete posts encased in metal to be more harmonious with the steel color of the Arch. The movable bollards can be manipulated from the park's dispatch center, which has also been upgraded.
In 2006, Arch officials hired a "physical security specialist," replacing a law enforcement officer. The responsibilities of the specialist include risk assessment, testing the park's security system, increasing security awareness of other employees, and working with other government agencies to improve the Arch's security procedures.
Symbolism and Culture
Built as a monument to the westward expansion of the United States, the Arch is said to typify:
"The pioneer spirit of the men and women
who won the West, and those of a latter
day to strive on other frontiers."
On the 14th. December 2003, Robert W. Duffy wrote in the St. Louis Post-Dispatch:
"The Gateway Arch packs a significant symbolic
wallop just by standing there. But the Arch has a
mission greater than being visually affecting.
Its shape and monumental size suggest movement
through time and space, and invite inquiry into the
complex, fascinating story of America's national
expansion."
The Arch has become the iconic image of St. Louis, appearing in many parts of city culture. In 1968, three years after the monument's opening, the St. Louis phone directory contained 65 corporations with "Gateway" in their title and 17 with "Arch".
Arches also appeared over gas stations and drive-in restaurants. In the 1970's, a local sports team adopted the name "Fighting Arches"; St. Louis Community College later (when consolidating all athletic programs under a single banner) named its sports teams "Archers".
Robert S. Chandler, an NPS superintendent, said:
"Most visitors are awed by the size
and scale of the Arch, but they don't
understand what it's all about ... Too
many people see it as just a symbol
of the city of St. Louis."
The Arch has also appeared as a symbol of the State of Missouri. On the 22nd. November 2002, at the Missouri State Capitol, Lori Hauser Holden, wife of then-Governor Bob Holden, uncovered the winning design for a Missouri coin design competition as part of the Fifty States Commemorative Coin Program.
Designed by water colorist Paul Jackson, the coin portrays three members of the Lewis and Clark expedition paddling a boat on the Missouri River upon returning to St. Louis with the Arch as the backdrop.
Holden said that:
"The Arch is a symbol for the entire
state ... Four million visitors each year
see the Arch. The coin will help make
it even more loved worldwide."
A special license plate designed by Arnold Worldwide featured the Arch, labeled with "Gateway to the West." Profits earned from selling the plates funded the museum and other educational components of the Arch.
Louchheim wrote that although the Arch has a simplicity which should guarantee timeliness, it is entirely modern as well, because of the innovative design and its scientific considerations.
In The Dallas Morning News, architectural critic David Dillon opined that:
"The Arch exists not as a functional edifice,
but as a symbol of boundless American
optimism". The Arch has multiple "moods" -
reflective in sunlight, soft and pewterish in
mist; crisp as a line drawing one moment,
chimerical the next.
The Arch has paid for itself many times
over in wonder".
Some have questioned whether St. Louis really was - as Saarinen said - the "Gateway to the West". Kansas City-born "deadline poet" Calvin Trillin wrote:
"I know you're thinking that there are considerable
differences between T.S. Eliot and me. Yes, it is true
that he was from St. Louis, which started calling itself
the Gateway to the West after Eero Saarinen's
Gateway Arch was erected, and I'm from Kansas City,
where people think of St. Louis not as the Gateway to
the West but as the Exit from the East."
With renovations in the 2010's of the visitor center, the message of the Arch has been more inclusive in its historic perspective, highlighting the impact of colonialism, and particularly the effect of American frontierism on the environment, land and people of the First Americans, as well as Native Mexicans.
It furthermore exhibits the urban history of the site and the struggle of its people, as well as of its construction workers for more rights, during the civil rights movement era.
The Arch's futuristic style has been seen as a symbol for the automobile age and the surrounding automobile-centric urban and interstate infrastructure, promising a technological future of a new accessible frontier.
This outlook has seen continuation, lending the Gateway Arch's iconic shape and meaning to the name and logo of the future Lunar Gateway, with its purpose as a gateway to the Moon and Mars.
On the 29th. February 1969, in an article in The New York Times, Louchheim praised the Arch's design as:
"A modern monument, fitting,
beautiful and impressive."
Cultural References to the Arch
-- Dutch composer Peter Schat wrote a 1997 work, Arch Music for St. Louis, Op. 44. for the St. Louis Symphony Orchestra. It premiered on the 8th. January 1999 at the Powell Symphony Hall.
Since Schat did not ascend the Arch due to his fear of heights, he used his creativity to depict in music someone riding a tram to the top of the Arch.
-- Paul Muldoon's poem, "The Stoic", is set under the Gateway Arch. The work, "An Elegy for a Miscarried Foetus", describes Muldoon's ordeal standing under the Gateway Arch after his wife telephoned and informed him that the baby they were expecting had been miscarried.
-- Percy Jackson encounters Echidna and the Chimera in the Gateway Arch in The Lightning Thief, after he, Grover Underwood, and Annabeth Chase visit the Arch during their trip to California to recover the Master Bolt. Percy faces the Chimera, jumps out of the Arch, and falls into the Mississippi River.
-- A damaged Gateway Arch is prominently featured in Defiance, a science fiction television series. The apex is used as a radio station studio, with the arch itself acting as the station's antenna.
Vandalism and Maintenance of the Arch
The first act of vandalism against the Arch was committed in June 1968: the vandals scratched their names on various parts of the Arch. In all, $10,000 was spent that year in order to repair damage from vandalism. The Arch was first targeted by graffiti artists on the 5th. March 1969.
In 2010, signs of corrosion were reported at the upper regions of the stainless steel surface. Carbon steel in the north leg has been rusting, possibly a result of water accumulation, a side effect of leaky welds in an environment that often causes rain to enter the skin of the structure.
Maintenance workers use mops and a temporary setup of water containers to ease the problem. According to NPS documents, the corrosion and rust pose no safety concerns.
A more comprehensive study of the corrosion had been suggested as early as 2006 by architectural specialists studying the Arch, and reiterated in a 2010 Historic Structure Report.
In September 2010, the NPS granted Wiss, Janney, Elstner Associates, Inc. a contract for a structural study that would:
"Gather data about the condition of the
Arch to enable experts to develop and
implement the right long-term solutions."
Stain samples were taken from the west face of the Arch on the 21st. October 2014 to determine the best way to clean it. The cleaning was estimated to cost about $340,000.
In 1984, structural engineer Tibor Szegezdy told the Smithsonian Magazine that:
"The Arch will stand for considerably
less than a thousand years before
collapsing in a wind storm."
The Venetian Casino Hotel Resort, Las Vegas. An indoor copy of the Venetian atmosphere. The Venetian has 4.049 suites and a casino of 11.148 m². The ceiling is painted with clouds that seem to move with the visitor. Visitors can experience a gondola trip, which partly takes place indoors.
To me it looks like a stage design for an opera........
HFF
.. kurze Umbau-Pause .. das Bühnenbild wurde verändert, die Techniker wechselten Equipment und richteten die neuen Instrumente ein. Laut Plan waren die SILIKON HATERS aus Norwegen dran ..
.. short break for renovations .. the stage design was changed, the technicians changed equipment and set up the new instruments. According to the plan, it was the SILIKON HATERS from Norway...
9.4.09
The flight arrived on time; and the twelve hours while on board passed quickly and without incident. To be sure, the quality of the Cathay Pacific service was exemplary once again.
Heathrow reminds me of Newark International. The décor comes straight out of the sterile 80's and is less an eyesore than an insipid background to the rhythm of human activity, such hustle and bustle, at the fore. There certainly are faces from all races present, creating a rich mosaic of humanity which is refreshing if not completely revitalizing after swimming for so long in a sea of Chinese faces in Hong Kong.
Internet access is sealed in England, it seems. Nothing is free; everything is egregiously monetized from the wireless hotspots down to the desktop terminals. I guess Hong Kong has spoiled me with its abundant, free access to the information superhighway.
11.4.09
Despite staying in a room with five other backpackers, I have been sleeping well. The mattress and pillow are firm; my earplugs keep the noise out; and the sleeping quarters are as dark as a cave when the lights are out, and only as bright as, perhaps, a dreary rainy day when on. All in all, St. Paul's is a excellent place to stay for the gregarious, adventurous, and penurious city explorer - couchsurfing may be a tenable alternative; I'll test for next time.
Yesterday Connie and I gorged ourselves at the borough market where there were all sorts of delectable, savory victuals. There was definitely a European flavor to the food fair: simmering sausages were to be found everywhere; and much as the meat was plentiful, and genuine, so were the dairy delicacies, in the form of myriad rounds of cheese, stacked high behind checkered tabletops. Of course, we washed these tasty morsels down with copious amounts of alcohol that flowed from cups as though amber waterfalls. For the first time I tried mulled wine, which tasted like warm, rancid fruit punch - the ideal tonic for a drizzling London day, I suppose. We later killed the afternoon at the pub, shooting the breeze while imbibing several diminutive half-pints in the process. Getting smashed at four in the afternoon doesn't seem like such a bad thing anymore, especially when you are having fun in the company of friends; I can more appreciate why the English do it so much!
Earlier in the day, we visited the Tate Modern. Its turbine room lived up to its prominent billing what with a giant spider, complete with bulbous egg sac, anchoring the retrospective exhibit. The permanent galleries, too, were a delight upon which to feast one's eyes. Picasso, Warhol and Pollock ruled the chambers of the upper floors with the products of their lithe wrists; and I ended up becoming a huge fan of cubism, while developing a disdain for abstract art and its vacuous images, which, I feel, are devoid of both motivation and emotion.
My first trip yesterday morning was to Emirates Stadium, home of the Arsenal Gunners. It towers imperiously over the surrounding neighborhood; yet for all its majesty, the place sure was quiet! Business did pick up later, however, once the armory shop opened, and dozens of fans descended on it like bees to a hive. I, too, swooped in on a gift-buying mission, and wound up purchasing a book for Godfrey, a scarf for a student, and a jersey - on sale, of course - for good measure.
I'm sitting in the Westminster Abbey Museum now, resting my weary legs and burdened back. So far, I've been verily impressed with what I've seen, such a confluence of splendor and history before me that it would require days to absorb it all, when regretfully I can spare only a few hours. My favorite part of the abbey is the poets corner where no less a literary luminary than Samuel Johnson rests in peace - his bust confirms his homely presence, which was so vividly captured in his biography.
For lunch I had a steak and ale pie, served with mash, taken alongside a Guinness, extra cold - 2 degrees centigrade colder, the bartender explained. It went down well, like all the other delicious meals I've had in England; and no doubt by now I have grown accustomed to inebriation at half past two. Besides, Liverpool were playing inspired football against Blackburn; and my lunch was complete.
Having had my fill of football, I decided to skip my ticket scalping endeavor at Stamford Bridge and instead wandered over to the British Museum to inspect their extensive collections. Along the way, my eye caught a theater, its doors wide open and admitting customers. With much rapidity, I subsequently checked the show times, saw that a performance was set to begin, and at last rushed to the box office to purchase a discounted ticket - if you call a 40 pound ticket a deal, that is. That's how I grabbed a seat to watch Hairspray in the West End.
The show was worth forty pounds. The music was addictive; and the stage design and effects were not so much kitschy as delightfully stimulating - the pulsating background lights were at once scintillating and penetrating. The actors as well were vivacious, oozing charisma while they danced and delivered lines dripping in humor. Hairspray is a quality production and most definitely recommended.
12.4.09
At breakfast I sat across from a man who asked me to which country Hong Kong had been returned - China or Japan. That was pretty funny. Then he started spitting on my food as he spoke, completely oblivious to my breakfast becoming the receptacle in which the fruit of his inner churl was being placed. I guess I understand the convention nowadays of covering one's mouth whilst speaking and masticating at the same time!
We actually conversed on London life in general, and I praised London for its racial integration, the act of which is a prodigious leap of faith for any society, trying to be inclusive, accepting all sorts of people. It wasn't as though the Brits were trying in vain to be all things to all men, using Spanish with the visitors from Spain, German with the Germans and, even, Hindi with the Indians, regardless of whether or not Hindi was their native language; not even considering the absurd idea of encouraging the international adoption of their language; thereby completely keeping English in English hands and allowing its proud polyglots to "practice" their languages. Indeed, the attempt of the Londoners to avail themselves of the rich mosaic of ethnic knowledge, and to seek a common understanding with a ubiquitous English accent is an exemplar, and the bedrock for any world city.
I celebrated Jesus' resurrection at the St. Andrew's Street Church in Cambridge. The parishioners of this Baptist church were warm and affable, and I met several of them, including one visiting (Halliday) linguistics scholar from Zhongshan university in Guangzhou, who in fact had visited my tiny City University of Hong Kong in 2003. The service itself was more traditional and the believers fewer in number than the "progressive" services at any of the charismatic, evangelical churches in HK; yet that's what makes this part of the body of Christ unique; besides, the message was as brief as a powerpoint slide, and informative no less; the power word which spoke into my life being a question from John 21:22 - what is that to you?
Big trees; exquisite lawns; and old, pointy colleges; that's Cambridge in a nutshell. Sitting here, sipping on a half-pint of Woodforde's Wherry, I've had a leisurely, if not languorous, day so far; my sole duty consisting of walking around while absorbing the verdant environment as though a sponge, camera in tow.
I am back at the sublime beer, savoring a pint of Sharp's DoomBar before my fish and chips arrive; the drinking age is 18, but anyone whose visage even hints of youthful brilliance is likely to get carded these days, the bartender told me. The youth drinking culture here is almost as twisted as the university drinking culture in America.
My stay in Cambridge, relaxing and desultory as it may be, is about to end after this late lunch. I an not sure if there is anything left to see, save for the American graveyard which rests an impossible two miles away. I have had a wonderful time in this town; and am thankful for the access into its living history - the residents here must demonstrate remarkable patience and tolerance what with so many tourists ambling on the streets, peering - and photographing - into every nook and cranny.
13.4.09
There are no rubbish bins, yet I've seen on the streets many mixed race couples in which the men tend to be white - the women also belonging to a light colored ethnicity, usually some sort of Asian; as well saw some black dudes and Indian dudes with white chicks.
People here hold doors, even at the entrance to the toilet. Sometimes it appears as though they are going out on a limb, just waiting for the one who will take the responsibility for the door from them, at which point I rush out to relieve them of such a fortuitous burden.
I visited the British Museum this morning. The two hours I spent there did neither myself nor the exhibits any justice because there really is too much to survey, enough captivating stuff to last an entire day, I think. The bottomless well of artifacts from antiquity, drawing from sources as diverse as Korea, and Mesopotamia, is a credit to the British empire, without whose looting most of this amazing booty would be unavailable for our purview; better, I think, for these priceless treasures to be open to all in the grandest supermarket of history than away from human eyes, and worst yet, in the hands of unscrupulous collectors or in the rubbish bin, possibly.
Irene and I took in the ballet Giselle at The Royal Opera House in the afternoon. The building is a plush marvel, and a testament to this city's love for the arts. The ballet itself was satisfying, the first half being superior to the second, in which the nimble dancers demonstrated their phenomenal dexterity in, of all places, a graveyard covered in a cloak of smoke and darkness. I admit, their dance of the dead, in such a gloomy necropolis, did strike me as, strange.
Two amicable ladies from Kent convinced me to visit their hometown tomorrow, where, they told me, the authentic, "working" Leeds Castle and the mighty interesting home of Charles Darwin await.
I'm nursing a pint of Green King Ruddles and wondering about the profusion of British ales and lagers; the British have done a great deed for the world by creating an interminable line of low-alcohol session beers that can be enjoyed at breakfast, lunch, tea and dinner; and their disservice is this: besides this inexhaustible supply of cheap beer ensnaring my inner alcoholic, I feel myself putting on my freshman fifteen, almost ten years after the fact; I am going to have to run a bit harder back in Hong Kong if I want to burn all this malty fuel off.
Irene suggested I stop by the National Art Gallery since we were in the area; and it was an hour well spent. The gallery currently presents a special exhibit on Picasso, the non-ticketed section of which features several seductive renderings, including David spying on Bathsheba - repeated in clever variants - and parodies of other masters' works. Furthermore, the main gallery houses two fabulous portraits by Joshua Reynolds, who happens to be favorite of mine, he in life being a close friend of Samuel Johnson - I passed by Boswells, where its namesake first met Johnson, on my way to the opera house.
14.4.09
I prayed last night, and went through my list, lifting everyone on it up to the Lord. That felt good; that God is alive now, and ever present in my life and in the lives of my brothers and sisters.
Doubtless, then, I have felt quite wistful, as though a specter in the land of the living, being in a place where religious fervor, it seems, is a thing of the past, a trifling for many, to be hidden away in the opaque corners of centuries-old cathedrals that are more expensive tourist destinations than liberating homes of worship these days. Indeed, I have yet to see anyone pray, outside of the Easter service which I attended in Cambridge - for such an ecstatic moment in verily a grand church, would you believe that it was only attended by at most three dozen spirited ones. The people of England, and Europe in general, have, it is my hope, only locked away the Word, relegating it to the quiet vault of their hearts. May it be taken out in the sudden pause before mealtimes and in the still crisp mornings and cool, silent nights. There is still hope for a revival in this place, for faith to rise like that splendid sun every morning. God would love to rescue them, to deliver them in this day, it is certain.
I wonder what Londoners think, if anything at all, about their police state which, like a vine in the shadows, has taken root in all corners of daily life, from the terrorist notifications in the underground, which implore Londoners to report all things suspicious, to the pair of dogs which eagerly stroll through Euston. What makes this all the more incredible is the fact that even the United States, the indomitable nemesis of the fledgling, rebel order, doesn't dare bombard its citizens with such fear mongering these days, especially with Obama in office; maybe we've grown wise in these past few years to the dubious returns of surrendering civil liberties to the state, of having our bags checked everywhere - London Eye; Hairspray; and The Royal Opera House check bags in London while the museums do not; somehow, that doesn't add up for me.
I'm in a majestic bookshop on New Street in Birmingham, and certainly to confirm my suspicions, there are just as many books on the death of Christianity in Britain as there are books which attempt to murder Christianity everywhere. I did find, however, a nice biography on John Wesley by Roy Hattersley and The Screwtape Letters by C.S. Lewis. I may pick up the former.
Lunch with Sally was pleasant and mirthful. We dined at a French restaurant nearby New Street - yes, Birmingham is a cultural capitol! Sally and I both tried their omelette, while her boyfriend had the fish, without chips. Conversation was light, the levity was there and so was our reminiscing about those fleeting moments during our first year in Hong Kong; it is amazing how friendships can resume so suddenly with a smile. On their recommendation, I am on my way to Warwick Castle - they also suggested that I visit Cadbury World, but they cannot take on additional visitors at the moment, the tourist office staff informed me, much to my disappointment!
Visiting Warwick Castle really made for a great day out. The castle, parts of which were established by William the Conquerer in 1068, is as much a kitschy tourist trap as a meticulous preservation of history, at times a sillier version of Ocean Park while at others a dignified dedication to a most glorious, inexorably English past. The castle caters to all visitors; and not surprisingly, that which delighted all audiences was a giant trebuchet siege engine, which for the five p.m. performance hurled a fireball high and far into the air - fantastic! Taliban beware!
15.4.09
I'm leaving on a jet plane this evening; don't know when I'll be back in England again. I'll miss this quirky, yet endearing place; and that I shall miss Irene and Tom who so generously welcomed me into their home, fed me, and suffered my use of their toilet and shower goes without saying. I'm grateful for God's many blessings on this trip.
On the itinerary today is a trip to John Wesley's home, followed by a visit to the Imperial War Museum. Already this morning I picked up a tube of Oilatum, a week late perhaps, which Teri recommended I use to treat this obstinate, dermal weakness of mine - I'm happy to report that my skin has stopped crying.
John Wesley's home is alive and well. Services are still held in the chapel everyday; and its crypt, so far from being a cellar for the dead, is a bright, spacious museum in which all things Wesley are on display - I never realized how much of an iconic figure he became in England; at the height of this idol frenzy, ironic in itself, he must have been as popular as the Beatles were at their apex. The house itself is a multi-story edifice with narrow, precipitous staircases and spacious rooms decorated in an 18th century fashion.
I found Samuel Johnson's house within a maze of red brick hidden alongside Fleet Street. To be in the home of the man who wrote the English dictionary, and whose indefatigable love for obscure words became the inspiration for my own lexical obsession, this, by far, is the climax of my visit to England! The best certainly has been saved for last.
There are a multitude of portraits hanging around the house like ornaments on a tree. Every likeness has its own story, meticulously retold on the crib sheets in each room. Celebrities abound, including David Garrick and Sir Joshua Reynolds, who painted several of the finer images in the house. I have developed a particular affinity for Oliver Goldsmith, of whom Boswell writes, "His person was short, his countenance coarse and vulgar, his deportment that of a scholar awkwardly affecting the easy gentleman. It appears as though I, too, could use a more flattering description of myself!
I regretfully couldn't stop to try the curry in England; I guess the CityU canteen's take on the dish will have to do. I did, however, have the opportune task of flirting with the cute Cathay Pacific counter staff who checked me in. She was gorgeous in red, light powder on her cheeks, with real diamond earrings, she said; and her small, delicate face, commanded by a posh British accent rendered her positively irresistible, electrifying. Not only did she grant me an aisle seat but she had the gumption to return my fawning with zest; she must be a pro at this by now.
I saw her again as she was pulling double-duty, collecting tickets prior to boarding. She remembered my quest for curry; and in the fog of infatuation, where nary a man has been made, I fumbled my words like the sloppy kid who has had too much punch. I am just an amateur, alas, an "Oliver Goldsmith" with the ladies - I got no game - booyah!
Some final, consequential bits: because of the chavs, Burberry no longer sells those fashionable baseball caps; because of the IRA, rubbish bins are no longer a commodity on the streets of London, and as a result, the streets and the Underground of the city are a soiled mess; and because of other terrorists from distant, more arid lands, going through a Western airport has taken on the tedium of perfunctory procedure that doesn't make me feel any safer from my invisible enemies.
At last, I saw so many Indians working at Heathrow that I could have easily mistaken the place for Mumbai. Their presence surprised me because their portion of the general population surely must be less than their portion of Heathrow staff, indicating some mysterious hiring bias. Regardless, they do a superb job with cursory airport checks, and in general are absurdly funny and witty when not tactless.
That's all for England!
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Canon EOS R6 Mark II, Canon RF 50mm f/1.8 STM, bearbeitet in Lightroom und Photoshop.
The cleanliness is real, my only Photoshop work was to remove one paper tissue on the platform and a small graffito on the train.
Day and Night / The Stars are Bright / Deep in the Heart / of Berlin (apologies . . )
Wikipedia: "Die Gestaltung von Max Dudler wurde vom berühmten Schinkelschen Bühnenbild zur Oper Die Zauberflöte aus dem Jahr 1816 inspiriert und sieht über den Gleisen als dessen Sternenhimmel ein aquamarinblaues Tonnengewölbe mit 6662 Lichtpunkten vor. Die Wände wurden in Anlehnung an die klassizistische Architektur der umliegenden Gebäude mit hellem Naturstein verkleidet, hierfür kam Granit aus dem Fichtelgebirge zum Einsatz."
Wikipedia: "The design by Max Dudler was inspired by a stage design by Karl Friedrich Schinkel for the opera The Magic Flute (Die Zauberflöte) from 1816 and features a starry sky on a dark blue barrel vault with points of light over the tracks."
This stage design is also echoed in a ceiling in the nearby Alte Nationalgalerie.
www.maxdudler.de/de/projekte/u-bahnstation-museumsinsel/
de.wikipedia.org/wiki/U-Bahnhof_Museumsinsel
en.wikipedia.org/wiki/Museumsinsel_(Berlin_U-Bahn)
Goal: Sermon series branding for Faith & Luck Series
Audience: Our regular weekend crowd
Direction: I went with a carnival theme since the sermon content was going to be pretty heavy and they wanted the branded to be light to balance it all out.
Project: The project consisted of several key elements. The worship guide, key art and promo poster are what are shown above. We extended the brand to video and stage design, which you can check out here:
www.joecavazos.com/home/2010/7/9/faith-luck-series.html
Other important info: This is a finished project.
kaufmöglichkeit ( purchase opportunity ):
art-4-uv.de/ger_de/content/view/buy/301
weitere uv - landschaften ( more blacklight - landscapes ):
art-4-uv.de/ger_de/kategorieseite/uv_unikatsshop/uv_lands...
rainer maria rolf röschke ( r3m1 )
27.08.06
tausendmal habe ich vor entscheidungen gestanden
mich gefragt wohin sie führen
oft habe ich das risiko gewählt,
bin mutig gewesen
gestählt habe ich gewagt
und war bereit
aber manchmal konnte ich mich nicht entscheiden,
und habe das Leben
für mich wählen lassen.
die zeit hat wege geöffnet
oder geschlossen
doch unverdrossen
lebt die zeit und die seele schreit
nach kunst
preview.art-4-uv.de/ger_de/kategorieseite/uv_unikatsshop/...
meine kunst art
meine art kunst zu machen -
meine lebens - art.
meine art zu leben,
meine art zu denken, meine art zu fühlen -
schwarzlicht zu zeigen -
meine überlebens - art.
die art und weise, wie kunst wirkt
ist die ab - art meiner seele -
bei jedem künstler ist das stand - art.
denn seine kunst ist seine art des
ausdrucks von liebe, seine art,
zu zeigen, was ihn bewegt,-
die klang - art seiner seele,
seine art, gott nahe zu sein,
seine art sich zu spüren,
seine art zu sein,
seine art kunst zu beleben.
seine art auszudrücken, was ihn berührt.
art is beautiful
art is the most important power
art is the spirit of each culture
art is the impulse survive
art is the death of the hate
art is the hope of good
die kunst der nicht - kunst
icq.
die telefonauskunft sagt nichts hierzu und calvin klein springt vor das haus direkt in seinen
bmw hinein. calvin klein liebt seinen bmw wohingegen versace lieber audi fährt. calvin klein fährt direkt zur nächsten post und sucht dort nach dem telefonbuch. seinen bmw hat er abgestellt. er will freunde einladen in dieses icq und braucht aber dringend dieses telefonbuch dazu. und wenn er dann die nummern findet im telefonbuch ruft er die freunde an und lädt sie ein ins icq. karl lagerfeld ist nicht daheim. er fährt auch bmw und wohl grad zu ikea. er braucht ein bild von ikea
als geschenk für claudia schiffer seine freundin. ein bild von ikea. ein bild mit den simpsons vorne drauf von ikea. er könnte auch zu cartier gehen, aber ein bild von ikea mit den simpsons drauf ist cool.riders on the storm läuft gerad im radio. der wetter bericht es wird regnen karl lagerfeld stoppt seinen bmw und springt hinaus das dach zu schließen. das wetter spielt verrückt, mal so mal so, mit dem wetter kann man nicht mehr rechnen. gerade fährt er am haus von johnny depp vorbei, der hat auch ein bild von ikea, er hat es aber selbst gekauft, das bild von ikea. johnny depp was an american gigolo wie einst richard gere. das dach vom bmw ist zu der bmw rollt an aber erst nachdem karl lagerfeld in seinen bmw geklettert ist. logisch ohne karl kann der bmw ja nicht fahren. bei johnny depp steht ein auto vor der tür. ein audi. man hätte diesem depp mehr zugetraut mindestens einen kleinen bmw. denn bmw is just the best. karl lagerfeld will denn nun wieder heim. bei ikea war er schon. das bild von ikea hat er auch schon das bild vversace ist im icq. und calvin klein sieht ihm dabei zu. versace plaudert über wikipdia im speziellen über sido. calvin klein wil auch ins icq doch wie ist der download für dieses on ikea für claudia schiffer er hat das bild in den kofferraum vom bmw gesperrt ein kofferraum mit einem bild von ikea mit den simpsons für claudia schiffer für was braucht claudia schiffer ein bild von ikea mit den simpsons drauf egal ikea ist gut und das bild auch und die simpsons noch mehr.
lagerfeld hat sich verfahren
calvin klein sucht weiter im telefonbuch. sein bmw steht noch vor der post. er hat den bmw ja
auch abgesperrt. einen bmw muß man absperren. zuviele menschen mögen bmw. bmw ist ein tolles auto. im telefonbuch findet man nicht so viel. er blättert in diesem telefonbuch wie in einer zeitung. das telefonbuch ist verschmiert. seiten aus dem telefonbuch fehlen. das telefonbuch ist ein altes. ein neues telefonbuch sollte jeds jahr hierher, denkt calvin klein. mal sehen, ob paris hilton in diesem telefonbuch steht. wenn nein ist sie ja vielleicht mit britney spears in deren bmw
fortgefahren. alle lieben bmw.
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art was ist art im deutschen wohl die gattung. ansonsten kunst.
art for you art for all art for art
überall hört man davon es ist geldanlage - kunst es ist freude freude an art # freude an gattung
begattung nein an kunst art ist kunst art ist so vieles es gibt so viele art von art
kunst bild auch ikea hat art einfache art nicht große art große art hängt in den kunst - museen
art - kunst
große art hängt bei reichen leuten nicht im wohnzimmer große art hängt im kunst - tresorraum
große art darf nicht im wohnzimmer hängen denn große art wollen viele und große art ist teuer,
d.h. große art zieht kunst - diebe an nicht weil sie große art schätzen oder große art genießen wollen sondern weil sie große art verkaufen wollen große art ist anziehend große art ist anziehend große art ist eben große art. wer macht große art picasso oder rembrandt oder wer macht große art
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2263, 1965. Photo: Schirmer.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
For me, our [Heathens] SIM is such a unique experience because of the felicitous blend of people!
Builders, creators, creative technologists, and artists from different fields who are united by common ideas in a brotherly team spirit. Looking forward to the things to come... feel free to join!
from disney's aladdin - a music spectacular. this was really well done from the singing and dancing, to stage design and production... especially the comedy which included pop culture references as recent as american idol's most recent reject sanjaya being mentioned by the genie less than a week after it happened.
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
The Lir offers courses at both undergraduate and postgraduate level in acting, directing, lighting design, stage design, stage management, technical theatre and writing for the theatre and related professions.
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Archaeological Area, the Roman Theater, view towards North-West from the stage left corner.
The Roman theatre was built between the late first century BC and early AD following the Greek model, with the characteristic semicircular shape set on a hill.
In the foreground the foundation of the “scaena frons” (an architectural stage design), and the “proscenium” floor, stage. In lower position there is the semicircular space of the “orchestra”. Marble decorations of the stage are visible inside the Museum. A space immediately adjacent to the orchestra, but separated from the cavea, housed the honorific marble chairs reserved for people and illustrious guests of the city. Beyond a narrow passage, the huge half-round “cavea”, was created directly in the rock of the hill; narrow stairs created in order to let people find their seat more easily, divide the “cavea” in four zones. The survived decorations housed in the Museum attest the Theatre was used until the 3rd century AD.
Roman theater
Late 1st century BC
Archaeological Area of Fiesole, Florence
Anonymous - Stage Design, Interior of Papal Palace (1777)
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I do not have the date on this. She was extensively involved in theater design work in Russia and the Ukraine during the years before the revolution.....she left her home city of Kiev in 1920, then lived in Moscow until 1924 and moved to Paris never to return to Russia.
Cloud Gate 2: Beckoning
Cloud Gate 2 presents 'Beckoning', part of their Triple Bill at Sadler's Wells Theatre on 21-23 November 2016. The show is part of Sadler's Wells Out of Asia 2 season.
Artistic Director & choreographer: Cheng Tsung-lung
Lighting Design: Shen Po-hung
Stage Design: He Jia-sing
Costume Design: Lin Bin-hao
Dancers: Tsou Ying-lin, Chan Hing-chung, Lin I-hsuan, Wu Jui-ying, Lee Yin-ying, Luo Sih-wei, Su I-chieh, Chen Yi-en, Liao Chin-ting, Hsu Chih-hen
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com