View allAll Photos Tagged synthesis
Synthesis of brevity, geometry and functionality.
Phase transition of water into steam and steam into motion. The highest form of utility of the thing!
The old color slide distorts the color. But shows the viewer the whole essence of Vanguard.
Time was dissolved. There is no past or future... In the present moment there is only a viewer with his meanings…
Filmed in May 2019
Old DDR film Orwo chrom UT18( process of Sovcolor) + Nikon f5 + Nikkor 24-70/2.8G
The emulsion expired in 1992
The Ethiopian Livestock Feed Project synthesis workshop was held at ILRI Addis Ababa on 28 and 29 May 2012 (photo credit: ILRI/Apollo Habtamu).
Synthesis of PFeTTPP. a) Molecular structure; b) simulated 3D stacking of PFeTTPP. Fe red, N blue, C light blue, S yellow; H not shown for clarity. Read more»
I had this exercise during Graphic Design classes in my second year of middle school. We were supposed to draw the person sitting in front of us on three sheets of paper. The first one was the realistic drawing, second one was simplified and the last one should be a synthesis, showing the moist characteristic traits.
I did it again this year on my own and since I didn't have a model to pose for me, I used a mirror.
Graphite, ink and marker, all on A4 format.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Citation: Sperandeo A, Ficola U, Quartuccio N, Kitson SL, Mansi L, Cistaro A. Automated synthesis of [18F]fluorocholine using a modified GE TracerLab module. Journal of Diagnostic Imaging in Therapy. 2014; 1(1):49-58.
dx.doi.org/10.17229/jdit.2014-0921-003
Abstract
The automated radiosynthesis of [18F]fluorocholine was carried out using a modified reactor design in the GE TracerLab FX(FDG) module. This PET imaging tracer was synthesized in two steps and involved the generation of nucleophilic [18F]fluoride using Kryptofix 2.2.2 technology. The first step was the synthesis of [18F]fluorobromomethane by the reaction of dibromomethane with [18F]fluoride mediated by Kryptofix 2.2.2. Then the substrate N,N-dimethylaminoethanol was N-alkylated with [18F]fluorobromomethane to give the [18F]fluorocholine as the bromide salt. Purification of the salt using Sep-Pak silica gel gave [18F]fluorocholine in a radiochemical purity ≥99% area. This new reactor design in the TracerLab module produced high radiochemical purity and reproducible yields of [18F]fluorocholine. Furthermore, this automated approach could be implemented for routine PET imaging of oncological disease states in the Nuclear Medicine clinical setting.
Keywords: automated radiosynthesis; positron emission tomography; fluorine radioisotopes; choline; 2-deoxy-2-[18F]fluoro-D-glucose; radiopharmaceuticals.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
18 September 2015 - High Level Launch and discussion of the New Approaches to Economic Challenges (NAEC) Synthesis Report.
For more information, visit: www.oecd.org/naec/
Photo: MarcoIlluminati/OECD
The Ethiopian Livestock Feed synthesis workshop on 28-29 May included a show and tell for a wider group on Tuesday, May 22, 2012. The meeting allows project partners (EIAR and ARARI) to compare notes and draw lessons from use of FEAST, Techfit and value chain assessment tools (photo credit: ILRI/Zerihun Sewunet).
David Hanneke, Assistant Professor of Physics, teaches a course called "The Newtonian Synthesis: Dynamics of Particles and Systems, Waves." Students work on their final projects for the class. Photo by Maria Stenzel.
The Movement of a Slinky
Rilla McKeegan '21, Navid Rahimi Larki '21, Ha Woon (Harry) Jung '20, Yordi De Leon '21
Student: Ha Woon (Harry) Jung '20
Brief synthesis
Located in the foothills on the southern slopes of the High Atlas in the Province of Ouarzazate, the site of Ait-Ben-Haddou is the most famous ksar in the Ounila Valley. The Ksar of Aït-Ben-Haddou is a striking example of southern Moroccan architecture. The ksar is a mainly collective grouping of dwellings. Inside the defensive walls which are reinforced by angle towers and pierced with a baffle gate, houses crowd together - some modest, others resembling small urban castles with their high angle towers and upper sections decorated with motifs in clay brick - but there are also buildings and community areas. It is an extraordinary ensemble of buildings offering a complete panorama of pre-Saharan earthen construction techniques. The oldest constructions do not appear to be earlier than the 17th century, although their structure and technique were propagated from a very early period in the valleys of southern Morocco. The site was also one of the many trading posts on the commercial route linking ancient Sudan to Marrakesh by the Dra Valley and the Tizi-n'Telouet Pass. Architecturally, the living quarters form a compact grouping, closed and suspended. The community areas of the ksar include a mosque, a public square, grain threshing areas outside the ramparts, a fortification and a loft at the top of the village, an caravanserai, two cemeteries (Muslim and Jewish) and the Sanctuary of the Saint Sidi Ali or Amer. The Ksar of Ait- Ben-Haddou is a perfect synthesis of earthen architecture of the pre-Saharan regions of Morocco.
Criterion (iv): The Ksar of Ait-Ben-Haddou is an eminent example of a ksar in southern Morocco illustrating the main types of earthen constructions that may be observed dating from the 17th century in the valleys of Dra, Todgha, Dadès and Souss.
Criterion (v): The Ksar of Ait-Ben-Haddou illustrates the traditional earthen habitat, representing the culture of southern Morocco, which has become vulnerable as a result of irreversible socio-economic and cultural changes
Integrity (2009)
All the structures comprising the ksar are located within the boundaries of the property and the buffer zone protects its environment. The earthen buildings are very vulnerable due to lack of maintenance and regular repair resulting from the abandonment of the ksar by its inhabitants. The CERKAS (Centre for the conservation and rehabilitation of the architectural heritage of atlas and sub-atlas zones) monitors, with difficulty, respect for the visual integrity of the property.
Authenticity (2009)
In comparison to other ksour of the region, the Ksar of Ait-Ben-Haddou has preserved its architectural authenticity with regard to configuration and materials. The architectural style is well preserved and the earthen constructions are perfectly adapted to the climatic conditions and are in harmony with the natural and social environment.
The large houses in the lower part of the village, with well conserved decorative motifs, are regularly maintained. The construction materials used still remain earth and wood. The inclination to introduce cement has so far been unsuccessful, thanks to the continued monitoring of the «Comité de contrôle des infractions» (Rural Community, Town Planning Division, Urban Agency, CERKAS). Only a few lintels and reinforced concrete escaped its vigilance, but they have been hidden by earthen rendering. Particular attention is also paid to doors and windows giving on to the lanes, to ensure that the wood is not replaced by metal.
Protection and management requirements (2009)
Protection measures essentially relate to the different laws for the listing of historic monuments and sites, in particular the Law 22-80 concerning Moroccan heritage. The Ksar of Ait-Ben-Haddou currently has a five-year management plan (2007-2012). This management plan is the result of two years of reflection and workshops involving all the persons and institutions concerned with the future of the site, in particular the local populations. The recommendations of this plan are being implemented. Furthermore, two management committees have been established (a local committee and a national one) in which all the parties are represented and cooperate in decision-making. As well as managing the property, CERKAS ensures coordination in the implementation of this management plan
11.17.2016 Synthesis BFA Exit Show featuring work by Patti Gillespie, Lexie Reames, Emily Teets, and Chance Wallis.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Many of my works - like this one - are produced entirely digitally. I sometimes re-use older works as art elements and also drawing objects - usually rectangles. These are combined together using Serif PagePlus X3.
Next I mesh warp the image and finally photographically over process the image with Paint Shop Pro.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Photo by Yi Chun Wu
Choreography: Tracie Stanfield
Dancers: Alana Sampietro, Heidi Sutherland, Traci Ann Pearce, Tara Nixon
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Averbode Abbey is a Premonstratensian abbey situated in Averbode, in the municipality Scherpenheuvel-Zichem (Flemish Brabant), in the Archdiocese of Mechelen-Brussels in Belgium. It was founded about 1134, suppressed in 1797, and reestablished in 1834. Throughout the 20th century the abbey press was a leading children's publisher in Belgium. The church's building is a peculiar synthesis of Baroque and Gothic, with Renaissance ornament details, dominating the monastery complex. The whole structure was built of iron sandstone from Langdorp and white sandstone from Gobertange between 1664 and 1672, after a design by the Antwerp architect Jan Van den Eynde II.
1134–1800
Averbode Abbey was founded about 1134–1135 by Arnold II, Count of Loon. With land donations from the Abbey of Sint-Truiden, the lords of Aarschot and Diest, and some years later Godfrey III of Leuven, the abbey was situated right on the border of the County of Loon and the Duchy of Brabant. The first canons and abbot Andreas came from the Sint-Michielsabdij in Antwerp, founded in 1124.
The abbey started rather small but grew over the centuries, until it was some 5500 ha in the seventeenth century, including farms, fields, woodland, mills, heath, and local chapels. The abbey also provided the priests for 27 parishes. The first abbey church was inaugurated in 1194, and soon after the nuns, who until then resided in Averbode as well, moved to Keizerbos, where it stayed until it disappeared in 1796.
New buildings were erected all the time at the abbey. The gatehouse, built at the end of the 14th century, is the oldest remaining building. The church and part of the abbey was destroyed by a fire after a lightning strike on October 25, 1499.
The abbey went through a prosperous period in the first half of the 16th century, under Abbot Gerard vander Schaeft. The church was rebuilt and richly decorated. Unrest and plundering troops made it necessary to flee the abbey four times in this period. Political and religious instability in the latter half of the century, with the Beeldenstorm, made the canons flee the abbey again in 1578 to the refuge of Diest. The death of 12 monks in 1579 because of the bubonic plague reduced the abbey to only 28 monks in 1584. They returned to Averbode only in 1604.
The seventeenth century saw a return to strength of the abbey, with 80 monks by 1670. Between 1664 and 1672, a new church was built, after a design by the Flemish architect Jan van den Eynde II. Almost all the buildings were rebuilt during this century.
Van den Eynde was awarded the commission in 1664, after Lucas Faydherbe’s plans were rejected. The first stone was laid on July 31, 1664. The ground-plan of this Baroque church combines a centralized cruciform space to the west for the laity with a deep choir, which was necessary for Norbertine choral services.The treatment of space is more emphatic here than in other Norbertine abbey churches, on account of the happy combination of a radial plan with a very long and axially accentuated choir. The design combined Gothic structural forms, such as ribbed vaults, with Renaissance ornamental details. The church is considered a peculiar synthesis of Baroque and Gothic. No dome was built over the central section because in January 1668 one of the major piers collapsed. Because two other pillars collapsed after that, the fourth pillar also had to be pulled down. Works restarted with more solid material and the building was roofed over by the end of 1670. The community inaugurated the new abbey church on July 11, 1672, the feast of St. Norbert. The solemn consecration was not celebrated until June 19, 1681. Van den Eynde also produced the church's sculptures.
At the end of the 18th century, in 1789, the Brabantse Omwenteling started a period of great political turmoil, with the French and the Austrians fighting for control over Brabant. Travelling troops heavily damaged the abbey. After the French disbanded most abbeys on September 1, 1796, the canons of Averbode were evicted on February 14, 1797. Most parts of the library and the archive, including the sumptuous Mosan masterpiece, the Evangeliary of Averbode, were brought to safety beforehand, and the abbot and some canons fled across the Rhine. In 1802, brother Ignatius Carleer bought the abbey and some monks were able to return. The church was used as parish church for Averbode. Because of financial problems, most of the church treasure had to be sold. Meanwhile, the library and archive were seized by the government and transferred to the University of Liège and the Royal Archives of Belgium in Brussels.
1834–1918
The abbey was reestablished on December 14, 1834, with the 12 surviving monks of 1796. Averbode also served as the novitiate for the abbeys of Postel, Grimbergen and Tongerlo. By 1840, there were again 23 people connected to the abbey, a figure which slowly rose to 31 in 1850 and 43 in 1868, of which only 19 actually stayed in the abbey. Most of the others where parish priests.
In 1877, the abbey founded a "Broederschap van O.-L.-Vrouw van het Heilig Hart" ("Brotherhood of Mother of the Sacred Heart"), linked with the Missionaries of the Sacred Heart of Issoudun. This brotherhood would give a new élan to the abbey and define its status and works until today. Membership soared, with 60,000 in 1879 and 100,000 in 1883, reaching 400,000 by 1894. In 1881, a first press was bought to print the magazines and leaflets for the Brotherhood. In the meantime, the judicial status of the abbey was still unclear, and in 1887 the abbey was sold to the Countess of Merode, and most of the ground to her father. In the years before World War I, the abbey prospered and grew through the Brotherhood and the printing activities, with some of its magazines printed in more than 100,000 copies. The abbey was now the largest employer of the region, and built social houses for its employees in 1899 and created a cooperative dairy in 1907 and a bank in 1911.
The abbey was at the time a motor of the village life, with also a school, a harmony, a library and a thespian society. It was the center of Marian-centred pilgrimages, which attracted many visitors and benefited the local shops and bars.
In 1896, the abbey first started with missionary work, when two canons left for Pirapora, Brazil, where they started a school which also served as the seminary until 1949. Another school was started in Jaguarão in 1901, which was moved to Jaú in 1915. The college in Petropolis came under the leadership of Averbode in 1909 as well. A second mission started in 1903 in Denmark, where the abbey founded the parish of Vejle, with a new Catholic school and from 1913 on a hospital.
1921 onwards
In 1921, the abbey was able to buy back its buildings and grounds from the family de Merode. The year before, the "Eucharistische Kruistocht" ("Eucharistic Crusade") was founded, a movement to bring the faithful more in line with the Church and its doctrines, in line with the teachings of Pope Pius X. The priest Edward Poppe, although not a member of the abbey, was the leading force behind the Crusade until his death in 1924 at the age of 34. New youth magazines were created as a means of spreading the Crusade amongst the youth, who were the main target of the movement. These would become the second main branch of the printing activities, together with the purely religious publications.
In the early 1930s, the abbey came into financial problems due to the high costs of new buildings for the abbey and machinery for the publishing company. A reorganisation, which made the publishing company a separate company owned by the abbey instead of an integral part of the abbey, and a strict financial control helped the abbey to pay off the debts over the next decade. On the other hand, the abbey flourished now more than ever. Because of the success of the Brotherhood, the Crusade and the missions, and the population explosion in Belgium, the numbers of canons increased to 230 by 1937.
The central buildings of the abbey, apart from the church, burned down almost to the ground on December 29, 1942. In 1945, a school in Brasschaat which was run by the abbey was hit by a V-1 flying bomb, killing a canon and three priests. The abbey reached its greatest population in 1959 with 242 people, 88 of which resided in the abbey. The others were divided over the missions, schools, dependencies and parishes maintained or serviced by Averbode. In the same year, a second Sint-Michielscollege was founded in Schoten, complementary to the one in Brasschaat. In Brazil, a new parish in Piracicaba was started, and an abbey was founded in Salto in 1963.
The general decline of Catholicism in Western Europe and especially in Flanders started to affect the abbey of Averbode as well though. The work on the new abbey in Brazil was stopped and the college of Jaú was closed down. The schools in Brasschaat and Schoten saw the canons leave as well, but they continued to exist. The publishing activities also were more and more led by laymen, and the printing activities were sold in 1996. In 2011, the abbey housed 78 canons, of which 45 lived and worked in the abbey.
I hope you are having a wonderful summer. I'm still mostly away from Flickr with family and photography commitments. I will continue to post with the comments turned off until I can return to commenting on your beautiful work. I hope you have not all given up on me, I will return as time allows. Take Care,my friends!
Taken at the Washburn Marina, Washburn, WI
Tomatoes growing in the eco-friendly greenhouse in Talin
The EU-funded “BioRuralHeating” project inspired the Armenian town of Talin to produce and use synthesis gas. The gas is produced from biomass – a renewable source. The gas is used to heat a greenhouse, helping to save up to 70% on heating costs.
Find out more about how the EU promotes renewable energy in Armenia and stay informed at: www.eu4energy.eu
A map displaying the present and future impacts of climate change in the Chu and Talas river basins. / Карта, отображающая текущие и ожидаемые последствия изменения климата в бассейнах рек Чу и Талас.
English version here.
The Ethiopian Livestock Feed synthesis workshop on 28-29 May included a show and tell for a wider group on Tuesday, May 22, 2012. The meeting allows project partners (EIAR and ARARI) to compare notes and draw lessons from use of FEAST, Techfit and value chain assessment tools (photo credit: ILRI/Zerihun Sewunet).
Synthesis Design KPCL Group Town HD Image and wallpapers, 6000 x 3684, 541 KB
Synthesis Design KPCL Group Town
wallpaperscene.com/architecture/synthesis-design-kpcl-gro...
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers led by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!) and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
Sonic Acts festival
Stedelijk Museum, Amsterdam 2015
A Script for Machine Synthesis is a sound piece, an experimental drama, a model of abstraction that recalls Artaud’s Theatre of Cruelty as much as Beckett’s minimalist narratives and neo-imagist poetry. It is the climactic third chapter in the trilogy of text–sound pieces that Hecker created with the writer–philosopher Reza Negarestani (after Chimerization, dOCUMENTA13 and Hinge, Lumiar Cité, Lisbon; both 2012). The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptions of smell and sound are materialised through synthetic trophies, auditory objects, and theatrical props. Exeunt all human actors, A Script for Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought, featuring the voice of Charlotte Rampling; a perfume created by Frédéric Malle, Editions de Parfums and Carlos Benaïm; IFF, a synthetic voice designed by Rob Clark and the Centre for Speech Research Technology, University of Edinburgh; a CAL 64 Column Array Loudspeaker System by Meyer Sound; and a synthetic paper booklet designed by NORM, Zurich.