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Last week at RNIB in London we learned first hand which tools and tricks visually impaired musicians use to read sheet music. Very inspirational.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
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Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
This visually distinctive silver hallmarked badge was designed Eric Gill, one of the most well know British artists of the early 20th century. In January 1937, Gill received the sum of 3 guineas for his design work; it showcases his forte for letterform design with the prominent, statuesque initials, ARP. The letters are nicely balanced with inter-points (dots), and this gives the acronym a strong visual presence. Gill used the King's 'Imperial Crown' to complete the overall regal effect. The first orders for this badge from the Royal Mint had crescent lapel fittings (for men), followed by the later issued brooch fittings (for women).
The badge emerged of course during the period leading up to WW11, as the British government created plans for a number of civilian volunteer services such as air raid wardens, first aid centres, report centres to support and help towns and cities deal with the potential devastating fall out from bombs, poisonous gasses and fires. The overarching name given to these civilian volunteer services was Air Raid Precautions (ARP) and by February 1939, over 800,000 government issued ARP badges, similar to the one above, had been shipped to local authorities.
After volunteers completed a period of training, they received a badge identical to the one shown here. Again, like this example, early issue ARP badges were silver hallmarked, but by 1940 these badges were made of white metal. By 1943, this particular type of government ARP badge ceased being made as most volunteers had, by this time, a uniform.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)
Visually one of my favorite looking guitars in my collection...it just SCREAMS "1980s heavy metal hair bands"...the Warlock shape...the snakeskin...the pink color...the matching headstock...this one had me at "hello"...and it plays beautifully.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
The O2 arena, visually typeset in branding as The O2 arena, is a multi-purpose indoor arena located at the centre of The O2, a large entertainment complex on the Greenwich peninsula in South East London, United Kingdom. With a capacity of up to 23,000 depending on the event, it is one of the largest indoor arenas in Europe alongside the MEN Arena in Manchester. In 2008, The O2 arena took the crown of the Worlds Busiest Arena from the MEN Arena, a title which it held since 2001
Michael Jackson, who died from a fatal heart attack in June 2009, was scheduled to play 50 concerts from July 2009 to March 2010, making it the longest residency at the arena. All 50 dates sold out within a few hours of their release, for both the presale and general sale phases.
Source: Wikipedia
While visually a peculiarity among the other nobles occupying Oléon's High Council, Noorah Al-Ghareeb de La Roche de Tarzout can trace her noble lineage far back to when Oléon first arrived in Guelph. Sensing an opportunity to gain more influence and strength, Noorah's ancestral tribe was quick to ally with the northern kingdom and was a loyal ally during the ensuing civil war. Over time, the political power of the family grew through clever diplomacy and sometimes devious scheming. The tribe left the inland desert of Guelph and claimed the fortress of La Roche - the Rock - as their new home, from where they ruled Tarzout and Ouaganda first and later all of their dominions in Guelph, Oléon and the New World. They made their uncountable fortunes in agriculture and trade and own vast swathes of land throughout the Empire.
Noorah is a political power player and worked her way up into the highest echelons of Oléonese political life with patience and clever insights. Although some also suggest a more sinister path to power, which includes blackmail and other forms of subterfuge. In either case, as the head of le Bureau de Preuve, Noorah is responsible for the orderly conduct of all interior affairs of Oléon. A task she takes very seriously. A worker bee and somewhat of a control freak, Noorah has considerably expended the shadowy sections of her cabinet and keeps a close eye on possible dangerous elements within the Empire.
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Contact : photos [at] handisport.org
This lovely wine was from the 2 Lads Winery. I had it with a delicious plate of snacks that included crackers, cheese, white fish pate, smoked almonds and a tiny little raspberry chocolate. Yummy!
I also posted this because I realized I had little fall color in my stream and it bummed me out. So there's a little bit of what fall looked like, reflected in the bottom of the glass.
Visually speaking this is not the most mind blowing image every created. It's more of a simplistic take of the story. Nevertheless it doesn't come close to the awesomeness of the special edition cover featuring HAL in close up. At least, it feels better than this weird scifi version of the standard DVD edition (you know, the one showing a flying space ship - which has so important for the overall story. Because, you know, he wouldn't have reached the space station without it.)
213/365
I have internet....finally!! Been without for well over a week and I'm suffering withdrawal symptoms from flickr :s I have still been taking pictures every single day and I will slowly be uploading them.
Work has been hectic as has moving house and so the stress has been plentiful, hopefully I can dedicate a large amount of time to flickr this weekend :)
This was taken on a mini stroll around my new local area, just a flower....anyone know what it is?
610 East 169th Street, Morrisania, Bronx, New York City, New York, United States
Opened on December 1, 1908, this is the fourth branch library in the Bronx and the twenty eighth in the city to have been built with funds provided by the multi-million dollar gifts made m 1901-02 by Andrew Carnegie for the purpose of establishing a city-wide system of sixty-five neighborhood libraries.
The McKinley Square Branch of the New York Public Library was designed by the prominent architectural firm of Babb, Cook & Willard, which had designed Carnegie's own house on East 91st Street in 1899-1903. The plan of the branch contrasts with those of the Carnegie-endowed libraries built on narrow lots. It is a freestanding two-story building with a T-shaped plan with lower two-story wings facing East 169th Street.
Classical Revival in style, it has a centrally-placed entrance through a projecting stone portico with arched window openings lighting the interior. The branch was actively sought by residents of the area after the Carnegie gift was announced; over 1,500 signed petitions.
The branch was extensively rehabilitated and made handicapped-accessible beginning in 1995. For ninety years, the branch, now called the Morrisania Library has been visually and historically an important component of its community.
History of Morrisania
The Morrisania section of the Bronx was named after the prominent Morris family, local landowners and politicians through several generations from the seventeenth through nineteenth centuries. Morrisania became one of the twenty-one townships of Westchester County in 1788, and was annexed to the Town of Westchester in 1791.
The construction of the Harlem and Hudson River Railroads, beginning in 1842, resulted in the start of development and an increase in population, particularly an influx of German and Irish immigrants. Morrisania became part of the new township of West Farms in 1846, was the most populous section of Westchester County by 1855, and was chartered as a separate town in 1864.
When Morrisania was formally annexed to New York City in 1874, along with the western section of the Bronx, it had a population of over 19,000. By the late nineteenth century, Morrisania had a predominantly German population, with its own local brewing industry. Expansion of the elevated railroad lines along Third Avenue beginning in the mid-1880s, and later, the IRT subway system, reaching the area in 1904, helped spur a vast real estate boom.
Between 1874 and 1911, the population of the annexed section of the Bronx grew by 1,300 percent, the majority of which occurred after the annexation of the rest of the Bronx in 1895. At that time, the Bronx would have been the seventh largest city in the United States. Starting in the 1930s, the ethnic composition of the area's population changed as earlier groups moved and new immigrant families came to the neighborhood.
The part of the neighborhood in which the library is located was known in the mid-nineteenth century as Eltona after Robert H. Elton, who had purchased property from Gouveraeur Morris, built his home near Boston Road and 166th Street, and began to subdivide the land in the 1850s.
Thomas Rogers, a prominent Wall Street financier, built a home on part of this land around 1872; the Rogers estate was divided for sale around 1900, the largest portion going to the City for the borough's first high school, Morris High School (1901-04, C.B.J. Snyder). The remaining portion of the estate was developed with rowhouses in 1900-06; these buildings make up the Morris High School Historic District, located two blocks to the southeast of the library.
McKinley Square, which was officially named in 1902 in honor of the recently-deceased United States president, became the major traffic hub and commercial center of Morrisania. Beatty Plaza, one block to the west of McKinley Square, was named in 1940 in honor of local World War I hero. Sergeant Arthur G. Beatty. The decision to locate a branch of the New York Public Library in Morrisania represents the growth of that neighborhood at the turn of the century and the accompanying expansion of public services.
History of Bronx Libraries
Prior to the receipt of Andrew Carnegie's grant and the ensuing library building campaign which produced nine branches of the New York Public Library in the borough, the Bronx had only a handful of circulating libraries which were either private, church-related, or school district-affiliated. One of the earliest was the Van Schaick Free Reading Room, a designated New York City Landmark at Westchester Square, which was donated to the community by local philanthropist Peter C. Van Schaick in 1882-83 and designed by Frederick Clarke Withers.
The library was expanded to the designs of William Anderson in 1890, when it was endowed by railroad tycoon and Throggs Neck resident Collis P. Huntington, and renamed. The Huntington Free Library and Reading Room is still administered by its trustees and functions as a non-circulating library open to the public. Church libraries included those belonging to the Brotherhood of Andrew and Philip and to the Mott Avenue Methodist Church.
The Kingsbridge Free Library and the Riverdale Library were founded prior to 1900, while the High Bridge Free Library and the Bronx Free Library were both founded in 1901, the latter being mainly an adult education organization. All four were eventually absorbed into the New York Public Library system, which at the time was operating a "travelling" branch that periodically circulated books in neighborhoods not served by a permanent branch.
New York Public Library and Andrew Carnegie
The New York Public Library, a private corporation providing library services under contract to the City of New York, is the product of an amalgamation first of several privately-owned libraries and, later, various free circulating libraries. The consolidation in 1895 of the excellent research facilities of the privately-owned Astor and Lenox Libraries (founded respectively by the will of Jacob
Astor in 1849 and by famous book collector and philanthropist James Lenox in 1870) and the Tilden Trust (established in 1886 by the will of former governor of New York Samuel J. Tilden) formed the basis for the Reference Department. Meanwhile, the New York Free Circulating Library, established in 1878, incorporated two years later, and aided by public funds beginning in 1887, was supported initially by wealthy New Yorkers such as Andrew Carnegie, J.P. Morgan, Cornelius Vanderbilt, Jacob H- Schiff, and Henry G. Marquand, who were interested in encouraging the self-education of the poor and aiding the underprivileged.
In 1901 the Free Circulating Library, which had grown to include eleven branches, was incorporated with several smaller free circulating libraries in the city to form the Circulation Department of the New York Public Library (now the Branch Libraries System).
The Library's branch system, which serves the boroughs of Manhattan, the Bronx, and Staten Island, owes most of its development to industrialist Andrew Carnegie (1835-1919), the exemplar of the self-made man.
His philanthropic philosophy was spelled out in two articles published in 1889 in the North American Review and later reprinted as the title essay of his book, The Gospel of Wealth and Other Timely Essays (1901). Carnegie's aim, "to help those who would help themselves," would be achieved through "a free library.. .provided the community will accept and maintain it as a public institution, as much a part of the city property as its public schools, and, indeed, an adjunct to these."
As early as 1881 he had donated a library to his native town in Scotland and later to Pittsburgh and other Pennsylvania communities. In New York, where he had lived since 1867, he served on the board of the Free Circulating Library beginning in 1893 and assisted in fund-raising campaigns. In 1901 he sold his steel company to J.P. Morgan and began seeking a substantial philanthropy to which he could direct his attention and wealth. Following the guarantee that the Public Library and the Free Circulating Library would merge, as Carnegie had advocated, he pledged $5.2 million for the establishment in New York City of sixty-five library branches (divided among the New York Public Library, Brooklyn Public Library, and Queens Borough Library) to cost $80,000 each.
For the three boroughs it served, the New York Public Library would choose the location of each new library with the approval of New York City, which provided the funds to purchase the sites. The library would construct and equip the branches with the Carnegie funds and operate them as free circulating libraries on lease from the city, which would maintain the buildings and purchase books with its own funds. In November 1901, the New York Public Library agreed that architectural services for the anticipated buildings would be provided by three highly-prestigious firms: Babb, Cook & Willard; McKim, Mead & White; and Carrere & Hastings.
It was agreed that the Carnegie branches, which were sited and planned in a collaboration between architects and librarians, would embody a distinctive type, uniform in design, materials, general characteristics, and scale; the resulting buildings were of superior architectural quality.8 The branches, which continued to be built using Carnegie funds into the 1920s, were typically finished and opened within two or three years of their initial planning and design.
Eventually Carnegie's unprecedented beneficence produced over 2,500 libraries in the English-speaking world. The Carnegie Corporation, which still operates, continues to provide various types of grants to libraries worldwide.
Babb, Cook & Willard
George Fletcher Babb (1843-1916) was born in New York City and spent his early childhood in New Jersey. He began his architectural career in 1858 in the New York office of Thomas R. Jackson. From 1859 to 1865 Babb collaborated with Nathaniel G. Forster. Three years later he served as senior draftsman in the office of Russell Sturgis. Babb was a fellow of the American Institute of Architects and a member of its New York chapter. Walter Cook (1846-1916) was born in New York and was a Harvard graduate (1869) who had also studied architecture at the Royal Polytechnical School in Munich and at the atelier of Joseph Auguste Emile Vaudremer in Paris.
He was one of the first Americans to receive professional training in France. In 1877, Babb and Cook formed a partnership. By the 1890s, Cook was the principal designer of the firm. Cook was an early member and fellow of the American Institute of Architects, serving as its president in 1912-14. He was also a member of the Architectural League of New York and the Beaux-Arts Society of Architects, and was active in civic affairs.
Daniel W. Willard (dates undetermined) was a graduate of the Massachusetts Institute of Technology, a fellow of the American Institute of Architects, and a member of the Architectural League. He joined Babb and Cook in 1884 to form the firm Babb, Cook & Willard.
The firm designed the Romanesque Revival DeVinne Press Building (393 Lafayette Street, 1885), the Andrew Carnegie Mansion (now the Cooper-Hewitt Museum, 2 East 91st Street, 1899-1903), and eight Carnegie branches in Manhattan and the Bronx between 1905 and 1909.
Successor firms Babb, Cook & Welch and Cook & Welch designed three additional branches between 1909 and 1913.
Design and Construction of the McKinley Square Branch of the New York Public Library
The Morrisania Branch of the New York Public Library, originally called the McKinley Square Branch, was a new branch created using Carnegie funds. Many neighborhoods were vying to be chosen by the library as branch sites, including Morrisania, whose residents submitted the following resolutions, signed by over 1,500 people, to the New York Public Library's site committee and to the Board of Estimate and Apportionment:
Resolutions in behalf of a Carnegie Library
As the need for a public library in this vicinity is indicated by the fact that the 169th Street branch of the Travelling Dept. of the New York Public Library, open only four hours per week, has circulated about 20,000 (twenty thousand) volumes in the last two years:
Resolved - that we, the undersigned citizens of Morrisania, in mass meeting assembled, consider that the Carnegie Libraries to be placed in Tremont and Mott Haven will be so distant as to be inconvenient for about 40,000 (forty thousand) people in this immediate neighborhood; and, therefore,
Resolved, - that we respectfully request the Sites Committee of the New York Public Library to locate a Carnegie Library at or near the junction of 169th St. and Boston Road, - a point which is conveniently situated for such site because of its central location.
Adopted, Dec. 4, 1902.
The resolution was accompanied by an impassioned letter from the principal of nearby Morris High School, Edward J. Goodwin, in which he pleaded for a library to be located "near to the building now in process of erection for the Morris High School. The modern methods of teaching history and English require an extended and frequent use of library privileges."
The community's campaign for a Carnegie library was successful; the site was approved by the Board of Estimate and Apportionment on July 6, 1906, and was formally acquired in August 1906 at a total cost of $48,500 for three adjacent lots.15 By October 1906, the firm of Babb, Cook & Willard had been chosen to design the branch, and was advised by Alanson T. Briggs, the Agent for Carnegie Sites,16 to submit plans and begin test borings at the site.
At the turn of the century, American architects were substantially influenced by classicism as taught by the Parisian Ecole des Beaux-Arts, which stressed rationality, correctness, and thinking on a grand scale. Resulting public buildings are often exuberant versions of this approach.
In Manhattan, the Carnegie libraries were designed for urban sites, a condition which encouraged palazzo-like facades and simple interior layouts characterized by a tripartite scheme: vertical circulation was contained along one solid side wall, and front and rear rooms, separated by a librarians' station, were aligned along a second side wall, typically lined with bookshelves.
On a less restrictive site, a freestanding library typically had a symmetrical front with a central entrance leading to a room containing the librarians' station, which was flanked on two sides by large reading rooms. The second floor contained offices; the basement accommodated a packing room, boiler, and toilets.
The Morrisania Library followed the second model while employing a classical vocabulary and taking advantage of its irregular, curving site on East 169th Street and Franklin Avenue.
The library was built by the construction firm Richard Deeves & Company, which also built the Seward Park and West 40th Street branches in Manhattan and the Woodstock branch in the Bronx. It opened on December 1, 1908. The cost of the land, building and equipment was $156,983.
Subsequent History
The building has continuously served as a public library since its opening in 1908. In 1913, three rear basement windows were lowered and brick window wells were built.
By the mid-1940s, the library's name had been changed from the McKinley Square Branch to the Morrisania Branch. In 1995-96, the interior was re-designed and a number of exterior modifications took place, including the installation of a handicap ramp, the extension and replication of the
original wrought-iron fencing to the front steps, and the relocation of the granite posts. The project architects were DCI International, which received an Art Commission award for their design.
Description
The Morrisania Library, a freestanding two-story building with a T-shaped plan and lower two-story side wings, is located at the curve formed at the intersection of East 169th Street and Franklin Avenue, across from a small park named Beatty Plaza and one block west of McKinley Square.
The neighborhood is mainly residential in character, consisting of early- to mid-twentieth century low-and mid-rise brick tenements with ground-level storefronts. Public School 63, built in 1924, is located on the adjacent lot to the west of the library, which occupies most of its curving, irregularly-shaped lot. Small lawns, enclosed by historic wrought-iron fencing, are situated in front of the two side wings. Rear alleyways are entered through non-historic mesh gates.
A handicap ramp, with a granite bulkhead, wrought-iron fencing, and flanking granite posts topped with ornamental balls, is located to the east of the granite entry stairs; a matching bulkhead, fence, and posts extend to the west of the stairs.
Classical Revival in style, the library is of red brick, laid in Flemish bond, above a pink Milford granite base and has contrasting limestone detail. The basement windows contain historic, wrought-iron grilles. The centrally-placed limestone portico features double wooden doors with glass panels, decorative iron grilles, and flanking historic light fixtures; flat pilasters; a semicircular transom; a prominent keystone; dentils; and panelled parapet. A large carved stone seal of the City of New York dominates the facade above the entrance. Arched window openings, with prominent keystones and replacement sash, light the interior of both floors, which are separated by a molded limestone band.
The second story windows sit upon panelled limestone spandrels. The building is topped by a stone cornice embellished by an egg and dart molding and a dentil course, and surmounted by a brick and stone parapet wall.
The side wings and side elevations, which are similarly detailed, contain secondary entrances on the first story and have flat-topped window openings.
- From the 1998 NYCLPC Landmark Designation Report
Schacht XVII
The Zollverein Coal Mine Industrial Complex (German Zeche Zollverein) is a large former industrial site in the city of Essen, North Rhine-Westphalia, Germany. The first coal mine on the premises was founded in 1847, and mining activities took place from 1851 until 23 December 1986. For decades, starting in the late 1950s, the two parts of the site, Zollverein Coal Mine and Zollverein Coking Plant (erected 1957–1961, closed on 30 June 1993), ranked among the largest of their kinds in Europe. Shaft 12, built in the New Objectivity style, was opened in 1932 and is considered an architectural and technical masterpiece, earning it a reputation as the "most beautiful coal mine in the world".
Because of its architecture and testimony to the development of heavy industry in Europe, the industrial complex was inscribed on the UNESCO World Heritage List on 14 December 2001, and is one of the anchor points of the European Route of Industrial Heritage.
History
1847–1890
Zollverein Coal Mine was founded by Duisburg-born industrialist Franz Haniel (1779–1868), who needed coke for steel production. Test drilling in the Katernberg region had revealed a very rich seam of coal. In 1847, Haniel founded a company he named bergrechtliche Gewerkschaft Zollverein (Mining Law Labor Union Zollverein). There was a mining law (Bergrecht) in Prussia to encourage the exploitation of natural resources. The law called for the creation of a special form of corporation, designated a 'labour union' (Gewerkschaft) but in fact a capitalist company. Haniel named his after the German Customs Union (Zollverein), established in 1834. Haniel distributed the shares of the new company amongst the members of his family and the owner of the land on which the future mine would be constructed.
The sinking of Shaft 1 began on 18 February 1847, with the first coal layer being reached at a depth of 130 meters. The first mining activities started in 1851. Shaft 2, which was sunk at the same time as Shaft 1, was opened in 1852. Both shafts featured visually identical stone towers and shared a machine house. This concept was to be adapted by many later twin-shaft coal mines.
Starting in 1857, charcoal piles were used to produce coke. In 1866, these piles were replaced by a modern cokery and machine ovens.
In 1880, the sinking of another shaft, Shaft 3, began in neighboring Schonnebeck. It had a steel framework to support its winding tower and was opened in 1883. By 1890, the three shafts had already achieved an output of one million tons, making Zollverein the most productive of all German mines.
1890–1918
Since the coal, iron and steel industries of the Ruhr area flourished in the late 19th and early 20th centuries, the mine was extended significantly.
Between 1891 and 1896, the twin Shafts 4 and 5 were built on the edge of Heßler (nowadays a suburb of Gelsenkirchen). These each had special lifts for the extraction of coal, and the transportation of miners, and had ventilation ducts. Another shaft, number 6, was opened in 1897.
By 1897, Zollverein had long suffered from many mining accidents due to firedamp caused by ventilation problems. To resolve these problems, additional ventilation-only shafts, close to the existing mining shafts, were opened: in 1899 Shaft 7 was opened near Shaft 3, in 1900 Shaft 8 was opened near Shafts 1 and 2, and in 1905 Shaft 9 was opened near Shaft 6.
Years of continuous renovation and further expansion followed. After the construction of ventilation shafts 7, 8, and 9, the old Shafts 1 and 2, and their cokery, were renovated, and one of their twin towers was taken down and replaced by a modern steel framework. In 1914, Shaft 10 and a new cokery were opened, and Shaft 9 was converted from a ventilation shaft to a working shaft.
By the eve of the First World War, Zollverein's output had risen to approximately 2.5 million tons per year.
1918–1932
In 1920, the Haniel family, who had been the owners of Zollverein until then, started cooperating with Phönix AG, a mining company that subsequently took over the management of the site. Under Phönix's management, several of the shafts were again modernized, and an eleventh shaft was opened by 1927. When Phönix merged into Vereinigte Stahlwerke in 1926, Zollverein came under the control of Gelsenkirchener Bergwerks-AG (GBAG) which started closing most of the now elderly coking plants.
Shaft 12
n 1928, the GBAG voted for the construction of a totally new twelfth shaft designed as a central mining facility. When the shaft opened in 1932, it had a daily output of up to 12,000 tons, combining the output of the four other existing facilities with 11 shafts.
Schacht Albert Vögler, as the highly modern shaft was named after the director general of the GBAG, was designed by the architects Fritz Schupp and Martin Kremmer and quickly gained notice for its simple, functional Bauhaus design with its mainly cubical buildings made of reinforced concrete and steel trusses.
The shaft's characteristic Doppelbock winding tower in the following years not only became the archetype of many later central mining facilities but also became a symbol of German heavy industry.
Whilst this symbol may have slowly been forgotten when German heavy industry started diminishing in the second half of the 20th century, it was this shaft and especially its characteristic winding tower that were to become a symbol of the Ruhr area's structural change.
1932–1968
In 1937, Zollverein employed 6900 people and had an output of 3.6 million tons, the majority of which was contributed by the new 12th shaft. The other shafts were not entirely closed, and some, such as Shaft 6, even received new winding towers (though in comparison to Shaft 12 they were far inferior). On the premises of the old coking plant of Shafts 1, 2 and 8, a small facility of 54 new ovens was opened with a yearly output of 200,000 tons of coke.
Zollverein survived the Second World War with only minor damage and by 1953 again placed on top of all German mines, with an output of 2.4 million tons. In 1958, Shaft 1 was replaced by a totally new building; The complete reconstruction of the 2/8/11 shaft facility from 1960 until 1964 was again planned by Fritz Schupp. However, these renovations were to last only until 1967, when 11 shafts were closed, leaving Shaft 12 the only open one.
Shaft 12 thus became the main supplier of the new central coking plant from 1961 with its 192 ovens, which was again designed by Fritz Schupp. After an expansion in the early 1970s, Zollverein placed among the most productive coking plants worldwide with around 1,000 workers and an output of up to 8,600 tons of coke a day on the so-called dark side. The white side of the plant produced side products such as ammonia, raw benzene and raw tar.
In 1968, Zollverein was handed over to Ruhrkohle AG (RAG), Germany's largest mining company.
1968–1993
RAG began a further mechanization and consolidation of mining activities. In 1974, Zollverein was joined into a Verbundbergwerk (joined mines) with nearby Bonifacius and Holland coal mines in Kray and Gelsenkirchen, respectively. In 1982, Gelsenkirchen's Nordstern coal mine also joined that Verbund.
The Flöz Sonnenschein coal layer in the north of the Zollverein territory was the last layer in which mining activities took place on Zollverein territory, starting in 1980. The output of Verbundbergwerk Nordstern-Zollverein was approximately 3.2 million tons, but this did not prove profitable enough and a complete closure of the Zollverein site was voted for in 1983.
When it closed, Zollverein was the last remaining active coal mine in Essen. Whereas the coking plant remained open until 30 June 1993, mining activities in Shaft 12 stopped on 23 December 1986. Although it is the central shaft of the Cultural Heritage site, Shaft 12 cannot be visited as it is equipped for water drainage as part of a system of managing mine water in the central Ruhr area together with Shaft 2. Pipes have been inserted into both shafts and the remaining space has been backfilled with concrete.
1993–
Zollverein is one of the settings for the 2014 Pulitzer Prize winning novel All the Light We Cannot See by Anthony Doerr.
Zollverein appeared as a "Wonder" in the video game Civilization VI, representing the Ruhr Valley.
Becoming a monument
As with most sites of the heavy industries that had been closed down, Zollverein was predicted to face a period of decay. Surprisingly, the state of North Rhine-Westphalia (NRW) bought the coal mine territory from the RAG immediately after it had been closed down in late 1986, and declared Shaft 12 a heritage site. This went along with the obligation to preserve the site in its original state and to minimize the effects of weathering. In 1989, the city of Essen and NRW founded the Bauhütte Zollverein Schacht XII that should take care for the site and which was replaced by the Stiftung Zollverein (Zollverein Foundation) in 1998.
After it had been closed down in 1993, the coking plant was planned to be sold to China. The negotiations failed and it was subsequently threatened to be demolished. However, another project of the state of NRW set the coal mine on a list of future exhibition sites resulting in first gentle modifications and the cokery also became an official heritage site in 2000.
On its 25th session in December 2001, the United Nations Educational, Scientific and Cultural Organization (UNESCO) declared both the sites of Shafts 12 and 1/2 and the cokery a World Heritage Site.
Ruhr Museum
The Ruhr Museum in the former coal washery, located on the UNESCO World Heritages Site Zollverein, is the regional museum of the Ruhr Area. In its permanent exhibition the Ruhr Museum presents, with over 6,000 exhibits, the history of one of the largest industrial regions of the world, from the formation of coal 300 million years ago to the contemporary situation. The Ruhr Museum has extensive collections on the geology, archaeology, industrial and social history as well as photography of the Ruhr area. In addition to its permanent exhibition, the Ruhr Museum regularly shows special exhibitions and offers a diverse programme with workshops, guided tours, excursions, lectures, movie nights and audio guides.
(Wikipedia)
Die Zeche Zollverein war ein von 1851 bis 1986 betriebenes Steinkohlebergwerk in Essen. Benannt wurde sie nach dem 1834 gegründeten Deutschen Zollverein. Nach der Inbetriebnahme des Zentralförderschachtes 12 wies die Zeche zeitweise in der Mitte des 20. Jahrhunderts die höchsten Förderquoten unter den deutschen Steinkohlenbergwerken auf. Sie ist heute ein Architektur- und Industriedenkmal. Gemeinsam mit der unmittelbar benachbarten Kokerei Zollverein gehören die Schachtanlagen 12 und 1/2/8 der Zeche seit 2001 zum Welterbe der UNESCO. Zollverein ist Ankerpunkt der Europäischen Route der Industriekultur und Standort verschiedener Kultureinrichtungen sowie der Folkwang Universität der Künste.
Lage
Das Hauptgelände der Zeche Zollverein mit den Anlagen Schacht XII und Schacht 1/2/8 liegt im nordöstlichen Essener Stadtteil Stoppenberg, unmittelbar angrenzend an die Stadtteile Katernberg und Schonnebeck. Es befindet sich zwischen den Straßen Gelsenkirchener Straße, Fritz-Schupp-Allee, Arendahls Wiese und Haldenstraße. Der Haupteingang mit dem bekannten Blick von vorne auf das Doppelbock-Fördergerüst liegt an der Gelsenkirchener Straße. Benachbart zwischen Arendahls Wiese, Köln-Mindener Straße und Großwesterkamp liegt die Kokerei Zollverein. Die drei Anlagen gehören seit 2001 zum Gesamtensemble des Welterbes.
Die Anlage Schacht 3/7/10 liegt in rund einem Kilometer Entfernung östlich davon an der Straße Am Handwerkerpark im Stadtteil Katernberg.
Die Anlage Schacht 4/5/11 befindet sich etwa zwei Kilometer nördlich vom Hauptgelände an der Katernberger Straße im Stadtteil Katernberg. Heute nutzt das Gründungs- und Unternehmenszentrum Triple Z die ehemaligen Zechengebäude.
Die Anlage Schacht 6/9 befand sich rund einen Kilometer südlich vom Hauptgelände zwischen den Straßen Gelsenkirchener Straße, Im Natt und Hallostraße. Sämtliche Gebäude und Anlagen wurden mit der Aufgabe des Südfeldes 1979 abgerissen; heute ist die Fläche von Wald und Neubausiedlungen bedeckt.
Die Halden der Zeche Zollverein befinden sich in den umliegenden Essener Stadtteilen Stoppenberg und Altenessen (Schurenbachhalde) sowie in Gelsenkirchen-Feldmark.
Geschichte
1834–1890: Frühe Phase
Die Gründung der Zeche ging von dem Industriellen Franz Haniel aus, der zur Produktion des Brennstoffs Koks, den er für die Stahlerzeugung benötigte, auf der Suche nach geeigneten Kokskohlevorkommen war. Im Jahr 1834 gelang es ihm in Essen-Schönebeck zum ersten Mal, die Mergelschicht zu durchstoßen. Auf diese Weise wurden dort die Weichen für die Zeche Zollverein gestellt. Bei Mutungsbohrungen im Raum Katernberg wurde unter anderem ein besonders ergiebiges Kohleflöz angebohrt, welches nach dem 1833 gegründeten Deutschen Zollverein benannt wurde. 1847 gründete Franz Haniel die bergrechtliche Gewerkschaft Zeche Zollverein und verteilte die Anteile, die sogenannten Kuxe, innerhalb seiner Familie. Haniel, der Miteigentümer der Hüttengewerkschaft Jacobi, Haniel & Huyssen (der späteren Gutehoffnungshütte) war, plante, die Zeche Zollverein den Sterkrader Werken anzugliedern. Zollverein wäre hierdurch die erste Hüttenzeche des Ruhrreviers geworden. Sein Vorhaben scheiterte am Veto der übrigen Teilhaber der Hüttengewerkschaft Jacobi, Haniel & Huyssen.
Bei der Wahl des Standortes spielte außerdem die Köln-Mindener Eisenbahn eine wichtige Rolle, deren Strecke ebenfalls 1847 eröffnet wurde. Die Trasse verläuft unmittelbar nördlich des Zechengeländes, wodurch eine gute Anbindung an das damals neuartige Transportmittel Eisenbahn gewährleistet wurde.
Das Grundstück für den Bau der ersten Zollverein-Schachtanlage wurde durch den ebenfalls an der Gewerkschaft beteiligten Grundbesitzer Schwartmann, gen. Bullmann, bereitgestellt. Daher wurde das Gelände der Gründungsschachtanlage bald die Bullmannaue genannt. Der heutige Straßenname der Zufahrt zur Schachtanlage 1/2/8 rührt daher.
Die Abteufarbeiten für Schacht 1 der Zeche Zollverein begannen am 18. Februar 1847 unter dem Betriebsführer Joseph Oertgen, nach dem später eine Straße in der Kolonie Ottekampshof im Stadtteil Katernberg benannt wurde. In 130 Metern Tiefe sollte das Steinkohlengebirge angefahren werden. Die Kohleförderung begann jedoch aufgrund von Wassereinbrüchen erst im Jahr 1851. Um die Wasserzuflüsse zu regulieren, wurde 1850 neben Schacht 1 ein weiterer Schacht, Schacht 2, abgeteuft, der 1852 in Betrieb genommen wurde.
Erstmals wurden zwei äußerlich gleiche Malakow-Türme über den Schächten als Förderanlage errichtet; dieses Beispiel eines Zwillingsbaus mit gemeinsamem Maschinenhaus zwischen den Schächten wurde später auf anderen Zechen beim Bau einer Doppelschachtanlage wiederholt.
Ab 1857 wurden neben der Schachtanlage 1/2 einige Meileröfen als Vorstufe einer Kokerei betrieben. Ab 1866 wurden sie durch eine moderne Kokerei mit Maschinenöfen ersetzt.
1880 wurde mit dem Abteufen einer zweiten separaten Förderanlage in Katernberg begonnen. Der Schacht 3 ging 1882 in Betrieb. Die Tagesanlagen wurden durch den Architekten Dreyer umfangreich ausgebaut. Der Schacht erhielt ein deutsches Strebengerüst der Bauart Promnitz als Förderanlage. Bereits 1890 wurde eine Million Tonnen verwertbare Steinkohle zu Tage gebracht. Damit war die Zeche Zollverein das Bergwerk mit der höchsten Jahresförderung in Deutschland.
1890–1918: Ausbau
Bedingt durch die sich im Montanbereich ergebende günstige Konjunktur wurde in den Folgejahren ein weitergehender, sehr umfangreicher Ausbau des Grubengebäudes, d. h. der unterirdischen Infrastruktur, vorgenommen. Im nördlichen Teil Katernbergs an der Grenze nach Gelsenkirchen-Heßler entstand zwischen 1891 und 1896 die Doppelschachtanlage Zollverein 4/5 mit einem Förder- und Seilfahrtschacht sowie einem rein für die Bewetterung konzipierten Schacht. Auf dieser Schachtanlage wurde gleichzeitig eine neuartige Kokerei in Betrieb genommen.
1895 wurde ein weiterer Förderschacht (Schacht 6) auf dem Gebiet des heutigen Stadtteils Stoppenberg geteuft. Dieser ging 1897 in Betrieb und wurde erstmals mit einem Doppelstrebengerüst ausgestattet, da er für die parallele Führung von Förderung und Seilfahrt konzipiert war.
Die Grubengebäude von Zollverein waren bezüglich der Wetterführung (d. h. der Luftzirkulation unter Tage) nach wie vor problematisch. Nach mehreren Schlagwetter-Unglücken wurden die Schachtanlagen nach und nach mit kleinen Wetterschächten ausgestattet. So entstanden:
1897 bis 1899 neben Schacht 3 der Schacht 7. Er erhielt eine kleine Förderanlage.
1897 bis 1900 neben Schacht 1/2 der Schacht 8. Er erhielt zunächst keine Fördereinrichtung.
1903 bis 1905 neben Schacht 6 der Schacht 9. Er erhielt zunächst keine Fördereinrichtung.
Anschließend wurde die Schachtanlage 1/2/8 erneuert, Schacht 1 erhielt anstelle des Malakowturmes ein deutsches Strebengerüst. Weiterhin wurden die Aufbereitung, die sogenannte Kohlenwäsche, und die Kokerei grunderneuert.
1909 wurde auf der Schachtanlage 3/7 ein neuer Förderschacht niedergebracht. Nach Fertigstellung von Schacht 10 im Jahr 1914 wurden auf dieser Schachtanlage die Aufbereitungsanlagen erweitert und eine neue Kokerei in Betrieb genommen.
1914 wurde Schacht 9 der Anlage 6/9 durch Errichtung einer Förderanlage zum Seilfahrtsschacht, d. h., er wurde für den Transport von Personen und Material ausgebaut.
Die verwertbare Förderung stieg während des Ersten Weltkriegs auf 2,5 Millionen Tonnen Steinkohle.
1918–1932: Krise und Modernisierung
Ab 1920 kooperierte die Gewerkschaft Zollverein, die sich bis dahin im Familienbesitz der Industriellenfamilie Haniel befand, verstärkt mit der Phönix AG für Bergbau und Hüttenbetrieb. Die Geschäftsführung der Zeche wurde komplett in die Hände der Phönix AG gelegt und eine Interessengemeinschaft gegründet.
Unter deren Regie fanden Erneuerungs- und Reparaturmaßnahmen statt; Schacht 2 erhielt ein Fördergerüst und es wurde die Erneuerung der Schachtanlage 4/5 beschlossen. Die Abteufarbeiten zu Schacht 11 begannen 1922. 1926 waren die Arbeiten abgeschlossen. Über Tage wurden Schacht 4 und 11 mit gleichartigen Fördergerüsten ausgestattet und die Tagesanlagen 4/5/11 entsprechend erneuert. Die Kokerei auf der Schachtanlage 4/5/11 wurde im Gegenzug außer Betrieb genommen.
Bei Übernahme der Phönix AG durch die Vereinigte Stahlwerke AG 1926 wurde die Zeche Zollverein der Gelsenkirchener Bergwerks-AG (GBAG) zugeordnet und gehörte fortan zur Gruppe Gelsenkirchen. Unter deren Regie wurden die Kokereien nach und nach stillgelegt.
1928 begann die GBAG den Neubau einer kompletten, als Zentralförderanlage konzipierten Schachtanlage. Mit einer Förderkapazität von 12.000 Tonnen Kohle täglich übernahm Schacht XII die gesamte Kohlenförderung der bisherigen vier Anlagen mit insgesamt elf Schächten. Die Architekten Fritz Schupp und Martin Kremmer gestalteten die Schachtanlage, die als architektonische und technische Meisterleistung galt und richtungweisend für den sachlich-funktionalen Industriebau wurde – so folgt der Aufbau der einflussreichen Schule der Neuen Sachlichkeit. Die Schachtanlage galt als die modernste und „schönste Zeche der Welt“.
Das 1930 errichtete Doppelbockfördergerüst in Vollwandbauweise wurde zum Vorbild für viele später gebaute Zentralförderanlagen. Der Schacht nahm am 1. Februar 1932 die Förderung auf und wurde 1937 nach dem damaligen Generaldirektor der Gelsenkirchener Bergwerks-AG Albert Vögler „Schacht Albert“ (ab 1941 „Schacht Albert Vögler“) benannt.
1932–1968: Schacht XII
Die Förderleistung der Zeche Zollverein wurde durch diese Maßnahme immens gesteigert. Sie erreichte im Jahre 1937 3,6 Millionen Tonnen bei 6900 Beschäftigten. Die Kokerei bei Schacht 1/2/8 wurde als kleiner Neubau mit 54 Koksöfen im Vorjahr wieder in Betrieb genommen und erzeugte jährlich 200.000 Tonnen Koks. 1937 wurde das alte Doppelstrebengerüst über Schacht 6 durch einen Neubau eines zweigeschossigen Strebengerüstes mit nur einer Förderung ersetzt.
Den Zweiten Weltkrieg überstand die Zeche Zollverein mit relativ geringen Beschädigungen. Im Jahr 1953 wurde bereits wieder eine Jahresförderung von 2,4 Millionen Tonnen erreicht, wodurch Zollverein wiederum den Spitzenplatz unter den westdeutschen Steinkohlebergwerken einnahm.
Nach Übergang in die Rheinelbe Bergbau AG als Nachfolgegesellschaft der alten GBAG wurde eine umfangreiche Erneuerung und Rationalisierung des Betriebes aller Zollverein-Schachtanlagen vorgenommen.
Das Fördergerüst über Schacht 1 wurde 1958 durch einen vollwandigen Neubau ersetzt. Gleichzeitig wurde von 1960 bis 1964 eine komplette Neugestaltung der Schachtanlage 1/2/8 durch den Architekten Fritz Schupp durchgeführt. Schacht 2 erhielt 1964 den zuvor demontierten Förderturm von Schacht 2 der stillgelegten Zeche Friedlicher Nachbar, Bochum-Linden, als neue Förderanlage.
Ab 1961 wurde auf einem westlich gelegenen Gelände eine Zentralkokerei mit 192 Öfen betrieben, die in den 1970er Jahren auf 304 Öfen erweitert wurde. Die Kokerei galt lange als die modernste Kokerei Europas, in der täglich 10.000 Tonnen Kohle zu 8.600 Tonnen Koks veredelt wurden. Aufgrund der Stahlkrise und der damit fallenden Koksnachfrage wurde die Kokerei am 30. Juni 1993 stillgelegt.
Zwischen 1962 und 1964 wurden die vier Außenschachtanlagen zusammengefasst. Schacht 4 wurde 1962 als Förderschacht außer Betrieb gesetzt. Das Fördergerüst wurde an die Zeche Holland in Wattenscheid zum Ausbau eines neuen Zentralförderschachtes abgegeben. Die Förderanlagen Schacht 3 und 7 wurden ebenfalls rückgebaut. 1967 wurde die Förderung auf den Schachtanlagen 4/5/11 und 6/9 eingestellt. Die alleinige Förderung verblieb auf Schacht XII.
1968 wurde die Zeche Zollverein in die Bergbau AG Essen der Ruhrkohle AG überführt.
1968–1986: RAG
Nach Übernahme des Bergwerks durch die RAG Aktiengesellschaft wurde die Mechanisierung und Rationalisierung des Förderbetriebes fortgeführt. Die Förderung von Zollverein lag weiterhin bei annähernd drei Millionen Tonnen jährlich. 1974 wurde der Verbund mit der Zeche Holland in Wattenscheid durchgeführt. Schacht Holland 3/4/6 wurde als Förderstandort aufgegeben und zusammen mit einigen Schächten der Zeche Bonifacius in Essen-Kray als Seilfahrts- und Wetterschachtanlage weiterbetrieben.
Ab 1980 wurde mit dem Abbau der letzten Fettkohlevorräte im Flöz Sonnenschein die Verlagerung des Abbaus nach Norden betrieben. Die südlichen und östlichen Schächte wurden nach und nach aufgegeben. Ab 1982 wurde ein Förderverbund mit der benachbarten Zeche Nordstern betrieben. Im Gegenzug erfolgte die Aufgabe des Baufeldes Holland mit dem Jahre 1983.
Die Förderleistung dieses Verbundbergwerks Nordstern-Zollverein erreichte noch einmal 3,2 Millionen Tonnen jährlich. Nach erneuten Absatzeinbrüchen für Ruhrkohle wurde in der Kohlerunde 1983 die Aufgabe des Förderstandortes Zollverein beschlossen.
Ab 1986: Schließung und Nachnutzung
Am 23. Dezember 1986 wurden alle verbliebenen Förderanlagen von Zollverein stillgelegt. Die Kokerei wurde noch bis 1993 betrieben.
Die Schächte 2 und XII werden heute als Sicherungsstandort für die Wasserhaltung genutzt. Zuvor wurde das Grubenwasser, das hier zu Tage gepumpt wurde in die Emscher geleitet. Es stammte aus stillgelegten Zechen im Essener Norden und Nordosten, in Wattenscheid, Gelsenkirchen, Gladbeck, Bottrop, Herne, Herten, Recklinghausen, Oer-Erkenschwick und Datteln.
Im Frühjahr 2023 begannen die Arbeiten zur kompletten Verfüllung der beiden rund 1000 Meter tiefen Schächte 2 und XII. In den Schacht 2 mit einem Durchmesser von 5,5 Metern wurden 20.000 Kubikmeter Beton eingefüllt und in den Schacht XII mit einem Durchmesser von 7,5 Metern 39.000 Kubikmeter. In letzterem wurden noch drei Rohre verbaut, in Schacht 2 zwei weitere, die im Ernstfall dafür genutzt werden können, weiteres Grubenwasser abzupumpen. Die Zeche Zollverein dient damit weiterhin als Sicherungsstandort, sollte etwas beim Konzept der sogenannten Ewigkeitslasten nicht korrekt funktionieren. Am 1. April 2025 haben die Verantwortlichen von der RAG Aktiengesellschaft, der Vorstandsvorsitzende der Stiftung Zollverein Hans-Peter Noll und Oberbürgermeister Thomas Kufen den Bergbau in Essen symbolisch endgültig beendet.
Im Nachhinein werden die verbliebenen Tagesanlagen von Schacht XII, Schacht 1/2/8, Schacht 4/5/11 und Schacht 3/7/10 für eine neue Nutzung und als Industriedenkmal erhalten.
Wandel von Industriestruktur zur Industriekultur
Nach der Stilllegung 1986 kaufte das Land Nordrhein-Westfalen der Ruhrkohle AG das Gelände von Schacht XII ab, das bereits zur Stilllegung unter Denkmalschutz stand. Zur Unterschutzstellung trug Walter Buschmann maßgeblich bei.
Die Gesamtfläche der Zeche Zollverein ist das flächenmäßig größte Denkmal der Stadt Essen. In den folgenden Jahren wurde das Gelände von Schacht XII saniert. Die Bauhütte Zeche Zollverein Schacht XII GmbH beauftragte dazu 1989 den Architekten Heinrich Böll und beendete im Jahr 1999 ihre Arbeit. Von 1998 bis 2008 waren die dazu gegründete Entwicklungs-Gesellschaft Zollverein mbH (EGZ), die Stiftung Zollverein und die Stiftung Industriedenkmalpflege und Geschichtskultur für den Erhalt und die Nutzung der stillgelegten Anlagen zuständig. Seit 2008 sind diese Aufgaben in der Stiftung Zollverein gebündelt. Am 14. Dezember 2001[8] wurden die Schachtanlagen XII und 1/2/8 sowie die Kokerei Zollverein in die Liste des UNESCO – Kultur- und Naturerbes der Welt aufgenommen.
Die Ernennung zu einem Teil des deutschen UNESCO-Welterbes 2001 war der Beginn für den weiteren Ausbau des Geländes: Architekt Rem Koolhaas von OMA und Landschaftsarchitekt Henri Bava von Agence Ter entwickelten zwischen 2001 und 2002 den Masterplan für die Umgestaltung des Standortes in einen lebendigen Kultur- und Wirtschaftsstandort.
Im Herbst 2003 schrieb die Entwicklungsgesellschaft Zollverein zusammen mit der damaligen Essener Verkehrs-AG einen regionalen Designwettbewerb aus. Gesucht wurde ein entsprechendes „Zollverein-Design“ für die Straßenbahnlinie 107, die von Gelsenkirchen in den Essener Süden fährt und am Zollverein-Gelände hält. Aus den besten zehn von insgesamt 44 Einsendungen wählten die Leser des Magazins Zollverein 31/8 im Januar 2004 in Übereinstimmung mit der Jury den Entwurf des Büros Freiwild Kommunikation.
Im Sommer 2006 wurde der Umbau der Kohlenwäsche nach Entwürfen der Arbeitsgemeinschaft OMA (Projektarchitekt: Floris Alkemade) und Heinrich Böll nach knapp drei Jahren abgeschlossen. Heinrich Böll sanierte den repräsentativen Teil des Zechenensembles und übernahm die Ausführungsplanung und Bauleitung für das SANAA-Gebäude. Heinrich Böll gilt als einer der einflussreichsten Architekten im Bereich der Sanierung industrieller Anlagen im Ruhrgebiet. Heinrich Böll ist der Neffe des gleichnamigen Schriftstellers. Die umgebaute Kohlenwäsche von Schacht XII beherbergt das Besucherzentrum Ruhr der Route der Industriekultur und das Ruhrmuseum. Die authentisch erhaltenen Anlagen von Zeche und Kokerei sind heute als Denkmalpfad Zollverein erschlossen. Eine neue, gestalterisch an die bestehenden Bandbrücken angelehnte 55 m lange Gangway führt die Besucher auf 24 m Höhe in das Besucherzentrum Ruhr. Auf dem Dach der Kohlenwäsche wurde im Zuge des Umbaus der Erich-Brost-Pavillon errichtet. Hier finden Veranstaltungen jeder Art statt.
Das ehemalige Kesselhaus wurde von Norman Foster und Heinrich Böll für das Red-Dot-Design-Museum umgebaut. Auf dem angrenzenden Gelände von Schacht 1/2/8 ist die ehemalige Waschkaue heute Sitz des choreographischen Zentrums NRW (umgestaltet von Christoph Mäckler Architekten), das ehemalige Maschinenhaus beherbergt den Kunstschacht Zollverein und im ehemaligen Baulager ist seit 1987 die Keramische Werkstatt Margaretenhöhe ansässig. Auf Schacht 3/7/10 befindet sich das Phänomania-Erfahrungsfeld.
Die ehemalige Kokerei beherbergt Ausstellungsräume für Gegenwartskunst. Als Dauerausstellung wird die begehbare Rauminstallation Palace of Projects von Ilya & Emilia Kabakov gezeigt. Vom 26. August bis 3. Dezember 2006 war in der Kohlenwäsche die ENTRY2006–Wie werden wir morgen leben zu sehen. In einer großen Ausstellung wurden 300 Objekte von Designern und Architekten aus 20 Ländern gezeigt.
Im Juni 2006 wurde der Bau des Zollverein-Kubus nach Entwürfen des japanischen Architektenbüros SANAA und der Ausführung von Heinrich Böll abgeschlossen. Obwohl er nicht auf dem ursprünglichen Zechengelände, sondern an dessen Eingang steht, wird er zum Gesamtensemble gezählt.
Es gibt mehrere Restaurants und Cafés.
Kritik
Die Umnutzung der Gebäude für kulturelle Zwecke brachte erhebliche Eingriffe in den erhaltenen Bestand mit sich: Um benutzbare Flächen und klimatisierbare Räume zu schaffen und den Vorschriften des Brandschutzes zu genügen, wurden Teile der Maschineneinrichtung entfernt und verschrottet, Fassaden verändert und Einbauten vorgenommen. Dies beeinträchtigt die ästhetisch-technische Gesamtkomposition der Architekten Schupp und Kremmer. Während die Öffentlichkeit Zollverein meist als Leuchtturmprojekt der „Industriekultur“ wahrnimmt, beklagen Fachleute die mit dem Umbau verbundenen massiven Eingriffe in den Bestand, wodurch beispielsweise die Kohlenwäsche zum „potemkinschen Dorf der Denkmalpflege“ werde: die industrielle Anmutung verschleiere das Ausmaß der Verluste an Originalsubstanz.
Ruhrmuseum
Am 9. Januar 2010 eröffnete das als Dauerausstellung konzipierte neue Ruhrmuseum, bislang südlich der Essener Innenstadt als Ruhrlandmuseum ansässig, in der Kohlenwäsche. Die Ausstellungsräume wurden bereits seit August 2006 für verschiedene temporäre Ausstellungen, wie die Entry 2006 – Wie werden wir morgen leben? und Gold vor Schwarz (2008) mit den Schätzen der Essener Domschatzkammer genutzt.
Folkwang Universität der Künste
Neben Standorten in Essen-Werden, Duisburg, Bochum und Dortmund nutzt die Folkwang Universität der Künste seit 2010 als zweiten Essener Campus den Zollverein-Kubus des japanischen Architektenbüros SANAA. Zum Wintersemester 2017/2018 wurde in unmittelbarer Nachbarschaft ein neues Universitätsgebäude (Architekten: MGF-Architekten, Stuttgart) eröffnet, das den Fachbereich Gestaltung beherbergt.
Zollverein-Park
Um die Zeche und die angrenzende Kokerei für die Bevölkerung und Touristen zugänglich zu machen, wurde Ende 2012 der von der Planergruppe Oberhausen in Zusammenarbeit mit F1rstdesign, LichtKunstLicht AG und Observatorium entworfene Zollverein Park fertiggestellt. Das Konzept basiert auf dem Anspruch, vorhandene Strukturen behutsam in die Neugestaltung mit einfließen zu lassen und die Geschichte des Ortes zu berücksichtigen. So wurden neue Wege, Plätze und Pavillons angelegt sowie Installationen und ein Beleuchtungskonzept entworfen. Die Pflege der Vegetation steht weiterhin im Vordergrund.
Industrienatur
Neben den Gebäuden von Zeche und Kokerei hat sich eine enorm artenreiche Flora und Fauna entwickelt. Die künstlichen, technogenen Substrate wie Bergematerial und Gleisschotter sind meist nährstoffarm und besitzen je nach Verdichtung eine geringe Wasserspeicherfähigkeit. Solche Standorte sind ideale Lebensräume für wärmeliebende Tier- und Pflanzenarten. Je nach Flächenentwicklung und Gestaltung finden sich auf dem Gelände unterschiedliche Vegetationsstadien von schütterer Vegetation auf Rohböden (offene Bereiche auf der Halde Skulpturenwald), Pioniervegetation und Hochstaudengesellschaften (Gleisbereiche um die Kohlenwäsche) über Gebüschstadien bis zum Vorwald (Industriewald auf den Halden). Eine solche Flora und Fauna, die sich auf ehemaligen Industrie- und Gewerbeflächen entwickelt hat, wird im Ruhrgebiet Industrienatur genannt. Aufgrund des Artenreichtums besitzt sie eine enorme Bedeutung für den Erhalt der urbanen Biodiversität. Diese Industrienatur ist bundesweit einzigartig und gilt entsprechend als Alleinstellungsmerkmal für das Ruhrgebiet. Zollverein zählt neben dem Landschaftspark Duisburg-Nord zu den artenreichsten Industriebrachen im Ruhrgebiet.
Film und Fernsehen
Bilder der Zeche Zollverein sind seit September 2006 regelmäßig fester Bestandteil als Szenenübergang bei der in Essen spielenden RTL-Daily-Soap Alles was zählt.
Im Film Superstau kommt am Anfang des Films Ralf Richter von der Arbeit auf Zeche Zollverein (obwohl die Zeche zum Zeitpunkt der Dreharbeiten längst geschlossen war).
Im Film Das Wunder von Bern ist am Anfang die Zeche Zollverein im Hintergrund zu sehen.
Im Musikvideo In Town des deutschen Rappers Favorite ist die Zeche Zollverein deutlich zu erkennen.
Der Spielfilm Die Frühreifen handelt vom Leben im Ruhrgebiet der 1950er-Jahre und zeigt viele Szenen rund um die Zeche Zollverein.
Im Schimanski-Tatort Der Pott wird das Opfer vom Förderturm der Zeche Zollverein gestürzt.
Auch im Kölner Tatort Klassentreffen (752) ist die Zeche zu sehen.
Einige Szenen u. a. eine Verfolgungsjagd der RTL-Serie Die Klempnerin wurden auf dem Zechen- und Kokereigelände gedreht.
Für die RTL-Live-Show Die Passion wurde 2022 ein Musikvideo an der Kohlenwäsche erstellt.
Bei der Sendung Joko & Klaas gegen ProSieben mussten Joko & Klaas 45 Minuten auf der Rolltreppe zum Ruhrmuseum bleiben.
Postwertzeichen
Am 10. Juli 2003 gab die Deutsche Post AG eine Briefmarke mit dem Zollvereinmotiv aus. Heinz Schillinger gestaltete die Sondermarke.
Mit dem Erstausgabetag 5. Januar 2023 gab die Deutsche Post AG in der Serie Sehenswürdigkeiten in Deutschland ein Postwertzeichen im Nennwert von 110 Eurocent mit dem Motiv Zeche Zollverein heraus. Der Entwurf stammt von der Grafikerin Jennifer Dengler aus Bonn.
(Wikipedia)
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Contact : photos [at] handisport.org
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
When I was about to leave the botanical garden I happened to see a visually handicapped woman, who was accompanied by her partner. I must confess that I was a little surprised to see her because I could not think of enjoying the botanical garden without seeing flowers or trees. But the next moment seeing her happy face with a contented smile I realized my mistake. She must have enjoyed smells of flowers, buzzing of insects, the breathing of the wind and so on. I do hope that this earth will be the place forever where we can enjoy nature regardless of any difference.
I remember many years ago visually scanning the late night sky and thinking "wow, what is that??". Grabbing a pair of binoculars and later a telescope I again had the same reaction.
It was, of course, M34, a striking cluster that stands out well against the backdrop of the sky for any focal length that can contain it.
Equipment
Imaging Telescopes Or Lenses
Apertura 6" f/5 Imaging Newtonian
Imaging Cameras
QHYCCD QHY163C
Mounts
Vixen GPDX
Filters
Baader Neodymium Moon & Skyglow 2"
Accessories
OnStep Telescope Mount Goto Controller · Sharpstar 2" 0.95× coma corrector (CRC2095)
Software
Adobe Photoshop · Aries Productions Astro Pixel Processor (APP) · Stefan Berg Nighttime Imaging 'N' Astronomy (N.I.N.A. / NINA)
Acquisition details
Frames:
Baader Neodymium Moon & Skyglow 2": 148×120″(4h 56′)
Integration:
4h 56′
Basic astrometry details
Astrometry.net job: 8278073
RA center: 02h42m13s.2
DEC center: +42°45′00″
Pixel scale: 1.083 arcsec/pixel
Orientation: 78.943 degrees
Field radius: 0.867 degrees
Find images in the same area
Resolution: 3438x4622
File size: 16.4 MB
Data source: Backyard
The fountain, both visually and functionally, was in very poor condition for years, and its reconstruction in 2018 significantly improves the vision of this important part of the city. Behind the reconstruction was the City of Split and the Tourist Board of Split, and the actual reconstruction was carried out by Parks and Recreation.
Copyright - All Rights Reserved - Black Diamond Images
The Perito Moreno Glacier, a declared UNESCO World Heritage site is located 78km west of El Calafate in the Santa Cruz region of Patagonian Argentina and is is one of 48 glaciers in Patagonian Argentina and Chile.
The Perito Moreno Glacier covers an area of 255 square km, is 30km long and 5km wide, 50 to 70m above lake level and about 100m below. At its deepest point, the ice is 700 m thick, although the average is much less at approximately 170m.
Without doubt this massive glacier was one of the most accessible and visually stunning natural phenomenons I have seen anywhere in the world.
My first sight of the glacier at Curva de Los Suspiros lookout belied its massive size but when I finally got up close to the southern ice face in Brazo Rico in a cruise boat I was absolutely stunned by its sheer enormity. That was just the start of the experience and after the cruise we traveled a short distance around the Magallanes Peninsula to the lengthy boardwalk viewing platform where panoramic viewing of the eastern and northern terminus faces was possible. From the boardwalk one could see and hear massive chunks of ice calving off the glacier as it moved inexorably forward at a rate reported to be around 1.5 to 2m per day.
At the time of my visit in March 2003 the Perito Moreno Glacier was one of the few glaciers in the world that was considered stable, ie. not retreating. Both the Upsala and San Rafael Glaciers which I also visited in South America were clearly, by comparison dramatically receding.
The interesting thing about the Perito Moreno Glacier is that at times, after of a lot of ice buildup, the glacier terminus actually reaches land at the tip of the Magallanes Peninsula. When this happens the ice buildup completely blocks Brazo Rico damming it off from the northern Canal de Temanos, causing Lago Argentino to be divided into two distinct water bodies with the southern water body, Brazo Rico's water volume rising as much as 25-30m higher than the water level in the northern Canal de Tempanos.
Eventually the water finds a weak point, a rupture occurs, and water under great pressure crashes through from Brazo Rico into Canal de Tempanos in one massive and no doubt spectacular flooding event which of course is eagerly awaited by Glaciologists, TV news crews and tourists alike. This rupture event has tended to occur about once every 4-5 years. The last such rupture event occurred on January 19, 2013, and previously, March 4, 2012, 2008, 2006, 2004, 1988, 1986, 1980, 1977, 1975, 1972, 1970, 1966, 1963, 1960, 1956, 1953, 1952, 1947, 1940, 1934 and 1917. Wikipedia
So mesmerized was this monster glacier was I that I almost failed to allocate enough time to actually photograph it. I spent considerable time just walking up and down the long boardwalk, completely captivated by the awesomeness of the ice landscape in my view, listening to its constant rumbling sounds and becoming completely immersed in the sheer wonder of it all.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
The visually distinctive Tarboush Cafe in Loughborough town centre.
"Tarboush is a traditional yet modern Cafe with a menu inspired by the Middle East. Tarboush brings Loughborough some of the magic from the ancient world & is the ideal place to escape if you want a break from the norm. The menu offers an array of tantalizing tastes & light refreshing bites which will take you on a journey from Syria, Lebanon, Egypt, Morocco to Turkey and Greece (to name just a few) & back. The air is filled with the sweet scent of shisha, it's easy to forget where you are..."
Tarboush is the Arabic name for red hat or fez, which is traditionally worn in the Middle Eastern region as part of the traditional custom... Tommy Cooper being one of the most famous to wear this this hat.
I said to the chef, 'Why have you got your hand in the alphabet soup?' He said, 'I'm groping for words!'
I told the waiter, bring me a chicken. So he brought me a chicken. 'Just a minute,' I said, 'It's only got one leg. 'It's been in a fight.' I said, 'Well, bring me the winner.'
My wife said 'Take me in your arms and whisper something soft and sweet'. I said, 'chocolate fudge'.
Police arrested two kids yesterday, one was drinking battery acid, the other was eating fireworks. They charged one and let the other one off.
You know, somebody actually complimented me on my driving today. They left a little note on the windscreen, it said 'Parking Fine.'
Photo: POH
Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org
Summer of Color -- A Portraits of Hope Project
Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
156 Los Angeles County Lifeguard Towers
31 Miles of Beach and Coastline
10,500 Children and Adults
118 Participating Schools, Hospitals, Social Service and Civic Institutions
350,000 Sq. Ft of Paintings
Youth and Program Sessions in Greater LA
Project-based learning: interdisciplinary contemporary issues and civic
education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for
hospitalized children and persons with
disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, visual impairments, and other serious conditions
6-month program and collaborative
phase
5-month Los Angeles County beach public art
exhibition
Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards
Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company
Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind
Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,
Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students
The hot tub in the corner is very popular with the students: they love the sound that emanates from its underwater speakers.
The walls of the pool room are an adventure in sensations for the visually-impaired and deaf-blind students at the school.
This is just after sunrise. I'm shooting more or less into the sun using my 85mm. Although Kirra is firing, and plenty of people are surfing, it's still too early to get my tripod and big lens out.
I found this pageant of characters silhouetted by the rising sun along the Kirra boardwalk visually stunning.
A couple of days earlier I'd taken my camera from a vivid setting and put it back to standard. I'm glad I did. These shots have a surreal quality out of camera that I didn't dare interfere with.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
While visually these are amazing, they're impracticle and the upkeep is a chore:
-The plastic doesn't have breathability and your feet quickly become hot, making them unbearable for all day wear.
-The inside heel has only a thin strip of felt that is easily worn away and needs to be replaced often or the stitching behind can become frayed, splitting the shoe.
-The plastic as well will become cloudy over time and if left in light will also yellow.
-High heat and humidity areas will eventually cause the plastic to become brittle, eventually disintergrating.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
This kindergarten in Tiraspol received support through two sub-projects: "Rehabilitation of visually impaired children from both banks of Nistru River" and "Enhancing capacities for pre-school education in the city of Tiraspol through reconstruction of the kindergarten no. 44 for visually impaired children", implemented within the “Support to Confidence Building Measures” Programme (Summer 2016).
De Wallen is Amsterdam's famed red-light district. It's been a center of prostitution for centuries
Amsterdam
March 10, 2011
Overlooking the Red Light District, Oude Kerk is Amsterdam's oldest church- built in 1306
Amsterdam
March 10, 2011
The fabled city of Amsterdam- one of those cities that is known worldwide by its name alone. It’s the mother city- mother of modern capitalism, mother of tolerance, mother of the modern republic, and for a New Yorker, still fondly remembered as the mother city of NYC. The city was also a very brief stopover of the Pilgrims that eventually made their way to Massachusetts.
For all these things, it seems a proud city- full of life, confidence, and openness - a rare place of “live and let live”- a comfortably casual yet refined town, not without its downsides of course, but somehow a very positive place…
It’s a visually beautiful place as well- canals and water everywhere, the staid houses of the 17th century well-to-do, its parks and churches and gardens.
Amsterdam had one of the greatest runs in history. It’s a relatively new city- settled around the 1200’s, when the Amstel River was dammed. (The place of “The Dam” still exists). It remained relatively obscure for a few centuries, and so, was never a center of Medieval culture, and thus, never firmly established the feudal institutions and extreme religion of that age.
The city didn’t rise to prominence until after 1588, when the Dutch Republic drove out the Spanish Empire during the Eighty Years War. As the first modern Republic, it was not bound by a totalitarian religious and political regime. Its policy of relative religious freedom drew in Europe’s misfits- Huguenots, Jews, and traders and artists driven out of the cities of Southern Netherlands (modern Belgium), especially from the formerly prosperous Antwerp.
Its policy of free trade inspired the city to become an economic powerhouse- the first major mercantile city of the Modern era. It spread its influence far and wide, establishing bases and colonies in Africa, Asia, Oceania, and the Americas. At its height, it was the most prosperous city on Earth. The magnitude of the city’s wealth at this time can still be seen along the canal rings, where the houses of the merchant class still stand proudly. Its stock market, founded in 1602, is the oldest continually operating exchange in the world. It was also an intellectual and artistic center of Europe, the home of painters such as Rembrandt, and philosophers such as Spinoza.
In 1609, the Dutch West India Company, one of two major arms of Dutch trade, hired the English explorer, Henry Hudson, to find a northerly route to Asia. Instead, he found the American river that still bears his name. In 1624, on an island where that river meets the sea, a colony was established called New Amsterdam, which eventually became a city that had its own unprecedented run in the 19th and 20th centuries.
Though the Dutch only held New Amsterdam for a few decades, the similarities between the mother and its child are striking. Historical Amsterdam is huddled around a ring of canals and has a bustling, congested feel, full of pedestrians, trams, cars, and bicycles darting here and there. In its heyday, the city was the preeminent commercial city of the world, much as New York was in its prime. Amsterdam drew the misfits of the world under a spirit of openness, much like NYC has done. As an artistic and intellectual center, it is home to world-class museums and orchestras, as well as ambitious and successful artists. The two cities also draw a constellation of tourists, some decidedly obnoxious.
There are plenty of differences. For instance, we learned very quickly (and hungrily), that Amsterdam is a city that sleeps- after midnight, the town goes quiet. And despite the congestion, it is not a frenetically driven city. People take more time.
No matter all these things, it is wonderfully unique city. Charming, beautiful, refined, seedy, free-spirited- a place of many dimensions.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
My apartment building has a large trash and recycling area that I can visually inspect from my unit. Generally, most of the larger articles of furniture are things like old mattresses and bed frame and most of the other home furnishings tend to be cheaper press board construction with the vinyl fake wood grain print on it. Once in a while, there's the odd table with solid wood legs made out of oak or pine and I try to grab those when I can actually spot them. But generally, finding anything made of decent solid wood that isn't completely damaged beyond hope is a rare find for my building. But a few days ago, this piece in the picture above, appeared on the scene sitting beside a shorter all wood cart that likely served as a TV stand with storage below. That piece was cheaply made and all I removed off of that were the lower doors, the one drawer and some of the metal hardware. It was not a Gibbard product!
This dresser, ready and waiting for the garbage truck to smash it to bits and haul it off to the landfill seemed to silently cry out to me; "Save me, Jeff! I want to live!" So I went back to my unit with the drawer and lower doors from the lesser unit, got my trusty old moving dolly, (with two extremely flat tires) and rescued this fine old girl from a stinky, toxic grave! :)
This likely depression era dresser was constructed of solid walnut with the exception of the drawer bottoms, which are a primitive plywood affair with a 1/8th" walnut slice glued to a 1/16th" slice of spruce for added rigidity.
At first glance, while still outside in the service yard, it was actually somewhat difficult to figure out what kind of wood it was because a dark brown stain was used on much of the exterior sides, legs and top of the dresser with several coats of varnish or shellac on the exterior drawer fronts. So a massive amount of the grain detail of the wood was essentially hidden and lost to the end user. I could see why they chose to do that as they weren't using quarter sawn, matched pieces to build it. There was more just a looser general visual match-up to get the planks together for the glue up of the larger top and side panels, which are all 13/16ths thick, 5, 7 and 8 inch wide planks; same size as all the drawer heights.
So on top of the engineered "camouflage factory stain", there were, and still are, decades of wear on the finish from its previous owner(s); the insides of a couple of the drawers were especially bad with some type of liquid goop that spilled open and left a hardened crust like residue that just looked nasty! lol There were additionally the usual dings, dents, gouges, broken off corners from careless use, paint splatter on all the places you'd expect to see when you don't properly cover over your stuff before the paint rollers fly into action on your walls and ceiling! You know...Wear!!! :)
But I've now completed the process of taking it completely apart and have started on the restoration process of refinishing the worst looking surfaces and cleaning up the rest, which are still in decent shape. I should probably also add that the factory dark brown finish was probably far less of a visual impedance when it was all new and decently clean with no obvious scratches or mars on the finish. Gibbard was said to have a 22 step finishing regiment on woods such as this type, wonderful walnut! So it no doubt gleamed when it was new.
At this point though, I'm of two minds on whether to simply put it all back together again, as designed or to make some modifications to it to build and re-purpose it into a fancy tool chest table stand/secondary prep station with lower storage bays and drawers for my fledgling woodworking hobby, and make use of the leftover solid walnut lumber for some of my other ongoing projects. I'm still working on early design stage of all that...stay tuned for ongoing developments! :).
Cheers! :)
Donations for the Blind and Visually Impaired
About Shri Radhe Maa:
Shri Radhe Maa Ji has lent 27 years of her life in serving mankind. She has helped more than 1000's of families in Mukeria, Punjab and Mumbai. She has made several donations like clothes, food, notebooks, computers, sewing machines, wheelchairs, blind sticks, sanitary machine to the people below the poverty line and the underprivileged. She has adopted a tribal village in Wada, Maharashtra (and has been serving there for the past 16 years). Solar panels and water pumps have been distributed free of cost. Radhe Maa is an ardent supporter of Beti Bachao Beti Padhao campaign thus she does every bit from her end to provide them with education, dressing, and basic amenities.
For medical & educational help, we are a helping hand.
For more info, visit our website at radhemaa.com/
For any queries, You can contact Nandi Baba on : 9820969020
Very easily recognize, visually, when there is light in the night. And it's clear it's useful so that we can find our bindings, and know where we must go to.
But visually it's very easy. What about ourselves? Transparency and honesty are always a tremendous help, as it's cleanness always allows us to distinguish more light. And to get to this transparency and honesty the search for the Truth is quite needed. Not only when it's easy and evident. But especially when it is difficult and when an effort is needed. It is within this effort, or suffering as Gandhi (and so many more) would say, that we find a bigger human advance.
After all, ... darkness isn't anything else than absence of light. In all respects.
See where this picture was taken [?]
Bien reconocemos, visualmente, cuándo hay una luz durante la noche. Y bien nos sirve para orientarnos, y saber dónde estamos, o hacia dónde ir.
Pero visualmente es muy fácil. ¿Y nosotros mismos? La transparencia y honestidad siempre nos son de enorme ayuda, puesto que esa limpieza siempre permite distinguir más luz. Y para llegar a esta transparencia u honestidad siempre es necesaria una búsqueda fiel de la verdad. No tan sólo cuando sea fácil y evidente, sino especialmente cuando sea difícil y suponga un esfuerzo. Y es este esfuerzo, o sufrimiento como diría Gandhi (y tantos otros), el que permite un mayor avance humano.
Al fin y al cabo, ... la oscuridad no es nada más que la ausencia de luz. En todos los sentidos.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Recording legend Stevie Wonder (center) congratulates international negotiators who concluded a new treaty easing access to books for the blind, and urged national lawmakers to swiftly ratify the accord and unlock its benefits for hundreds of millions of people around the world who are blind, visually impaired and print-disabled. WIPO Director General Francis Gurry (left) and Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (right) also called for a quick ratification of the treaty. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.