; ) is a 19th-century Gothic Revival castle built above the village of Tongwynlais in South Wales. The first castle on the site was built by the Normans after 1081 to protect the newly conquered town of Cardiff and control the route along the Taff Gorge. Abandoned shortly afterwards, the castle's earth motte was reused by Gilbert de Clare as the basis for a new stone fortification, which he built between 1267 and 1277 to control his freshly annexed Welsh lands. This castle may have been destroyed in the native Welsh rebellion of 1314. In 1760, the castle ruins were acquired by John Stuart, 3rd Earl of Bute, as part of a marriage settlement that brought the family vast estates in South Wales.

John Crichton-Stuart, 3rd Marquess of Bute, inherited the castle in 1848. One of Britain's wealthiest men, with interests in architecture and antiquarian studies, he employed the architect William Burges to rebuild the castle, "as a country residence for occasional occupation in the summer", using the medieval remains as a basis for the design. Burges rebuilt the outside of the castle between 1875 and 1879, before turning to the interior; he died in 1881 and the work was finished by Burges's remaining team in 1891. Bute reintroduced commercial viticulture into Britain, planting a vineyard just below the castle, and wine production continued until the First World War. He made little use of his new retreat, and in 1950 his grandson, the 5th Marquess of Bute, placed it into the care of the state. It is now controlled by the Welsh heritage agency Cadw.

Castell Coch's external features and the High Victorian interiors led the historian David McLees to describe it as "one of the greatest Victorian triumphs of architectural composition." The exterior, based on 19th-century studies by the antiquarian George Clark, is relatively authentic in style, although its three stone towers were adapted by Burges to present a dramatic silhouette, closer in design to mainland European castles such as Chillon than native British fortifications. The interiors were elaborately decorated, with specially designed furniture and fittings; the designs include extensive use of symbolism drawing on classical and legendary themes. Joseph Mordaunt Crook wrote that the castle represented "the learned dream world of a great patron and his favourite architect, recreating from a heap of rubble a fairy-tale castle which seems almost to have materialised from the margins of a medieval manuscript."

The surrounding Castell Coch beech woods contain rare plant species and unusual geological features and are protected as a Site of Special Scientific Interest.

History

11th–14th centuries

The first castle on the Castell Coch site was probably built after 1081, during the Norman invasion of Wales. It formed one of a string of eight fortifications intended to defend the newly conquered town of Cardiff and control the route along the Taff Gorge. It took the form of a raised, earth-work motte, about  across at the base and  on the top, protected by the surrounding steep slopes. The 16th-century historian Rice Merrick claimed that the castle was built by the Welsh lord Ifor ap Meurig, but there are no records of this phase of the castle's history and modern historians doubt this account. The first castle was probably abandoned after 1093 when the Norman lordship of Glamorgan was created, changing the line of the frontier.

In 1267, Gilbert de Clare, who held the Lordship of Glamorgan, seized the lands around the town of Senghenydd in the north of Glamorgan from their native Welsh ruler. Caerphilly Castle was built to control the new territory and Castell Coch—strategically located between Cardiff and Caerphilly—was reoccupied. A new castle was built in stone around the motte, comprising a shell-wall, a projecting circular tower, a gatehouse and a square hall above an undercroft. The north-west section of the walls was protected by a talus and the sides of the motte were scarped to increase their angle, all producing a small but powerful fortification. Further work followed between 1268 and 1277, which added two large towers, a turning-bridge for the gatehouse and further protection to the north-west walls.

On Gilbert's death, the castle passed to his widow Joan and around this time it was referred to as , Latin for "the Red Castle", probably after the colour of the Red sandstone defences. Gilbert's son, also named Gilbert, inherited the property in 1307. He died at the Battle of Bannockburn in 1314, triggering an uprising of the native Welsh in the region. Castell Coch was probably destroyed by the rebels in July 1314, and possibly slighted to put it beyond any further use; it was not rebuilt and the site was abandoned.

15th–19th centuries

Bute ownership

Castell Coch remained derelict; the antiquarian John Leland, visiting around 1536, described it as "all in ruin, no big thing but high". The artist and illustrator Julius Caesar Ibbetson painted the castle in 1792, depicting substantial remains and a prominent tower, with a lime kiln in operation alongside the fortification. Stone from the castle may have been robbed and used to feed the kilns during this period. A similar view was sketched by an unknown artist in the early 19th century, showing more trees around the ruins; a few years later, Robert Drane recommended the site as a place for picnics and noted its abundance in wild garlic.

The ruins were acquired by the Earls of Bute in 1760, when John Stuart, the 3rd Earl and, from 1794, the 1st Marquess, married Lady Charlotte Windsor, adding her estates in South Wales to his inheritance. John's grandson, John Crichton-Stuart, developed the Cardiff Docks in the first half of the 19th century; although the docks were not especially profitable, they opened opportunities for the expansion of the coal industry in the South Wales valleys, making the Bute family extremely wealthy. The 2nd Marquess carried out exploration for iron ore at Castell Coch in 1827 and considered establishing an ironworks there.

The 3rd Marquess of Bute, another John Crichton-Stuart, inherited the castle and the family estates as a child in 1848. On his coming of age, Bute's landed estates and industrial inheritance made him one of the wealthiest men in the world. He had a wide range of interests including archaeology, theology, linguistics and history. Interest in medieval architecture increased in Britain during the 19th century, and in 1850 the antiquarian George Clark surveyed Castell Coch and published his findings, the first major scholarly work about the castle. The ruins were covered in rubble, ivy, brushwood and weeds; the keep had been largely destroyed and the gatehouse was so covered with debris that Clark failed to discover it. Nonetheless, Clark considered the external walls "tolerably perfect" and advised that the castle be conserved, complete with the ivy-covered stonework.

In 1871, Bute asked his chief Cardiff engineer, John McConnochie, to excavate and clear the castle ruins. The report on the investigations was produced by William Burges, an architect with an interest in medieval architecture who had met Bute in 1865. The Marquess subsequently employed him to redevelop Cardiff Castle in the late 1860s, and the two men became close collaborators. Burges's lavishly illustrated report, which drew extensively on Clark's earlier work, laid out two options: either conserve the ruins or rebuild the castle to create a house for occasional occupation in the summer. On receipt of the report, Bute commissioned Burges to rebuild Castle Coch in a Gothic Revival style.

Reconstruction

The reconstruction of Castell Coch was delayed until 1875, because of the demands of work at Cardiff Castle and an unfounded concern by the Marquess's trustees that he was facing bankruptcy. On commencement, the Kitchen Tower, Hall Block and shell wall were rebuilt first, followed by the Well Tower and the Gatehouse, and the Keep Tower last. Burges's drawings for the proposed rebuilding survive at the Bute seat of Mount Stuart. The drawings were supplemented by a large number of wooden and plaster models, from smaller pieces to full-size models of furniture.

The bulk of the external work was complete by the end of 1879. The result closely followed Burges's original plans, with the exception of an additional watch tower intended to resemble a minaret, and some defensive timber hoardings, both of which were not undertaken. Clark continued to advise Burges on historical aspects of the reconstruction and the architect tested the details of proposed features, such as the drawbridge and portcullis, against surviving designs at other British castles.

Burges's team of craftsmen at Castell Coch included many who had worked with him at Cardiff Castle and elsewhere. John Chapple, his office manager, designed most of the furnishings and furniture, and William Frame acted as clerk of works. Horatio Lonsdale was Burges's chief artist, painting extensive murals at the castle. His main sculptor was Thomas Nicholls, together with another long-time collaborator, the Italian sculptor Ceccardo Fucigna.

Stimulated by antiquarian writings about British viticulture, Bute decided to reintroduce commercial grape vines into Britain in 1873. He sent his gardener Andrew Pettigrew to France for training and planted a  vineyard just beneath the castle in 1875. The first harvests were poor and the initial harvest in 1877 produced only 240 bottles. Punch magazine claimed that any wine produced would be so unpleasant that "it would take four men to drink it—two to hold the victim and one to pour the wine down his throat". By 1887, the output was 3,000 bottles of sweet white wine of reasonable quality. Bute persevered, commercial success followed and 40 hogsheads of wine, including a red varietal using Gamay grapes, were produced annually by 1894 to positive reviews.

Burges died in 1881 after catching a severe chill during a site visit to the castle. His brother-in-law, the architect Richard Pullan, took over the commission and delegated most of the work to Frame, who directed the work on the interior until its completion in 1891. Bute and his wife Gwendolen were consulted over the details of the interior decoration; replica family portraits based on those at Cardiff were commissioned to hang on the walls. Clark approved of the result, commenting in 1884 that the restoration was in "excellent taste". An oratory originally built on the roof of the Well Tower was removed before 1891 but in other respects the completed castle was left unaltered.

The castle was not greatly used; the Marquess rarely visited after its completion. The property had probably only been intended for limited, informal use, for example as a retreat following picnics. Although it had reception rooms suitable for large gatherings, it had only three bedrooms and was too far from Cardiff for casual visits. The restored castle initially received little interest from the architectural community, possibly because the total rebuilding of the castle ran counter to the increasingly popular late-Victorian philosophy of conserving older buildings and monuments.

20th–21st centuries

Bute died in 1900 and his widow, the Marchioness, was given a life interest in Castell Coch; during her mourning, she and her daughter, Lady Margaret Crichton-Stuart, occupied the castle and made occasional visits thereafter. Production in the castle vineyards ceased during the First World War due to the shortages of the sugar needed for the fermentation process, and in 1920 the vineyards were uprooted. John, the 4th Marquess, acquired the castle in 1932 but made little use of it. He also began to reduce the family's investments in South Wales. The coal trade had declined after 1918 and industry had suffered during the depression of the 1920s; by 1938, the great majority of the family interests, including the coal mines and docks, had been sold off or nationalised.

The 5th Marquess of Bute, another John, succeeded in 1947 and, in 1950, he placed the castle in the care of the Ministry of Works. The Marquess also disposed of Cardiff Castle, which he gave to the city, removing the family portraits from the castle before doing so. In turn, the paintings in Castell Coch were removed by the ministry and sent to Cardiff, the National Museum of Wales providing alternatives from their collection for Castell Coch. Academic interest in the property grew, with publications in the 1950s and 1960s exploring its artistic and architectural value. Since 1984, the property has been administered by Cadw, an agency of the Welsh Government, and is open to the public; it typically receives between 50,000 and 75,000 visits per year; this number dropped during the COVID-19 pandemic, and 23,095 people visited in 2021. The Drawing Room is available for wedding ceremonies.

The castle has been used as a location for filming several films and television programmes, including The Black Knight (1954), Sword of the Valiant (1984), The Worst Witch (1998), Wolf Hall (2015) and Doctor Who (several episodes).

The castle's exposed position causes it to suffer from penetrating damp and periodic restoration work has been necessary. The stone tiles on the roof were replaced by slate in 1972, a major programme was carried out on the Keep in 2007 and interior conservation work was undertaken in 2011 to address problems in Lady Bute's Bedroom, where damp had begun to damage the finishings. The original furnishings, many of which the Marquess removed in 1950, have mostly been recovered and returned to their original locations in the castle. Two stained-glass panels from the demolished chapel, lost since 1901, were rediscovered at an auction in 2010 and were bought by Cadw for £125,000 in 2011.

Architecture

Overview
Castell Coch occupies a stretch of woodland on the slopes above the village of Tongwynlais and the River Taff, about  north-west of the centre of Cardiff. The architecture is High Victorian Gothic Revival in style, influenced by contemporary 19th-century French restorations. Its design combines the surviving elements of the medieval castle with 19th-century additions to produce a building which the historian Charles Kightly considered "the crowning glory of the Gothic Revival" in Britain. John V. Hiling, in his study The Architecture of Wales: From the first to the twenty-first century, suggests that Castell Coch, and Cardiff Castle, are "the most remarkable domestic buildings to be resurrected in the nineteenth century." The castle is protected under UK law as a Grade I listed building due to its exceptional architectural and historical interest.

Exterior

The castle comprises three circular towers—the Keep, the Kitchen Tower and the Well Tower—along with the Hall Block, the Gatehouse and a shell wall; the buildings almost entirely encase the original motte in stone. The older parts of the castle are constructed from crudely laid red sandstone rubble and grey limestone, the 19th-century additions in more precisely cut red Pennant sandstone. A ditch is cut out of the rock in front of the Gatehouse and leads to an eastern approach road. The castle is surrounded by woodland and the 19th-century vineyards below it have been converted into a golf course. In 1850, George Clark recorded an "outer court" of which nothing remains; this may, in fact, have been the traces of the earlier lime kiln operations around the site.

The Gatehouse is reached across a wooden bridge, incorporating a drawbridge. Burges intended the bridge to copy those of medieval castles, which he believed were designed to be easily set on fire in the event of attack. The Gatehouse was fitted with a wooden defensive bretèche and, above the entrance, Burges sited a portcullis and a glazed statue of the Madonna and Child sculpted by Ceccardo Fucigna.

The Keep is  in diameter with a square, spurred base; in the 13th century there would have been an adjacent turret, on the south-west side, containing latrines, but few traces remain. There is no evidence that the tower that Burges termed a keep would have fulfilled this function in the medieval period and he appears to have chosen the name because of his initial decision to locate the bedrooms of Lord and Lady Bute in the rebuilt tower. The Kitchen Tower is also  across and rests on a square, spurred base. It was originally two storeys high and contained the medieval kitchen; Burgess raised its height and gave it a conical roof and chimneys. The walls of these two towers are around  thick at the base, thinning to  at the top. The Well Tower at  in diameter is slightly narrower than the Keep or Kitchen Tower, with a well in its lowest chamber sunk into the ground. The Well Tower lacks the spurs of the other two towers and has a flat rather than curved back, facing onto the courtyard, similar to some of the towers built at Caerphilly by the de Clares.

The towers contribute to what the architectural writer Charles Handley-Read considered the castle's "sculptural and dramatic exterior". Almost equal in diameter, but of differing conical roof designs and heights, and topped with copper-gilt weather vanes, they combine to produce a romantic appearance, which Matthew Williams described as bringing "a Wagnerian  to the Taff Valley".

The design of the towers was influenced by the work of the contemporary French architect Eugène Viollet-le-Duc, including his restorations of Carcassonne and the châteaus of Aigle and Chillon. While the exterior of Castell Coch is relatively true to English 13th-century medieval design—albeit heavily influenced by the Gothic Revival movement—the inclusion of the conical roofs, which more closely resemble those of fortifications in France or Switzerland than of Britain, is historically inaccurate. Although he mounted a historical defence (see box), Burges chose the roofs mainly for architectural effect, arguing that they appeared "more picturesque", and to provide additional room for accommodation in the castle.

The three towers lead into a small oval courtyard that sits on the top of the motte, about  across lengthways. Cantilevered galleries and wall-walks run around the inside of the courtyard with neat and orderly woodwork; the historian Peter Floud critiqued it as "perhaps too much like the backcloth for an historical pageant". Burges reconstructed the shell wall that runs along the north-west side of the courtyard  thick, complete with arrow holes and a battlement.

Interior
The Keep, the Well Tower and the Kitchen Tower incorporate a series of apartments, of which the main sequence, the Castellan's Rooms, lies within the Keep. The Hall, the Drawing Room, Lord Bute's Bedroom and Lady Bute's Bedroom form a suite of rooms that exemplify the High Victorian Gothic style of 19th century Britain. Unlike the exterior of the castle, which deliberately imitated the architecture of the 13th century, the interior was purely High Victorian in style. On Burges's decoration of Cardiff Castle and Castell Coch, Handley-Read wrote: "I have yet to see any High Victorian interiors from the hand, very largely, of one designer, to equal either in homogeneity or completeness, in quality of execution or originality of conception the best of the interiors of the Welsh castles. For sheer power of intoxication, Burges stand[s] unrivalled."

The Banqueting Hall

The Banqueting Hall is  across with an  ceiling, and occupies the whole of the first floor of the Hall Block. Burges persuaded Bute and the antiquarian George Clark that the medieval hall would have stood on the first floor. His original plan saw access via one of two equally circuitous routes through the Well Tower or around the entire internal gallery to enter the hall through a passage next to the Drawing Room. Neither approach was acceptable to Bute and at a late stage, around 1878/9, the present entrance was created by expanding a window at the head of the internal gallery.

The hall is austere; the architectural historian John Newman critiqued its decoration as "dilute" and "unfocused", Crook as "anaemic". It features stencilled ceilings and murals which resemble medieval manuscripts. The murals were designed by Horatio Lonsdale and executed by Campbell, Smith & Company. The furniture is by John Chapple, made in Lord Bute's workshops at Cardiff. The tapered chimney of the room, modelled on 15th-century French equivalents, contains a statue carved by Thomas Nicholls. Although the architectural historian Mark Girouard suggested that the statue depicts the Hebrew King David, most historians believe that it shows Lucius of Britain, according to legend the founder of the diocese of Llandaff in nearby Cardiff.

The Drawing Room

The octagonal Drawing Room occupies the first and second floors of the Keep. The ceiling is supported by vaulted stone ribs modelled on Viollet-Le-Duc's work at Château de Coucy and the lower and upper halves of the room are divided by a minstrels' gallery. The original plans for the space involved two chambers, one on each floor, and the new design was adopted only in 1879, Burges noting at the time that he intended to "indulge in a little more ornament" than elsewhere in the castle.

The decoration of the room focuses on what Newman described as the "intertwined themes [of] the fecundity of nature and the fragility of life". A fireplace by Thomas Nicholls features the Three Fates, the trio of Greek goddesses who are depicted spinning, measuring and cutting the thread of life. The ceiling's vaulting is carved with butterflies, reaching up to a golden sunburst at the apex of the room, while plumed birds fly up into a starry sky in the intervening sections. Around the room, 58 panels, each depicting one or more unique plants, are surmounted by a mural showing animals from twenty-four of Aesop's Fables. The plants are wild flowers from the Mediterranean, where Lord Bute spent his winter months each year. Carved birds, lizards and other wildlife decorate the doorways.

The historian Terry Measham wrote that the Drawing Room and Lady Bute's Bedroom, "so powerful in their effect, are the two most important interiors in the castle." The architectural writer Andrew Lilwall-Smith considered the Drawing Room to be "Burges's ", encapsulating his "romantic vision of the Middle Ages". The decoration of the ceiling, which was carried out while Burges was alive, differs in tone from the treatment of the murals, and the decoration of Lady Bute's Bedroom, which were both completed, under the direction of William Frame and Horatio Lonsdale respectively, after Burges's death. Burges's work is distinctively High Gothic in style, while the later efforts are more influenced by the softer colours and character of the Aesthetic movement, which had grown in popularity by the 1880s.

Lord Bute's Bedroom
In comparison to other rooms within the castle, Lord Bute's Bedroom, sited above the Winch Room, is relatively small and simple. The original plan had Bute's personal accommodation in the Keep but the expansion of the Drawing Room to a double-height room in 1879 required a late change of plan. The bedroom contains an ornately carved fireplace. Doors lead off the room to an internal balcony overlooking the courtyard and to the bretache over the gate arch. The furniture is mainly by Chapple and post-dates Burges, although the washstand and dressing table are pared-down versions of two pieces – the Narcissus Washstand and the Crocker Dressing Table – that Burges made for his own home in London, The Tower House.

This bedroom is also less richly ornamented than many in the castle, making extensive use of plain, stencilled geometrical patterns on the walls. Crook suggested this provided some "spartan" relief before the culmination of the castle in Lady Bute's Bedroom but Floud considered the result "thin" and drab in comparison with the more richly decorated chambers. The bedroom would have been impractical for regular use, lacking wardrobes and other storage.

Lady Bute's Bedroom

Lady Bute's Bedroom comprises the upper two floors of the Keep, with a coffered, double-dome ceiling that rises up into the tower's conical roof. The room was completed after Burges's death and, although he had created an outline model for the room's structure, which survives, he did not undertake detailed plans for its decoration. His team attempted to fulfil his vision for the room—"would Mr Burges have done it?" William Frame asked Nicholls in a letter of 1887—but the interior decoration was the work of Lonsdale between 1887 and 1888, with considerable involvement from Bute and his wife.

The room is circular, with the window embrasures forming a sequence of arches around the outside. It is richly decorated, with love as the theme, displaying carved monkeys, pomegranates and grapevines on the ceiling, and nesting birds topping the pillars. Lord Bute thought the monkeys inappropriately "lascivious". Above the fireplace is a winged statue of Psyche, the Greek goddess of the soul, carrying a heart-shaped shield which displays the arms of the Bute family. The washbasin, designed by John Chapple, has a dragon tap, and cisterns for hot and cold water covered with crenellated towers. The Marchioness's scarlet and gold bed is the most notable piece of furniture in the room, modelled on a medieval original drawn by Viollet-le-Duc. Crook described the bed as being "medieval to the point of acute discomfort".

The bedroom is Moorish in style, a popular inspiration in mid-Victorian interior design, and echoes earlier work by Burges in the Arab Room at Cardiff Castle and in the chancel at St Mary's Church at Studley Royal in Yorkshire. Lilwall-Smith likened the chamber, with its "Moorish-looking dome, maroon-and-gold painted furniture and large, low bed decorated with glass crystal orbs", to a scene from the Arabian Nights. Peter Floud criticised the eclectic nature of this Moorish theme and contrasted it unfavourably with the more consistent style Burges applied to the Arab Room, suggesting that it gave the bedroom an overly theatrical, even pantomime-like, character. The historian Matthew Williams considered that Lonsdale's efforts lack the imagination and flair that Burges himself might have brought to the room.

Other rooms
The Windlass Room, or Winch Room, is in the Gatehouse, entered from the Drawing Room. It contains a working mechanism for operating the drawbridge and the portcullis. The equipment was originally intended for the second floor, which Burges considered the most historically authentic location. When later design modifications led him to move Lord Bute's Bedroom into that space, the equipment was simplified and placed on the first floor. The Windlass Room includes murder holes, which Burges thought would have enabled medieval inhabitants of the castle to pour boiling water and oil on attackers.

An oratory, originally fitted to the roof of the Well Tower but removed before 1891, was decorated with twenty stained glass windows. Ten of these windows are displayed at Cardiff Castle, while the other ten are displayed on site; two missing windows having been returned to the castle in 2011. Other rooms in the castle include Lady Margaret Bute's Bedroom, the servants' hall and the kitchen.

Interior design details

Landscape – Site of Special Scientific Interest

The woods surrounding the castle, known as the Taff Gorge complex, are among the most westerly natural beech woodlands in the British Isles. They contain dog's mercury, ramsons, sanicles, bird's-nest orchid, greater butterfly-orchid and yellow bird's nest plants. The area has unusual rock outcrops, which show the point where Devonian Old Red Sandstone and Carboniferous Limestone beds meet; the Castell Coch Quarry is in the vicinity. The area is protected as the Castell Coch Woodlands and Road Section Site of Special Scientific Interest.

The woods above the castle are accessible to the public and are used for walking, mountain biking and horse riding. To the southeast of the castle, a nine-hole golf course occupies the site of the former vineyard.

See also

 List of castles in Wales
 Castles in Great Britain and Ireland
 Grade I listed buildings in Cardiff
 Castle Drogo, an Edwardian imitation castle in England
 Guédelon Castle, a project to build an authentic recreation of a 13th-century castle

References

Notes

Citations

Sources

External links

 Visit Castell Coch at Cadw

Cadw
Country houses in Wales
Gothic Revival architecture in Wales
Grade I listed buildings in Cardiff
Grade I listed castles in Wales
Historic house museums in Wales
Houses completed in 1891
Landmarks in Wales
Museums in Cardiff
William Burges buildings
Coch
Coch

Castell Coch


A gumma (plural gummata or gummas) is a soft, non-cancerous growth resulting from the tertiary stage of syphilis (and yaws).

It is a form of granuloma. Gummas are most commonly found in the liver (gumma hepatis), but can also be found in brain, heart, skin, bone, testis, and other tissues, leading to a variety of potential problems including neurological disorders or heart valve disease.

Presentation
Gummas have a firm, necrotic center surrounded by inflamed tissue, which forms an amorphous proteinaceous mass.  The center may become partly hyalinized.
These central regions begin to die through coagulative necrosis, though they also retain some of the structural characteristics of previously normal tissues, enabling a distinction from the granulomas of tuberculosis where caseous necrosis obliterates preexisting structures.  Other histological features of gummas include an intervening zone containing epithelioid cells with indistinct borders and multinucleated giant cells, and a peripheral zone of fibroblasts and capillaries.  Infiltration of lymphocytes and plasma cells can be seen in the peripheral zone as well.  With time, gummas eventually undergo fibrous degeneration, leaving behind an irregular scar or a round fibrous nodule.

It is restricted to necrosis involving spirochaetal infections that cause syphilis.  Growths that have the appearance of gummas are described as gummatous.

Pathology
In syphilis, the gumma is caused by a reaction to spirochaete bacteria in the tissue.
It appears to be the human body's way to slow down the action of this bacteria; it is a unique immune response that develops in humans after the immune system fails to kill off syphilis.

Epidemiology
The formation of gummata is rare in developed countries, but common in areas that lack adequate medical treatment.

Syphilitic gummas are found in most but not all cases of tertiary syphilis, and can occur either singly or in groups.  Gummatous lesions are usually associated with long-term syphilitic infection; however, such lesions can also be a symptom of benign late syphilis.

References

External links

Histopathology
Sexually transmitted diseases and infections
Necrosis
Syphilis

Gumma (pathology)


Frank Henry Willard (September 21, 1893 in Anna, Illinois – January 11, 1958 in Los Angeles, California), was a cartoonist best known for his syndicated newspaper comic strip Moon Mullins which ran from 1923 to 1991, working alongside assistant Ferd Johnson. He sometimes went by the nickname Dok Willard.

Early years

As a youth, Willard dropped out of several schools. In addition to jobs at county fairs, he worked in a mental institution. In 1909, he moved with his family to Chicago. He went to Union Academy, where he illustrated the Reflector yearbook in 1912. After attending the Academy of Fine Arts in Chicago in 1913, he was a cartoonist with the Chicago Herald (1914–18), where he drew the Sunday comic strips Tom, Dick and Harry and Mister and Mrs. Pippen/Mrs. Pippin's Husband and a daily comic strip which used various titles. At the Herald, he got to know cartoonists E. C. Segar and Billy DeBeck, of Popeye and Barney Google fame respectively.

WWI
Entering the U.S. Army in 1917, Willard served with the American Expeditionary Force in France (1918–19). "Our unit built roads and did no fighting," he said. Unemployed on his return, he was given a place to stay by DeBeck and worked briefly on DeBeck's Barney Google and Snuffy Smith in 1920. Through DeBeck's influence, he landed a job that year in the King Features Syndicate bullpen where he did just "about everything but carry water for the elephants." He next wrote and drew The Outta Luck Club for King Features (1919–23), where he also substituted for cartoonist Jean Knott on his Penny Ante poker panel.

Moon Mullins
In 1923, Joseph Patterson of the Chicago Tribune-New York News Syndicate wanted a lowlife strip to compete with Barney Google. The curious chain of events that brought Willard, Patterson and Moon Mullins together began because Willard and other King Features cartoonists had to show their planned panels in advance to the King editor, who usually rejected Willard's ideas. Willard was angry, but he exploded when he saw some of his gags surface in George McManus' Bringing Up Father. As Willard's assistant Ferd Johnson recalled:
The editor was feeding Willard's ideas to the Syndicate's big star. Later Willard and McManus were very good friends, but at the time, Willard got so damn sore that he went and had a couple of drinks and then went after the editor. He found the guy sitting in his chair, and he let him have one that knocked him onto the floor. Willard knew he'd get fired for that—and he did. But the story got around, and when Captain Patterson, who was looking for a tough guy strip, heard about it, he said, "That's my man." He called Willard in. And that's how Moon got its start.

Moon merchandising
Moon Mullins quickly became popular after it was launched as a daily on June 19, 1923. A few months later, Ferd Johnson signed on as Willard's assistant, eventually doing a great deal of the work. The success of the strip enabled Willard to spend much time on his avocation, golf. Johnson recalled, "We'd go to Florida and follow the golf guys all the way to Maine." With Florida as a home base, Willard worked out of hotel rooms in Los Angeles, North Carolina, Maine and Wisconsin. At least one summer, the two mailed in their comic strips from Mexico.

Meanwhile, the strip expanded to 250 newspapers, a radio program, a Milton Bradley game, two Big Little Books and a comic book. Willard and Johnson also did the topper strip Kitty Higgins. Characters in toppers sometimes turned up in the main strip, such as Kitty Higgins joining the cast of Moon Mullins and Herby appearing in Smitty.

Frank Willard was one of the first members of the National Cartoonists Society, joining two weeks after it was founded in 1932. With his health declining, Willard had little to do with the strip in his last years. After Willard's death in 1958, Johnson continued Moon Mullins until 1991, when it came to an end.

References

External links
Syracuse University: Frank Willard Cartoons

1893 births
1958 deaths
American comic strip cartoonists
American comics writers
American humorists
Chicago Tribune people
American comics artists

Frank Willard


Fool's Gold is an original English-language manga published by Tokyopop. It is written and illustrated by Amy Reeder. The first of a planned three volumes was released on July 11, 2006.

There are currently no plans for the third, and final, volume to be printed.

Plot
Penny is a sophomore who starts a girls-only club whose mission is to help girls find love in gentlemen, rather than the school's jerks. At the club meeting, which are disguised as geology discussions, girls vote on which boys to decree "pyrites." The word becomes slang for a boy that seems good, but is ultimately cheap. If a boy is declared a pyrite, the girls throw darts into a doll, similar to voodoo. This is a vow to not date the boy. Girls also call to attention boys that are not jerks.

The club completely changes the high school hierarchy. Girls begin to avoid jocks and date nerds. Penny finds herself as a sort of "queen bee" the other girls look up to. The new arrangements are shaken when Penny finds herself falling for a pyrite and Hannah shows a boy the club's flyer.

Characters
Penny A 15-year-old girl who designs clothes with her aunt, Nicole. She is confident and likable, but she considers Katie her only friend. Penny regards her looks as art, not necessarily the means of attracting boys or outdoing other girls. Her mother died from pneumonia.

Nicole Penny's childish, 26-year-old aunt. Nicole is a fashion designer who runs a costume shop. Her relationship with Penny could best be described as sisterly.

Steve Penny's father. He is an ER doctor who thinks fashion design is a frivolous occupation and wants his daughter to focus on studies more. Penny finds it hard to meet his expectations.

Katie A sixteen-year-old who is much less fashion conscious than Penny. She does not gossip, and is honest. Unlike Penny, she has had boyfriends. Katie's relationships were the springboard for the founding of the club. Katie has to move in volume one, but she and Penny keep in touch. Katie is Penny's closest confidante.

Blake A rich sixteen-year-old whose parents moved into Colorado's mountains. He is a perfectionist, particularly when it comes to grammar. He goes around town at night with a stencil and spray paints signs, correcting grammar. His biography on Tokyopop's website describes him as "borderline OCD" and a "nerd," albeit handsome.  He does not realize that his desire to perfect people around him makes him seem conceited and mean.

Hannah An outgoing, vain sixteen-year-old. She rarely sees her parents except when she has a performance in something. She is the best student in her class, has been in fifteen commercials, and models. Unlike Penny, she is fixated on designer clothes. She feels Penny is stealing the attention from her.

Orion A fifteen-year-old environmentalist who tries to organize his classmates into planting trees and picking up trash. His parents are hippies, and his hair is long enough to reach his shoulders and cover his eyes. He is particularly knowledgeable when it comes to birds; he can identify any song or appearance. He is usually very shy, only speaking to organize environmental clean-ups. He starts dating Penny, and he lets her cut his hair. They have their first kiss with each other. Jealousy starts to set in when Penny starts to have less time for him because of her club and when she starts hanging out more with Blake.

Release
The series is also licensed in Finland by Pauna Media Group,

References

External links
Fool's Gold at Tokyopop's site
Hadley's deviantART account - Fool's Gold art
Hadley's Official Site Fool's Gold art, including character sketches and chapter breaks
Interview with Amy at comiXology

Humor comics
Romance anime and manga
Tokyopop titles
Unfinished literature

Fool's Gold (comics)


The Santa Ana winds are a kind of wind that happen in Southern California and northern Baja California. They are strong and extremely dry. They start in the mountains and blow towards the Pacific Ocean. They often happen during the autumn and winter. They cause wildfires to become worse.

These winds are a kind of katabatic wind, which means they come from the mountains.

Many people think the name "Santa Ana" comes from the Santa Ana Canyon in Orange County, California.

Winds
Baja California (state)
California

Santa Ana winds


Mawlif of the Nebi (in Zazaki language: Mewlıdê Nebi, or in modern Zazaki, Biyayışê Peyğamberi) is the first book written in the Zazaki language. It was written by Ahmed el-Hasi in Diyarbakır in 1899 and was published on March 25, 1899. The book is a religious book and includes stories about the birth of the Islamic prophet Muhammad. The title of the book means "Birth of the Prophet".

It was originally written in the Ottoman Turkish alphabet, which uses the Arabic script. Zazaki turned to using the Latin script in 1928 and the Mawlid was rewritten in this writing system, using the Zazaki alphabet.

References

Zazaki
1890s books
1899

Mawlid of the Nebi


Cobalt(II) sulfate, also known as cobaltous sulfate, is a chemical compound. Its chemical formula is CoSO4. It contains cobalt in its +2 oxidation state. It contains cobalt and sulfate ions.

Properties
It is a reddish crystalline solid. It dissolves easily in water. It is reddish without water (anhydrous) and pink with water (hydrated).

Preparation
It can be made by reacting cobalt, cobalt(II) oxide, or cobalt(II) hydroxide with sulfuric acid. It is very rarely found in the earth.

Uses
It is used as a pigment. It is also used to make other cobalt salts. It can be used in electroplating cobalt. It was added to beer in the past but that poisoned people.

Safety
Cobalt(II) sulfate is slightly carcinogenic. It is poisonous in large quantities.

Related pages
Cobalt(II) chloride
Cobalt(III) oxide

Sulfur compounds
Cobalt compounds

Cobalt(II) sulfate


Our Lady of Sorrows, Queen of Poland, Our Lady of Licheń, or Virgin of Licheń is a Roman Catholic icon of the Blessed Virgin Mary venerated by its Polish faithful. It dates to 1772 and is permanently enshrined within the Sanctuary of Our Lady of Licheń, in central Poland, which was built to honor it, and receives about 1.5 million pilgrims per year.

Along with the Black Madonna of Częstochowa, located in Częstochowa, southern Poland, the image is one of the two most venerated Marian images in Poland. The image was canonically crowned by Pope Paul VI on 15 August 1967.

Description
In the central image, the Virgin Mary has a gold dress, is being crowned by two angels and is surrounded by a ring of stars. Below the image, a ribbon carries the inscription: "Queen of Poland, give us days of peace." The image measures 9.5 × 15.5 cm and is on larger panel of 16 × 25 cm. There is a second crown above the image, on the larger panel.

Legend and history

The icon was painted in 1772 as a replica of the icon of the Blessed Virgin Mary enshrined in Rokitno, Międzyrzecz County in Western Poland. According to legend, a Polish soldier (called Thomas Kłossowski) was wounded in the Battle of Leipzig in 1813 and had a vision of the Virgin Mary who saved him from death and instructed him to look for the image upon his return to Poland. Kłossowski is then said to have looked for and found the image in the woods in Grąblin as instructed.

According to oral tradition, in 1850 Kłossowski and shepherd Nicholas Sikatka witnessed several apparitions of the Virgin Mary who called for repentance and prayer. In the apparitions, the Virgin reportedly predicted war and a cholera epidemic but also gave hope. During the cholera plague of 1852, the image became famous for performing miracles.

On 29 September 1852, the image was moved to the parish church in Licheń and remained there until 2006.  Cardinal Stefan Wyszynski, the Primate of the Millennium gave its Canonical Coronation towards the image with the approval of Pope Paul VI on 15 August 1967.

The basilica
In 1994 the construction of the new basilica of Sanctuary of Our Lady of Lichen was started to house the image and accommodate a large number of pilgrims. Pope John Paul II blessed the basilica in 1999. The basilica is Poland's largest church, the seventh-largest in Europe and eleventh in the world.

The basilica's organ created by Professor Andrzej Chorosiński and manufactured by the Zych company (157 stops, 6 manuals and pedalboard) is the largest instrument in Poland, the fourth largest in Europe and thirteenth-largest in the world. On 2 July  2006, the image was placed in the main altar of the basilica.

See also
 Marian devotions
 Roman Catholic Mariology

References

1772 paintings
Paintings of the Virgin Mary
Catholic Church in Poland
Marian devotions
The Most Holy Virgin Mary, Queen of Poland
National symbols of Poland
Angels in art
Our Lady of Sorrows

Our Lady of Sorrows, Queen of Poland


A silver medal is a medal given to the second place finisher of contests (usually sports competitions) such as the Olympic Games or Commonwealth Games.  First and third place finishers usually receive a gold medal and bronze medal, respectively.

Olympic Games

In 1896, winners' medals were made from silver. The custom of gold-silver-bronze for the first three places dates from the 1904 games. It has been copied for many other sports events. Creating the medals is the responsibility of the host city. From 1928-1968 the design was always the same. One side showed a design by Florentine artist Giuseppe Cassioli with text giving the host city. The other side showed another design of an Olympic champion. From 1972-2000, Cassioli's design (or a slight reworking) remained on the one with a custom design by the host city on the other. Because Cassioli's design showed a Roman amphitheatre for what was originally a Greek games, a new design was create for the Athens 2004 Games. Winter Olympics medals have been of more varied design.

The Open Championship

In The Open Championship golf tournament, the Silver Medal is an award given to the lowest scoring amateur player at the tournament.

References

Other websites
Medal Designs for all Olympic Games

Silver medal


Bryan Ranft (14 July 1917 – 14 April 2001) was an historian of the Royal Navy, who served as Professor of History and International Affairs at the Royal Naval College, Greenwich, 1967–1977.

Early life and education
Ranft was educated at Manchester Grammar School and Balliol College, Oxford. During World War II, he joined the Royal Artillery, rising to the rank of major.  Well along in his career, Ranft completed his D.Phil. degree in history at Oxford University in 1967 with a thesis on The naval defence of British sea-borne trade, 1860–1905.

Academic career
Upon leaving the Royal Artillery, Ranft joined the staff of the Royal Naval College, Greenwich and rose to become Professor of History and International Affairs.  He was a visiting fellow at King's College London, where he taught naval history to several generations of postgraduate students, and was appointed Visiting Professor in 1982.

Published works

 The Vernon Papers,edited by B. McL. Ranft. Publications of the Navy Records Society, vol. 99. [London]: Printed for the Navy Records Society, 1958.
 Greenwich: palace, hospital, college, by Christopher Lloyd; revised by Bryan Ranft. London: Royal Naval College, 1969.
 Technical change and British naval policy, 1860–1939, edited by Bryan Ranft. London : Hodder and Stoughton, 1977.
 The sea in Soviet strategy, Bryan Ranft and Geoffrey Till. London: Macmillan, 1983, 1989.
 Ironclad to Trident: 100 years of defence commentary: Brassey's 1886–1986, edited by Bryan Ranft. London: Brassey's, 1986.
 The Beatty papers: selections from the private and official correspondence of Admiral of the Fleet Earl Beatty, edited by B. McL. Ranft. Two volumes. Aldershot: Scolar Press for the Navy Records Society, 1989–1993.
 The Oxford illustrated history of the Royal Navy, general editor, J. Richard Hill; consultant editor, Bryan Ranft. Oxford : Oxford University Press, 1995.
 "Beatty, David, first Earl Beatty (1871–1936)' in the Oxford Dictionary of National Biography, 2004
 The development of British naval thinking: essays in memory of Bryan Ranft, edited by Geoffrey Till. London : Routledge, 2006.

Sources

 Obituary "Professor Bryan Ranft: Historian of the Royal Navy", Guardian, 25 May 2001.

1917 births
2001 deaths
People educated at Manchester Grammar School
Alumni of Balliol College, Oxford
Academics of the Royal Naval College, Greenwich
Academics of King's College London
English naval historians
British Army personnel of World War II
Royal Artillery officers
20th-century English historians

Bryan Ranft


Colbún Lake (Spanish: Lago Colbún) is a reservoir in the Maule Region in Chile, straddling the provinces of Talca (comuna of San Clemente) and Linares (comuna de Colbún). Located 48 km southeast of the city of Talca, the regional capital and 35 km northeast of the city of Linares and with an area of 5,700 hectares and a capacity of 1,490,000 m³, it is the largest artificial reservoir in Chile. The lake lies at an altitude of 440 metres above sea level.

It was built between the years 1980 and 1985, in order to dam the waters of the Maule River for use in agricultural irrigation and hydroelectric power.

Recreation
In the summer, the waters reach 23 °C. This fact and the favorable climatic conditions during the summer months render the lake a widely used spot for water sports. It also offers a variety of leisure activities, with lodging accommodations and tourism services available to visitors.

References

External links

Lakes of Chile
Lakes of Maule Region
Tourist attractions in Maule Region

Colbún Lake


The Zero-Coupon Inflation Swap (ZCIS) is a standard derivative product which payoff depends on the Inflation rate realized over a given period of time. The underlying asset is a single Consumer price index (CPI).

It is called Zero-Coupon because there is only one cash flow at the maturity of the swap, without any intermediate coupon.

It is called Swap because at maturity date, one counterparty pays a fixed amount to the other in exchange for a floating amount (in this case linked to inflation). The final cash flow will therefore consist of the difference between the fixed amount and the value of the floating amount at expiry of the swap.

Detailed Flows
 At time  = M years
 Party B pays Party A the fixed amount
 Party A pays Party B the floating amount
where:
 K is the contract fixed rate
 N the contract nominal value
 M the number of years
  is the start date
  is the maturity date (end of the swap)
  is the inflation consumer price index at start date (time )
  is the inflation consumer price index at maturity date (time )

See also
 Year-on-Year Inflation-Indexed Swap (YYIIS)

Inflation
Derivatives (finance)
Swaps (finance)

Zero-Coupon Inflation-Indexed Swap


Rebelde (English: Rebel) is a Mexican telenovela produced by Televisa and created by Cris Morena. It is a remake of the Argentine telenovela Rebelde Way created for the Mexican audience. The series aired on Canal de las Estrellas from October 4, 2004, to June 2, 2006. Rebelde was replaced in June 2006 with Televisa's series Código Postal.

The show is set at the Elite Way School, a private boarding high school in Mexico City with a major plot line revolving around a group of students forming a pop band.

Other websites

2004 television series debuts
2006 television series endings
2000s Mexican television series debuts

Rebelde


A ceremony (, ) is a unified ritualistic event with a purpose, usually consisting of a number of artistic components, performed on a special occasion.

The word may be of Etruscan origin, via the Latin .

Religious and civil (secular) ceremonies
According to Dally Messenger and Alain de Botton, in most Western countries the values and ideals articulated in both church and civil ceremonies are generally similar. The difference is in what Messenger calls the "supernatural infrastructure" or de Botton the "implausible supernatural element".

Most religions claim some extra advantage conferred by the deity, e.g., Roman Catholics believe that through the words of consecration in the mass ceremony, God himself becomes actually present on the altar.

Both religious and civil ceremonies share the powerful psychological, social and cultural influences which all ceremony seeks to attain. Obviously, the style of music played, words used, other components and the structure vary.

Shared traditions
As Edward Schillebeeckx writes about the marriage ceremony, there are a number of ancient traditional elements in both church and civil ceremonies in the western world. Key ceremonies date from the pre-Christian Roman and Greek times, and their practices have continued through the centuries. For example, from pre-Christian Roman times in the marriage ceremony, we inherit best men and bridesmaids, processions, signing of the contract, exchange of rings and the wedding cake.

Sharing non-supernatural content
Writer and philosopher de Botton maintains atheists should appropriate many of the useful insights, artistic treasures and symbolism inspired by religion. He argues that the secular world can also learn from the religions the importance of community and continuity.  Messenger agrees, and points out that the success of civil celebrants in Australia has been partly due to their espousing of these principles, both in theory and practice, since 1973.

History of secular ceremony

The main impetus to the development of quality civil ceremonies in the Western world was the foresight of the Australian statesman, senator and high court judge, Lionel Murphy. In 1973 in Australia, the civil celebrant program entrusted appropriately selected individuals to provide non-church people with ceremonies of substance and dignity. This initiative to a great extent has now been followed by New Zealand, Canada, the United Kingdom and some states of the US.

Purpose of secular ceremony
According to Dally Messenger III secular ceremonies are "roadmap" influences which lead to an acceptable, ethical and dignified life.
Ceremonies contribute to the unseen ingredients of psychological stability, a sense of identity, reassurances of life's purposes, and the personal sense of self-worth. Murphy considered that personal genuine ceremonies were central to a civilised, stable and happy society. Here he echoed the conviction of the mythologist Joseph Campbell who had maintained the strongly asserted generality that the level of civilised behaviour in a society is directly linked to the practice of ceremonies and rites of passage.

In addition, Messenger makes the following statements:

 A complex of good ceremonies raise the level of human happiness in society.
 Ceremonies assist humans to adjust to change.
 Ceremonies are signposts of the culture and indicate that such a culture has life-affirming substance.
 Ceremonies are an important means of expressing, reinforcing and transmitting values.
 Ceremonies are constructed from the visual and performing arts. In a chosen setting they are an important vehicle for telling stories, reciting poetry and prose, using symbolism, and performing music.
 Ceremonies, done well, leave lifelong lasting memories and therefore permanent good effects.
 The better a ceremony is done, the better its psychological, cultural, and social outcomes.

The components of ceremony
To be powerful and effective, such ceremonies, in the view of all the scholars in the field, had to have impact. This occurred when the ceremony was framed by the visual and performing arts.
Great care had to be taken in creating and choosing the poetry, prose, stories, personal journeys, myths, silences, dance, music and song, shared meditations, choreography and symbolism which comprised a ceremony.
To reinforce the psychological and cultural power of ceremony it should be enacted, as far as possible, in a beautiful interior and exterior place. Beauty is the essential core of ceremony, having always been part of "raising the spirit" and embedding the good in the memory.

Ceremonies, as they always had been, are historically the bridge between the visual and performing arts and the people. Murphy and his followers, and international practitioners such as David Oldfield of Washington DC understand that ceremonies are core expressions of the culture. Done well, they can assist in major decision-making, bring emotional security, strengthen bonds between people, and communicate a sense of contentment. To quote David Oldfield:

Rituals and ceremonies are an essential and basic means
for human beings to give themselves and others

the necessary messages

which enable the individual to stay human.

They communicate acceptance,

love, a sense of identity, esteem,

shared values and beliefs

and shared memorable events.

Every ritual contains tender and sacred moments.

And in those moments of sensitivity

We are taken out of the normal flow of life,

And out of our routines.

We are then in an event

that is irreplaceable and sacred.

In ritual we participate in

something deep and significant.

They are moments which move our heart

And touch our spirit.

Qualities of a celebrant
Lionel Murphy also knew that the superficial, the unaware, were not the right persons to bring this about. The civil celebrant needs to have a rich skill-set and knowledge base. Murphy is on the record as asserting that the civil celebrant needed to have a "feel" for ceremony and be professional, knowledgeable, educated, creative, imaginative, inspired, well presented, idealistic, and well practised.

The civil celebrant should be a person inspired to improve lives at a deep and lasting level. For this reason they must be carefully chosen. The ideal is that they be educated in the humanities and trained to expertly co-create, creatively write and perform ceremonies.

Ceremonial occasions

 Marriage, or a wedding, is the flagship ceremony of every culture.
 Almost as important is the funeral or burial ceremony.
The funeral ritual, too, is a public, traditional and symbolic means of expressing our beliefs, thoughts and feelings about the death of someone loved.  Rich in history and rife with symbolism, the funeral ceremony helps us acknowledge the reality of the death, gives testimony to the life of the deceased, encourages the expression of grief in a way consistent with the culture's values, provides support to mourners, allows for the embracing of faith and beliefs about life and death, and offers continuity and hope for the living.
 Birth, i.e. a naming ceremony
Naming Ceremonies existed in human culture long before Christianity or any of the major religions came on the scene. Every community has a ceremony to welcome a new child into the world, to give that child recognition, and to celebrate the birth of new life.
 Baptism or christening ceremony
 Initiation (college orientation week)
 Puberty
 Social adulthood (Bar (or Bat) Mitzvah), coming of age ceremonies
 Graduation
 Award ceremonies
 Retirement
 Death (Day of the Dead)

 Spiritual (baptism, communion)
 Grand opening
 Aging

Celebration of events
Other, society-wide ceremonies may mark annual or seasonal or recurrent events such as:

 Vernal equinox, winter solstice and other annual astronomical positions
 Weekly Sabbath day
 Inauguration of an elected office-holder
 Occasions in a liturgical year or "feasts" in a calendar of saints
 Opening and closing of a sports event, such as the Olympic Games

Other ceremonies underscore the importance of non-regular special occasions, such as:

 Coronation of a monarch
 Victory in battle

In some Asian cultures, ceremonies also play an important social role, for example the tea ceremony.

Process

Ceremonies may have a physical display or theatrical component: dance, a procession, the laying on of hands. A declaratory verbal pronouncement may explain or cap the occasion, for instance:

 I now pronounce you husband and wife.
 I swear to serve and defend the nation ...
 I declare open the games of ...
 I/We dedicate this ...  ... to ...

Both physical and verbal components of a ceremony may become part of a liturgy.

See also

  which argues that while supernatural claims made by religion are false, some aspects of religion are still useful and can be applied in secular life and society.

Notes

External links

Anthropology
Social gatherings

Ceremony


Ma Yansong (; born in 1975 in Beijing) is a Chinese architect and founder of MAD architects. He serves as adjunct professor at School of Architecture, Tsinghua University, and the visiting professor at Beijing University of Civil Engineering and Architecture.

Early life and background
Ma Yansong was born in Beijing in 1975. He graduated from the Beijing University of Civil Engineering and Architecture, and holds a master's degree in Architecture from Yale University. He is currently a professor at the Beijing University of Civil Engineering and Architecture. During his master's degree in Yale, he first received attention for his project "Floating Islands". He founded MAD Architects in 2004.

Design philosophy: Shanshui City
The famous Chinese scientist Qian Xuesen proposed the concept of "Shanshui City" in the 1980s. In view of the emerging large-scale cement construction, he put forward a new model of urban development based on Chinese Shanshui spirit, which was meant to allow people to "stay out of nature and return to nature." However, this idealistic urban concept was not put into practice. As the world's largest manufacturing base, a large number of soulless "shelf cities" appeared in contemporary China due to the lack of cultural spirit. Qian Xuesen pointed out that modern cities' worship of power and capital leads to maximization and utilitarianism. "Buildings in cities should not become living machines. Even the most powerful technology and tools can never endow the city with a soul."
To Ma Yansong, Shanshui does not just refer to nature; it is also the individual's emotional response to the surrounding world. "Shanshui City" is a combination of city density, functionality and the artistic conception of natural landscape. It aims at composing a future city that takes human spirit and emotion at their cores.

Signature Projects

Architecture
  Absolute Towers, Mississauga, Ontario, Canada, 2006–2012, completed
Best Tall Buildings Americas, CTBUH "Council on Tall Buildings and Urban Habitat"
No.1, Skyscraper Awards 2012, EMPORIS.
Building of the Year 2012, ArchDaily.
Ordos Museum, Ordos, China, 2005–2011, completed
Best Museum, UED
Winner of "Metal in Architecture", WAN Awards, 2014
Hongluo Clubhouse, Beijing, China, 2005–2006, completed
Sino-steel International Plaza, Tianjin, China, 2006
Huangdu Art Center, Beijing, China, 2008
Hutong Bubble 32, Beijing, China, 2008–2009, completed
Fake Hills, Beihai, China 2008–2015, under construction
Best Architecture Multiple Residence, International Property Awards
Harbin Opera House, Harbin, China, 2008–2015, under construction
Taichung Convention Center, Taiwan, 2009
Harbin China Wood Sculpture Museum, Harbin, China, 2009–2012, completed
Huangshan Mountain Village, Huangshan, China, 2009–2016, under construction
2012 Top 10 Conceptual Architecture, Designboom
Urban Forest, Chongqing, China, 2009
National Art Museum of China, Beijing, China, 2011
Pingtan Art Museum, Pingtan, China, 2011–2016
Chaoyang Park Mixed-use, Beijing, China, 2013–2016
D21 Chinese Architecture Design in 21st Century, Beijing Design Week
Chinese Top 10 Buildings
Nanjing Zendai Himalayas Center, Nanjing, China, 2013–2017
Vertu, travelling Pavilion, Milan, Shanghai, Dubai, Beijing, London
Beijing 2050, Beijing, China
Rebuilt WTC, New York, USA
800m Tower, China
Changsha Culture Park, Changsha, China
KBH Kunsthal, Urban intervention, Copenhagen, Denmark
Lucas Museum of Narrative Art, Los Angeles, USA

Art

Shanshui - Experiment - Complex, Shenzhen, China, 2013
Moon Landscape, Beijing, China, 2013
"Shanshui City" Exhibition, Beijing, China, 2013
"Shansui City" for Audi City, Beijing, China
The Little Rock Fountain Journal
"The Floating Earth" for Alessi
Contemplating the Void in Guggenheim, New York, USA, 2009
Feelings are facts, Beijing, China, 2010
Monster's Footprint, Shenzhen, China, 2009
Superstar: A Mobile Chinatown (Uneternal City), Venice, Italy, 2008
Ink Ice, Beijing, China
Fish Tank

Awards and honors
2018    Prix Versailles World Judge
2014    100 Most Creative People in Business, Fast Company
2014    Chaoyang Park Plaza: Chinese Top 10 Buildings
2014    Sheraton Huzhou Hot Spring Resort: No.3, Skyscraper Awards 2013, EMPORIS
2013    Designer of the Year, Good Design
2013    D21 Young Chinese Architect Award
2013    Emporis for the world's best new skyscraper (Absolute Towers)
2013    2nd Audi Arts and Design Award in the category Designer of the Year
2012    The Best New High-rise building in the America's by the CTBUH "Council on Tall Buildings and Urban Habitat", (Absolute Towers)
2012    International Property Awards (Fake Hills)
2011    UED museum award (Ordos Museum)
2011    RIBA International Fellowship
2011    Fast Company – one of 10 most innovative companies in China
2009    Fast Company – one of 10 creative people in architecture
2008    ICON magazine – one of 20 most influential young architects
2006    Architecture League Young Architects Award
2001    American Institute of Architects Scholarship for Advanced Architecture Research

Exhibitions
2014	Shanshui City Exhibition, Solo Exhibition, Ullens Center for Contemporary Art (UCCA), Beijing, China
2014	"The Changing Skyline", Beijing Design Week, Beijing, China
2014	"Future Cities — High Mountain, Flowing Water" China Shan-Shui City Design Exhibition, Berlin, Germany
2014	Building M+: The Museum and Architecture Collection, Hong Kong, China
2013 	Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture, Shenzhen, China
2013         West Bund 2013: A Biennial of Architecture and Contemporary Art, Shanghai, China
2013      Palace of China – Architecture China 2013 exhibition, Segovia, Spain
2013    Shanshui City Exhibition, Solo Exhibition, Beijing, China
2012       Between the Modernity and Tradition, Solo Exhibition, ICO Museum, Madrid, Spain
2011      Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture, Shenzhen, China
2011       Beijing Design week, Beijing, China
2011       Chengdu Biennale: Changing Vistas: Creative Duration, Chengdu, China
2011       Living, The Louisiana Museum of Modern Art, Copenhagen Denmark
2011       Verso Est: Chinese Architectural Landscape, MAXXI, Rome, Italy
2010       Rising East: New Chinese Architecture, Vitra Design Museum, Weil am Rhein, Germany
2010       Feelings Are Facts, Olafur Eliasson+Ma Yansong, UCCA, Beijing, China
2009       Contemplating the Void: Interventions in the Guggenheim Museum, New York, USA
2008       Super Star, A Mobile China Town, Uneternal City, 11th Venice Architecture Exhibition, Italy
2008       China Design Now, Victoria and Albert Museum, London, UK
2007       MAD IN CHINA, solo exhibition, Danish Architecture Centre (DAC), Copenhagen, Denmark
2006       Shanghai Art Biennale, Shanghai, China
2006      MAD IN CHINA, Solo exhibition, Diocesi Museum, Venice, Italy
2006  MAD Under Construction, Solo Exhibition, Tokyo Gallery, Beijing, China
2004 1st Architecture Biennial Beijing, National Art Museum of China, Beijing, China

Quotes
 RIBA President Ruth Reed, in the jury report for the 2010 RIBA international Fellowship:
"Ma Yansong is a young Chinese architect – just 35 – who has come to architectural maturity at a time when his country is beginning to allow the freedom of expression so vital to the artist and sufficient freedom to the economy to allow
his ideas to be realized as buildings. His work expresses the tension between the individual imagination and the
needs of society as a whole."

References

Further reading
Instability-Craig Konyk,Anne Rieselbach,Architectural League of New York,Page 19
Conquering the west-Edwin Heathcote, Financial Times
Without imagination there's no history, interview, in STUDIO Architecture and Urbanism magazine, issue#02 Original, Milano, Romolo Calabrese Ed., 2012
 Sinuous 'Marilyn Monroe' towers shape city's future, CNN
 An empathetic twist, domus

External links
 i-Mad

Chinese architects
Artists from Beijing
Living people
1975 births
21st-century Chinese architects
Yale University alumni
Yale School of Architecture alumni

Ma Yansong


Philip Sheridan (March 6, 1831 – August 5, 1888) was a general in the Union army during the American Civil War. He was born in 1831 in New York and grew up in Ohio. He graduated from the United States Military Academy in 1853.

He started in the Western Theater in the Civil War. He commanded a brigade during the summer of 1862. By October 1862 he was in command of a division. In April 1864 he was transferred to the Army of the Potomac to command the cavalry corps.

After the war, Sheridan commanded the army during the American Indian Wars. He died in 1888 in Massachusetts.

Sheridan, Philip
Sheridan, Philip
Sheridan, Philip
Military people from Ohio

Philip Sheridan


Hurricane Daniel was the second strongest hurricane of the 2006 Pacific hurricane season. The storm affected Hawaii late in its lifetime, causing moderate rainfall and minor damage. The fourth named storm, third hurricane, and second major hurricane of the season, Daniel originated on July 16 from a tropical wave off the coast of Mexico. It tracked westward, intensifying steadily to reach peak winds of 150 mph (240 km/h) on July 22. At the time, the characteristics of the cyclone resembled those of an annular hurricane. Daniel gradually weakened as it entered an area of cooler water temperatures and increased wind shear, and after crossing into the Central Pacific Ocean, it quickly degenerated into a remnant low on July 26, before dissipating two days later.

Initial predictions suggested that the cyclone would pass through the Hawaiian Islands as a tropical storm; however, Daniel's remnants dissipated southeast of Hawaii. The storm brought light to moderate precipitation to the Island of Hawaii and Maui, causing minor flooding, although no major damage or fatalities were reported.

Meteorological history

Hurricane Daniel began as a tropical wave that moved off the west coast of Africa on July 2. The wave moved across the Atlantic Ocean and Caribbean Sea with little associated convection, and on July 12, it crossed Central America into the eastern Pacific Ocean. Convection increased on July 13, and two days later the system began to exhibit signs of tropical development to the south of Mexico. It tracked westward at about 15 mph (25 km/h), and on July 16, the disturbance became better organized. With convective rainbands near an associated low-level circulation, it is estimated the tropical wave spawned a tropical depression late on July 16. At the time, it was located about 525 miles (845 km) south-southwest of Manzanillo, Colima.

Classified as Tropical Depression Five-E, the system tracked westward under the steering currents of a mid-level ridge. In the hours after formation, the depression lacked a concentration of deep convection near the center. Conditions favored development, including warm sea surface temperatures, very low amounts of wind shear, and an established anticyclone over the cyclone. Convection became more centralized, coinciding with the improvement of upper-level outflow. Based on Dvorak classifications, it is estimated that the cyclone intensified into Tropical Storm Daniel at 12:00 UTC on July 17. Daniel quickly became better organized, exhibiting increased thunderstorm activity and banding features. A central dense overcast developed, and a well-defined rainband wrapped around the center of circulation. Based on the formation of an eye feature, the National Hurricane Center upgraded Daniel to hurricane status late on July 18 while it was located about 885 miles (1420 km) south-southwest of Cabo San Lucas.

On July 19, the eye of Daniel became apparent on satellite imagery, which organized into a pinhole eye. It underwent an eyewall replacement cycle as it turned to the west-northwest, temporarily halting its intensification trend, before quickly strengthening and attaining major hurricane status on July 20. Later that day, Hurricane Daniel organized into a very symmetric cyclone with a distinct eye about 30 miles (45 km) in diameter. Upon attaining Category 4 status on the Saffir-Simpson Hurricane Scale, the cyclone resembled the appearance of an annular hurricane; an annular hurricane is one with a large and symmetric eye, surrounded by a thick ring of intense convection, and usually is able to maintain its intensity and structure for several days. On July 21 the hurricane underwent another eyewall replacement cycle. After completing the cycle, Daniel attained its peak winds of 150 mph (240 km/h) early on July 22. It maintained peak winds for about 18 hours, and Daniel began a weakening trend as it crossed into an area of progressively cooler water temperatures. The eye became more distinct on July 23, before the cloud tops again warmed as the winds decreased.

The hurricane crossed into the area of forecast responsibility of the Central Pacific Hurricane Center on July 24, and upon doing so, its eye disappeared from satellite imagery. Daniel was forecast to track through the Hawaiian Islands as a tropical storm as water temperatures near the islands were warmer, and wind shear was expected to be minimal. However, it decelerated as the ridge to its north weakened, and due to the combination of cool waters and increasing easterly shear, Daniel weakened to a tropical storm on July 25. Later that day, no active convection remained near the exposed circulation center, and early on July 26, it weakened to tropical depression status. Thunderstorm activity failed to redevelop, and Daniel degenerated into a remnant low-pressure area by 00:00 UTC on July 27. The remnant low continued west-northwestward, dissipating just southeast of the Big Island of Hawaii on July 28.

Preparations and impact

When Hurricane Daniel was forecast to pass through the Hawaiian islands as a tropical storm, state and Hawaii County officials recommended residents prepare hurricane kits. They also suggested purchasing non-perishable foods and batteries. Initially, the storm was several days away from potentially affecting the state, and as a result, few residents rushed to prepare. The Honolulu National Weather Service issued a high surf advisory for east facing beaches in Hawaii, and warned beachgoers to remain out of the water. The National Weather Service issued a flash flood watch and wind advisory in association with the remnants of Daniel.

The remnants produced 2–5 inches (50–125 mm) of rainfall throughout windward areas of the Big Island of Hawaii and Maui on July 28 and 29. West Wailuaiki on Maui recorded 3.87 inches (98.3 mm) in one day, which was the highest daily rainfall total from the hurricane. The storm also dropped precipitation on the East Maui watershed. The rainfall particularly in Kailua-Kona on the Big Island caused ponding on roadways, as well as flooding of small streams. However, no injuries or serious damage were reported. A station in Ka Lae briefly reported sustained winds of about  with gusts to .

During the 61st Interdepartmental Hurricane Conference, the Hawaii State Civil Defense requested the retirement of the name Daniel, citing that it became one of the several storms memorable for threat or damage. However, the World Meteorological Organization did not approve the request.

See also

 List of Hawaii hurricanes
 Other storms of the same name
 Timeline of the 2006 Pacific hurricane season
 List of Category 4 Pacific hurricanes
 Hurricane Hector (2018) – another strong Category 4 annular hurricane with a similar track.

References

Daniel
Daniel (2006)
Daniel (2006)
2006 in Hawaii
July 2006 events in North America
July 2006 events in Oceania
Daniel

Hurricane Daniel (2006)


The 3rd Guards Airborne Division was a Red Army division of World War II. In December 1945 it appears to have become 125th Guards Rifle Division, while serving with 35th Guards Rifle Corps, 27th Army, Carpathian Military District.

History
The 3rd Guards Airborne Division was formed on 8 December 1942 after the disbanding of the 8th Airborne Corps. The division was placed under the 1st Shock Army on 6 February 1943 for the attack on the Demyansk Pocket. When the attack began on 26 February, the attached tanks of the 37th Separate Tank Regiment became bogged down in the snow, and German resistance slowed the advance. The division captured Sosnovka by 5 March and was on the eastern bank of the Porus River on 11 March. On the next night, the division was replaced by the 9th Guards Airborne Division.

The division was reassigned to the 53rd Army south of Maloarkhangelsk. As part of the 13th Army and 60th Army, the 3rd Guards Airborne fought in the Battle of Kursk and the Chernigov-Pripyat Offensive. On 9 September, the division captured Bakhmach. After capturing Oster, the division crossed the Desna River and fought to expand the bridgehead on the right bank of the Dnieper to Hornostaipil.

The division fought in the Battle of Kiev, capturing Dymer, Radomyshl and Korostyshiv. In November and December 1943, the 3rd Guards Airborne thwarted German counterattacks in the Kiev defensive operation. It then fought in the Zhitomir–Berdichev Offensive. In January and February 1944, the division fought in the Battle of the Korsun–Cherkassy Pocket. On 3 March 1944, the division became part of the 35th Guards Rifle Corps of the 27th Army. Three days later, the division crossed the Hirsky Tikych, which allowed the capture of Khrystynivka and Uman, for which it was given the title Uman.

Fighting in the Uman–Botoșani Offensive, the division crossed the Southern Bug, the Dniester and the Prut, capturing Trostianets, Ladyzhyn, Tulchyn and Mohyliv-Podilskyi. On 26 March, the division reached the Prut after capturing Edineț on the Romanian border. For its performance in crossing of the Dniester and the Prut, the division was awarded the Order of the Red Banner and the Order of Suvorov 2nd class. The division crossed the Siret River at Pașcani and held the bridgehead against counterattacks. After the end of the offensive, the division rested before the Second Jassy–Kishinev Offensive. On 20 August, in concert with the 104th Rifle Corps, the division attacked in the direction of Bacău, Vaslui and Huși, seeking to destroy Army Group South Ukraine.

The division attacked Hill 155 in cooperation with the 27th Guards Tank Brigade, capturing the first and second trenches. The 8th Guards Airborne captured Hill 177, a center of German resistance, within 8 hours. The 8th and 10th Guards Airborne broke through the German line and crossed the Bahlui River. On 25 August, the division captured Bârlad, which forced the Germans back to Focșani and Ploiești. On the 27th, the division captured Focșani and then Ploiești in cooperation with the 93rd Guards Rifle Division. The division advanced 296 kilometers and had reached Turda by 15 September.

In the Battle of Debrecen, the 3rd Guards Airborne captured Cluj-Napoca and entered Hungary. On the night of 7 November, the division crossed the Tisza and took Füzesabony on 11 November. In conjunction with the 110th Guards Rifle Division, the division captured Eger on 30 November. Moving westward, the division entered Czechoslovakia on 1 January 1945. The division stopped counterattacks during the Siege of Budapest. In March 1945, the division repelled Operation Spring Awakening. After assisting the 4th Guards Army in the capture of Székesfehérvár on 22 March, in an action for which it gained the Order of Kutuzov 2nd class, the division captured Zalaegerszeg on 29 March.

Days later, the division entered Austria at Fürstenfeld. The division entered Graz on 9 May at the end of the war and met British troops on the Mur at Bruck an der Mur. The 3rd Guards Airborne became part of the Southern Group of Forces on 15 June and returned to Tulchyn on 13 August. On 20 December 1945 it became the 125th Guards Rifle Division with the 35th Guards Rifle Corps. The 125th Guards Rifle Division was disbanded sometime in 1946.

Composition

 2nd Guards Airborne Regiment
 8th Guards Airborne Regiment
 10th Guards Airborne Regiment
 2nd Guards Airborne Artillery Regiment
 4th Guards Separate Antitank Battalion
 7th Guards Separate Reconnaissance Company
 9th Guards Sapper Battalion

Awards

Heroes of the Soviet Union
 Alexei Arapov
 Oleg Kokushkin
 Alexander Kolesov
 Ivan Nikitich Konev
 Nikolay Korolyov
 Pyotr Kuznetsov
 Georgy Morosov
 Pavel Papin
 Alexey Polosin
 Mikhail Solovyov
 Nikolai Usenko
 Aleksandr Yunev
 Ghali Zakirov

References

003
Military units and formations established in 1942
Military units and formations disestablished in 1945
Military units and formations awarded the Order of the Red Banner

3rd Guards Airborne Division


The Château de Hohenfels is a castle situated in the commune of Dambach, in the Bas-Rhin département of France.

History

The castle was built at the end of the 13th century and recorded in a document for the first time in 1293. It was destroyed by troops from Strasbourg and Haguenau in 1423, and again during the German Peasants' War in 1525.

The semi-troglodytic castle is built on a sandstone table, separated from the crest of the hill by a ditch dug into the bare rock. The castle was built with six floors and allowed surveillance of the access roads towards Lorraine. It was certainly altered in the 15th century.

Visible remains

 Remains of the old wall closing the lower courtyard.
 The surrounding wall of large dressed stones.
 The cistern cut into the sandstone and its water collection system.
 Of the lower courtyard, only fragments of walls and a cistern remain.
 The western platform has kept some remains as well as a room cut out of the rock.
 The manor house, at the eastern end of the summit, has kept its north wall of dressed stones up to three levels.

Hohenfels was the first castle in Alsace to undergo properly scientific archaeological digs.

The castle has been classified since 1985 by the French Ministry of Culture as a monument historique.

See also
 List of castles in France

References

External links

 Official site of the commune

Ruined castles in Bas-Rhin
Monuments historiques of Bas-Rhin

Château de Hohenfels


David A. Brancaccio (; born May 17, 1960) is an American radio and television journalist. He is the host of the public radio business program Marketplace Morning Report and the PBS newsmagazine Now.

Biography

Early years
Brancaccio was born in New York City and grew up in Waterville, Maine. His father is Italian American and his mother is Ashkenazi Jewish American. He began his career in broadcasting on WTVL radio in 1976 at the age of fifteen. He received a Bachelor of Arts in African Studies and History from Wesleyan University in 1982 and a master's in journalism from Stanford University in 1988.  He traveled widely, spending his fourth grade in Rome, his ninth grade in Fort Dauphin, Madagascar and his senior year in college in Legon, Ghana.

Career
In 1989, Brancaccio began contributing to the public radio program Marketplace. He was first named as the program's European editor based in London. Brancaccio became senior editor and host of Marketplace in 1993. From London, Brancaccio also contributed diplomatic and feature coverage for the radio service of the Christian Science Monitor. During Brancaccio's tenure as host, Marketplace received the DuPont-Columbia Award (1998) and the George Foster Peabody Award (2001). He anchored the television newsmagazine, California Connected, that aired on many Californian PBS stations, from 2002 to 2003.

In 2003, Brancaccio left Marketplace to join Bill Moyers on Now. Brancaccio was co-host for over a year prior to Moyers' retirement at the end of 2004. On his last Now broadcast, Moyers had this to say about Brancaccio:

Among his beats: business innovation and the economy, politics, human rights, national security, the environment, health care, and science policy.

In 2007, Brancaccio won a national Emmy for coverage of a public health story in Kenya.  In 2009, he won a Walter Cronkite Award for excellence in television political coverage. He also holds the David Brower award for Environmental Coverage from the Sierra Club. In 2005, Brancaccio conducted the last, long-form television interview with the legendary author Kurt Vonnegut. The last episode of Now was broadcast April 30, 2010.

Brancaccio is a contributor to several broadcast, electronic, and print media, including CNN, CNBC, MSNBC, The Wall Street Journal, The Nightly Business Report, Wall Street Week with Fortune, The Baltimore Sun and Psychology Today.  In 2000, his book, Squandering Aimlessly, was published, his account of a pilgrimage across America to learn how Americans apply their personal values to their money. He also lectures widely about the future of the economy and the role of journalism in a democracy.

Brancaccio's documentary film Fixing the Future, directed by Emmy winning filmmaker Ellen Spiro, exploring more sustainable options for the economy, was released in theaters in 2012.

In 2011, Brancaccio returned to American Public Media's Marketplace as a correspondent covering new economy issues and tech/innovation. He is now host and senior editor of the popular business program The Marketplace Morning Report from 6:51 am Eastern to 7:51 am Pacific on public radio stations nationwide.

Personal life
Brancaccio lives in South Orange, New Jersey, with his wife, Mary, an educator and poet. He is an avid photographer and bicyclist.

Awards
 2018 Gerald Loeb Award for Audio for "Robot-Proof Jobs" produced for Marketplace.

Bibliography

References

External links

 David Brancaccio's official website
 Now website

 Marketplace's farewell to David, featuring a timeline, slideshow, and audio clips
 "Robot-Proof Jobs", 2018 Gerald Loeb Award winner for Audio

American television news anchors
PBS people
People from Waterville, Maine
Public Radio International personalities
Stanford University alumni
Wesleyan University alumni
1960 births
Living people
People from South Orange, New Jersey
Gerald Loeb Award winners for Audio and Video
21st-century American journalists
20th-century American journalists

David Brancaccio


Norman E. Gibbs (November 27, 1941 – April 25, 2002) was an American software engineer, scholar and educational leader.

He studied to a B.Sc. in mathematics at Ursinus College (1964) and M.Sc. (1966) and Ph.D. (1969) in Computer Science at Purdue University, advised by Robert R. Korfhage.  His research area was cycle generation, an area in graph theory.
Gibbs joined the faculty at Bowdoin College in Maine, Arizona State University and College of William and Mary (mathematics) in Virginia before moving to Pittsburgh, joining Carnegie Mellon University as professor of computer science and becoming the first director of the educational program at the Software Engineering Institute (1987–97).  Since then he was chief information officer at Guilford College in Greensboro and University of Connecticut, jointly serving as professor of Operations and Information management.  He eventually worked for Ball State University as chair of computer science (2000–02).

Articles
A cycle generation algorithm for finite undirected linear graphs, in Jnl. of the ACM, 16(4):564-68, 1969.
Tridiagonalization by permutations, in Comm. of the ACM, 17(1):20-24, 1974 (with William G. Poole, jr.)
Basic cycle generation, in Comm. of the ACM, 18(5):275-76, 1975
An Algorithm for Reducing the Bandwidth and Profile of a Sparse Matrix, in SIAM Jnr. of Numerical Analysis, 13(2):236-250, 1976 (with W. G. Poole and Paul K. Stockmeyer
A hybrid profile reduction algorithm, ACM Trans. on Math. Softw., 2(4):378-387, 1976
An introductory computer science course for all majors, ACM SIGCSE, 9(3):34-38, 1977
A model curriculum for a liberal arts degree in computer science, Comm. of the ACM, 29(3):202-210, 1986 (with Allen B. Tucker)
A Master of Software Engineering Curriculum: Recommendations from the Software Engineering Institute, IEEE Computer, 22(9):59-71, 1989 (With Gary A. Ford)
Software Engineering and Computer Science: The Impending Split?, in Educ. & Computing. 7(1-2):111-17, 1991

Books
Principles of data structures and algorithms with Pascal (William C. Brown Publ.,1987).  With Robert R. Korfhage
Software Engineering Education: The Educational Needs of the Software Community (editor, with Richard E. Farley, 1987)

References

1941 births
2002 deaths
American computer scientists
20th-century American mathematicians
21st-century American mathematicians
20th-century American educators
Carnegie Mellon University faculty
Purdue University alumni
Software engineering researchers
Ursinus College alumni
Guilford College faculty
Chief information officers
Computer science educators

Norman E. Gibbs


Cerebrospinal fluid (CSF) bathes and protects the central nervous system (the brain and the spinal cord). "Cerebro" means "brain"; "spinal" is a short version of "spinal cord"; and fluid is a liquid.

CSF is made by networks of blood vessels called choriod plexuses in each of the brain's four ventricles.

CSF flows through the subarachnoid space – the space between the two layers of meninges that are closest to the brain (the arachnoid layer and the pia mater). CSF also fills the brain's ventricles, and flows down the middle of the spinal cord (the central canal).

Contents
CSF is created from blood plasma (the liquid part of blood), so CSF's contents are very similar to plasma's.  CSF is 99% water.  It carries:
 Protein (though much less than plasma carries)
 Glucose (sugar)
 Nutrients
 Neurotransmitters (chemical messengers)
 Electrolytes (salts), like sodium, potassium, calcium, magnesium, and chloride.

There should be very few white blood cells in the CSF, or none at all.  There should be no red blood cells in the CSF.

What CSF does to the brain and the surrounding components

CSF helps the brain float
Being surrounded by CSF helps the brain float inside the skull, like a buoy in water.  Because the brain is surrounded by fluid, it floats like it weighs only 2% of what it really does.  If the brain did not have CSF to float in, it would sit on the bottom of the skull.  The brain's weight would push the bottom of the brain against the skull.  Blood would not be able to get to the bottom of the brain because the blood vessels would be getting crushed by the weight of the brain on top of them.  Without getting blood (and the oxygen it carries), the neurons in the bottom of the brain would die.

CSF is the brain's cushion
CSF protects the brain by acting like a cushion.  Without CSF, every time a person moved their head, their brain would hit the inside of their skull.  This could injure the brain.

When a person hits their head, CSF acts like the airbag in a car and can sometimes keep the brain from slamming into the inside of the skull.  However, when a person hits their head very hard – in a car accident, for example – the CSF cannot protect the brain from hitting the skull.  This can cause concussions, bleeding in the brain, brain damage, or even death.

CSF rinses toxins out of the brain

The brain's cells do chemical reactions to change one chemical to another chemical that the brain needs.  Sometimes, after a chemical reaction, chemicals that the brain does not need are left over.  These chemicals are called "waste products."  For example, when the brain's cells use oxygen and glucose (sugar) to create energy, carbon dioxide (CO2) is left over.  Too much carbon dioxide can poison the brain.

To keep waste products from building up in the CSF, the choroid plexuses make new CSF about four times a day.  The old CSF drains out into the bloodstream, bringing waste products and toxins with it.  In this way, the CSF rinses things that could hurt the brain out into the bloodstream.  The bloodstream can then carry these chemicals to organs that can get rid of them, like the kidneys and the lungs.  For example, the bloodstream carries carbon dioxide to the lungs, where it can be breathed out.

Testing CSF
Doctors can use samples of CSF to find out if a person has a brain infection, like meningitis, encephalitis, or syphilis.  CSF samples can also show bleeding from certain parts of the brain.  Swelling in the brain, caused by some inflammatory diseases like multiple sclerosis, can show in a CSF sample as well.

Usually, doctors take samples of CSF by doing a lumbar puncture (spinal tap).

Results
Normal CSF should be clear and colorless, with no red blood cells, and very few white blood cells.

Signs of a brain infection include:
 CSF that is cloudy, yellow, or pink
 More protein in the CSF than normal
 More white blood cells in the CSF than normal
 Less glucose (sugar) in the CSF than normal
 Bacteria, viruses, fungi, or other pathogens in the CSF

Protein levels that are higher than normal can be a sign of inflammation in the brain.  However, they can also be a sign of other problems, like a bleed in the brain; a brain tumor; epilepsy; and "acute alcoholism."

Cancer cells in the CSF are a sign that a person has brain cancer, or has cancer that started somewhere else and spread to the brain.

Problems with CSF

Too much
Head injuries and some diseases can make too much CSF build up in the brain.  This is called hydrocephalus.  The extra fluid puts pressure on (squeezes) the brain.  This is called increased intracranial pressure.  If the pressure gets high enough, the brain's blood vessels get crushed, and blood cannot get to the brain.  If a person's brain does not get enough blood and oxygen, they will become unconscious and their brain cells will die.  Eventually, the person will die.

Without treatment, 6 out of every 10 people with hydrocephalus will die.  The rest will have physical disabilities, intellectual disabilities, and/or other brain problems.

Not enough

Some problems can cause CSF to leak out through a hole or tear in the dura mater (the layer of the meninges that is next to the skull and the bones of the spinal cord).  CSF leaks are usually a complication of a lumbar puncture or certain kinds of surgery on the head, neck, or brain.  However, an injury to the head or spine can also cause a CSF leak.  Sometimes, doctors cannot find a cause for a CSF leak.

Most people with CSF leaks get better on their own, after the hole in the dura mater heals.  However, some CSF leaks can cause serious complications:
 Bacteria, viruses, or other pathogens can get in through the same hole CSF is leaking out of.  This can cause brain infections like meningitis.
 Without enough CSF to float in, the brain sits on the bottom of the skull.  The brain's weight can:
 Crush the blood vessels in the bottom of the brain
 Press on the brainstem, causing very low blood pressure
 Push the brain down through the hole in the bottom of the skull, where the brainstem turns into the spinal cord.  This can cause paralysis, brain damage, coma, and death.

Related pages
 Central nervous system
 Brain
 Spinal cord
 Meninges

References

Anatomy of the nervous system
Brain

Cerebrospinal fluid


Kahwah (also transliterated as qehwa, kehwa or kahwa) is the traditional preparation of green tea (Camellia sinensis) widely consumed in India, Pakistan, Afghanistan, Iran, some regions of Central Asia.

Preparation

Kashmiri kahwah is made by boiling green tea leaves with local saffron, cinnamon, cardamom and occasionally Kashmiri roses. It is generally served with sugar or honey and crushed nuts, usually almonds or walnuts. Some varieties are made as a herbal infusion only—without the green tea leaves.

Traditionally, kahwah is prepared in a copper kettle known as a samovar. A samovar, which originates from Russia, consists of a fire container running as a central cavity, in which live coals are placed to keep the tea warm. Around the fire container there is a space for water to boil and the tea leaves and other ingredients are mixed with the water. Kahwah may also be made in normal pots and kettles, as modern day urban living may not always permit the use of elaborate samovars. Sometimes milk is added to the Kahwah, but this is generally given to the elderly or the sick.

Peshawari Qehwa (a variety of Kahwah found in Khyber Pakhtunkhwa) is traditionally made with Jasmine tea and green cardamom. It is famously served at chaikhanas (or tea houses) of Qissa Khwani Bazaar. It has always been a part of rich Kashmiri culture.

History
While its exact origins are unclear, kahwa tea leaves are said to have come to Kashmir through the Spice Route, which Kashmir was a central point of. Many believe that it originated during the Kushan empire in the first and second century AD. The word Kahwah in Kashmiri means "sweetened tea", though the word also seems to be related to the Turkish word for coffee (kahve) which in turn might be derived from the Arabic word "qahwah."

Traditionally, Kashmiris have always referred to kahwa as Mogul chai. Meaning this tea was introduced in the valley back then by the Mughal emperors. Historically, kahwah has been popular as a drink throughout Kashmir, Afghanistan, Central Asia, Iran and the Middle East. Even today, it remains a popular drink of choice in these regions.

Modern usage and popularity
Today, this historically popular drink is usually served to guests or as part of a celebration dinner, and saffron (kong) is added to the kahwah for special visitors in Kashmir. It is often served in tiny, shallow cups. Kehwa in Kashmir is also commonly served after Wazwan and elaborate family dinners. The green tea leaves are brought in from the neighbouring Kangra region which has been known to historically export green tea to Kashmir, Afghanistan and other parts of Central Asia.

References

Blended tea
Green tea
Afghan cuisine
Kashmiri cuisine
Pakistani tea
Pashtun cuisine
Omani cuisine
Indian tea
Iranian drinks
Central Asian cuisine

Kahwah