French submarine Joule

French submarine "Joule" (Q84) was a Laubeuf type submarine of the "Brumaire" class, built for the French Navy prior to World War I.
Design and construction.
"Joule" was ordered by the French Navy as part of its 1906 programme and was laid down at the Toulon Naval Yard in November of that year. Work progressed slowly, and she was not launched until 7 September 1911. She was commissioned on 10 May 1912.
"Joule" was equipped with licence-built M.A.N. diesel engines for surface propulsion, and electric motors for power while submerged. She carried eight torpedoes, two internally and six externally.
"Joule" was named for James Prescott Joule, the 19th century British physicist.
Service history.
At the outbreak of the First World War "Joule" was part of the French Mediterranean Fleet. In the spring of 1915 she was dispatched as part of a French task force to assist in the naval assault on the Dardanelles, the first stage of the Gallipoli campaign.
At the end of April, under the command of Lt. L Aubert Dupetit-Thouars, "Joule" began an attempt to penetrate the straits in order to attack Turkish shipping in the Sea of Marmara. However, on 1 May 1915 all contact was lost. It was later established "Joule" ran into a Turkish minefield, struck a mine, and was sunk. All 31 of her crew were lost.


Tjunkaya Tapaya

Tjunkaya Tapaya (born 1947) is an Aboriginal Australian artist. She is most recognised for her batik work and is one of the best-known batik artists in Australia. Her works also include acrylic paintings, weaving, ceramics, wood carving, and printmaking. Most of Tapaya's paintings depict places and events from her family's dreaming stories. Her batik work is of the classic Ernabella style, which eschews the Indonesian use of repeated block printed designs in favour of hand-drawn freehand designs or ""walka". These "walka" are pure design and do not refer to, or contain reference to, dreamings or "tjukurpa".
Tapaya is a member of the Pitjantjatjara people. She was born in the desert in the far northwest of South Australia. Her mother had walked from Walytjitjata, in the Northern Territory, and arrived at Ernabella Mission shortly after Tapaya's birth. Ernabella was run by missionaries at the time, and Tjunkaya grew up there. The craft room at Ernabella Mission was established in 1948 and nurtured the artistic talents of Tapaya and other children and adults living on the mission. The craft room taught spinning and weaving originally but later added batik and painting to its activities, and later still became a professionally run Aboriginal-owned incorporated arts enterprise known as Ernabella Arts, after the mission was closed and the land returned to its traditional Pitjantjatjara owners.
Like most early artists in her community, Tjunkaya's original style came from "milpatjunanyi" – an ancient Western Desert practice of drawing in the sand to tell stories to children. This is the basis of the classic Ernabella "walka"".
Ernabella women began to be taught batik making in 1971. In 1974, Ernabella Arts sent Tapaya to Yogyakarta with several other Pitjantjatjara women to learn more about making batik from Indonesian artists.
Tapaya's work has been shown in several exhibitions in Australia, Europe, North America, and Southeast Asia. Tapaya has work in the National Gallery of Victoria, the State Library of South Australia, the Queensland Gallery of Modern Art, the National Gallery of Australia, the National Museum of Australia, and the British Museum.
On 8 June 2020, in the 2020 Queen's Birthday Honours, Tapaya was awarded a Medal of the Order of Australia (OAM) in recognition of her service to Indigenous visual arts and the community.


A Shoemaker a Gentleman

A Shoemaker a Gentleman is a Jacobean era stage play, a comedy written by William Rowley. It may be Rowley's only extant solo comedy.
Nineteenth-century scholars and critics generally classified four plays as solo Rowley works — the tragedy "All's Lost by Lust" and the comedies "A Shoemaker a Gentleman", "A Match at Midnight", and "A New Wonder, a Woman Never Vexed". Twentieth-century researchers have questioned Rowley's sole authorship of the latter two dramas.
Publication.
"A Shoemaker a Gentleman" was entered into the Stationers' Register on 28 November 1637, and first appeared in print in 1638, in a quarto printed and published by John Okes and sold by the stationer John Cooper (or Cowper). This 1638 quarto was the only edition of the play in the seventeenth century. Authorship is assigned to "W. R." on the title page.
Date and performance.
The date of the play is not known with certainty, and its early performance history is largely a blank. The title page of the 1638 quarto states that the work was "sundry times acted at the Red Bull and other theaters, with general and good applause." Okes' dedication of the play to the guild of shoemakers also mentions the play's popularity, and states that "some twenty years agone, it was in the fashion." This suggests a date c. 1618 for the play's origin, though the "twenty years" figure could be only an approximation. Commentators have suggested dates of authorship as early as c. 1608.
The comic subplot of the play was extracted and performed as a "droll," and was often staged at Bartholomew Fair and Southwark Fair during the middle and later decades of the seventeenth century. The play was revived at least once during the Restoration era.
Sources and influences.
Rowley drew upon several sources for the plot of his play, notably William Caxton's "The Golden Legend" and Thomas Deloney's "The Gentle Craft". (Deloney's work also inspired Thomas Dekker's famous play "The Shoemaker's Holiday".) Rowley depended on the "Chronicles" of Raphael Holinshed for his account of the early Christian martyr St. Alban ("Albon" in the play).
"A Shoemaker a Gentleman" shares a range of resemblances and common features with other plays of its era. Its general ambience is strongly similar to Dekker's "Shoemaker's Holiday". Its setting in ancient Britain, and its plot device of the two British princes living humble lives in disguise and under assumed names, suggests Shakespeare's "Cymbeline". The play also bears a significant inter-relationship with "The Birth of Merlin", another play in the Rowley canon.
Genre.
"A Shoemaker a Gentleman" is securely in the tradition of the popular realistic comedy of its era. Additionally, its serious subplot shows the influence of the religious and hagiographic drama of the later Middle Ages. The saints' plays that characterized that era had largely passed out of fashion by Rowley's generation, though they could still exert some influence — Dekker and Massinger's "The Virgin Martyr" (1622) being the obvious example. Rowley includes a comparable religious subplot in "The Birth of Merlin".
Synopsis.
The play is set in Roman Britain in the period around 300 CE, during the reign of Diocletian and Maximian. (The latter is called "Maximinus" in the play.) The opening scene shows the Roman army in battle with the fictitious British king Allured. Allured is killed in the fighting, and his Queen (otherwise unnamed) insists that her sons, Elred (or Eldred) and Offa, flee the field to avoid death or capture. The two princes reluctantly comply; the Queen is apprehended by the Romans. Her speeches to the two emperors reveal that she is a Christian.
Elred and Offa assume humble disguises, Elred calling himself Crispianus, and Offa, Crispinus or Crispin. They make for Faversham in Kent become apprentices for the (otherwise unnamed) Shoemaker and his wife. This couple and their other apprentices, Barnaby and Raphe, provide much of the play's overt comedy. The Shoemaker supplies footwear to the princess Leodice, the daughter of Maximinus; it is through this connection that Leodice meets, and quickly falls in love with, Offa/Crispin. Conversations between Leodice and her Nurse (who resembles the Nurse in "Romeo and Juliet") reveal the princess's infatuation; they also specify that both Diocletian and Maximinus climbed to their present high stations from humble beginnings. Crispin's touching and measuring Leodice's feet provides risqué humor. Soon enough, Leodice reveals her feelings to Crispin, and the two enter into a secret marriage.
While Crispin is out with Leodice, a press gang from the Roman army comes to the Shoemaker's shop looking for new soldiers; Elred/Crispianus, motivated by his innate princely valor, is willingly drafted. The military action has shifted from Britain to northern Germany, where the Romans are fighting the Goths and Vandals. Crispianus fights bravely and distinguishes himself in combat. When Diocletian and the Romans' eagle insignia are captured by Huldrick, king of the Goths, Crispianus rescues the emperor and the eagle; he kills Huldrick and captures Roderick the Vandal king, making himself the great hero of the victory.
Among the Roman force is an officer called Albon. Under the influence of the Christian hermit Amphiabel, Albon converts to Christianity. The emperors discover his conversion, and capture and torture both Albon and Amphiabel. Both go to martyrdom true to their faith.
When the Roman army returns to Britain they are mistaken for an invading force; a public panic ensues. Leodice is by now expecting her first child with husband Crispin; amid a good deal of rushing about with the Nurse and hostile comments from the Shoemaker's wife, the princess gives birth. By the play's end, both Crispin and Crispianus are recognized as the royal princes they are. In light of Crispianus' military heroism and Crispin's marriage with Leodice, the emperors accept them as client kings, Offa/Crispin ruling the north of Britain and Elred/Crispianus ruling the south. Their mother the Queen is released from captivity; their Christianity, despite previous persecutions, is accepted.
The play's subplot relates the story of St. Winifred, though Rowley places it three centuries earlier than historical accuracy would dictate. Winifred is a young noblewoman pursued by suitors, most prominently a Welsh nobleman called Sir Hugh; but Winifed desires to follow her religious vocation in preference to marriage. Her choice is validated when an angel appears to her at St. Winifred's Well. Sir Hugh agrees to a three-month suspension of his suit; but even after that time, Winifred is determined to refuse him. Discouraged by the Britons' military defeat and his own rejection, Hugh abandons his high station to pursue a humble life; he too becomes an apprentice in the Shoemaker's shop. Eventually Winifred is apprehended by the Romans and martyred; Sir Hugh loyally remains by her side and joins her in martyrdom, dying apparently from grief. Sir Hugh's status as nobleman, shoemaker, and martyr earns the trade of shoemaking the honorific of "the gentle craft," and the shoemakers' tools are from then on known as "St. Hugh's bones."


Steve Ripley

Paul Steven Ripley (January 1, 1950 – January 3, 2019) was an American recording artist, record producer, songwriter, studio engineer, guitarist, and inventor. He entered the music industry in 1977. He was also the leader/producer of country rock band The Tractors.
Early life and education.
Ripley was born in Boise, Idaho, but grew up in Oklahoma: he attended Glencoe High School in Glencoe, Oklahoma, and graduated from Oklahoma State University.
Career.
The first usage of Red Dirt was by Ripley's band Moses when the group chose the label name Red Dirt Records for their 1972 self-published live album. Ripley was inducted into the Oklahoma Music Awards Red Dirt Hall of Fame along with Bob Childers and Tom Skinner at the ceremony for the First Annual Red Dirt Music Awards held on Sunday, November 9, 2003 at Cain's Ballroom in Tulsa. As a producer, recording engineer, and studio musician, he has worked with Bob Dylan, playing guitar (on "Shot of Love") and on the "Shot of Love" tour, with J. J. Cale (on "Shades", "8" and "Roll On"), and he produced Clarence "Gatemouth" Brown and Roy Clark (on "Makin' Music") and Johnnie Lee Wills (on "Reunion"). Bob Dylan listed Ripley as one of his favorite guitarists.
Ripley started Ripley Guitars in 1982 in Burbank, California. He created guitars for Steve Lukather, J. J. Cale, John Hiatt, Ry Cooder, Jimmy Buffett and Eddie Van Halen, before moving to Tulsa in 1987 to buy Leon Russell's former recording studio called The Church Studio. In 1994 he formed the country band, The Tractors. He is the co-writer of the country hit "Baby Likes to Rock It". In 2002, he created his own record label (Boy Rocking Records) to produce artists including The Tractors, Leon Russell and The Red Dirt Rangers. In 2009, he produced and hosted a 20 part radio series on the history of Oklahoma rock and roll, that aired on Oklahoma public radio stations. It was entitled "Oklahoma Rock and Roll with Steve Ripley." In 2013 Ripley produced the album "Lone Chimney" by the Red Dirt Rangers.
In 2015, Ripley worked alongside staff at the Oklahoma Historical Society to create a "Church Studio" exhibit space at the Oklahoma History Center. He remastered several of Leon Russell's songs that were available in a touchscreen kiosk that allowed a visitor to adjust individual instruments and vocal tracks to comprehend how multitrack recording works.
In 2016 Ripley produced and curated a concert at Cain's Ballroom to celebrate the music and legacy of Bob Dylan.
Death.
Ripley died from cancer on January 3, 2019, two days after his 69th birthday, at his home in Pawnee, Oklahoma.


Louis-Ulysse Chopard

Louis-Ulysse Chopard (May 4, 1836 – January 30, 1915) was a Swiss watchmaker and entrepreneur who was the founder of the luxury manufacturing and retail corporation Chopard.
Biography.
Louis-Ulysse Chopard was the second son of Félicien Chopard and his wife Henriette, who had four children. Félicien was an experienced framer and a man of tradition who encouraged his sons to learn the watchmaking trade.
As a young man, Louis-Ulysse Chopard quickly grasped the fact that it was the comptoirs or watch dealerships that earned the greatest profit from the work of the framers. Each spring, the agents picked up the movements, fitted the dials and hands, cased up the finished movements and they marketed the finished watches. It was therefore better to work independently and Louis-Ulysse wanted his own brand. He created his L.U.C manufacturing company in Sonvilier, Switzerland at the age of 24, in 1860.
No watches were mass-produced but his clever blend of artistry and functionality soon won over a large number of customers. Having grasped that foreign markets represented the future of his timepieces, he set off to canvass customers in Eastern Europe, Russia and Scandinavia. In 1912, he visited Poland, Hungary and the Netherlands with his finest creations. Chopard chronometers and watches marked the passing of time at the court of Nicholas II of Russia. Louis-Ulysse Chopard had won himself an international clientele.
In 1859 and 1870 he had two children, Paul-Louis and Ida Hélène.


Foil bearing

A foil bearing, also known as a foil-air bearing, is a type of air bearing. A shaft is supported by a compliant, spring-loaded foil journal lining. Once the shaft is spinning fast enough, the working fluid (usually air) pushes the foil away from the shaft so that no contact occurs. The shaft and foil are separated by the air's high pressure, which is generated by the rotation that pulls gas into the bearing via viscosity effects. The high speed of the shaft with respect to the foil is required to initiate the air gap, and once this has been achieved, no wear occurs. Unlike aerostatic or hydrostatic bearings, foil bearings require no external pressurisation system for the working fluid, so the hydrodynamic bearing is self-starting.
Development.
Foil bearings were first developed in the late 1950s by AiResearch Mfg. Co. of the Garrett Corporation using independent R&D funds to serve military and space applications. They were first tested for commercial use in United Airlines Boeing 727 and Boeing 737 cooling turbines in the early and mid-1960s. Garrett AiResearch air cycle machine foil bearings were first installed as original equipment in 1969 in the DC-10's environmental control systems. Garrett AiResearch foil bearings were installed on all US military aircraft to replace existing oil-lubricated rolling-contact bearings. The ability to operate at cryogenic gas temperatures and at very high temperatures gave foil bearings many other potential applications.
Current-generation foil bearings with advanced coatings have greatly exceeded the limitations of earlier designs. Antiwear coatings exist that allow over 100,000 start/stop cycles for typical applications.
Applications.
Turbomachinery is the most common application because foil bearings operate at high speed. The main advantage of foil bearings is the elimination of the oil systems required by traditional bearing designs. Other advantages are:
Areas of current research are:
The main disadvantages are:


Building Setback


SS Isaac Shelby

SS "Isaac Shelby" was a Liberty ship built in the United States during World War II. She was named after Isaac Shelby, the first and fifth Governor of Kentucky.
Construction.
"Isaac Shelby" was laid down on 22 January 1944, under a Maritime Commission (MARCOM) contract, MC hull 1518, by J.A. Jones Construction, Brunswick, Georgia; she was sponsored by Mrs. K.D. Nichols, and launched on 6 March 1944.
History.
She was allocated to the Smith & Johnson Company, on 18 March 1944. On 5 January 1945, she struck a mine off Naples, Italy, . She broke in two and sank with no loss of life. On 20 February 1948, she was sold, along with 39 other vessels, including her sister ship , for $520,000, to Venturi Salvaggi Ricuperi Imprese Marittime Societa per Azioni, Genoa.


Joseph Alfred Lamy

Joseph Alfred Lamy (père) (8 September 1850 – 1919), was an important French archetier (bow maker) of the early twentieth century known as Lamy Père.
He was born in Mirecourt, Vosges, France, where he apprenticed from 1862 to 1868, and later worked from 1877 to 1885 for François Nicolas Voirin in Paris.
He started his apprenticeship in 1862 with Charles Claude Nicolas Husson.
In 1868, he joined Gautrot's workshop in Château Thierry, where he met François Nicolas Voirin.
In 1876, he came to Paris to work with François Nicolas Voirin, whose assistant he had become.
In 1885, at the death of François Nicolas Voirin, he started his own workshop at 34 rue du Faubourg Poissonière.
His firstborn son Hippolyte Camille Lamy and nephew Alfred Lamy carried on the family tradition.
He branded his bows "A. LAMY A PARIS".
Biography.
Lamy emerged from a great period in French bowmaking and faithfully carried on the tradition.
In 1889 he received the silver and gold medals at the Paris Exposition. His son Hippolyte Camille Lamy-"fils", (1876–1944) carried on in his father's tradition succeeding him at his death in 1919.
Like François Nicolas Voirin, Lamy-père was influenced by Jean Baptiste Vuillaume, whose model he frequently used between 1886 and 1890. By 1880 many makers were beginning to consistently aim for an even heavier, stronger model, with varying degrees of success. Lamy's mature period began as early as 1889 to 1890, when he was still only forty. His model, characterized by a slight increase in volume for the sticks as well as for the frogs, became clearer and was adopted definitively. Lamy picked up where François Nicolas Voirin left off, with similar variance in weight and quality of materials. His pupils include Eugene Sartory, whose work he had influenced as well as that of his son, Lamy-"fils".
"Today Lamy (père) is regarded as one of the foremost makers of his generation." — Filimonov Fine Violins
Awards and medals.
He won the silver and gold Medals at the Paris Exposition in 1889.


Nikola Nobilo

Nikola "Nick" Nobilo, (23 August 1913 – 28 August 2007), was a New Zealand winemaker and founder of Nobilo Wines. He was originally from Croatia.
Early life.
Nobilo was born in present-day Croatia in 1913. His family's home village was Lumbarda, located on the island of Korčula. They had worked in the winemaking industry in Croatia for 300 years before Nobilo moved to New Zealand in the 1930s. Nobilo's uncle feared the signs of what would become World War II in Europe, and so ordered him to move to New Zealand. Nobilo worked as a stonemason before his emigration.
Nobilo Wines.
Nobilo and his family arrived in New Zealand in 1937 and settled in Huapai, west of the city of Auckland. They began planting grapes in Huapai in 1943. Gradually the Nobilos led New Zealand's wine industry away from hybrid grapes to an emphasis on classic grape varieties which produce higher quality wines.
Nobilo came to head the family company, which grew to become one of New Zealand's largest winemakers. In the 1995 New Year Honours, he was appointed an Officer of the Order of the British Empire, for services to the viticulture industry.
In 1998, the company, then called Nobilo Vintners, purchased another award-winning New Zealand winemaker, Selaks. The Nobilo family company was, in turn, acquired by BRL Hardy, one of Australia's largest winemakers, 2000. BRL Hardy merged Nobilo with its Constellation Brands wines in 2003.
The new combined company, Constellation Wines, was able to distribute Nobilo wines throughout New Zealand, Australia, Europe and the Americas.
Nobilo continued to produce wines after the acquisition. Nobilo Wines were named New Zealand's wine producer of the year in 2003. Nobilo's sauvignon blanc also won the award for best sauvignon blanc at the international wine and spirit competition in 2000.
Death.
Nobilo died in Auckland on 29 August 2007 at the age of 94. His funeral was held at the Holy Trinity Cathedral in Auckland. He was survived by his wife, Zuva, and three children.


Piney Branch Road station

Piney Branch Road is a light rail station that is currently under construction. It will be part of the Purple Line in Maryland. The station will be located at the intersection of Piney Branch Road and University Boulevard.
History.
The Piney Branch Road station is expected to open to the public in June 2023.
Station layout.
The station consists of an island platform on the median of University Boulevard just east of Piney Branch Road.


DuPont station (Sound Transit)

DuPont station is a planned Sounder commuter rail station in DuPont, Washington, US. It is planned to be located near the intersection of Interstate 5 and Center Drive, along the Point Defiance Bypass. The station is planned to be opened in 2036, as part of an extension from Lakewood station approved by Sound Transit 3.
The station would be built adjacent to a bus station and park and ride that opened in 2003.


Friction plate clutch


Octavius Beale

Octavius Charles Beale (23 February 1850 – 16 December 1930) was an Irish-born Australian piano manufacturer and a philanthropist.
Beale formed a company to import sewing machines and pianos in 1879, after which he established Australia's first piano factory in Annandale, 1893. The factory ceased production in 1975.
He served as president of the New South Wales Chamber of Commerce and a trustee of the Australian Museum, and the Bank of New South Wales (Westpac).
In 1903, Beale was appointed one of twelve members of a Royal Commission into the decline of the birth rate in New South Wales. He later conducted, at his own expense, a "Royal Commission of Inquiry into Secret Drugs", 1905-1910. The two-volume report records the criminal unscrupulousness of manufacturers and advertisers.
Marriage and family.
Beale married Elizabeth (Lilly) Baily (1856 – 1901) at the Congregational Church, Woollahra, New South Wales, and they had twelve children. After Lily's death he married her sister Katherine on 4 March 1903. The children from the first marriage were:
On his death in a motor vehicle accident in Stroud, New South Wales, Beale was survived by his second wife and ten of his 12 children.


Kitchener Central Station

Central Station is an intermodal transit station in Kitchener, Ontario, Canada. , it is served by Ion light rail and Grand River Transit buses, with Via Rail and GO Transit train services, as well as GO Transit and other intercity coach buses, to come at a later date.
The station will replace the current Kitchener railway station and partially replace the Charles Street Terminal.
In the vicinity is the University of Waterloo's Health Sciences campus (including its School of Pharmacy), the 'One Victoria' condominium development, and the 'Kaufman Lofts' condominium (occupying the former Kaufman Footwear factory). Just north of the mainline tracks is a former industrial building, the 'Breithaupt Block', which currently houses offices of Google Canada.
Ion light rail.
The light rail (LRT) station opened along with the start of LRT service in 2019, but as of 2016 there is no timeline for the construction of the remainder of the transit components. As a result, the intermodal facility will not open until 2022 at the earliest.
The LRT platforms are located on either side of King Street in Kitchener, on the north side of Victoria Street. North of the station, the LRT tracks become adjacent through the Moore/Breithaupt intersection and proceed within the median of King beyond, towards Waterloo. South of the station, the tracks split: southbound, they take Victoria to reach Charles Street, which they follow alongside; northbound, they continue along King to Francis Street, which connects them to Duke Street, which they follow alongside.
The platforms are connected with King Street's sidewalks at either end, and pedestrians passing through walk along the platform. The station's feature walls consist of glass tiles in a varying pattern of blues and greys and displays "Innovation District" under the station's name.


Santa Clara station (California)

The Santa Clara Depot is one of two heavy railway stations in Santa Clara, California (the other being Great America Station further to the north). It is served by Caltrain from San Francisco, and is also served by the Altamont Corridor Express (ACE) from Stockton (although this service was previously suspended from 2005 until 2012 due to track construction in the area). This station is the planned terminal for the Silicon Valley BART extension into Santa Clara County and will be preceded by Diridon/Arena BART station with direct service to San Francisco/Daly City and Richmond.
The Santa Clara station has a side platform serving the southbound Caltrain track (Track 3) and an island platform for the northbound Caltrain track (Track 2) and the ACE/Amtrak track (Track 1). The island platform is connected to the side platform by a pedestrian tunnel that was completed in 2012. Additional tracks northeast of Track 1 are used by Union Pacific freight trains.
The platforms were rebuilt in 2012 to eliminate the hold out rule (where only one train could enter the station at a time) and permit ACE and Amtrak "Capitol Corridor" trains to stop at the station.
History.
The Santa Clara Depot, built by the San Francisco and San Jose Railroad in late 1863, was the oldest continuously operating railroad depot in the State of California until the ticket office was closed in May 1997.
The original 24'x50' (79x165 m) board and batten depot was one of the two "way stations" built between San Francisco and San Jose. Plans for a railroad linking San Francisco and San Jose began as early as 1851. Though the 1851 scheme ultimately failed, the incorporation of the San Francisco and San Jose Railroad in 1859 met with success. Most of the financing for the project came from county government in San Francisco, San Mateo and Santa Clara counties, with the University of Santa Clara and local industry also playing a significant role in both stock acquisition and choice of placement of the depot in Santa Clara.
The first passenger service to San Francisco started in January 1864. The Southern Pacific Railroad acquired the San Francisco & San Jose Railroad in 1868. The depot, originally on the east side of the tracks, was moved to its present location in 1877 and attached to the existing 32'x50' (105x165 m) freight house constructed several years earlier. Because of the large volume of agricultural freight shipped from the depot, the freight house was increased in size at that time to its present dimensions of 32'x160' (105x528 m).
On November 1, 1877, the "San Jose Mercury" reported the facility nearing completion. Following construction of the railroad, farming and fruit-related industries developed in the Santa Clara area, with the depot serving as a focal point for shipping. Rail service provided the direct link to San Francisco and, in the later 1870s, to Southern California. Typical of these efforts were those of James A. Dawson, who pioneered the area's fruit-canning industry in 1871. By the turn of the century, the Pratt-Low Preserving Company, the largest fruit packing plant in central California, was located just south of the depot.
The California Department of Transportation acquired the depot from Southern Pacific in 1980. It was placed in the National Register of Historic Places in 1985. In cooperation with the South Bay Historical Railroad Society, a nonprofit group founded the same year, they began renovation work in 1986 on the depot, by then badly in need of repair. A group of volunteers spent over 25,000 hours hauling away debris, replacing support timbers, siding, exterior decking and interior flooring, scraping peeling paint, painting and many other repairs. With the major renovation complete since 1992, this 156-year-old building hosts a railroad library and museum with 2 large model railroad layouts and many other artifacts while still serving its original function as a passenger depot.
Services.
The station is an intermodal transportation center, with Caltrain and Altamont Corridor Express train service and bus service operated by the Santa Clara Valley Transportation Authority (VTA). Bus service is extensive and includes limited-stop and, since July 2005, the VTA's brand of bus rapid transit.
The station is also served by a free shuttle going to the San Jose International Airport, the SJC Airport Flyer (Route 10), jointly operated by the VTA and the airport.
Amtrak "Capitol Corridor" trains began stopping at the station on May 21, 2012, giving Caltrain a second direct connection to Amtrak.
Proposed transit plans.
This station is expected to be the terminal station for the Silicon Valley BART extension second phase. The project aims to extend the BART system south from its terminus at Berryessa station. Reasons for selecting Santa Clara as the proposed terminus are because of the access to the San Jose International Airport as well as the proposed BART maintenance facility located in the vicinity of the station at the former Union Pacific rail yard. A new island platform will be constructed with a pedestrian underpass granting access to the Caltrain platform. An 800-space parking facility is included in the plans, and VTA is expected to develop transit oriented spaces adjacent the station.
A project is being considered to replace the Airport Flyer bus service with a people mover similar to AirTrain JFK, which provides similar access to rapid transit stations; the status of the project is unknown due to the nature of funding.
The station was considered for California High-Speed Rail, but was rejected on the grounds that it was too close to the nearby, and much larger, Diridon Station in San Jose, and that the airport traffic that it would receive would not be enough to justify maintaining a separate station. Further revisions to the system later determined two Peninsula stations would be sufficient: one serving the larger San Francisco International Airport (probably using the existing Millbrae Station with BART connection to the airport), and the other in Palo Alto or Redwood City. , the only station between San Jose and San Francisco planned for service is Millbrae.
Bus connections.
The station is served by VTA Bus routes 21, 22, 53, 59, 60, and 522.


Jozef Fojtik

Jozef Fojtik (born 1960 in Krupina, Slovakia) is famous for folk art wood carving. He began woodcarving about 1988 as a hobby.
He has worked extensively for Krupina, including for its mayor and for Catholic and Protestant churches in the area. His work has represented the city in many folk festivals. Some of his work has been given to important visitors, including Pope John Paul II.
His working themes include Christianity and ordinary people, working primarily on wall reliefs and sculptures.


James Broadwood

James Shudi Broadwood (20 December 1772 – 8 August 1851) was a piano maker in Middlesex and a magistrate in Surrey.
His oldest surviving son, Henry Fowler Broadwood, took control of the family piano-manufacturing business in 1836. He was also the father of the folk song collector John Broadwood (17981864).
References.
Citations
Bibliography


Tony Zemaitis

Tony Zemaitis (1935 – 17 August 2002) was a British luthier from London. He is mostly known for his "metal top" electric guitars, which were used by some notable rock musicians of that era.
Under the leadership of his son Tony Zemaitis, Jr., Zemaitis Guitars company continued this guitar-making style after the luthier's death in 2002.
Early years.
Zemaitis (born as Antanas Kazimeras Žemaitis) was born 1935 in London, England of Lithuanian family and left school at the age of sixteen to help out with family finances. He took up a five-year apprenticeship as a cabinet maker, but it was only when he found an old damaged guitar in his family attic that he found his real passion in life. After completing his national service, Zemaitis expanded this hobby in 1957 by producing a few basic guitars to learn about construction, soundhole shapes, tonewood, and string length. He experimented with differing multi-stringed instruments with some of these models making their way onto the folk scene. In 1960 he began selling his guitars at a price to cover the materials he used and soon realized that musicians needed simple and light instruments. By 1961, after being mentioned in the music press, Zemaitis started to be approached by leading players who wanted to use his guitars.
1970s: fame.
In 1970 Zemaitis started experimenting with placing a metal shield on the top of the guitar to eliminate microphonic noise picked up by the guitars' pickups. His first metal top guitar prototype was purchased by Tony McPhee, while the second was for Ronnie Wood of Rolling Stones fame (he was in the Faces at the time). Wood played the instrument on The Faces' "Top of the Pops" appearance in 1971, and the shiny appearance of the guitar raised an incredible amount of interest from guitar players. Zemaitis asked gun engraver Danny O'Brien to do artistic engravings on the metal top and other metal parts and started building custom-order guitars for the rich and famous. His most famous guitars are Ronnie Wood's 24-fret metal top guitars (a total of four guitars were built for Wood), which he used from 1971 until 1995, Ronnie Wood's "Desert Island" (or "Slide on This") metal disc top guitar, Keith Richards' 5-string "Skull&Bones" guitar, Eric Clapton's "Ivan the Terrible" 12-string acoustic guitar, various acoustics and resonators for George Harrison and basses and resonator for Ronnie Lane. In 1978, he made a unique acoustic bass for David Gilmour of Pink Floyd.
Aside from metal top guitars, from the mid-70s Zemaitis also started decorating the tops of his guitars with elaborate pearl inlay, either figures like dragons and skulls and bones or complete mosaic-like inlaid tops. These guitars command the highest prices.
1980s.
In the 1980s Zemaitis launched a "student model" guitar that would allow people to upgrade his guitar when it was affordable but this proved too popular and time-consuming. He quickly realized that this model threatened to overshadow all other guitar production so it was discontinued. The 1980s were also a time when Zemaitis started to take more orders for guitars than was physically possible to produce and he had to start turning down work.
1990s.
The 1990s saw a massive increase in the collectability of Zemaitis' guitars and the appearance of forgeries. These forgeries in "new" and "second hand" guise at first glance may look genuine but they will not sound like a true Zemaitis due to the use of second-rate materials. During his 39 years of production, Zemaitis had a policy of never making any two guitars the same, while at the same time limiting himself to the production of only ten guitars a year to ensure the quality of each model.
2000s.
Zemaitis retired in 2000 and died two years later. Zemaitis Guitars of Tokyo, Japan, has continued the Zemaitis guitar-making style. Led by Tony Zemaitis, Jr., the company has continued to employ O'Brien as an engraver.
In 2007, American economist-turned-fraudster Al Parish bought an acoustic guitar owned by George Harrison and made by Zemaitis for $150,000.


Spring starter


Olga de Amaral

Olga de Amaral (born 1932) is a Colombian textile and visual artist known for her large-scale abstract works made with fibers and covered in gold and/or silver leaf. Because of her ability to reconcile local concerns with international developments, de Amaral became one of the few artists from South America to become internationally known for her work in fiber during the 1960s and ‘70s. She is also considered an important practitioner in the development of postwar Latin American Abstraction. She currently lives and works in Bogotá, Colombia.
Biography and education.
Olga de Amaral was born Olga Ceballos Velez in 1932 in Bogotá, Cundinamarca, Colombia, to parents from Colombia's Antioquia region. She was raised in a traditional religious family with 5 sisters and 2 brothers. She grew up in a traditional neighbourhood in Bogotá in a warm, safe family atmosphere, maintaining a special relationship with her loving and caring mother. Upon graduating from high school, in the years 1951–52 she got a degree in Architectural Design at the Colegio Mayor de Cundinamarca in Bogotá. After graduation, the future textile artist worked for a year as a director of the Architectural Drawing Faculty at the same school.
In 1954, de Amaral went to New York City to study English at Columbia University. From 1954 to 1955, she studied fiber art at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. She stated about her time there as a student: "In Cranbrook, the textile workshop had eight looms placed against the windows: one of them, in the corner, would be my home for a year. There, I lived my most intimate moments of solitude; there was born my certainty about color; its strength; I felt as if I loved color as though it were something tangible. I also learned to speak in color. I remember with nostalgia that experience in which souls touched hands". At Cranbrook, de Amaral met Jim Amaral and they became close friends.
In 1955, after a year in Cranbrook, she returned to Colombia and started to make decorative textiles on commission for her architect friends. Meanwhile, Jim Amaral served in the U.S. Navy on a base in the Philippines. In 1956, Jim Amaral visited Colombia to see Olga, initially for a few weeks. They married in 1957 and settled in Bogotá. They had two children, Diego and Andrea, and started a workshop for handwoven textiles. During that period, Jack Lenor Larsen visited Colombia and the Amaral's workshop. He expressed interest in Olga's tapestries. Their professional and artistic relationship became crucial in projecting her work into the international world of contemporary tapestry. In 1965, de Amaral founded and taught at the Textile Department at the University of Los Andes (Colombia) in Bogotá.
In 1966-1967 the Amaral family lived in New York. There, Olga de Amaral met Eileen Vanderbilt from the World Crafts Council and became the Council's Colombian representative. With Larsen's collaboration, Olga de Amaral displayed her tapestries in New York City (during a 1967 solo exhibition in Larsen's New York showroom), and taught at Penland School of Crafts in North Carolina and at Haystack Mountain School of Crafts in Maine. After returning to Colombia, the Amarals travelled to Popayán and Tierradentro region with its must-see San Agustín. Later Olga visited Peru as the WCC representative. On a rapid visit to Ireland to participate in a WCC conference, Olga met Lucie Rie, a British ceramist who inspired her to incorporate gold into the tapestries. At the beginning of the seventies, the Amarals moved to Barcelona and then to Paris. They visited Greece, Italy, the Netherlands, Belgium, Switzerland, Sweden, and England. They made contacts with the centres of European art. They lived for a time in Europe, then returned to Bogotá, visited different areas of Colombia, and then went back to France, amid exhibits, work, and new friendships. Another important journey for the artist was her travel to Japan.
Art.
"I am not familiar with current tendencies in textile design. It seems to me that those who weave artistically base themselves only partially on fiber craft, which in my opinion, makes no sense. I consider that one must base oneself on precision, on mathematics, on color theory. What is woven, does not occur by chance, but totally the opposite - it is very calculated. I can't do that because I am not trained and because I am in the midst of an abstraction. Finally, my work is nothing more than my way of telling how I feel about life, about the soul of things." –Olga de Amaral
From the beginning, Olga de Amaral's art has been driven by the creation of works that redefine our notions of unity, concept, representation, and personal expression. de Amaral explores and revisits ideas, techniques, and processes, looking for subtle and intricate variations within her own artistic process. She is an important figure among a globally dispersed group of artists who are deconstructing and rethinking the structure, surface, and support of painting by adding sculptural dimensions and atypical materials. Her work takes the elements of painting off the stretcher and into space, approaching the problem of the superposition, of layering in a painting form the point of view of the material itself – the painting's support, the canvas, the fabric or texture.
At first categorised as two dimensional, representational wall hangings, in the late 1960s her works entered the genres of sculpture, installation, abstract and conceptual art:
"De Amaral's art deftly bridges myriad craft traditions; it's concerned with process and materiality, with the principles of formalism, abstraction and metaphysicality. The artist has developed a distinct voice in her field through her command of conventional techniques for constructing textile objects while progressively pushing the boundaries of orthodox understanding of how textiles work as objects in space. She has gradually moved fabric-based works beyond the category of woven tapestry - one that privileges flatness, adherence to the wall, pictorials, and an obsession with the organic and the physical properties of materials - into a more conceptual practice that embraces strategies otherwise found in painting, sculpture, and architecture."
The way the artist incorporates the materials, natural and man-made fibres, paint, gesso, and precious metals (gold and silver leaf mostly), through the handcraft, artisanal process and techniques, reference Colombia's pre-Hispanic art, indigenous weaving traditions, and the Spanish Colonial Baroque legacy, brought to the New World by the Catholic colonists. As Twylene Moyer indicated, this inspiration is "a true "mestizaje", or mixing of cultures." What those cultures had in common, was that they all attributed great expressive power to the visual, just as de Amaral's work embody visual and tactile content "reconnecting us to an ancient understanding and appreciation of images as presences unto themselves, capable of transcending materiality to express truth through beauty". This ability to connect the ancient and the contemporary has allowed the artist to create works on the premise that "art has the power to transcend representation and embody spiritual and emotional values through form. (...) Her tapestries are nothing less than meditations on the illusive nature of meaning."
Thread, color and light determine the visual and metaphorical aspect of de Amaral's works. "I began to work with fiber by coincidence - a sought coincidence - and have continued with it because it has never disappointed me. As I get to know it better, the better it knows me. In briefer words, it has never stopped arousing my curiosity. Fiber is like an old pencil: one has used it for so long that you take it for granted. I am made of fiber because I have embraced it and because I know it". Olga de Amaral on color: "When I think about color, when I touch color, when I live color - the intimate exaltation of my being, my other self - I fly, I feel as another, there is always another being next to me."
de Amaral's art is most often interpreted through the themes of architecture, mathematics, and socio-cultural dichotomies in Colombia, but mostly landscape: "Fascinated by the shapes of rocks, streams, hills, mountains, and clouds, she finds inspiration in the broken textures and movements of the landscapes surrounding her home in Bogotá. From the geometric designs of medieval cosmological diagrams to the grids of Mondrian, harmonious symmetry of form has alluded to and partaken of perfection and the absolute." Her "oeuvre" is characterized by various series, each with a particular essence or technique that encompass a plethora of intricate variations developed throughout her career. The titles of de Amaral's numerous series reveal the themes behind her weavings: "Alchemies", "Moonbaskets", "Lost Images", "Ceremonial Cloths", "Writings", "Forests", "Rivers", "Mountains", "Moons", "Square Suns", "Umbras," "Stelae", etc. As Amparo Osorio pointed out, "much of poetry (...) emerges from these images in movement, whose titling (…) is another referent for us to achieve an understanding of this recondite sense, of that desire to say in the language of symbols all that is beyond words."
Early work from the 1960s.
The early period of de Amaral's "oeuvre" is characterised by visually relatively traditional tapestries, but already presenting the search for an individual language through formal experimentations. Since the mid60s, she worked mostly with hand-spun wool, cotton, linen, and dyes. Vivid colors and bold combinations and the exploration of the structure and edges of weaving characterize some of her small scale early work of this period. The geometric conception and composition of these works reveal a profound awareness and understanding of the modern artistic tendencies of the time, bringing to mind the De Stijl abstraction current among others.
In 1966 the Amarals were invited by Miguel Arroyo to show their work at the Fine Arts Museum in Caracas, Venezuela. It was the first solo show by Olga de Amaral outside her native country. In 1967 Olga presented her work for the first time at the prominent Lausanne Biennale in Switzerland, the first out of six later appearances at that event. In 1969 Olga de Amaral took part in a collective exhibition of 27 fiber artists at MoMA New York entitled “Wall Hangings”. It was an international exhibition curated by an architecture and design curator Mildred Constantine organised with Jack Lenor Larsen and presented not in the architecture and design lobby as usual for the fiber artists, but in the art section of MoMA, that up until then was reserved only for painting or sculpture. This was the importance of that exhibition - it addressed the transformations in the medium of fiber art, noted differences between the continents and anticipated the experimentation to come.
In the late 60's, with the creation of the piece "Entrelazado en naranja, gris, multicolor" (1969), de Amaral eventually "exploded the picture plane from inside out". At the end of this period, the artist left the fundamental concept of fabric weaving (the opposition between warp and weft), by leaving only the warp (in the form of braiding) and letting it float freely. The full form or volume stressed in the composition of the pieces from this period, make them look almost like thread sculptures. However, after this period of pushing the art of weaving to its boundaries, in the next decade, the issue of the flat surface will emerge again in de Amaral's art. Olga's massive hangings called "Muros tejidos" ("Woven Walls)", solid bulwarks built from stiff wool and horsehair, debuted at a solo exhibit at the Museum of Contemporary Crafts in New York in 1970. In 1971 Olga took part in an exhibition "Deliberate Entanglements" at the University of California, Los Angeles organised by its art professor Bernard Kester. It showed American and Eastern European fiber art for the first time in Southern California. It reflected the era's revolutionary fiber sculpture, particularly its tendency towards monumentality. "When I started to show my work in Europe and the USA, it was considered art, not crafts. And it was then that I realised that it was not the weaving, but the visual quality that now mattered in my creations."
The shift from crafts to fine art in the 1970s.
In the 1970s Olga de Amaral started the following series: "Muros", "Corazas", "Hojarascas", "Marañas", "Estructuras", "Fragmentos completos," the "Calicanto" series, "Farallones" and "Eslabones". "From the beginning of her career in the 1960s, certainly from the "Muros" and "Hojarascas" of the 1970s, Amaral had made it clear that the debate over whether weaving was art or craft would be, in her case at least, moot. From the onset, there has been a distinct sense in her work that it could, and did, embody important ideas and reflections of an existential and historical character".
The "Muros".
The "Walls" was the first series where the artist started to take more risks that led her to break with predictable geometric patterns and replace them by rhythms that for the first time engaged the eye into the work. The inclusion of the viewer in the experience, together with the growing dimensions of de Amaral's works, marked a threshold in the artist's career and put her on the international fine arts map: “(…) in the late 1960s through the mid-70s (…) fiber artists became more attentive to the shape and dimensions of the architectural context and the phenomenological experience of the viewer.(…) So when a work like Olga de Amaral’s six-story "El Gran Muro" was installed in 1976 in the lobby of the Westin Peachtree Plaza in Atlanta, the wall functioned less as a backdrop or frame than a determinant of the wool-and-horsehair tapestry’s monumental, vertical form”.
The "Fragmentos Completos".
During her stay in Paris in the early 1970s, living in small spaces, Olga created a series of small pieces entitled "Complete Fragments" (1975). In this series the artist used gold for the first time, playing and experimenting with it. She also started to paint fibres with acrylic paint and gesso to obtain colors directly on the finished woven piece in order to dissolve the geometry imposed by the rigid structure of warp and weft. These poetic sketches were shown at the Rivolta Gallery in Lausanne, Switzerland. This technical innovation gave the artist much more freedom with the final surfaces of the works than the color-dyed fibres. It also moved her tapestries from the "crafts" to the "fine-arts" category. "Color is language common to all cultures. Color helps me to distance myself from the surface to add different meanings to the tapestry." The "Fragments" begin a period of mostly monochromatic works culminating with the "Calicanto" series.
The "Calicanto" series.
The title of the series refers to the stones used for building. The series includes the works "Vestiduras de Calicanto", "Paredes de Calicanto" and "Paisajes de calicanto" and has been started in 1977. The pieces in this series are larger weavings in grass, light earth tones and sandy hues.
The new materials of the 1980s.
This period is characterized by enthusiastic experimentation and the introduction of new materials. During her visit to Japan for an exhibition at the National Museum of Modern Art in Kyoto, de Amaral begins to explore the use of gold and gesso inspired by "Kintsugi", the Japanese art of repairing broken pottery with gold. Her exploration of gold as a material and as a color begins. She also continues to explore the possibilities of structure. Light and air filtering through woven constructions become major players. In the 1980s Olga de Amaral started the following series: "Riscos", "Tejidos policromos", "Tierras", "Tablas", "Entornos", "Cestas lunares," "Lienzos ceremoniales, Alquimias" and" Montañas."
The "Riscos".
The title of this series alludes to cliffs. The segmented vertical bands also make allusion to the Inca "quipus" ("khipus"/talking knots) - recording devices used to collect data and keep records of time and chores. The "quipus" were made of colourful threads or cotton/fiber strings. The pieces in the "Riscos" series are mostly rectangular forms and in contrast with the vertical chained, undulated braids that hang from top to bottom, they create a sense of movement, a nearly kinetic effect. In terms of style the organic effects resemble much a living form, but the works in this series are strictly conceptual - based on the possibilities and changes in fiber structure.
The "Lienzos Ceremoniales".
The series "Ceremonial Cloths" was started in 1986 and continued through 1998. The title refers to ceremonial garments. Each piece in this series is "infused" with strong, deep color that emerges from the unified background surface. This series explores the way in which images emerge from a woven surface and the creation of a sense of depth. The superpositions of layers of thread create an aerial interplay of light that connects this series with Op Art's artistic problems.
The "Cestas lunares".
The "Moonbaskets" explore the same problems as the "Ceremonial Cloths" - the depth and the abstract colourful images. Each piece within its unique composition studies textural and chromatic shifts on the woven surfaces (each cotton fiber is coated with gesso and paint), where the geometric images emerge - the circle of sun and moon, the arc and swirl of energies and water. The pieces from this series express feelings that arose when the artist saw the baskets made by the Yanomami, a tribe on the border between Venezuela and Brazil, also known as the Children of the Moon. This tribe creates straw baskets with circular decoration that the artist saw as a unification of the mind and the moon they worship. This inspiration can be seen in the plaiting of the "Moonbaskets".
The "Alquimias".
On a rapid visit to Ireland to participate in a World Craft Council conference in 1970, on her way back to Colombia, Olga passed by Lucie Rie's studio in London (she met the British ceramist at the conference). She inspired her to incorporate gold into tapestries: "That afternoon in London I noticed a break in a ceramic vase. Lucy Rie explained to me that the breakage didn't exist for her because she transformed the piece when she mended it with gold leaf, as do the Japanese when prized porcelain breaks. The concept touched me in some mysterious place of my mind". The "Alchemies" series, started in 1983/84 and ongoing, was the first series made entirely with gold leaf, which the artist considered, just as the alchemists did, as a symbol of knowledge. The pieces from this series are rectangular mini "canvases" made out of cotton and prepared with white-washed gesso to be covered with acrylic paint and gold/silver leaf. After experimenting with the large scale, Olga de Amaral wanted to return to a human scale. The first 13 works in the series are based on the proportion of the human figure and inspired by the ancestral culture of Peru - its objects and science, especially mathematics. Also, when the artists visited the village of Barichara in northern Colombia, the architectural landscape of that beautiful town inspired the materials and colors used in the first pieces in the series too - clay-colored linen predominantly with white, gold and blue tones. Gold has played an important role both in various Native American cultures and in the Catholic religion. The artist realised that the application of gold made the weaving appear heavy and flexible, a quality she was looking for after the early large scale weavings that had an architectural and sculptural intention. Unlike those massive constructions woven with heavy fibres such as horsehair and coarse hand-spun wool, the "Alchemies" are more concerned with how surfaces, textures and finishes transform the space they occupy or contain. The pieces from this series hang in a vertical, gravitational way and separated from the wall, as if they were living in their own unique space. The effect, the atmospheres they create when hung together are similar to when you enter a colonial church or the burial chambers of pre-Columbian cultures. "It has always been my desire to induce a (…) state of silence in the places where I install my pieces."
Fiber as canvas. The 1990s.
In the 1990s Olga de Amaral started the following series: "Vesitigios", "Ríos", "Puertas", "Pueblos", "Cajas", "Umbras", "Bosques", "Segmentos", "Mementos", "Imágenes perdidas", "Entornos" "quietos", "Sombras", "Lunas", "Paisajes heredados, Estelas" and the series "Prosa" and "Soles cuadrados".
The "Umbras".
The title refers either to the area of the shadow of an eclipse or the dark center of a sunspot. Although the pieces in this series are rigid and immobile structures, they create vibrant, visually fluid surfaces through the use of silver or gold leaf that shade or reflect light. Together with the way the woven strands bend, the effect of each piece of this series is undefinable. Another particularity of this is series is bound to the outside and inside in the process of weaving. "In the Umbras the reverse is always the hidden layer. The back of each strand supports the color that the face reflects, and the entire back is the skeleton of the visible surface."
The "Bosques".
This series consists of diptychs whose rigor of surface departs radically from the abundance of the previous decade of Amaral's work. Bridging the spaces is a square or a rectangle, in some cases with a shift in color but not in form. The geometric forms seem to be in movement from one plane to another.
The "Estelas".
In the series of the "Estelas" started in 1996, just like with the "Umbras", the inside and outside again came to the artist's consideration. The title refers to the Spanish word "estrella" that stands for star and ""es tela" that stands for "is [made of] fabric"". Olga de Amaral has always considered the back of her pieces as a side to experiment, but in this series she decided to work on both sides as equal. The front of the "Stelae" is luminous gold and the back dark silver, still maintaining the vestiges of the original experimental function of this side. "I think of them as stones full of space, each one a presence full of secrets. Many together, like mounds of stones or rocks, point to an answer, an unknown order, a hidden history". These pieces gained a three-dimensional character as they are always exhibited suspended from the ceiling at different elevations and angles and in a group, with each side (golden or silver) facing in one direction. The effect of these pieces is contradictory - being both solid surfaces, bringing the solidity of the ruins of past civilisations, and at the same time floating and immutable. The "Stelae" were shown at Galería Diners in Bogotá and in museums in the United States and Europe in 1999.
2000-2010 and recent work.
After the year 2000 Olga de Amaral started the following series: "Ombríos", "Mapas", "Escritos", "Aguas/Aquas", "Glyphs", "Alforjas", "Espejos", "Piedras", "Stratas", "Nudos", "Memorias", "Policromos", "Entre" "ríos", "Pozos" "azules", the series "Sol rojo", "Árboles", "Brumas", "Dos mitades, Moyas, Nébulas, Fósiles, Núcleos, Rocas, Minutas, Improntas" and "Lienzos."
Art market.
The prices at auctions for Olga de Amaral's art, and in consequence the gallery price records, have risen to four times what they were in just ten years. This change in interest and the collector's "desire" for her art as possessing a long-term monetary value is only recent and pretty abrupt, with astonishingly high sales in the past few years. The process of creation, making all her pieces by hand and very carefully, causes that there are not that many artworks offered for sale. Until recently auction results for Olga de Amaral were extremely sparse (and completely non-existent in some years). The works that were sold at auctions were mostly from the 1980s, 1990s, and 2000s and this situated the artist as contemporary and not modern, as it has been the case with most of the Latin American auction market. Also, the genre of Latin American abstraction and textile-based art practices gained worldwide attention only recently.
Collections.
Olga de Amaral's art is collected by major museums, corporations and private collectors. Her work is represented in the collections of over thirty museums, foundations, galleries and art schools. In Europe and Asia in the Musée d’Art Moderne de la Ville in Paris and Musée Jean Lurçat et de la Tapisserie Contemporaine in Angers in France, in the Toms Pauli Foundation in Lausanne and the Museum Bellerive in Zurich in Switzerland, in the Museum of Modern Art in Kioto in Japan. In the USA in the Art Institute of Chicago, Cleveland Museum of Art, Denver Art Museum, Museum of Fine Arts in Houston, Fine Arts Museums of San Francisco, in the Metropolitan Museum of Art, Museum of Modern Art and the Museum of Arts and Design in New York, the Renwick Gallery of the Smithsonian American Art Museum in Washington D.C., in the Rhode Island School of Design, in the Chrysler Museum of Art in Norfolk, in the Cranbrook Academy of Art Museum in Michigan, in the Bass Museum in Miami and in the Palm Springs Art Museum, among others. In Colombia Olga de Amaral's work can be found in the permanent collections of the Museo del Banco de la República, Museo de Arte Moderno and Museo Nacional of Colombia in Bogotá and in La Tertulia Museum in Cali, Colombia. Olga de Amaral's work is also part of numerous corporate collections worldwide, including Citibank in New York City, Le Méridien Hotel that is part of the Embarcadero Center in San Francisco, the Omaha Public Library, Nuveen Investments in Chicago, Inter-American Development Bank in Washington D.C., Macquarie University in Sidney in Australia, Hotel Nicolás de Obando in Santo Domingo in the Dominican Republic. In Colombia the artist's works are part of the permanent collections of Clínica Santa Fe de Bogotá, Club El Nogal, Federación Nacional de Cafeteros en Bogotá and in Coltejer in Medellín and the Hotel Santa Clara in Cartagena.


Seabee Museum and Memorial Park

Seabee Museum and Memorial Park is a non-profit military history museum in Davisville, Rhode Island, devoted to the Seabees of the U.S. Navy.
Quonset Point, where the Seabee Museum is located was a major United States Navy base during World War II, home to the Naval Air Station Quonset Point and the birthplace of the iconic Quonset Hut. In the 1990s a group of former Seabees decided to found and construct the museum themselves. The museum is a non-profit museum developed on by former U.S. Navy Seabees. The museum includes the former Navy concrete chapel, seven vintage Quonset huts (saved from the demolition of nearby Camp Endicott), and a huge Seabee statue; and the non-profit Quonset Air Museum located in buildings that were originally built for the Naval Air Station Quonset Point (NASQP).


Doolittle Maintenance and Storage Facility

The Doolittle Maintenance and Storage Facility (also known as the Wheelhouse) is the operations management center for the BART Coliseum–Oakland International Airport line. The building is used for storage and maintenance of the Cable Liner cars, and is also the powerhouse for the system's drive wheels. It was initially planned to also be a passenger station; that was cut due to lack of funding but may be added as an infill station in the future. Vehicles stop at the structure in both directions to switch cable loops, but do not allow passengers to disembark.
History.
The Final Environmental Impact Report for the Oakland Airport Connector automated guideway transit (people mover) system, released in 2002, called for two intermediate stations on the line at Doolittle Drive and Edgewater Drive. Those stations were intended to support the City of Oakland's plans to improve development along Hegenberger Road - an area largely occupied by airport hotels and industrial businesses. A November 2006 addendum removed the proposed Edgewater Drive station after transit-oriented development plans fell through, and relocated the Maintenance and Storage Facility (MSF) on a short spur adjacent to the Doolittle Drive station to reduce costs.
By the time construction began in 2013, several additional design changes were made: the MSF was reduced in size and relocated to between the tracks, and the station at Doolittle Drive was deferred until funding was available. A former union house was demolished to provide space for the MSF. The Oakland Airport Connector opened on November 22, 2014 with only the two terminal stations. If funding is procured, an infill station can be added at Doolittle Drive by constructing platforms, a below-track mezzanine, and stairs and elevators for access.


Elisa Bachofen

Elisa Beatriz Bachofen was the first female civil engineer in Argentina and Latin America.
Biography.
Bachofen was born in Buenos Aires, Argentina, in 1891. She graduated from the University of Buenos Aries in 1918. Her thesis was on the manufacturing of cotton yarns and fabrics. It has since been digitised. She was the secretary for and wrote articles in the UBA student magazine "Revista Del Centro Estudiantes de Ingenieria".
She was lead authour on "Usina hidroeléctrica de Luján de Cuyo : memoria descriptiva de la misma" about the Luján de Cuyo hydroelectric plant.
She chaired the Technical Commission of the Circle of Inventors founded in 1922, and the Argentine Association of Scientific and Technical Libraries. She was a member of the Board of Directors of the Association of Business and Professional Women.
Along with her academic achievements she was also active in the National Feminist Union, together with activists such as Alicia Moreau de Justo and Julieta Lanteri.
Her sister Esther Bachofen (1895–1943) followed in her footsteps and became the fourth female civil engineer in Argentica, qualifiying in 1922.
She died on the 19th of November 1976.


William Chambers (milliner)

William Chambers (born 1979) is a leading British milliner who creates handmade hats and headpieces that are stocked in the country’s top department stores. He is a former recipient of the British Fashion Council and Stephen Jones’ Headonism collective and is one of the six members of the Ascot Style Collective, alongside Jones and Philip Treacy, amongst others.
Biography.
Brought up in North Lanarkshire, Chambers gained a First Class Hons degree in Textile Design at the Scottish College of Textiles before studying millinery at Glasgow's Metropolitan University. He worked for luxury haberdashery VV Rouleaux before setting up William Chambers Millinery in 2008 after winning the VICE UK Creative 30 competition. He has won Accessory Designer of the Year three times at the Scottish Fashion Awards.
He exhibits his collections twice a year at London Fashion Week, and his hats are stocked in Harrods, Fenwick and Fortnum & Mason in London, Samuel’s Hats New York and on LoveHats.com. He opened his own hat shop in Glasgow city centre in 2014.
Celebrities who have worn his hats include Kelis, Suzi Perry, Joan Jett, Ana Matronic (Scissor Sisters), Roisin Murphy, Livia Firth, Anna Della Russo and Judy Murray, who commissioned a Chambers hat for her son Andy’s wedding - photos of which appeared in every UK newspaper the next day.
His hats have appeared in "Vogue, Elle, Evening Standard, Style.com, Tatler, New York Post, The Telegraph, The Sun, Metro, Grazia, Red, Glamour, Conde Nast Brides, Wallpaper, Travel & Leisure, Nylon, The Herald, Harpers Bazaar, Paper, Sunday Herald and The Scotsman," and he features in the hardback book "Couture Hats".
Chambers seeks to modernise millinery with a fresh look at how we dress the head today. Chambers’ taste for the avant-garde mixed with his knowledge of the retail sector results in designs that are at once both exquisite and wearable. He mixes traditional materials such as felt and sinamay with contemporary materials like latex, plastic and metallic leather, creating headwear that is both progressive and desirable. He takes his inspiration from many sources, but the biggest influence on his designs is his own flower-filled back garden: he is as keen a gardener as he is a milliner.


Robin Starveling

Robin Starveling is a character in William Shakespeare's "A Midsummer Night's Dream" (1596), one of the Rude Mechanicals of Athens who plays the part of Moonshine in their performance of "Pyramus and Thisbe". His part is often considered one of the more humorous in the play, as he uses a lantern in a failed attempt to portray Moonshine and is wittily derided by his audience.
Role in the play.
In "A Midsummer Night's Dream", Theseus, the Duke of Athens, is preparing to marry Hippolyta. Peter Quince decides to entertain her and hires a group of actors nicknamed the Rude Mechanicals to perform "Pyramus and Thisbe", a love story. Robin is one of the Rude Mechanicals, the tailor, who gathers with his colleagues to prepare their production. Robin at first is told to play the part of Thisbe's mother, but Peter Quince points out that a love story needs moonlight shining on the lovers to have any real effect on the audience. After Nick Bottom suggests looking in the almanac for a time when the Moon might shine on their performance, the players apparently decide that they will just have Robin act as Moonshine. Robin's role as Moonshine in The Mechanical's performance of "Pyramus and Thisbe" before Theseus' court is often highlighted by scholars as among the funnier parts of the play. Although the court makes fun of all the players, Starveling is mocked the most by Hippolyta, who is very vocal in her opinion that his attempt to be moonshine is a ridiculous failure, although very humorous. He is also the only mechanical to be cut off in his monologue as opposed to being mocked afterwards, causing him to fluster and summarise his lines rather than giving them. This summary is usually played angrily or irritably, but has also been performed as the climax of Starveling's potential stage fright. Starveling is the member of the group that seems to be afraid of just about anything. Starveling is the most ambiguous in taking sides in the power struggle between Bottom and Quince. While Snout affirms whatever Quince says and Flute always looks to Bottom for the final word on something (Snug is too slow to be bothered), Starveling seems to try to agree completely with both, as impossible as it is to do so.
Context.
"Starveling" is a word for a thin or poor person lacking food. "Robin" may have connections to two of Queen Elizabeth's suitors, Robert Dudley, Earl of Leicester, and Robert Devereux, 2nd Earl of Essex. Elizabeth's pet name for both of these men was "Robin", leading scholars to believe that Robin Starveling may be a satiric creation of Shakespeare's in their honour (or dishonour). Another suitor, Duke François ("Francis") Hercule Alençon, may have similar connections with Francis Flute. It may also be a nod to the fact that tailors of the time were usually poor and skinny. In the 1935 Max Reinhardt film, he was played by the chubby, jovial Otis Harlan.
Analysis.
Shakespeare constantly reflects on the problem of synecdoche in his plays, a rhetorical term meaning "the part representing the whole". For example, in "Henry V", Shakespeare has the Prologue beg forgiveness of the audience for attempting to portray an entire army with a few men, and for portraying so great a man as the King with a feeble actor. Shakespeare explores these same problems through Robin Starveling. The Mechanicals' decision to use Robin as moonlight in place of actual moonlight delves into the problem of synecdoche, of trying to represent something greater than yourself. Robin's standing there, attempting to be moonshine, does not make him so, even if he is holding a lantern to represent at least a part of the Moon. Similarly, Shakespeare seems to be arguing that no representation of anything in a play can really be completely real or truthful, no matter how hard its players may try. Rather than begging forgiveness of the viewer, he is exaggerating the problem for their entertainment.
The deriding reactions of the members of the upper class watching Robin and his colleagues' performance would have been familiar to even the more professional actors in Shakespeare's day. Some scholars have seen in Theseus' words about the performance a note of sympathy and pleading the cause of the actor: "For never anything can be amiss / when simpleness and duty tender it ..."


Prosper Colas

François "Prosper" Colas (1842–1919) was a French archetier / bow maker based in Mirecourt, France.
Born in Goincourt (Meurthe et Moselle) in 1842, he apprenticed locally, and was influenced by the late Dominique Peccatte school (in his early period).
Prosper Colas's work is similar to that of François Bazin, Charles Claude Husson, and Pierre Cuniot.
Around 1871, he came to Paris where he likely met Jean-Baptiste Vuillaume and worked for him. The first bows bearing his brand can be dated to this period and reflect Vuillaume's influence (with the "Vuillaume style frogs").
Prosper Colas worked for a varied number of makers and produced a huge quantity of bows. His best production was from the turn of the century (early 20th century).
His lower tier production is stamped “P.C.”.
One can also find instruments bearing Prosper Colas's label as he sold mail order instruments made by the primary Mirecourt workshops of his time: Jérôme Thibouville-Lamy and Marc Laberte.
"Prosper Colas died in 1919, at which point his business was taken over by Ferret-Marcotte".


Le financier et le savetier

Le financier et le savetier (The financier and the cobbler) is a one-act opérette bouffe of 1856 with words by Hector Crémieux and Edmond About, and music by Jacques Offenbach, based on the poem by La Fontaine. In 1842 Offenbach had set "The Cobbler and the Financier" ("Le Savetier et le Financier") among a set of six fables of La Fontaine.
Performance history.
"Le financier et le savetier" was first performed in Paris, at the refurbished Théâtre des Bouffes-Parisiens, on 23 September 1856, and ran into 1857. In 1858 it was performed by the company at Bad Ems. At the Carltheater in Vienna it was staged as "Schuhflicker und Millionär" in January 1859. A complete recording of Keck’s critical edition was made in 2007.
Synopsis.
"A page waits at the entrance, Belazor paces up and down. Larfaillou can be heard singing off-stage."
Larfaillou, the cobbler who works downstairs comes in, uninvited, and is asked to leave by Belazor (who is fed up with his constant singing). Larfaillou says he has come to ask for the hand of Belazor’s daughter Aubépine.
Belazor asks how he has come to know the girl, and the cobbler replies that he does the repairs for the pensionnat where she stays. The cobbler also admits that the girl’s potential dowry and inheritance are no barriers to his proposal.
Belazor stalls his first guests as he gets rid of Larfaillou.
After the guests have gushed their admiration for him, Belazor (with Larfaillou singing off-stage again) outlines his hopes to get rid of his neighbour through statistical analysis of the death rate of cobblers: he will achieve it by forcing the merger of all the cobbler businesses in Paris so that Larfaillou is the only one left, and that given at least one cobbler dies each year in the city he will then get rid of him.
Aubépine, released from the pension for the celebration, enters and sings some couplets after which she presents a gift to her father. She then sings a 'fable', based on that by La Fontaine (‘Le Savetier et le Financier’), but arranged by her school mistresses. A waltz is heard in preparation for dancing.
Belazor has a brainwave: invite the cobbler back up and bribe him with 300 écus. Larfaillou comes in and reluctantly accepts the money. Alone with Aubépine – who has fallen in love with him – he admits he is no Prince of Gerolstein, but – in a duo with Aubépine – declares his love for her. They wonder how to get round the problem of his lack of money. Aubépine says that she has learnt from her father how to play the stock exchange but as it is nearly midnight and it is closed, Larfaillou challenges one of the guests to a game of lansquenet.
Chance is on his side; in the 'trio' he continually beats the guest. Then Belazor plays against him, but loses 8, 16, then 32 million, then his house, his spectacles and finally the financier has to strip out of his evening dress to hand over to Larfaillou. The cobbler, donning these fine clothes loses his common accent – while Belazor, in the cobbler’s old clothes begins to speak in slang. As a final attempt to annoy his neighbour the financier tries a song of his own, but Larfaillou merely asks for another verse. However, as a millionaire now, Larfaillou can again demand the hand of Aubépine.
The end of the trio ('Le jeu, fièvre brûlante') refers to the duo of Blondel and Richard 'Une fièvre brûlante' from Act II of "Richard Coeur-de-lion". In the scene of ‘jeu d’oie’ in Act II of "La belle Hélène" Offenbach referred back to "Le financier et le savetier".


Grand Central station (IRT elevated)

Grand Central was the terminal for some trains of the IRT Third Avenue Line, also known as the Third Avenue El, in Manhattan, New York City. This station originally had one island platform and two side platforms, all connected at the west end (later converted to three tracks and two island platforms). The tracks ended just east of the Park Avenue Viaduct ramp over Pershing Square.
It opened August 26, 1878, and served not only Grand Central Terminal but also its two predecessors, Grand Central Station (1899-1913) and Grand Central Depot (1871-1899). When the El opened north of 42nd Street in September 1878, this segment was reduced to a shuttle, which connected to the mainline at the 42nd Street station, at Third Avenue.
In 1904, the Interborough Rapid Transit Company opened the Grand Central station as part of the its first subway line. Platforms for the IRT Flushing Line opened in 1915, followed by those for the IRT Lexington Avenue Line in 1918; after the Lexington Avenue Line platforms opened, the original platforms at the station were converted for use by the 42nd Street Shuttle. By this time, the El station had become obsolete and it was closed on December 6, 1923.


Chester E. Holifield

Chester Earl "Chet" Holifield (December 3, 1903 – February 6, 1995) was a businessman and politician, a United States Representative from California's 19th congressional district. He was known for his work on issues of atomic energy.
He was born in Mayfield, Graves County, Kentucky. He moved with his family to Springdale, Arkansas in 1912. After attending public schools, he moved to Montebello, California in 1920. There he worked in the manufacture and selling of men's apparel from 1920 to 1943.
Becoming active in Democratic Party politics, Holifield was chair of the Los Angeles County Democratic Central committee of the 51st District from 1934 to 1938. He was chair of the California State Central committee of the 12th congressional district from 1938 to 1940. He was also a delegate to each Democratic National Convention from 1940 to 1964.
Holifield was elected as a Democrat representing the 19th congressional district to the 78th and to the fifteen succeeding Congresses. He served from January 3, 1943 until his resignation on December 31, 1974. He was not a candidate for reelection in 1974 to the 94th Congress.
Holifield resumed the manufacture and selling of men's apparel after leaving Congress. He died on February 6, 1995.
Nuclear policy.
While in Congress, he was chair of the U.S. House Committee on Government Operations (91st through 93rd Congresses) and the Joint Committee on Atomic Energy (87th, 89th, and 91st Congresses). He was a member of the President's Special Evaluation Commission on Atomic Bomb Tests at Bikini Atoll, 1946.
In the late 1950s and early 1960s, as a member of the House Military Operations Subcommittee, he was a strong advocate of fallout shelters and said that the United States should "build a nationwide system of underground shelters". Holifield was also a congressional adviser to international conferences on uses of atomic energy, nuclear weapons testing, water desalinization, and disarmament.
Alvin M. Weinberg, who advocated inherent safety in reactor design, recounted an incident from 1972, where Holifield said: "if you are concerned about the safety of reactors, then I think it may be time for you to leave nuclear energy."


Tony Ridley

Tony Melville Ridley (born 1933) is a British civil engineer and professor. He worked as a design and site engineer in the US and Britain before becoming chief research officer of the highways and transport department of the Greater London Council. He became director-general of the Tyne & Wear Passenger Transport Executive in 1969 where he oversaw the development of plans for the Tyne and Wear Metro. In 1975 he was appointed managing director of the Hong Kong Mass Transit Railway Corporation. Ridley was later chief executive of London Underground and a director of engineering consultancy Halcrow Fox. He was president of the Institution of Civil Engineers from March 1995 to November 1996.
Early life.
Tony Melville Ridley was born in Castletown, Sunderland in 1933. He attended Durham School before graduating with a bachelor of science degree from the University of Newcastle. Ridley's education has also been associated with universities in the United States including Northwestern University, Illinois; the University of California and Stanford University. He was awarded a doctor of philosophy degree for a dissertation on the evaluation of transport investment.
Career.
Ridley, a fellow of the Royal Academy of Engineering, worked in the United States as a foundations design engineer and in the field of soil mechanics. He was a site engineer for the construction of Bradwell nuclear power station (commissioned 1962) and a design engineer for the Nuclear Power Group of Knutsford. Ridley was later chief research officer for the highways and transport department of the Greater London Council before he was selected, in 1969, to become the director-general of the newly founded Tyne & Wear Passenger Transport Executive. At the time of his appointment the chairman of Newcastle City Council's traffic and transport committee stated "He is a very brainy backroom boy, well versed in the theory of transport. It will be interesting to see how he deals with the management of a very large transport undertaking as he has had no management experience whatever, or experience of financial control. We wish him well, however". When the idea of a Tyneside metro system was first presented to him in 1971, Ridley is famed for saying "You’ll never get away with it". But Ridley oversaw both the development of the metro plans, which linked decaying rail lines using city centre tunnels and a bridge over the River Tyne, and the successful bid for Government funding. Ridley remained in post as director general until 1975 when he was appointed managing director of the Hong Kong Mass Transit Railway Corporation.
Ridley left Hong Kong in 1978 and during the 1980s was chief executive officer of London Underground. In the 1986 New Year Honours he was appointed a Commander of the Order of the British Empire. In 1987 Ridley won the Institution Prize of the Chartered Institution of Highways and Transportation. He was appointed a director of the Chartered Institute of Logistics & Transport in 1991, serving in that role until 1993 and for a later stint between 1999 and 2001. He was a director of Halcrow Fox consulting engineers between 1992 and 2004, of the Major Projects Association between 1995 and 2009 and of the RAC Foundation from 1995 to 2010.
Institution of Civil Engineers.
Ridley served as president of the Institution of Civil Engineers (ICE) from March 1995 to November 1996. He was appointed to the presidency following the death in office of Edmund Hambly. Ridley served out the remainder of Hambly's term as well as the usual 12 months in office, becoming the first person to do so since Herbert Manzoni in 1961. In June 1995 he called an extraordinary meeting of the ICE Council at its One Great George Street headquarters to discuss the future of the loss-making "New Civil Engineer" magazine. The ICE, facing a £4 million overdraft from a renovation of the headquarters, and the slide of the magazine into unprofitability was considering selling the publishing arm. The council met in a closed session for the first time in its history, with the room being cleared of all observers and the secretariat leaving only the voting members. The sale of "New Civil Engineer" and the institution's specialist engineering magazines to Emap was agreed later that month – though the ICE retained control of its book and journal publications.
References.


Thomas Lowe (Lord Mayor)

Sir Thomas Lowe (died 11 April 1623) was an English politician who sat in the House of Commons at various times between 1606 and 1622. He was an alderman of the City of London and became Lord Mayor of London in 1604.
History and career.
Lowe was the son of Simon Lowe of Bromley Kent and his wife Margaret Lacey, daughter of Christopher Lacey of London. He was a member of the Worshipful Company of Haberdashers. In 1594 he was Master of the Haberdashers Company and became an alderman of Billingsgate in 1594. He was Sheriff of the City of London in 1595. In 1602 he was Master of the Haberdashers again and was knighted at Whitehall on 26 July 1603. He became Lord Mayor of London in 1604. He was Master of the Haberdashers again in 1604 and became a governor of the Levant Company in 1605 until his death in 1623.
In 1606, Lowe was elected Member of Parliament for City of London until 1611 He was Master of the Haberdashers again in 1608 and in 1609 became alderman of Broad Street Ward instead of Billingsgate. He became President of St Bartholomew's Hospital in 1610 and held the position until his death. He was Master of the Haberdashers again in 1612 and was re-elected MP for the City of London in 1614 for the Addled Parliament. In 1615 he was Master of the Haberdashers again and in 1616 became Colonel of the East Regiment Trained Bands until his death. He was for the last time Master of the Haberdashers from 1618 to 1619, and in 1621 was re-elected MP for the City of London.
Personal life.
Lowe married Ann Coulston, daughter of Gabriel Coulston of London.


Ariyasinghe Ariyapperuma

Brigadier Ariyaratne "Ariya" Ariyapperuma, psc, GW was a Sri Lankan Army officer, who was the Commander of the Sri Lanka Army Northern Command.
Ariyapperuma joined the army in the first batch of cadet officers to undergo training at the newly established Army Training Centre and was commissioned as a second lieutenant in the 1st Battalion of the Sri Lanka Sinha Regiment in 1958. In 1962, now Captain Ariyapperuma was transferred to the 1st Gemunu Watch. Having attended Staff College, Camberley, he served as the Commanding Officer of the 1st Gemunu Watch from December 1977 to January 1980 with rank of lieutenant colonel.
In 1983, as a colonel he was serving as Commander (Operations), Colombo when the Black July riots broke out in the city and surroundings. In September 1983, he took over as Commander, Northern Command in the Jaffna Peninsula. There he was killed on 19 November 1984, when his jeep hit a landmine on the Vallai-Tellipalai-Araly road in Tellippalai, Jaffna. At the time he was the most senior officer of the Army to be killed in the line of duty and was promoted to the rank of Brigadier posthumously and the Brigadier Ariyapperuma Memorial Hall at the Kuruwita Army Camp was named in his honor at the Regimental Headquarters of the Gemunu Watch.


Kinematic coupling

Kinematic coupling describes fixtures designed to exactly constrain the part in question, providing precision and certainty of location. A canonical example of a kinematic coupling consists of three radial v-grooves in one part that mate with three hemispheres in another part. Each hemisphere has two contact points for a total of six contact points, enough to constrain all six of the part's degrees of freedom. An alternative design consists of three hemispheres on one part that fit respectively into a tetrahedral dent, a v-groove, and a flat.
Background.
Kinematic couplings arose from the need of precision coupling between structural interfaces that were meant to be routinely taken apart and put back together.
Kelvin Coupling.
The Kelvin coupling is named after William Thompson (Lord Kelvin) who published the design in 1868–71. It consists of three spherical surfaces that rest on a concave tetrahedron, a V-groove pointing towards the tetrahedron and a flat plate. The tetrahedron provides three contact points, while the V-groove provides two and the flat provides one for a total required six contact points. The benefits of this design is that the center of rotation is located at the tetrahedron, however it suffers from contact stress problems in high load applications.
Maxwell coupling.
The principles of this coupling system were originally published by James Clerk Maxwell in 1871. The Maxwell Kinematic system consists of three V-shaped grooves that are oriented to the center of the part, while the mating part has three curved surfaces that sit down into the three grooves. Each of the three v-grooves provides two contact points for a total of six. This design benefits from symmetry and therefore easier manufacturing techniques. Also the Maxwell coupling is thermally stable due to this symmetry as the curved surfaces can expand or contract in unison in the v-grooves.
Theory.
The reproducible and precision of a kinematic coupling comes from the idea of "exact constraint design". The principle of exact constrain design is the number of points of constraint should be equal to the number of degrees of freedom to be constrained. In a mechanical system there are six potential degrees of freedom. There are three linear degrees of freedom, the "x", "y", and "z" axis, and three rotational degrees of freedom around each axis commonly called pitch, roll and yaw. If a system is under constrained then the two parts are free to move in one of the degrees of freedom. if the system is over constrained it can cause the system to break down under deformation, extra care needs to be taken when designing an over constrained system. Kinematic coupling designs only make contact with the number of points equal to the number of degrees of freedom that are to be restrained and therefore are predictable.


USS Corry (DD-463)

USS "Corry" (DD-463), a , (also known as the "Bristol" class), was the second ship of the United States Navy to be named for Lieutenant Commander William M. Corry, Jr., an officer in the Navy during World War I and a recipient of the Medal of Honor.
"Corry" was launched 28 July 1941 by Charleston Navy Yard, sponsored by Miss Jean Constance Corry. The ship was commissioned on 18 December 1941, Lieutenant Commander E. C. Burchett in command; and reported to the U.S. Atlantic Fleet.
Service history.
1942–1944.
"Corry" conducted special operations with Radio Washington at Annapolis from 18 to 21 May 1942, then sailed to escort into New York Harbor 22 May. After an escort voyage to Bermuda, she patrolled off Newfoundland between 31 May and 23 June and rejoined her group at Newport on 1 July. She then operated on coastal patrol and escort, voyaging several times to Caribbean ports, until 19 October, when she put into Bermuda. During this period she picked up survivors of the torpedoed SS "Ruth" from a life raft off Trinidad.
"Corry" cleared Bermuda on 25 October 1942 for Casablanca to participate in the Moroccan landings, in the screen of the aircraft carrier . She left Casablanca 16 November for Norfolk and Boston. After overhaul, she resumed her coastal and Caribbean operations until 13 February 1943, when she sailed on escort duty from Norfolk for north Africa, returning 6 March for operations in the western Atlantic. On 11 August she sailed for Scotland and operated with the British Home Fleet, cruising once to Norway as providing escort for "Ranger" in the successful Allied air raid on Bodø, Norway in October 1943 (Operation Leader). "Corry" sailed twice to Iceland to cover the movement of Russia-bound convoys. Returning to Boston on 3 December, "Corry" sailed on 24 December for escort duty to New Orleans and Panama.
Similar operations continued until 16 February 1944, when "Corry" sailed for hunter-killer operations in the Atlantic with Task Group 21.16 (TG 21.16), arriving at Casablanca 8 March. She left Casablanca 11 March, and on 16 March joined with in attacking . Following "Corry"s depth charge attack mid-day on 17 March, when the submarine surfaced "Corry" sank her with gunfire, and picked up her 47 survivors. Two days later, on 19 March 1944, "Corry" rescued eight survivors of , which was sunk at , southwest of the Cape Verde Islands, by aircraft from . Among the "U-1059" survivors was the commanding officer. "Corry" arrived at Boston on 30 March for overhaul followed by training.
Invasion of Normandy.
"Corry" cleared Norfolk on 20 April 1944 for Great Britain to participate in the staging of the Normandy invasion. Getting underway from Plymouth, England, she was the lead destroyer of the Normandy Invasion task force, escorting ships and transports across the English Channel. Upon arriving off the coast of Normandy, France, she headed for Îles Saint-Marcouf, her station for fire support on the front lines at Utah Beach in the Normandy invasion.
As H-Hour (06:30) neared, when troops would begin fighting their way onto the beaches, the plane assigned to lay smoke for "Corry" was shot down, leaving the ship exposed to German shore batteries. Maneuvering as close as 1,000 yards from the beach, "Corry" fired several hundred rounds of 5-inch ammunition at numerous onshore targets. At approximately H-Hour, during a duel with a shore battery, "Corry" suffered several hits from 210mm (8 inch) shells in her engineering spaces amidships. With her rudder jammed, she went around in a circle before all steam was lost. Still under heavy fire, "Corry" began sinking rapidly with her keel broken and a foot-wide crack across her main deck amidships. After the order to abandon ship, crewmembers fought to survive in bone-chilling water for more than two hours as they awaited rescue under constant enemy fire from German shore gunners.
One crewmember raised the American flag up "Corry"s main mast, which remained above the surface of the shallow water when the ship settled on the bottom at . "Corry" survivors were rescued by , , , and "PT-199". Of her crew, 24 were killed and 60 were wounded.
Discrepancy over the sinking of "Corry".
About two weeks after D-Day, a detailed report stating that heavy artillery fire had sunk "Corry" was about to be submitted as the official loss of ship report, but it was suddenly scrapped and rewritten. This final official loss report for "Corry" stated on its last page that shelling received resulted in "merely incidental damage". The official loss of ship report for "Corry" states that at 06:33 she hit a mine, which was said to have exploded below her engineering spaces. No officers or crew were consulted for input on the rewrite of the report.
Initial reports by the commanding officer state that "Corry" was sunk by a salvo of heavy caliber projectiles, which detonated amidships below the water level in the engineering spaces and caused the breaking in half and sinking of the vessel.
German reports also state that the Saint Marcouf (Crisbecq) battery commanded by Walter Ohmsen, located inland, with its three 210-millimeter (8.25 in) guns scored a direct hit on an American warship at approximately H-Hour (0630), causing its sinking. The warship was initially believed to be a light cruiser (due to "Corry"s silhouette resembling that of a light cruiser at a distance).
Awards.
"Corry" received four battle stars for World War II service.
References.
http://www.uss-corry-dd463.com/d-day_u-boat_photos/d-day_McKay.htm


Antonio della Mola

Antonio della Mola was a 16th-century Italian artist who worked in intaglio and wood-inlay as well as producing sculptures in marble
Born in Mantua, he worked alongside his brother Paolo in Mantua and Carpi. In Mantua he worked under the guidance of Giulio Romano and also created the scheme of wooden panels in the grotto of the studiolo of Isabella d'Este at the Ducal Palace. He also created wooden inlay panels for the sacristy wardrobes in San Marco Basilica and marble sculptures for the Ducal Palace, both in Venice.