80 pages, 9 articles pour «design»

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80 pages

  • An.B : CSS1->CSS2
    https://www.gaudry.be > Programming > CSS
    [1] 12/08/2006 - Dernière modification le 09/03/2021 CSS Annexe B : Les changements depuis CSS1 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • An.D : Grammaire de CSS2
    https://www.gaudry.be > Programming > CSS
    [2] 12/08/2006 - Dernière modification le 09/03/2021 CSS Annexe D : La grammaire de CSS2 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Annexe E : Références
    https://www.gaudry.be > Programming > CSS
    [3] 12/08/2006 - Dernière modification le 09/03/2021 CSS Annexe E : Références Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Annexe F : propriétés
    https://www.gaudry.be > Programming > CSS
    [4] 12/08/2006 - Dernière modification le 09/03/2021 CSS Annexe F : Index des propriétés Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Annexe H : Index
    https://www.gaudry.be > Programming > CSS
    [5] 12/08/2006 - Dernière modification le 09/03/2021 CSS Annexe H : Index Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Cycles de vie d'un logiciel
    https://www.gaudry.be > general > Analysis
    [6] 13/04/2005 - Dernière modification le 09/03/2021 Modèle de la cascade (Waterfall approach), programmation exploratoire, modèle à prototypes, modèle en spirale, etc.
    Mot clé = design | Niveau = 2

  • Introduction à CSS2
    https://www.gaudry.be > Programming > CSS
    [7] 12/08/2006 - Dernière modification le 09/03/2021 CSS Introduction à CSS2 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • L'interface utilisateur
    https://www.gaudry.be > Programming > CSS
    [8] 12/08/2006 - Dernière modification le 09/03/2021 CSS L'interface utilisateur Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Le modèle des boîtes
    https://www.gaudry.be > Programming > CSS
    [9] 12/08/2006 - Dernière modification le 09/03/2021 CSS Le modèle des boîtes Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Le texte
    https://www.gaudry.be > Programming > CSS
    [10] 13/08/2006 - Dernière modification le 09/03/2021 CSS Le texte Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les couleurs et les arrière-pla
    https://www.gaudry.be > Programming > CSS
    [11] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les couleurs et les arrière-plans Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les effets visuels
    https://www.gaudry.be > Programming > CSS
    [12] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les effets visuels Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les feuilles de style en cascade
    https://www.gaudry.be > Programming > CSS
    [13] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les feuilles de style en cascade, niveau 2 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les feuilles de styles auditives
    https://www.gaudry.be > Programming > CSS
    [14] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les feuilles de styles auditives Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign
    Mot clé = design | Niveau = 2

  • Les médias paginés
    https://www.gaudry.be > Programming > CSS
    [15] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les médias paginés Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les polices
    https://www.gaudry.be > Programming > CSS
    [16] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les polices Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les sélecteurs
    https://www.gaudry.be > Programming > CSS
    [17] 12/08/2006 - Dernière modification le 09/03/2021 css-rf-selector.html Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les tables
    https://www.gaudry.be > Programming > CSS
    [18] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les tables Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Les types de médias
    https://www.gaudry.be > Programming > CSS
    [19] 12/08/2006 - Dernière modification le 09/03/2021 CSS Les types de médias Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Modèle de mise en forme visuel
    https://www.gaudry.be > Programming > CSS
    [20] 12/08/2006 - Dernière modification le 09/03/2021 CSS Le modèle de mise en forme visuel Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Spécifications CSS
    https://www.gaudry.be > Programming > CSS
    [21] 04/02/2006 - Dernière modification le 09/03/2021 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • Syntaxe et types de CSS2
    https://www.gaudry.be > Programming > CSS
    [22] 12/08/2006 - Dernière modification le 09/03/2021 La syntaxe et les types de css2 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • À propos de la spécification
    https://www.gaudry.be > Programming > CSS
    [23] 12/08/2006 - Dernière modification le 09/03/2021 CSS À propos de la spécification CSS2 Traduction en français des spécifications CSS du W3C. Ces informations proviennent du site www.yoyodesign.org
    Mot clé = design | Niveau = 2

  • 1 photo en rapport avec design-pattern
    https://www.gaudry.be > Photography > Gallery
    [24] 30/01/2021 - Dernière modification le 18/02/2021 Il est possible de consulter les photos selon le flux de la galerie, mais aussi selon certaines recherches, que ce soit par tags comme dans ce cas, ou selon les meta données des photos.
    Mot clé = design-pattern | Niveau = 11

  • La tour d'Eben-Ezer
    https://www.gaudry.be > Photography > Gallery
    [25] 21/07/2011 - Dernière modification le 26/02/2021 A Belgian self-built tower inspired by the bible and ancient civilizations. Eben-Ezer Tower is a tower-museum built by Robert Garcet to Eben-Emael (common Bassenge ), north of Liège. Its proportions are based on those of the New Jerusalem , according to John. According to its architect, Robert Garcet , each stone has a revelation and the figures speak for themselves. The building, 33 meters high on a square plan with turret corners, is constructed of large stones of flint on a deep well of 33 meters also. One of the leading manufacturer is Krawinckel Gilbert. Its seven floors are crowned by the four cherubim of the Apocalypse, scupted in stone: Taurus, northwest, man, south-west, Leo, southeast, and the Eagle, the northeast. At the base of the tower, a stone circle draws her twelve pillars between the bushes, each standing stone is distant from each other by 3.33 meters. As for the monumental staircase that runs down the hillside, he, too, the dimensions required by an ancient esoteric . In the Bible, Eben-Ezer is the Stone of help, the memorial stone set up by Samuel after a defeat of the Philistines, as a memorial of the aid received in connection with God (1 Sat 7:7 - 12), near Mizpah (Benjamin), near the western entrance to the pass of Beth-horon. The Tower of Eben-Ezer is a self-built castle constructed in the 1960s by a single man in the isolated Jeker valley of Belgium. The builder, Robert Garcet, was fascinated with the Bible, numerology and ancient civilizations. The entire seven-level tower is built of flint, and according to Garcet, was designed using ancient mystical measurements. On the top of the tower are four giant biblical animals, and the interior is full of Garcet's biblical, archaeological, paleontological and geological art. Even more curious is that although the tower only looks ancient, it sits on top of a vast network of truly ancient tunnels. Garcet claims to have discovered over a hundred "new" fossilized creatures and a 70-million year-old village in the labyrinth of tunnels under the tower! Unfortunately, the village was destroyed by a mining explosion before it could be studied. A new educational space called the Geospadium takes the visitor on a tour of the history and use of the flint stone. From Wikipedia, the free encyclopedia, and Atlas Oscura.
    Mot clé = design (titre ou description) | Niveau = 12

  • Evoluon by night
    https://www.gaudry.be > Photography > Gallery
    [26] 20/09/2011 - Dernière modification le 27/02/2021 Evoluon The Evoluon is a conference centre and former science museum erected by the electronics and electrical company Philips in Eindhoven, the Netherlands, in 1966. Since its construction, it has become a landmark and a symbol for the city. The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architect Louis Christiaan Kalff, while the exhibition was conceived by James Gardner. The building was based on an idea by Frits Philips, who originally made a sketch of the building on a paper napkin. Frits Philips wanted to give the people of Eindhoven a beautiful and educational gift to celebrate the 75th anniversary of the company that bears his family name. Its concrete dome is 77 meters (253 ft) in diameter and is held in place by 169 kilometers (105 mi) of rebar. In the 1960s and 70s it attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors to the Evoluon declined every year. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference center, opening in 1998. The Evoluon is chiefly remembered in the UK from Bert Haanstra's wordless short film, titled simply Evoluon. Commissioned by Philips to publicise the museum, it was shown as a trade test colour film on the BBC from 1968 to 1972. From Wikipedia, the free encyclopedia.
    Mot clé = design (titre ou description) | Niveau = 13

  • Ardennes American Cemetery - flowers
    https://www.gaudry.be > Photography > Gallery
    [27] 08/10/2011 - Dernière modification le 17/02/2021 The Ardennes American Cemetery and Memorial is home to the graves of 5,329 members of the United States military who died in World War II. It is one of fourteen cemeteries for American World War II dead on foreign soil, and is administered by the American Battle Monuments Commission. The ninety and a half acre cemetery and memorial is located in Neuville-en-Condroz, near the southeast edge of Neupré, Wallonia, Belgium. It is one of three American war cemeteries in Belgium, the other two being at Flanders Field and Henri-Chapelle. Layout and memorial The Ardennes American Cemetery is generally rectangular in shape. Its grave plots are arranged in the form of a Greek cross separated by two broad intersecting paths. At the east end of the traverse path is a bronze figure symbolizing American youth, designed by sculptor C. Paul Jennewein. The cemetery is surrounded on all sides by stands of trees. An approach drive leads to the memorial, a rectangular structure bearing on its south facade a massive American eagle with three figures symbolizing Justice, Liberty, and Truth and thirteen stars representing the United States. This facade was designed by C. Paul Jennewein. The facade on the far (north) end, which overlooks the burial area, bears the insignia in mosaic of the major United States units which operated in northwest Europe in World War II. Along the outside of the memorial are the "Tablets of the Missing", granite slabs on which are inscribed the names of 462 American missing (15 Navy and 447 Army and Army Air Forces) who gave their lives in the service of their country, but whose remains were never recovered or identified. Within the memorial are a chapel, three large wall maps composed of inlaid marble, marble panels depicting combat and supply activities and other ornamental features. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 14

  • Ardennes American Cemetery and Memorial
    https://www.gaudry.be > Photography > Gallery
    [28] 08/10/2011 - Dernière modification le 16/02/2021 Metadata Nikon D7000 ƒ/7.1 17.0 mm 1/25 s ISO 100 Size: 9824*3230 Processing Panorama, merge of 3 photos(left-right-center) with a 1/3 overlap Very bad distorsions on the bottom-left and bottom-right corners, but I like the cloudy sky. Context The Ardennes American Cemetery and Memorial is home to the graves of 5,329 members of the United States military who died in World War II. It is one of fourteen cemeteries for American World War II dead on foreign soil, and is administered by the American Battle Monuments Commission. The ninety and a half acre cemetery and memorial is located in Neuville-en-Condroz, near the southeast edge of Neupré, Wallonia, Belgium. It is one of three American war cemeteries in Belgium, the other two being at Flanders Field and Henri-Chapelle. Layout and memorial The Ardennes American Cemetery is generally rectangular in shape. Its grave plots are arranged in the form of a Greek cross separated by two broad intersecting paths. At the east end of the traverse path is a bronze figure symbolizing American youth, designed by sculptor C. Paul Jennewein. The cemetery is surrounded on all sides by stands of trees. An approach drive leads to the memorial, a rectangular structure bearing on its south facade a massive American eagle with three figures symbolizing Justice, Liberty, and Truth and thirteen stars representing the United States. This facade was designed by C. Paul Jennewein. The facade on the far (north) end, which overlooks the burial area, bears the insignia in mosaic of the major United States units which operated in northwest Europe in World War II. Along the outside of the memorial are the "Tablets of the Missing", granite slabs on which are inscribed the names of 462 American missing (15 Navy and 447 Army and Army Air Forces) who gave their lives in the service of their country, but whose remains were never recovered or identified. Within the memorial are a chapel, three large wall maps composed of inlaid marble, marble panels depicting combat and supply activities and other ornamental features. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 15

  • Ardennes American Cemetery - unknown
    https://www.gaudry.be > Photography > Gallery
    [29] 08/10/2011 - Dernière modification le 17/02/2021 The Ardennes American Cemetery and Memorial is home to the graves of 5,329 members of the United States military who died in World War II. It is one of fourteen cemeteries for American World War II dead on foreign soil, and is administered by the American Battle Monuments Commission. The ninety and a half acre cemetery and memorial is located in Neuville-en-Condroz, near the southeast edge of Neupré, Wallonia, Belgium. It is one of three American war cemeteries in Belgium, the other two being at Flanders Field and Henri-Chapelle. Layout and memorial The Ardennes American Cemetery is generally rectangular in shape. Its grave plots are arranged in the form of a Greek cross separated by two broad intersecting paths. At the east end of the traverse path is a bronze figure symbolizing American youth, designed by sculptor C. Paul Jennewein. The cemetery is surrounded on all sides by stands of trees. An approach drive leads to the memorial, a rectangular structure bearing on its south facade a massive American eagle with three figures symbolizing Justice, Liberty, and Truth and thirteen stars representing the United States. This facade was designed by C. Paul Jennewein. The facade on the far (north) end, which overlooks the burial area, bears the insignia in mosaic of the major United States units which operated in northwest Europe in World War II. Along the outside of the memorial are the "Tablets of the Missing", granite slabs on which are inscribed the names of 462 American missing (15 Navy and 447 Army and Army Air Forces) who gave their lives in the service of their country, but whose remains were never recovered or identified. Within the memorial are a chapel, three large wall maps composed of inlaid marble, marble panels depicting combat and supply activities and other ornamental features. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 16

  • Test road on the roof - back side
    https://www.gaudry.be > Photography > Gallery
    [30] 01/02/2021 - Dernière modification le 19/02/2021 Imperia Impéria was a Belgian automobile manufactured from 1906 until 1948. Products of the Ateliers Piedboeuf of Liège, the first cars were designed by the German Paul Henze. These were fours of 3, 4.9, and 9.9 liters. /.../ Impéria produced a monobloc 12 hp (8.9 kW) in 1909; in 1910 the company merged with Springuel. The factory producing Impéria-Abadals from about 1916; in 1921, it built three ohc 5·6-liter straight-eights. These were quickly replaced by an ephemeral ohc 3-liter 32-valve four which was capable of going 90 mph (140 km/h). This was followed by an 1100 cc side-valve 11/22 hp four designed by Couchard, one of the first cars ever built with a sunroof. Its engine rotated counter-clockwise, and its transmission brake also served as a servo for those on the front wheels. In 1937 a six of 1624 cc appeared; this had been available in three-carburettor Super Sports form from 1930. Over the course of four years Impéria took over three other Belgian car manufacturers: Métallurgique (1927), Excelsior (1929), and Nagant (1931). From 1934 until the company folded it built mainly front-wheel-drive Adlers with Belgian-made coachwork. The company merged with Minerva in 1934, but they split in 1939. After 1948 Impéria assembled Adlers and Standard Vanguards under license. After Standard decided to set up a new factory in Belgium, the factory was left without work and had to close doors in 1957. In 1925, the company hired Louis de Monge as chief research engineer. Some of his work included torsion bar suspension and automatic transmissions. De Monge left in 1937 to join Ettore Bugatti for whom he would design the Bugatti 100P racer plane. In addition to its production in Belgium, Impéria made a number of cars in Great Britain; these were assembled at a factory in Maidenhead. Rooftop test track Around and on top of the factory buildings, there was a test track over 1km long. The track was built in 1928. The test drivers used the roads of the village, a road with a lot of bends. Speeding and high revving engines made the population mad and they were no longer willing to support the factory. The only solution was to build a test track within the factory and using the football field of the local football club. The ring started within the factory, then over the roof which gave a track of about one kilometre. Only Fiat had a similar track. This little test track became an attraction in the region. A little causeway allowed people to climb onto the nearside hill to watch the spectacle of car testing over the factories roofs. And now Now most of the buildings are occupied by a firm of construction, and a few sheds and batiments are so ruined that the roof risks to collapse. There are still two vehicles (under the dust and the building materials), among which one may be an Imperia model. From Wikipedia, the free encyclopedia.
    Mot clé = design (titre ou description) | Niveau = 17

  • Test road on the roof - street side
    https://www.gaudry.be > Photography > Gallery
    [31] 30/01/2021 - Dernière modification le 18/02/2021 Imperia Impéria was a Belgian automobile manufactured from 1906 until 1948. Products of the Ateliers Piedboeuf of Liège, the first cars were designed by the German Paul Henze. These were fours of 3, 4.9, and 9.9 liters. /.../ Impéria produced a monobloc 12 hp (8.9 kW) in 1909; in 1910 the company merged with Springuel. The factory producing Impéria-Abadals from about 1916; in 1921, it built three ohc 5·6-liter straight-eights. These were quickly replaced by an ephemeral ohc 3-liter 32-valve four which was capable of going 90 mph (140 km/h). This was followed by an 1100 cc side-valve 11/22 hp four designed by Couchard, one of the first cars ever built with a sunroof. Its engine rotated counter-clockwise, and its transmission brake also served as a servo for those on the front wheels. In 1937 a six of 1624 cc appeared; this had been available in three-carburettor Super Sports form from 1930. Over the course of four years Impéria took over three other Belgian car manufacturers: Métallurgique (1927), Excelsior (1929), and Nagant (1931). From 1934 until the company folded it built mainly front-wheel-drive Adlers with Belgian-made coachwork. The company merged with Minerva in 1934, but they split in 1939. After 1948 Impéria assembled Adlers and Standard Vanguards under license. After Standard decided to set up a new factory in Belgium, the factory was left without work and had to close doors in 1957. In 1925, the company hired Louis de Monge as chief research engineer. Some of his work included torsion bar suspension and automatic transmissions. De Monge left in 1937 to join Ettore Bugatti for whom he would design the Bugatti 100P racer plane. In addition to its production in Belgium, Impéria made a number of cars in Great Britain; these were assembled at a factory in Maidenhead. Rooftop test track Around and on top of the factory buildings, there was a test track over 1km long. The track was built in 1928. The test drivers used the roads of the village, a road with a lot of bends. Speeding and high revving engines made the population mad and they were no longer willing to support the factory. The only solution was to build a test track within the factory and using the football field of the local football club. The ring started within the factory, then over the roof which gave a track of about one kilometre. Only Fiat had a similar track. This little test track became an attraction in the region. A little causeway allowed people to climb onto the nearside hill to watch the spectacle of car testing over the factories roofs. And now Now most of the buildings are occupied by a firm of construction, and a few sheds and batiments are so ruined that the roof risks to collapse. There are still two vehicles (under the dust and the building materials), among which one may be an Imperia model. From Wikipedia, the free encyclopedia.
    Mot clé = design (titre ou description) | Niveau = 18

  • Garage Imperia - voiture abandonnée - avant
    https://www.gaudry.be > Photography > Gallery
    [32] 21/01/2021 - Dernière modification le 13/02/2021 Imperia Impéria was a Belgian automobile manufactured from 1906 until 1948. Products of the Ateliers Piedboeuf of Liège, the first cars were designed by the German Paul Henze. These were fours of 3, 4.9, and 9.9 liters. /.../ Impéria produced a monobloc 12 hp (8.9 kW) in 1909; in 1910 the company merged with Springuel. The factory producing Impéria-Abadals from about 1916; in 1921, it built three ohc 5·6-liter straight-eights. These were quickly replaced by an ephemeral ohc 3-liter 32-valve four which was capable of going 90 mph (140 km/h). This was followed by an 1100 cc side-valve 11/22 hp four designed by Couchard, one of the first cars ever built with a sunroof. Its engine rotated counter-clockwise, and its transmission brake also served as a servo for those on the front wheels. In 1937 a six of 1624 cc appeared; this had been available in three-carburettor Super Sports form from 1930. Over the course of four years Impéria took over three other Belgian car manufacturers: Métallurgique (1927), Excelsior (1929), and Nagant (1931). From 1934 until the company folded it built mainly front-wheel-drive Adlers with Belgian-made coachwork. The company merged with Minerva in 1934, but they split in 1939. After 1948 Impéria assembled Adlers and Standard Vanguards under license. After Standard decided to set up a new factory in Belgium, the factory was left without work and had to close doors in 1957. In 1925, the company hired Louis de Monge as chief research engineer. Some of his work included torsion bar suspension and automatic transmissions. De Monge left in 1937 to join Ettore Bugatti for whom he would design the Bugatti 100P racer plane. In addition to its production in Belgium, Impéria made a number of cars in Great Britain; these were assembled at a factory in Maidenhead. Rooftop test track Around and on top of the factory buildings, there was a test track over 1km long. The track was built in 1928. The test drivers used the roads of the village, a road with a lot of bends. Speeding and high revving engines made the population mad and they were no longer willing to support the factory. The only solution was to build a test track within the factory and using the football field of the local football club. The ring started within the factory, then over the roof which gave a track of about one kilometre. Only Fiat had a similar track. This little test track became an attraction in the region. A little causeway allowed people to climb onto the nearside hill to watch the spectacle of car testing over the factories roofs. And now Now most of the buildings are occupied by a firm of construction, and a few sheds and batiments are so ruined that the roof risks to collapse. There are still two vehicles (under the dust and the building materials), among which one may be an Imperia model. From Wikipedia, the free encyclopedia.
    Mot clé = design (titre ou description) | Niveau = 19

  • Garage Imperia - voiture abandonnée - arrière
    https://www.gaudry.be > Photography > Gallery
    [33] 18/01/2021 - Dernière modification le 12/02/2021 Imperia Impéria was a Belgian automobile manufactured from 1906 until 1948. Products of the Ateliers Piedboeuf of Liège, the first cars were designed by the German Paul Henze. These were fours of 3, 4.9, and 9.9 liters. /.../ Impéria produced a monobloc 12 hp (8.9 kW) in 1909; in 1910 the company merged with Springuel. The factory producing Impéria-Abadals from about 1916; in 1921, it built three ohc 5·6-liter straight-eights. These were quickly replaced by an ephemeral ohc 3-liter 32-valve four which was capable of going 90 mph (140 km/h). This was followed by an 1100 cc side-valve 11/22 hp four designed by Couchard, one of the first cars ever built with a sunroof. Its engine rotated counter-clockwise, and its transmission brake also served as a servo for those on the front wheels. In 1937 a six of 1624 cc appeared; this had been available in three-carburettor Super Sports form from 1930. Over the course of four years Impéria took over three other Belgian car manufacturers: Métallurgique (1927), Excelsior (1929), and Nagant (1931). From 1934 until the company folded it built mainly front-wheel-drive Adlers with Belgian-made coachwork. The company merged with Minerva in 1934, but they split in 1939. After 1948 Impéria assembled Adlers and Standard Vanguards under license. After Standard decided to set up a new factory in Belgium, the factory was left without work and had to close doors in 1957. In 1925, the company hired Louis de Monge as chief research engineer. Some of his work included torsion bar suspension and automatic transmissions. De Monge left in 1937 to join Ettore Bugatti for whom he would design the Bugatti 100P racer plane. In addition to its production in Belgium, Impéria made a number of cars in Great Britain; these were assembled at a factory in Maidenhead. Rooftop test track Around and on top of the factory buildings, there was a test track over 1km long. The track was built in 1928. The test drivers used the roads of the village, a road with a lot of bends. Speeding and high revving engines made the population mad and they were no longer willing to support the factory. The only solution was to build a test track within the factory and using the football field of the local football club. The ring started within the factory, then over the roof which gave a track of about one kilometre. Only Fiat had a similar track. This little test track became an attraction in the region. A little causeway allowed people to climb onto the nearside hill to watch the spectacle of car testing over the factories roofs. And now Now most of the buildings are occupied by a firm of construction, and a few sheds and batiments are so ruined that the roof risks to collapse. There are still two vehicles (under the dust and the building materials), among which one may be an Imperia model. From Wikipedia, the free encyclopedia.
    Mot clé = design (titre ou description) | Niveau = 20

  • Usine Impéria, l'entrée moyenâgeuse
    https://www.gaudry.be > Photography > Gallery
    [34] 27/01/2021 - Dernière modification le 16/02/2021 Imperia Impéria was a Belgian automobile manufactured from 1906 until 1948. Products of the Ateliers Piedboeuf of Liège, the first cars were designed by the German Paul Henze. These were fours of 3, 4.9, and 9.9 liters. /.../ Impéria produced a monobloc 12 hp (8.9 kW) in 1909; in 1910 the company merged with Springuel. The factory producing Impéria-Abadals from about 1916; in 1921, it built three ohc 5·6-liter straight-eights. These were quickly replaced by an ephemeral ohc 3-liter 32-valve four which was capable of going 90 mph (140 km/h). This was followed by an 1100 cc side-valve 11/22 hp four designed by Couchard, one of the first cars ever built with a sunroof. Its engine rotated counter-clockwise, and its transmission brake also served as a servo for those on the front wheels. In 1937 a six of 1624 cc appeared; this had been available in three-carburettor Super Sports form from 1930. Over the course of four years Impéria took over three other Belgian car manufacturers: Métallurgique (1927), Excelsior (1929), and Nagant (1931). From 1934 until the company folded it built mainly front-wheel-drive Adlers with Belgian-made coachwork. The company merged with Minerva in 1934, but they split in 1939. After 1948 Impéria assembled Adlers and Standard Vanguards under license. After Standard decided to set up a new factory in Belgium, the factory was left without work and had to close doors in 1957. In 1925, the company hired Louis de Monge as chief research engineer. Some of his work included torsion bar suspension and automatic transmissions. De Monge left in 1937 to join Ettore Bugatti for whom he would design the Bugatti 100P racer plane. In addition to its production in Belgium, Impéria made a number of cars in Great Britain; these were assembled at a factory in Maidenhead. Rooftop test track Around and on top of the factory buildings, there was a test track over 1km long. The track was built in 1928. The test drivers used the roads of the village, a road with a lot of bends. Speeding and high revving engines made the population mad and they were no longer willing to support the factory. The only solution was to build a test track within the factory and using the football field of the local football club. The ring started within the factory, then over the roof which gave a track of about one kilometre. Only Fiat had a similar track. This little test track became an attraction in the region. A little causeway allowed people to climb onto the nearside hill to watch the spectacle of car testing over the factories roofs. And now Now most of the buildings are occupied by a firm of construction, and a few sheds and batiments are so ruined that the roof risks to collapse. There are still two vehicles (under the dust and the building materials), among which one may be an Imperia model. From Wikipedia, the free encyclopedia.
    Mot clé = design (titre ou description) | Niveau = 21

  • Windgrafiek, a flying glow
    https://www.gaudry.be > Photography > Gallery
    [35] 07/11/2011 - Dernière modification le 22/02/2021 Windgrafiek GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: Dommelbrug Noord About the project: The balloons with a diameter of ca. 2 meter are filled with helium and fitted with LED lighting. When there is low wind velocity they are allowed to flow vertically into the sky on a 100-meter-long cord. The upward force of the helium ensures that the cord is drawn upwards, while the wind pushes it aside. In this way the cord of luminescent balloons becomes a graph whose shape is determined by the wind. At high wind speeds the balloons are kept closer to the ground in other patterns. Wind graph is designed and executed by Ralph Brodruck and the Tendris Company. About the photo This picture is a merge of 3 photos of the balloons moving in the wind, with a speed of 0,005 sec (1/200). From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 22

  • ...WHERE...
    https://www.gaudry.be > Photography > Gallery
    [36] 07/11/2011 - Dernière modification le 02/03/2021 ‘Transformatie’ en het fluisterbos GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: TU/e campus, bij gebouw Impuls About the project: Michel Suk has used theatrical and design techniques to arrive at Transformation. In this work of light art he gives center stage to personal formation and development. Characteristic of Transformation are the multiples of knowledge and continuous innovation, nurtured from a common source: Eindhoven University of Technology. This energy is enclosed and embedded in a steel tube and can only exit this tube through an organized structure in the metal. Only a purely pointed source of light unlocks and translates the structure in the metal into a circular projection. The result: a concentrically arranged light projection on the floor whose rings are not in contact with each other, but which do originate from the same source. To illustrate knowledge, the wood has been changed as if by magic into a whispering wood, where one hears whispers of mysterious scientific formulae. From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 23

  • ...WHERE INNOVATIONS...
    https://www.gaudry.be > Photography > Gallery
    [37] 07/11/2011 - Dernière modification le 24/02/2021 ‘Transformatie’ en het fluisterbos GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: TU/e campus, bij gebouw Impuls About the project: Michel Suk has used theatrical and design techniques to arrive at Transformation. In this work of light art he gives center stage to personal formation and development. Characteristic of Transformation are the multiples of knowledge and continuous innovation, nurtured from a common source: Eindhoven University of Technology. This energy is enclosed and embedded in a steel tube and can only exit this tube through an organized structure in the metal. Only a purely pointed source of light unlocks and translates the structure in the metal into a circular projection. The result: a concentrically arranged light projection on the floor whose rings are not in contact with each other, but which do originate from the same source. To illustrate knowledge, the wood has been changed as if by magic into a whispering wood, where one hears whispers of mysterious scientific formulae. From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 24

  • Glow for Kids
    https://www.gaudry.be > Photography > Gallery
    [38] 09/11/2011 - Dernière modification le 01/03/2021 GLOW for Kids GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: Market Square About the project: In collaboration with CultuurStation, the mediator between culture and education in Eindhoven, students of primary schools in Eindhoven and its environs were invited to design their own light. The response was overwhelming. About thousand students showed their creativity and decorated their own lampshades. The required lights were provided by the Lichtjesroute Eindhoven. Volunteers from the Scouting Dr. Albert Schweitzer helped to connect and install the creations. The result is a great piece of artwork that seems to float above the Market Square. An event like GLOW is an excellent opportunity to make children aware of the importance of renewable energy. Therefore the Environmental Education Center (MEC) gladly joined this initiative. With special education material of the MEC, teachers focused on smart and responsible use of light From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 25

  • Beauty of stagnation - 3
    https://www.gaudry.be > Photography > Gallery
    [39] 09/11/2011 - Dernière modification le 23/02/2021 Beauty of stagnation (Michel Suk en Bart van Dongen) GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: TU/e en Kennispoort About the project: On the TU/e campus and surrounding area lighting designer Michel Suk fully lightens different buildings and landscape elements. Large-scale installations slowly change color or reveal patterns which alternately show chaos and order. Because the light programs are linked together, the overall view is impressive. Visitors walk through a landscape of light and color in which vistas and sight lines continuously cause other images. To mark the 120 year anniversary of Philips the concern supports this project of Michel Suk. His work seamlessly connect to the Philips theme of \u2018Livable Cities\u2019. Absolute eye-catcher in this large installation is the building of Kennispoort. This is the scenery for a co-production of Michel Suk and composer Bart van Dongen. Accompanied by a wind instruments ensemble and electronics a choir of 150 to 200 singers performs a new composition by Bart van Dongen. By using projections Michel Suk provides for a powerful visual counterweight. Because Van Dongen and Suk have worked together from the start lighting and sound are integrated beautifully. Both images and music of Beauty of stagnation are based on the Fibonacci number sequence, which describes growth processes in nature. In both media small entities accumulate to large and complex constructions. For example the projection of a line develops into a tree structure or a color into a fine mosaic. The words and sounds of the music composition evolve gradually into extensive rhythms and tunes. From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 26

  • Beauty of stagnation - 2
    https://www.gaudry.be > Photography > Gallery
    [40] 09/11/2011 - Dernière modification le 23/02/2021 Beauty of stagnation (Michel Suk en Bart van Dongen) GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: TU/e en Kennispoort About the project: On the TU/e campus and surrounding area lighting designer Michel Suk fully lightens different buildings and landscape elements. Large-scale installations slowly change color or reveal patterns which alternately show chaos and order. Because the light programs are linked together, the overall view is impressive. Visitors walk through a landscape of light and color in which vistas and sight lines continuously cause other images. To mark the 120 year anniversary of Philips the concern supports this project of Michel Suk. His work seamlessly connect to the Philips theme of \u2018Livable Cities\u2019. Absolute eye-catcher in this large installation is the building of Kennispoort. This is the scenery for a co-production of Michel Suk and composer Bart van Dongen. Accompanied by a wind instruments ensemble and electronics a choir of 150 to 200 singers performs a new composition by Bart van Dongen. By using projections Michel Suk provides for a powerful visual counterweight. Because Van Dongen and Suk have worked together from the start lighting and sound are integrated beautifully. Both images and music of Beauty of stagnation are based on the Fibonacci number sequence, which describes growth processes in nature. In both media small entities accumulate to large and complex constructions. For example the projection of a line develops into a tree structure or a color into a fine mosaic. The words and sounds of the music composition evolve gradually into extensive rhythms and tunes. From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 27

  • Beauty of stagnation - 1
    https://www.gaudry.be > Photography > Gallery
    [41] 09/11/2011 - Dernière modification le 23/02/2021 Beauty of stagnation (Michel Suk en Bart van Dongen) GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: TU/e en Kennispoort About the project: On the TU/e campus and surrounding area lighting designer Michel Suk fully lightens different buildings and landscape elements. Large-scale installations slowly change color or reveal patterns which alternately show chaos and order. Because the light programs are linked together, the overall view is impressive. Visitors walk through a landscape of light and color in which vistas and sight lines continuously cause other images. To mark the 120 year anniversary of Philips the concern supports this project of Michel Suk. His work seamlessly connect to the Philips theme of \u2018Livable Cities\u2019. Absolute eye-catcher in this large installation is the building of Kennispoort. This is the scenery for a co-production of Michel Suk and composer Bart van Dongen. Accompanied by a wind instruments ensemble and electronics a choir of 150 to 200 singers performs a new composition by Bart van Dongen. By using projections Michel Suk provides for a powerful visual counterweight. Because Van Dongen and Suk have worked together from the start lighting and sound are integrated beautifully. Both images and music of Beauty of stagnation are based on the Fibonacci number sequence, which describes growth processes in nature. In both media small entities accumulate to large and complex constructions. For example the projection of a line develops into a tree structure or a color into a fine mosaic. The words and sounds of the music composition evolve gradually into extensive rhythms and tunes. From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 28

  • Beauty of stagnation - 4
    https://www.gaudry.be > Photography > Gallery
    [42] 09/11/2011 - Dernière modification le 23/02/2021 Beauty of stagnation (Michel Suk en Bart van Dongen) GLOW - International Forum of Light in Art and Architecture Eindhoven 2011 - 6th Edition - 'Illusion and reality' Due to the dedication of CityDynamiek Eindhoven, from November, 5th to 12th, 2011, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: TU/e en Kennispoort About the project: On the TU/e campus and surrounding area lighting designer Michel Suk fully lightens different buildings and landscape elements. Large-scale installations slowly change color or reveal patterns which alternately show chaos and order. Because the light programs are linked together, the overall view is impressive. Visitors walk through a landscape of light and color in which vistas and sight lines continuously cause other images. To mark the 120 year anniversary of Philips the concern supports this project of Michel Suk. His work seamlessly connect to the Philips theme of \u2018Livable Cities\u2019. Absolute eye-catcher in this large installation is the building of Kennispoort. This is the scenery for a co-production of Michel Suk and composer Bart van Dongen. Accompanied by a wind instruments ensemble and electronics a choir of 150 to 200 singers performs a new composition by Bart van Dongen. By using projections Michel Suk provides for a powerful visual counterweight. Because Van Dongen and Suk have worked together from the start lighting and sound are integrated beautifully. Both images and music of Beauty of stagnation are based on the Fibonacci number sequence, which describes growth processes in nature. In both media small entities accumulate to large and complex constructions. For example the projection of a line develops into a tree structure or a color into a fine mosaic. The words and sounds of the music composition evolve gradually into extensive rhythms and tunes. From Glow 2011 website.
    Mot clé = design (titre ou description) | Niveau = 29

  • Suspended bridge
    https://www.gaudry.be > Photography > Gallery
    [43] 10/11/2011 - Dernière modification le 27/02/2021 Liège-Guillemins railway station History In 1838, only three years after the first continental railway, a line linking Brussels and Ans, in the northern suburbs of Liège, was opened. The first train station of Liège-Guillemins was inaugurated in May 1842, linking the valley to the upper Ans station. In 1843, the first international railway connection was born, linking Liège to Aachen and Cologne. The station was modernized and improved in 1882 and in 1905 for the World Fair in Liège. This station was replaced in 1958 by a modern (for that time) one that was used until June 2009, a few months before the opening of the new Calatrava designed station. New station The new station by the architect Santiago Calatrava was officially opened on September 18, 2009 with a show by Franco Dragone. It has 9 tracks and 5 platforms (three of 450m and two of 350m). All the tracks around the station have been modernized to allow high speed arrival and departure. The new station is made of steel, glass and white concrete. It includes a monumental arch, 200 metres long and 35 metres high. The building costs were € 312 million. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 30

  • Le dôme
    https://www.gaudry.be > Photography > Gallery
    [44] 10/11/2011 - Dernière modification le 03/03/2021 Liège-Guillemins railway station History In 1838, only three years after the first continental railway, a line linking Brussels and Ans, in the northern suburbs of Liège, was opened. The first train station of Liège-Guillemins was inaugurated in May 1842, linking the valley to the upper Ans station. In 1843, the first international railway connection was born, linking Liège to Aachen and Cologne. The station was modernized and improved in 1882 and in 1905 for the World Fair in Liège. This station was replaced in 1958 by a modern (for that time) one that was used until June 2009, a few months before the opening of the new Calatrava designed station. New station The new station by the architect Santiago Calatrava was officially opened on September 18, 2009 with a show by Franco Dragone. It has 9 tracks and 5 platforms (three of 450m and two of 350m). All the tracks around the station have been modernized to allow high speed arrival and departure. The new station is made of steel, glass and white concrete. It includes a monumental arch, 200 metres long and 35 metres high. The building costs were € 312 million. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 31

  • Sortie de parking
    https://www.gaudry.be > Photography > Gallery
    [45] 10/11/2011 - Dernière modification le 27/02/2021 Liège-Guillemins railway station History In 1838, only three years after the first continental railway, a line linking Brussels and Ans, in the northern suburbs of Liège, was opened. The first train station of Liège-Guillemins was inaugurated in May 1842, linking the valley to the upper Ans station. In 1843, the first international railway connection was born, linking Liège to Aachen and Cologne. The station was modernized and improved in 1882 and in 1905 for the World Fair in Liège. This station was replaced in 1958 by a modern (for that time) one that was used until June 2009, a few months before the opening of the new Calatrava designed station. New station The new station by the architect Santiago Calatrava was officially opened on September 18, 2009 with a show by Franco Dragone. It has 9 tracks and 5 platforms (three of 450m and two of 350m). All the tracks around the station have been modernized to allow high speed arrival and departure. The new station is made of steel, glass and white concrete. It includes a monumental arch, 200 metres long and 35 metres high. The building costs were € 312 million. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 32

  • Passage
    https://www.gaudry.be > Photography > Gallery
    [46] 10/11/2011 - Dernière modification le 04/03/2021 Liège-Guillemins railway station History In 1838, only three years after the first continental railway, a line linking Brussels and Ans, in the northern suburbs of Liège, was opened. The first train station of Liège-Guillemins was inaugurated in May 1842, linking the valley to the upper Ans station. In 1843, the first international railway connection was born, linking Liège to Aachen and Cologne. The station was modernized and improved in 1882 and in 1905 for the World Fair in Liège. This station was replaced in 1958 by a modern (for that time) one that was used until June 2009, a few months before the opening of the new Calatrava designed station. New station The new station by the architect Santiago Calatrava was officially opened on September 18, 2009 with a show by Franco Dragone. It has 9 tracks and 5 platforms (three of 450m and two of 350m). All the tracks around the station have been modernized to allow high speed arrival and departure. The new station is made of steel, glass and white concrete. It includes a monumental arch, 200 metres long and 35 metres high. The building costs were € 312 million. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 33

  • Les quais
    https://www.gaudry.be > Photography > Gallery
    [47] 10/11/2011 - Dernière modification le 03/03/2021 Liège-Guillemins railway station History In 1838, only three years after the first continental railway, a line linking Brussels and Ans, in the northern suburbs of Liège, was opened. The first train station of Liège-Guillemins was inaugurated in May 1842, linking the valley to the upper Ans station. In 1843, the first international railway connection was born, linking Liège to Aachen and Cologne. The station was modernized and improved in 1882 and in 1905 for the World Fair in Liège. This station was replaced in 1958 by a modern (for that time) one that was used until June 2009, a few months before the opening of the new Calatrava designed station. New station The new station by the architect Santiago Calatrava was officially opened on September 18, 2009 with a show by Franco Dragone. It has 9 tracks and 5 platforms (three of 450m and two of 350m). All the tracks around the station have been modernized to allow high speed arrival and departure. The new station is made of steel, glass and white concrete. It includes a monumental arch, 200 metres long and 35 metres high. The building costs were € 312 million. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 34

  • MV Savarona on the Bosphorus
    https://www.gaudry.be > Photography > Gallery
    [48] 21/02/2012 - Dernière modification le 21/02/2021 The MV Savarona (also sometimes M/Y, for motor yacht) is a luxury State yacht. She was the largest in the world when launched in 1931, and remains with a length of 136 m (446 ft) one of the world’s longest. She is owned by the Republic of Turkey and is currently leased by Turkish businessman Kahraman Sadıkoğlu from the Turkish State. Vessel's Details: Year Built: 1931 Length x Breadth: 124 m X 16 m Gross Tonnage: 4646, DeadWeight: 1540 t Speed recorded (Max / Average): 18 / 13.5 knots Last Known Port: ISTANBUL Tonnage & Dimensions: GT (Gross Tonnage): 4646 NT (Net Tonnage): DWT (Deadweight): 1540 Displacement: 5710 LOA (Length Overall): 136 Beam: 53 ft (16 m) Draft (max): 20 ft (6.1 m) Depth: Height: 52 ft (16 m) Length: 408 ft (124 m) waterline; 446 ft (136 m) - stern to bowsprit History: Named for an African swan living in the Indian Ocean, the ship was designed by Gibbs & Cox in 1931 for American heiress Emily Roebling Cadwallader, granddaughter of John A. Roebling, engineer of the Brooklyn Bridge. The ship was built by Blohm & Voss in Hamburg, Germany. She cost about $4 million ($57 million in 2010 dollars). Equipped with Sperry gyro-stabilizers, she was described in 1949 by Jane's Fighting Ships as "probably the most sumptuously fitted yacht afloat." In 1938, the Turkish government bought the yacht for ailing leader Mustafa Kemal Atatürk, who spent only six weeks aboard before dying a few months later. Throughout World War II, the ship lay idle in Kanlıca Bay on the Bosporus. In 1951, she was converted to the training ship Güneş Dil (English: Sun Language). In October 1979, the ship was gutted by fire at the Turkish Naval Academy off Heybeliada Island in the Sea of Marmara. She lay virtually abandoned for ten years. In 1989, she was chartered for 49 years by Turkish businessman Kahraman Sadıkoğlu. Over three years, his firm completely refurbished her for about $45 million, removing the original steam turbine engines and installing modern diesel engines. The ship was rebuilt at Tuzla Shipyards in Tuzla, a suburb of Istanbul, for the purpose of serving famous and important guests and helping to keep the memory of Atatürk alive. On 28 September 2010 teams of the gendarmerie raided the yacht with assistance of the coast guard and in other places across the country eight persons were arrested for organized human trafficking and detained of 15 women and six foreigner male guests aboard for prostitution. The yacht was rented by a Kazakh businessman three days before in Bodrum for one week and was en route Antalya, said the yacht's operator, Kahraman Sadıkoğlu. Yusuf Hakkı Doğan, a public prosecutor in Antalya, who conducted the operation, revealed that the yacht had been used twice for prostitution purposes, the first time in Bodrum. On the 30th of September 2010, the lease on the MV Savarona was revoked and it reverted to the Turkish Republic as a State Yacht. Features: Savarona features a swimming pool, a turkish bath, a 282-foot (86 m) gold-trimmed grand staircase that survived from her original construction, a movie theater, and a library suite dedicated to Atatürk, which is furnished with many of his personal artifacts. Under its charter operator the yacht was available for charter including the crew but not provisions. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 35

  • Istanbul, Sura Design Hotel
    https://www.gaudry.be > Photography > Gallery
    [49] 22/02/2012 - Dernière modification le 22/02/2021
    Mot clé = design (titre ou description) | Niveau = 36

  • Sultan Ahmet Camii
    https://www.gaudry.be > Photography > Gallery
    [50] 23/02/2012 - Dernière modification le 26/02/2021 La Mosquée bleue, mosquée du sultan Ahmet ou mosquée Sultanahmet (en turc Sultan Ahmet Camii ou Sultanahmet Camii) est l'une des mosquées historiques d'Istanbul. Elle est notamment connue pour les céramiques à dominante bleue qui ornent les murs intérieurs, et lui ont valu son nom en Europe. Elle fut un point de départ du pèlerinage à La Mecque et a le privilège de comporter six minarets : la Mosquée sacrée de La Mecque en comptait autant à l'époque, mais en a depuis reçu un septième. Les coupoles sont soutenues par quatre piliers massifs qui rappellent ceux de la mosquée Selimiye à Edirne, un autre chef-d'œuvre de Sinan. Il est évident que Sedefhar Mehmet Ağa a été timoré en prenant cette marge de sécurité exagérée, en dégradant les proportions élégantes de la coupole par leur taille oppressive. Ces « pieds d'éléphants » sont composés de multiples rainures de marbre convexes à leur base, tandis que la moitié supérieure est peinte, séparée de la base par une bande inscrite avec des mots dorés. À ses niveaux inférieurs et à chaque quai, l'intérieur de la mosquée est bordée de plus de 20 000 carreaux de céramique artisanale, faite à Iznik (l'ancienne Nicée) dans plus de cinquante modèles différents. Les carreaux aux niveaux inférieurs sont de conception traditionnelle, tandis qu'au niveau de la galerie leur design devient flamboyant avec des images de fleurs, de fruits et de cyprès. Plus de 20 000 carreaux ont été fabriqués sous la supervision du maître potier d'Iznik Kaşıcı Hasan, et Mustafa Mersin Efendi de Avanos (Cappadoce). Toutefois, le prix des constructeurs pour les carreaux était fixé par décret du sultan, tandis que les prix des carrelages a augmenté au fil du temps. En conséquence, les carreaux utilisés plus tard dans la construction étaient de moindre qualité, leurs couleurs ont pâli et changé (le rouge au brun, le vert au bleu, blanc tacheté) et la glaçure s'est émoussée. Les tuiles sur le mur du balcon arrière sont des carreaux recyclés du harem du palais de Topkapı, quand il a été endommagé par un incendie en 1574. Les niveaux supérieurs de l'intérieur sont dominés par la peinture bleue, mais de mauvaise qualité. Plus de 200 vitraux avec des motifs complexes laissent passer la lumière naturelle, aujourd'hui aidée par des lustres. Sur les lustres, des œufs d'autruche étaient destinés à éviter les toiles d'araignées dans la mosquée en repoussant les araignées. Les décorations comprennent des versets du Coran, dont beaucoup ont été faits par Seyyid Kasim Gubari, considéré comme le plus grand calligraphe de son temps. Les sols sont recouverts de tapis, qui sont donnés par des fidèles et sont régulièrement remplacés dès qu'ils sont usés. Les nombreuses fenêtres spacieuses confèrent une impression d'espace. Les croisées au niveau du sol sont décorées avec l'Opus sectile. Chaque exèdre a cinq fenêtres, dont certaines sont aveugles. Chaque demi-coupole possède 14 fenêtres et le dôme central 28 (dont quatre sont aveugles). Le verre de couleur pour les fenêtres a été un don de la Seigneurie de Venise au sultan. La plupart de ces vitraux colorés ont désormais été remplacés par des versions modernes sans quasiment aucune valeur artistique. L'élément le plus important dans l'intérieur de la mosquée est le mihrab, qui est fait de marbre finement sculpté, avec un créneau de stalactites et un panneau double d'inscriptions au-dessus. Les murs adjacents sont recouverts de carreaux de céramique, mais les nombreuses fenêtres autour leur donnent une apparence moins spectaculaire. À la droite du mihrab est le minbar richement décoré, ou pupitre, où l'imam se trouve quand il prononce son sermon au moment de la prière de midi le vendredi ou les jours saints. La mosquée a été conçue de sorte que même quand elle est très encombrée, tout le monde à la mosquée peut voir et entendre l'imam. Le kiosque royal est situé à l'angle sud-est, il comprend une plate-forme, une loggia et deux petites salles. Il donne accès à la loge royale dans le sud-est de la galerie supérieure de la mosquée. Ces chambres sont devenues le siège du grand vizir pendant la répression du corps rebelle janissaire en 1826. La loge royale (Hünkâr Mahfil) est soutenue par dix colonnes de marbre. Elle a ses propres mihrabs, qui étaient autrefois ornés d'un jade rose et doré et une centaine de corans sur les lutrins incrustés et dorés. Le grand nombre de lampes qui éclairent l'intérieur étaient autrefois couvertes d'or et de pierres précieuses. Parmi les bols en verre on pouvait trouver des œufs d'autruche et des boules de cristal. Toutes ces décorations ont été enlevées ou pillées pour les musées. Les grandes tablettes sur les murs sont gravées avec les noms des califes et des versets du Coran, à l'origine par le grand calligraphe du xviie siècle Ametli Kasım Gubarım, mais ils ont souvent été restaurés. Source: Wikipedia, the free encyclopedia - version 09Mar2012
    Mot clé = design (titre ou description) | Niveau = 37

  • Des hommes comme vous et moi
    https://www.gaudry.be > Photography > Gallery
    [51] 30/04/2012 - Dernière modification le 21/02/2021 The museum Ramioul: The museum is designed to encourage visitors not to look at prehistory from the outside but rather to make him live it by experiencing the sensations of prehistoric man. The exhibition collections refuses to privilege the public scholar, it aims instead to familiarize the visitor with prehistoric life itself rather than with the representation given by the Archaeology. The chronology is not the main theme of the course. The museum is structured according to themes of prehistoric life in order to create a genuine relationship between the daily life of the visitor and that of prehistoric man. For this purpose, the concept expographique refers to his daily life, in a participatory approach and a variety of scenic resources: interactive terminals, multimedia projections, reconstructions, facsimiles to handle, ... The cave Ramioul: The cave Ramioul is a treasure of natural heritage and archaeological Walloon. It is a listed site of the Walloon Region. Discoveries that were made and the beauty of its concretions make it unavoidable. Cave Ramioul extends to within one kilometer of the cave Engis which were discovered in 1829, the first Neanderthal fossils in the world. "Chercheurs de la Wallonie" fought for many years to preserve it, and it narrowly escaped the shots backhoe. Since its inception, Prehistoric - Museum of Prehistory in Wallonia, has made every effort to conserve, preserve and enhance this jewel stone and its biodiversity. The upper level of the cave has archaeological interest. The terrace was cleared in progressively different excavations. In October 1908, A. Vandebosch and her team of "Chercheurs de la Wallonie" discover the Neolithic ossuary of "triangular cave" that overlooks the terrace of the cave when masked by sediments. Shards of pottery, faunal remains, some stone tools and numerous body parts belonging to seven children and dated + / -2750 years BC have been unearthed. Continued excavations beneath the ossuary and the release of the entry in 1911, leading the researchers to explore the cave itself. It delivers the tools belonging to Palaeolithic industries as well as faunal remains of now extinct species (bear, lion, cave hyaena, wolf, woolly rhinoceros, mammoth). On the terrace, two archaeological layers were identified. The first was attributed to the Upper Palaeolithic to Aurigacien (+ / - 30000ans BC) and contains various tools slide and faunal remains consumed. The second oldest (+ / - 70000ans BC), contains tools and Middle Paleolithic characteristics attributed to Keilmessergruppen (Neanderthal). Cave Ramioul contributes to the dialogue between past and present. She is behind the Museum of Prehistory in Wallonia and participates in the ongoing dialogue established between the prehistoric sites of excavation, the archaeological material and the public. Source: www.ramioul.org
    Mot clé = design (titre ou description) | Niveau = 38

  • M134 Minigun
    https://www.gaudry.be > Photography > Gallery
    [52] 22/02/2021 - Dernière modification le 01/03/2021 The M134 Minigun is a 7.62 mm, six-barreled machine gun with a high rate of fire (2,000 to 6,000 rounds per minute), employing Gatling-style rotating barrels with an external power source. The term "Minigun" has popularly come to refer to any externally powered Gatling gun of rifle caliber, though the term is sometimes used to refer to guns of similar rates of fire and configuration, regardless of power source and caliber. Specifically, minigun refers to a specific model of weapon, originally produced by General Electric. The "Mini" of the name is in comparison to designs that use a similar firing mechanism but larger shells, such as General Electric's earlier 20 mm M61 Vulcan, and "gun" referencing the delineation between a cannon, that of a caliber higher than 20 millimeters—and gun—within certain ranges. From Wikipedia, the free encyclopedia
    Mot clé = design (titre ou description) | Niveau = 39

  • Devoxx - Thucydides
    https://www.gaudry.be > Photography > Gallery
    [53] 13/11/2012 - Dernière modification le 26/02/2021 To ATDD and beyond! Better Automated Acceptance Testing on the JVM by John Smart est Driven Development is a game changer for developers, but Automated Acceptance Testing (ATDD) is a game changer for the whole team! More than just a testing technique, Automated Acceptance Testing is both a collaboration tool and a vital step on the road to Continuous Delivery. In this talk, you will see a real-world demo applying practical ATDD techniques to real-world projects using JBehave, Selenium 2 and Thucydides. Learn how to write better and more maintainable automated acceptance tests, and see how a well-designed set of automated acceptance tests can also be a powerful documentation and reporting tool. See how tools like JBehave and Thucidides can help you structure your acceptance tests and generate powerful documentation, with narrative feature descriptions, screen shots, test coverage, and project progress reports. And learn how product owners use ATDD and Thucydides to drive, coordinate and document releases. Source: Devoxx
    Mot clé = design (titre ou description) | Niveau = 40

  • Glow tour 2012: Groupe LAPS
    https://www.gaudry.be > Photography > Gallery
    [54] 17/11/2012 - Dernière modification le 22/02/2021 Groupe LAPS - Keyframes GLOW - International Forum of Light in Art and Architecture Eindhoven 2012 - 7th Edition - 'Façades & Faces: Portraits of the City' From November, 10th to 17th 2012, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: Politiebureau Mathildelaan About the project: Groupe LAPS consists of six artists and designers with experience in film, lighting technology and multimedia applications. Together they developed Keyframes, a work on the intersection of film and sculpture. Dozens of human figures in various poses, made up of LED tubes, light up one by one. Because the figures show up one after another continuously, the suggestion of movement arouses. Each figure marks a moment in a nocturnal narrative or dance. The light images are accompanied by a soundtrack composed especially for this installation. Keyframes was designed in 2011 for the Fête des Lumières in Lyon, France and has traveled all over the world since. Before the work came to Eindhoven, it was exposed in Singapore and Jerusalem. www.groupe-laps.org More information: www.gloweindhoven.nl
    Mot clé = design (titre ou description) | Niveau = 41

  • Bouquets d'abat-jours
    https://www.gaudry.be > Photography > Gallery
    [55] 17/11/2012 - Dernière modification le 25/02/2021 Bouquets d'abat-jours - Bouquets from lampcovers (TILT) GLOW - International Forum of Light in Art and Architecture Eindhoven 2012 - 7th Edition - 'Façades & Faces: Portraits of the City' From November, 10th to 17th 2012, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: Wilhelminaplein About the project: TILT is a French collective focusing on the interplay of light, design and architecture. It realizes both temporary and permanent projects, always with the intention of making the audience look differently at the public space. The designs of TILT often are inspired by nature. Two years ago the collective presented luminous plants and trees on the 18 Septemberplein. This year the Wilhelminaplein is the setting for Bouquets d'abat-jours - bouquets of lampshades. These colorful bouquets are not made from flowers but from traditional lampshades. Although they are blown up to enormous proportions they keep reminding of the domesticity of the living room. The lamps kindly bend over the audience making the Wilheminaplein a pleasant place to stay. With their ever changing colors, they provide the square also a joyful and festive look. At the foot of the lamps people have the opportunity to take a break or to socialize. Adopted by Philips www.t-i-l-t.com More information: www.gloweindhoven.nl
    Mot clé = design (titre ou description) | Niveau = 42

  • Glow tour 2012: GLOW for Kids
    https://www.gaudry.be > Photography > Gallery
    [56] 18/11/2012 - Dernière modification le 21/02/2021 GLOW for Kids GLOW - International Forum of Light in Art and Architecture Eindhoven 2012 - 7th Edition - 'Façades & Faces: Portraits of the City' From November, 10th to 17th 2012, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Location: Karel Vermeerenplantsoen About the project: A thousand colorful lampshades that floated above the Markt last year, was the beginning of a new tradition. This year Eindhoven365 and CultuurStation have again invited students of primary schools to participate GLOW. About two thousand enthusiastic children planted a light flower in the Karel Vermeerenplantsoen. Each student has made its own LED flower as part of a beautiful bouquet. Together the young designers have created a fairy artwork, a field of light flowers. For CultuurStation GLOW is an opportunity to enthuse children for cultural activities in their own town. The children were challenged to show their most creative side and are now proud ambassadors of Eindhoven. www.cultuurstation.nl More information: www.gloweindhoven.nl
    Mot clé = design (titre ou description) | Niveau = 43

  • Antonov An-24 cockpit
    https://www.gaudry.be > Photography > Gallery
    [57] 13/02/2021 - Dernière modification le 25/02/2021 The Antonov An-24 (Ukrainian: Антонов Ан-24) (NATO reporting name: Coke) is a 44-seat twin turboprop transport/passenger aircraft designed in 1957 and manufactured in the Soviet Union by the Antonov Design Bureau. Design and development First flown in 1959, over 1,000 An-24s were built and 880 are still in service worldwide, mostly in the CIS and Africa, with a total of 297 Antonov An-24 aircraft in airline service, as of May 2010. It was designed to replace the veteran piston Ilyushin Il-14 transport on short to medium haul trips, optimised for operating from rough strips and unprepared airports in remote locations. The high-wing layout protects engines and blades from debris, the power-to-weight ratio is higher than that of many comparable aircraft and the machine is rugged, requiring minimal ground support equipment. Due to its rugged airframe and good performance, the An-24 was adapted to carry out many secondary missions such as ice reconnaissance and engine/propeller test-bed, as well as further development to produce the An-26 tactical transport, An-30 photo-mapping/survey aircraft and An-32 tactical transport with more powerful engines. Various projects were envisaged such as a four jet short/medium haul airliner and various iterations of powerplant. The main production line was at the Kiev-Svyatoshino (now "Aviant") aircraft production plant which built 985, with 180 built at Ulan Ude and a further 197 An-24T tactical transport/freighters at Irkutsk. Production in the USSR was shut down by 1978. Production continues at China's Xi'an Aircraft Industrial Corporation which makes licenced, reverse-engineered and redesigned aircraft as the Xian [Yunshuji] Y7, and its derivatives. Manufacture of the Y7, in civil form, has now been supplanted by the MA60 derivative with western engines and avionics, to improve performance and economy, and widen the export appeal. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 44

  • Biplane Antonov An-2 and Antonov An-12
    https://www.gaudry.be > Photography > Gallery
    [58] 27/01/2021 - Dernière modification le 16/02/2021 The biplane at the front is the Antonov An-2 (Антонов Ан-2); at the right rear, lays the Antonov-12. The aircraft on the left is probably a Tupolev Tu-154. The Antonov An-2 (Russian nickname: "Annushka" or "Annie") is a single-engine biplane utility/agricultural aircraft designed in the USSR in 1946. (USAF/DoD reporting name Type 22, NATO reporting name Colt.). Combat service The An-2 was used by combat services in the Korean War[citation needed]. During the 1960s an An-2 attempting to engage South Vietnamese naval units was shot down by an F-4 Phantom II under the control of an Air Intercept Controller (AIC) on the USS Long Beach. On January 12, 1968, a clandestine TACAN site (call sign: Laos Site 85/Phou Pha Ti) installed by Special Forces (United States Army) in Northern Laos for directing USAF warplanes flying from Thailand to Vietnam was attacked by two North Vietnamese An-2s using machine guns fired from the cabin, rockets, and hand thrown grenades. A third An-2 orbited overhead. An Air America Bell UH-1B, XW-PHF, resupplying the site chased the two attacking aircraft. By using an AK-47 the American crew (Ted Moore Captain, Glen Wood kicker) succeeded in shooting down one of the An-2s while the second aircraft was forced down by combined ground and air fire and crashed into a mountain. The surviving Antonov returned to its home base, Gia Lam, near Hanoi. During the Croatian War of Independence in 1991, a few old Antonov An-2 biplanes used for crop-spraying were converted by the Croatian Air Force to drop makeshift bombs and were used in supply missions to the town of Vukovar and other besieged parts of Croatia. The chief advantage for the An-2 was that they could take off and land in small or improvised airstrips. They were also used to drop supplies by parachute on isolated garrisons. At least one was shot down on 2 December 1991 over Vinkovci, eastern Slavonia, by Serbian SAM missiles, purportedly SA-6s. Source: Wikipedia The Antonov An-12 (NATO reporting name: Cub) is a four-engined turboprop transport aircraft designed in the Soviet Union. It is the military version of the Antonov An-10 and was made in many variants.
    Mot clé = design (titre ou description) | Niveau = 45

  • Old MiG-21
    https://www.gaudry.be > Photography > Gallery
    [59] 24/02/2021 - Dernière modification le 02/03/2021 The Mikoyan-Gurevich MiG-21 (Russian: Микоян и Гуревич МиГ-21; NATO reporting name: Fishbed) is a supersonic jet fighter aircraft, designed by the Mikoyan-Gurevich Design Bureau in the Soviet Union. It was popularly nicknamed "Balalaika", from the aircraft's planform-view resemblance to the Russian stringed musical instrument or ołówek (English: pencil) by Polish pilots due to the shape of its fuselage. Early versions are considered second-generation jet fighters, while later versions are considered to be third-generation jet fighters. Some 50 countries over four continents have flown the MiG-21, and it still serves many nations a half-century after its maiden flight. The fighter made aviation records. At least by name, it is the most-produced supersonic jet aircraft in aviation history and the most-produced combat aircraft since the Korean War, and it had the longest production run of a combat aircraft (1959 to 1985 over all variants). Source: Wikipedia We can see also at the right side, probably a Mikoyan-Gurevich MiG-15.
    Mot clé = design (titre ou description) | Niveau = 46

  • Aero L-29 Delfin
    https://www.gaudry.be > Photography > Gallery
    [60] 18/02/2021 - Dernière modification le 27/02/2021 The Aero L-29 Delfín (English: Dolphin, NATO reporting name: Maya) is a military jet trainer aircraft that became the standard jet trainer for the air forces of Warsaw Pact nations in the 1960s. It was Czechoslovakia's first locally designed and built jet aircraft. The Delfin served in basic, intermediate and weapons training roles. For this latter mission, they were equipped with hardpoints to carry gunpods, bombs or rockets, and thus armed, Egyptian L-29s were sent into combat against Israeli tanks during the Yom Kippur War. The L-29 was supplanted in the inventory of many of its operators by the Aero L-39 Albatros. More than 2,000 L-29s were supplied to the Soviet Air Force, acquiring the NATO reporting name "Maya." L-29's, along with the newer L-39,were used extensively in ground attack missions in the Nagorno-Karabakh War by Azeri forces. At least 14 were shot down by Armenian air-defences. As a trainer, the L-29 enabled air forces to adopt an "all-through" training on jet aircraft, replacing earlier piston-engined types. On July 16, 1975, a Czechoslovak Air Force L-29 shot down a Polish civilian biplane piloted by Dionizy Bielański that was attempting to defect to the West. On October 2, 2007, an unmodified L-29 was used for the world’s first jet flight powered solely by 100% biodiesel fuel. Pilots Carol Sugars and Douglas Rodante flew their Delphin Jet from Stead Airport, Reno, Nevada to Leesburg International Airport, Leesburg, Florida in order to promote environmentally friendly fuels in aviation. Between September 10–14, 2008, two L-29s took first and second at the Reno Air Races. Both L-29s consistently posted laps at or above 500 miles per hour. Former Astronaut Curt Brown took first in "Viper," followed by Red Bull Racer Mike Mangold in "Euroburner." Russia says it destroyed 2 Georgian L-29s during the 2008 South Ossetia war. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 47

  • Mil Mi-2 and Aero L-29 Delfin
    https://www.gaudry.be > Photography > Gallery
    [61] 05/02/2021 - Dernière modification le 21/02/2021 The Mil Mi-2 (NATO reporting name Hoplite) is a small, lightly armored turbine-powered transport helicopter that could also provide close air support when armed with 57 mm rockets and a 23 mm cannon. Design and development The Mi-2 was produced exclusively in Poland, in the WSK "PZL-Świdnik" factory in Świdnik. The first production helicopter in the Soviet Union was the Mil Mi-1, modelled along the lines of the S-51 and Bristol Sycamore and flown by Mikhail Mil's bureau in September 1948. During the 1950s it became evident, and confirmed by American and French development, that helicopters could be greatly improved with turbine engines. S. P. Isotov developed the GTD-350 engine and Mil used two of these in the far superior Mi-2. The twin shaft-turbine engines used in the Mi-2 develop 40% more power than the Mi-1's piston engines, for barely half the engine weight, with the result that the payload was more than doubled. The Mi-2 fuselage was extensively altered from its predecessor, with the engines mounted overhead. However, the external dimensions remained similar. After initial development at the Mil bureau (Soviet designation V-2) the project was transferred to Poland in 1964, after the first Świdnik-built example had flown (making this the only Soviet-designed helicopter to be built solely outside the Soviet Union). PZL-Świdnik produced a total of 5,497 units, about a third for military users. The factory also developed fiberglass rotor blades, and developed the wide-body Mi-2M seating 10 passengers instead of eight. Most typical kits include four stretchers for air ambulance usage, or aerospraying or cropdusting applications. In Poland, there were also developed several specialized military variants for support or reconnaissance roles, with 23 mm autocannon, machine guns and/or two 57 mm rocket pods, four 9K11 Malyutka anti-tank missiles or Strela-2 AA missiles. Operational history The Mi-2 was first introduced into the Soviet Air Force in 1965. The Mi-2 is used by mainly former Soviet and Eastern Bloc countries, although it was also purchased by Mexico and Myanmar armed forces. Most of the armed Mi-2 variants were used by Poland. Some were also used by the former East Germany (with machine gun and unguided rocket armament only). North Korea still maintains a large active fleet of Mi-2s. Aero L-29 Delfin (left side) The Aero L-29 Delfín (English: Dolphin, NATO reporting name: Maya) is a military jet trainer aircraft that became the standard jet trainer for the air forces of Warsaw Pact nations in the 1960s. It was Czechoslovakia's first locally designed and built jet aircraft. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 48

  • Mémorial Interallié et l'église du Sacré-Cœur
    https://www.gaudry.be > Photography > Gallery
    [62] 15/01/2021 - Dernière modification le 10/02/2021 The Allied Memorial is a memorial built after the First World War. The memorial consists of the Church of the Sacré-Cœur as a religious building and a tower as a civil monument. The tower was designed as a skyscraper 75 meters high, which was an architectural challenge at the time of construction. It rises 135 meters above the level of the Meuse (186 meters above sea level). Source: La Régie des Bâtiments.
    Mot clé = design (titre ou description) | Niveau = 49

  • Liège, les potagers des coteaux
    https://www.gaudry.be > Photography > Gallery
    [63] 17/07/2013 - Dernière modification le 19/02/2021 Le site désigné sous l'appellation des Coteaux de la Citadelle est sans nul doute le plus remarquable espace vert de la ville de Liège. S'étendant sur plus de 40 hectares, depuis Favechamps à l'ouest, jusqu'à l'ancien charbonnage du Bâneux, à l'est, il occupe principalement le versant sud d'une colline escarpée qui domine la rive gauche de la vallée de la Meuse. Ce vaste ensemble quasi continu de bois, de prairies, de vergers, de jardins, d'anciennes terrasses et murailles, de friches et de potagers recèle de nombreuses richesses archéologiques, historiques, architecturales et scientifiques dont la découverte est rendue possible grâce à l'aménagement d'un réseau dense de sentiers et de chemins publics. Bien que soumis à d'intenses pressions anthropiques, le lieu sert de refuge à une flore et une faune très diversifiées. Une partie des Coteaux de la Citadelle est classée comme site. Source: biodiversite.wallonie.be
    Mot clé = design (titre ou description) | Niveau = 50

  • Jagdpanzer Kanone Jpz 4-53
    https://www.gaudry.be > Photography > Gallery
    [64] 08/02/2021 - Dernière modification le 22/02/2021 Kanonenjagdpanzer The Kanonenjagdpanzer 4 - 5 (also known as Jagdpanzer Kanone 90mm, or tank destroyer, gun) was a German Cold War tank destroyer equipped with a 90mm anti-tank gun from obsolete M47 Patton tanks. Its design was very similar to that of the World War II Jagdpanzer IV. History The first prototypes of the Kanonenjagdpanzer were built in 1960 by Hanomag and Henschel for West Germany and by MOWAG for Switzerland. Hanomag and Henschel continued to produce prototypes, until between 1966 and 1967, 770 were built for the Bundeswehr, 385 by Hanomag and 385 by Henschel. Eighty of them were delivered to Belgium from April 1975 onward. When the Soviets began deploying their T-64 and T-72 main battle tanks, the 90 mm gun wasn't capable of ensuring long-range combat and the Kanonenjagdpanzer became obsolete. Although the producers claimed it could be rearmed with a 105 mm gun, between 1983 and 1985, 163 of these tank destroyers were converted into Raketenjagdpanzer Jaguar 2 anti-tank guided missile carriers by removing the gun, adding a roof-mounted TOW missile launcher and fastening further spaced and perforated armour on the hull. Some others were refitted by removing the main gun into artillery observation vehicles, so called Beobachtungspanzer, which served most particularly in the mortar units. Some Kanonenjagdpanzer remained into service with the Heimatschutztruppe until 1990. Design The Kanonenjagdpanzer was a highly mobile vehicle, its survivability based on its mobility and its low profile. Its hull consisted of welded steel, which had a maximum thickness of only 50 mm. It carried a crew of four, a commander, driver, gunner and a loader. Since the Kanonenjagdpanzer followed the casemate design of most World War II tank destroyers, the gun was fixed within the casemate, located a little right from the center. The 90 mm gun could only traverse 15° to the sides and elevate from -8° to +15°. It carried 51 90 mm rounds for the main gun and 4000 7,62 mm rounds for the two MG3s. The Kanonenjagdpanzer had NBC protection and night-fighting ability. Source : Wikipedia In the left background, we can see a GFM cloche made by Cockerill in the year 1935. It was a fixed and non-retractable firing position made of a 20 tons thick iron casting which shielded its occupant. GFM is an acronym for Guetteur et Fusil-Mitrailleur, (lookout and rifle-machine-gunner), which describes its purpose as a lookout and firing position for light weapons.
    Mot clé = design (titre ou description) | Niveau = 51

  • Halászbástya
    https://www.gaudry.be > Photography > Gallery
    [65] 03/08/2013 - Dernière modification le 28/02/2021 Fisherman's Bastion The Halászbástya or Fisherman's Bastion is a terrace in neo-Gothic and neo-Romanesque style situated on the Buda bank of the Danube, on the Castle hill in Budapest, around Matthias Church. It was designed and built between 1895 and 1902 on the plans of Frigyes Schulek. Between 1947–48, the son of Frigyes Schulek, János Schulek, conducted the other restoration project after its near destruction during World War II. From the towers and the terrace a panoramic view exists of Danube, Margaret Island, Pest to the east and the Gellért Hill. Its seven towers represent the seven Magyar tribes that settled in the Carpathian Basin in 896. The Bastion takes its name from the guild of fishermen that was responsible for defending this stretch of the city walls in the Middle Ages. It is a viewing terrace, with many stairs and walking paths. A bronze statue of Stephen I of Hungary mounted on a horse, erected in 1906, can be seen between the Bastion and the Matthias Church. The pedestal was made by Alajos Stróbl, based on the plans of Frigyes Schulek, in Neo-Romanesque style, with episodes illustrating the King's life. It was featured as a Pit Stop on the sixth season of The Amazing Race. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 52

  • Dohány utcai zsinagóga
    https://www.gaudry.be > Photography > Gallery
    [66] 04/08/2013 - Dernière modification le 23/02/2021 Dohány Street Synagogue The Dohány Street Synagogue (Hungarian: Dohány utcai zsinagóga/nagy zsinagóga, Hebrew: בית הכנסת הגדול של בודפשט‎ bet hakneset hagadol šel budapešt), also known as The Great Synagogue or Tabakgasse Synagogue, is located in Erzsébetváros, the 7th district of Budapest. It is the largest synagogue in Europe and the fifth largest in the world. It seats 3,000 people and is a centre of Neolog Judaism. The synagogue was built between 1854 and 1859 in the Moorish Revival style, with the decoration based chiefly on Islamic models from North Africa and medieval Spain (the Alhambra). The synagogue's Viennese architect, Ludwig Förster, believed that no distinctively Jewish architecture could be identified, and thus chose "architectural forms that have been used by oriental ethnic groups that are related to the Israelite people, and in particular the Arabs". The interior design is partly by Frigyes Feszl. The Dohány Street Synagogue complex consists of the Great Synagogue, the Heroes' Temple, the graveyard, the Holocaust memorial and the Jewish Museum, which was built on the site on which Theodore Herzl's house of birth once stood. Dohány Street itself, a leafy street in the city center, carries strong Holocaust connotations as it constituted the border of the Budapest Ghetto. History Built in a residential area between 1854-1859 by the Neolog Jewish community of Pest according to the plans of Ludwig Förster, the monumental synagogue has a capacity of 2,964 seats (1,492 for men and 1,472 in the women's galleries) making it the largest in Europe and one of the largest working synagogue in the World, after the Belz Great Synagogue and the Beit Midrash of Ger in Jerusalem, the Breslov Uman Synagogue in Uman, Ukraine, Temple Emanu-el in New York City, and the Yetev Lev D'Satmar synagogue in New York City. The consecration of the synagogue took place on 6 September 1859. The synagogue was bombed by the Hungarian pro-Nazi Arrow Cross Party on 3 February 1939. Used as a base for German Radio and also as a stable during World War II, the building suffered some severe damage from aerial raids during the Nazi Occupation but especially during the Siege of Budapest. During the Communist era the damaged structure became again a prayer house for the much-diminished Jewish community. Its restoration started in 1991 and ended in 1998. The restoration was financed by the state and by private donations. Exterior The building is 75 metres (246 ft) long and 27 metres (89 ft) wide. The style of the Dohány Street Synagogue is Moorish but its design also features a mixture of Byzantine, Romantic and Gothic elements. Two onion-shaped domes sit on the twin octogonal towers at 43 metres (141 ft) height. A rose stained-glass window sits over the main entrance. Similarly to basilicas, the building consists of three spacious richly decorated aisles, two balconies and, unusually, an organ. Its ark contains various torah scrolls taken from other synagogues destroyed during the Holocaust. The Central Synagogue in Manhattan, New York City is a near-exact copy of the Dohány Street Synagogue.
    Mot clé = design (titre ou description) | Niveau = 53

  • A zsinagóga belseje
    https://www.gaudry.be > Photography > Gallery
    [67] 04/08/2013 - Dernière modification le 25/02/2021 Dohány Street Synagogue The Dohány Street Synagogue (Hungarian: Dohány utcai zsinagóga/nagy zsinagóga, Hebrew: בית הכנסת הגדול של בודפשט‎ bet hakneset hagadol šel budapešt), also known as The Great Synagogue or Tabakgasse Synagogue, is located in Erzsébetváros, the 7th district of Budapest. It is the largest synagogue in Europe and the fifth largest in the world. It seats 3,000 people and is a centre of Neolog Judaism. The synagogue was built between 1854 and 1859 in the Moorish Revival style, with the decoration based chiefly on Islamic models from North Africa and medieval Spain (the Alhambra). The synagogue's Viennese architect, Ludwig Förster, believed that no distinctively Jewish architecture could be identified, and thus chose "architectural forms that have been used by oriental ethnic groups that are related to the Israelite people, and in particular the Arabs". The interior design is partly by Frigyes Feszl. The Dohány Street Synagogue complex consists of the Great Synagogue, the Heroes' Temple, the graveyard, the Holocaust memorial and the Jewish Museum, which was built on the site on which Theodore Herzl's house of birth once stood. Dohány Street itself, a leafy street in the city center, carries strong Holocaust connotations as it constituted the border of the Budapest Ghetto. History Built in a residential area between 1854-1859 by the Neolog Jewish community of Pest according to the plans of Ludwig Förster, the monumental synagogue has a capacity of 2,964 seats (1,492 for men and 1,472 in the women's galleries) making it the largest in Europe and one of the largest working synagogue in the World, after the Belz Great Synagogue and the Beit Midrash of Ger in Jerusalem, the Breslov Uman Synagogue in Uman, Ukraine, Temple Emanu-el in New York City, and the Yetev Lev D'Satmar synagogue in New York City. The consecration of the synagogue took place on 6 September 1859. The synagogue was bombed by the Hungarian pro-Nazi Arrow Cross Party on 3 February 1939. Used as a base for German Radio and also as a stable during World War II, the building suffered some severe damage from aerial raids during the Nazi Occupation but especially during the Siege of Budapest. During the Communist era the damaged structure became again a prayer house for the much-diminished Jewish community. Its restoration started in 1991 and ended in 1998. The restoration was financed by the state and by private donations. Interior The torah-ark and the internal frescoes made of colored and golden geometric shapes are the works of the famous Hungarian romantic architect Frigyes Feszl. A single-span cast iron supports the 12-metre-wide (39 ft) nave. The seats on the ground-floor are for men, while the upper gallery, supported by steel ornamented poles, has seats for women. Franz Liszt and Camille Saint-Saëns played the original 5,000 pipe organ built in 1859. A new mechanical organ with 63 voices and 4 manuals was built in 1996 by the German firm Jehmlich Orgelbau Dresden GmbH. One of the most daring concerts in the Synagogue's history was in 2002, played by the legendary organ virtuoso Xaver Varnus. Four hours before the concert even standing places could hardly be found in the Synagogue, and 7,200 people were sitting and standing to listen to the legendary improvisor’s fiendish virtuosity.
    Mot clé = design (titre ou description) | Niveau = 54

  • Budapest: Vajdahunyad vára
    https://www.gaudry.be > Photography > Gallery
    [68] 05/08/2013 - Dernière modification le 22/02/2021 Vajdahunyad Castle Vajdahunyad Castle (Hungarian: Vajdahunyad vára) is a castle in the City Park of Budapest, Hungary. It was built between 1896 and 1908 as part of the Millennial Exhibition which celebrated the 1000 years of Hungary since the Hungarian Conquest of the Carpathian Basin in 895. The castle was designed by Ignác Alpár to feature copies of several landmark buildings from different parts the Kingdom of Hungary, especially the Hunyad Castle in Transylvania (now in Romania). As the castle contains parts of buildings from various time periods, it displays different architectural styles: Romanesque, Gothic, Renaissance and Baroque. Originally it was made from cardboard and wood, but it became so popular that it was rebuilt from stone and brick between 1904 and 1908. Today it houses the Agricultural Museum of Hungary, the biggest agricultural museum in Europe. The statue of Anonymus is also displayed in the castle court. Anonymus lived in the 12th century (his true identity is unknown, but he was a notary of Béla III of Hungary), who wrote the chronicle Gesta Hungarorum (Deeds of the Hungarians). The castle also contains a statue of Béla Lugosi. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 55

  • Széchenyi thermal bath seen from the city park
    https://www.gaudry.be > Photography > Gallery
    [69] 05/08/2013 - Dernière modification le 12/02/2021 Széchenyi thermal bath The Széchenyi Medicinal Bath in Budapest (IPA: [seːtʃeːɲi], Hungarian: Széchenyi-gyógyfürdő) is the largest medicinal bath in Europe. Its water is supplied by two thermal springs, their temperature is 74 °C (165 °F) and 77 °C (171 °F), respectively. Components of the thermal water include sulphate, calcium, magnesium, bicarbonate and a significant amount of fluoride acid and metaboric acid. Medical indications are on degenerative joint illnesses, chronic and sub-acute joint inflammations, as well as orthopaedic and traumatological post-treatments. History The bath can be found in the City Park, and was built in 1913 in Neo-baroque style to the design of Győző Czigler. The construction of the bath began on 7 May 1909. Designed by architect Eugene Schmitterer, The bath, named in the news as the Artesian spa, opened on 16 June 1913. The name of bath had been Széchenyi spa. The pool construction cost approximately 3.9 million Austro-Hungarian korona. The built-up area was 6,220 square meter. The attendance of spa was in excess of 200,000 people in 1913. (This number was already 890,507 in 1919). At that time it had private baths, separate men and women steam-bath sections, and different men / women "public baths". The complex was expanded in 1927, and it still has 3 outdoor and 15 indoor pools. After its expansion, the thermal artesian well could not fulfill its purpose, so a new well was drilled. The second thermal spring was found in 1938. The depth of the thermal spring is 1256m, the temperature is 77 °C and it supplies 6.000.000 litres (1 585 032 US gallons) of hot water daily. Between 1999 and 2009 the full reformation of the Széchenyi thermal bath took place within the confines of a blanket reconstruction. Main swimming and thermal sections are possible to visit mixed. The bath was named after István Széchenyi. Units In the baths there are pools of varying temperature. The outdoor pools (swimming pool, adventure pool and thermal sitting pool) are 27- 38°C. The swimming pool's depth is 0.8 - 1.7 m. The adventure pool's depth is 0.8 m. Guests can use the water streaming, whirlpool and massaging water beamand. The indoor pools are 27°C. The complex also includes saunas and steam. Massage services are available. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 56

  • Széchenyi thermal bath, the coupole
    https://www.gaudry.be > Photography > Gallery
    [70] 05/08/2013 - Dernière modification le 17/02/2021 Széchenyi thermal bath The Széchenyi Medicinal Bath in Budapest (IPA: [seːtʃeːɲi], Hungarian: Széchenyi-gyógyfürdő) is the largest medicinal bath in Europe. Its water is supplied by two thermal springs, their temperature is 74 °C (165 °F) and 77 °C (171 °F), respectively. Components of the thermal water include sulphate, calcium, magnesium, bicarbonate and a significant amount of fluoride acid and metaboric acid. Medical indications are on degenerative joint illnesses, chronic and sub-acute joint inflammations, as well as orthopaedic and traumatological post-treatments. History The bath can be found in the City Park, and was built in 1913 in Neo-baroque style to the design of Győző Czigler. The construction of the bath began on 7 May 1909. Designed by architect Eugene Schmitterer, The bath, named in the news as the Artesian spa, opened on 16 June 1913. The name of bath had been Széchenyi spa. The pool construction cost approximately 3.9 million Austro-Hungarian korona. The built-up area was 6,220 square meter. The attendance of spa was in excess of 200,000 people in 1913. (This number was already 890,507 in 1919). At that time it had private baths, separate men and women steam-bath sections, and different men / women "public baths". The complex was expanded in 1927, and it still has 3 outdoor and 15 indoor pools. After its expansion, the thermal artesian well could not fulfill its purpose, so a new well was drilled. The second thermal spring was found in 1938. The depth of the thermal spring is 1256m, the temperature is 77 °C and it supplies 6.000.000 litres (1 585 032 US gallons) of hot water daily. Between 1999 and 2009 the full reformation of the Széchenyi thermal bath took place within the confines of a blanket reconstruction. Main swimming and thermal sections are possible to visit mixed. The bath was named after István Széchenyi. Units In the baths there are pools of varying temperature. The outdoor pools (swimming pool, adventure pool and thermal sitting pool) are 27- 38°C. The swimming pool's depth is 0.8 - 1.7 m. The adventure pool's depth is 0.8 m. Guests can use the water streaming, whirlpool and massaging water beamand. The indoor pools are 27°C. The complex also includes saunas and steam. Massage services are available. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 57

  • Széchenyi Thermal Bath and Swimming Pool
    https://www.gaudry.be > Photography > Gallery
    [71] 05/08/2013 - Dernière modification le 15/02/2021 Széchenyi thermal bath The Széchenyi Medicinal Bath in Budapest (IPA: [seːtʃeːɲi], Hungarian: Széchenyi-gyógyfürdő) is the largest medicinal bath in Europe. Its water is supplied by two thermal springs, their temperature is 74 °C (165 °F) and 77 °C (171 °F), respectively. Components of the thermal water include sulphate, calcium, magnesium, bicarbonate and a significant amount of fluoride acid and metaboric acid. Medical indications are on degenerative joint illnesses, chronic and sub-acute joint inflammations, as well as orthopaedic and traumatological post-treatments. History The bath can be found in the City Park, and was built in 1913 in Neo-baroque style to the design of Győző Czigler. The construction of the bath began on 7 May 1909. Designed by architect Eugene Schmitterer, The bath, named in the news as the Artesian spa, opened on 16 June 1913. The name of bath had been Széchenyi spa. The pool construction cost approximately 3.9 million Austro-Hungarian korona. The built-up area was 6,220 square meter. The attendance of spa was in excess of 200,000 people in 1913. (This number was already 890,507 in 1919). At that time it had private baths, separate men and women steam-bath sections, and different men / women "public baths". The complex was expanded in 1927, and it still has 3 outdoor and 15 indoor pools. After its expansion, the thermal artesian well could not fulfill its purpose, so a new well was drilled. The second thermal spring was found in 1938. The depth of the thermal spring is 1256m, the temperature is 77 °C and it supplies 6.000.000 litres (1 585 032 US gallons) of hot water daily. Between 1999 and 2009 the full reformation of the Széchenyi thermal bath took place within the confines of a blanket reconstruction. Main swimming and thermal sections are possible to visit mixed. The bath was named after István Széchenyi. Units In the baths there are pools of varying temperature. The outdoor pools (swimming pool, adventure pool and thermal sitting pool) are 27- 38°C. The swimming pool's depth is 0.8 - 1.7 m. The adventure pool's depth is 0.8 m. Guests can use the water streaming, whirlpool and massaging water beamand. The indoor pools are 27°C. The complex also includes saunas and steam. Massage services are available. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 58

  • Magyar Állami Operaház [8mm version]
    https://www.gaudry.be > Photography > Gallery
    [72] 05/08/2013 - Dernière modification le 16/02/2021 Hungarian State Opera House The Hungarian State Opera House (Hungarian: Magyar Állami Operaház) is a neo-Renaissance opera house located in central Budapest, on Andrássy út. It is home to the Budapest Opera Ball, a society event dating back to 1886. Before the closure of "Népszínház" in Budapest, it was the second largest opera building in Budapest. Today it is the largest Opera building in Budapest and Hungary. History Designed by Miklós Ybl, a major figure of 19th century Hungarian architecture, the construction lasted from 1875 to 1884 and was funded by the city of Budapest and by Emperor Franz Joseph of Austria-Hungary. The Hungarian Royal Opera House (as it was known then) opened to the public on the September 27, 1884. Many important artists were guests here including Gustav Mahler the composer who was director in Budapest from 1887 to 1891 and Otto Klemperer who was music director for three years from 1947 to 1950. In the 1970s the state of the building prompted the Hungarian State to order a major renovation which eventually began in 1980 and lasted till 1984. The reopening was held exactly 100 years after the original opening, on the September 27, 1984. Overview It is a richly-decorated building and is considered one of the architect's masterpieces. It was built in neo-Renaissance style, with elements of Baroque. Ornamentation includes paintings and sculptures by leading figures of Hungarian art including Bertalan Székely, Mór Than and Károly Lotz. Although in size and capacity it is not among the greatest, in beauty and the quality of acoustics the Budapest Opera House is considered to be amongst the finest opera houses in the world. The auditorium holds 1261 seats. It is horseshoe shaped and – according to measurements done in the 1970s by a group of international engineers – has the third best acoustics in Europe after La Scala in Milan and the Palais Garnier in Paris. Although many opera houses have been built since, the Budapest Opera House is still among the best in terms of the acoustics. In front of the building are statues of Ferenc Erkel and Franz Liszt. Liszt is the best known Hungarian composer. Erkel composed the Hungarian national anthem, and was the first music director of the Opera House; he was also founder of the Budapest Philharmonic Orchestra. Each year the season lasts from September to the end of June and besides opera performances the Opera House is home to the Hungarian National Ballet. The secondary building of the Hungarian State Opera is Erkel theatre. It is a much larger building that also hosts opera and ballet performances during the opera season. There are guided tours in the building in six languages (English, German, Spanish, French, Italian and Hungarian) almost every day. Features Facade: The decoration of the symmetrical façade follows a musical theme. In niches on either side of the main entrance there are figures of two of Hungary's most prominent composers, Ferenc Erkel and Franz Liszt. Both were sculpted by Alajos Stróbl. Murals: The vaulted ceiling of the foyer is covered in magnificent murals by Bertalan Székely and Mór Than. They depict the nine Muses. Foyer: The foyer, with its marble columns, gilded vaulted ceiling, murals and chandeliers, gives the State Opera House a feeling of opulence and grandeur. Main Entrance: Wrought-iron lamps illuminate the wide stone staircase and the main entrance. Main Staircase: Going to the opera was a great social occasion in the 19th century. A vast, sweeping staircase was an important element of the opera house as it allowed ladies to show off their new gowns. Interior, Hungarian State Opera House Chandelier: The mail hall is decorated with a bronze chandelier the weighs 3050 kg! It illuminates a magnificent fresco by Károly Lotz, of the Greek gods on Olympus. Central Stage: This proscenium arch stage employed the most modern technology of the time. It featured a revolving stage and metal hydraulic machinery. Royal Box: The royal box is located centrally in the three-storey circle. It is decorated with sculptures symbolizing the four operatic voices - soprano, alto, tenor and bass. Source: Wikipedia
    Mot clé = design (titre ou description) | Niveau = 59

  • Magyar Állami Operaház [16mm version]
    https://www.gaudry.be > Photography > Gallery
    [73] 05/08/2013 - Dernière modification le 16/02/2021 Hungarian State Opera House The Hungarian State Opera House (Hungarian: Magyar Állami Operaház) is a neo-Renaissance opera house located in central Budapest, on Andrássy út. It is home to the Budapest Opera Ball, a society event dating back to 1886. Before the closure of "Népszínház" in Budapest, it was the second largest opera building in Budapest. Today it is the largest Opera building in Budapest and Hungary. History Designed by Miklós Ybl, a major figure of 19th century Hungarian architecture, the construction lasted from 1875 to 1884 and was funded by the city of Budapest and by Emperor Franz Joseph of Austria-Hungary. The Hungarian Royal Opera House (as it was known then) opened to the public on the September 27, 1884. Many important artists were guests here including Gustav Mahler the composer who was director in Budapest from 1887 to 1891 and Otto Klemperer who was music director for three years from 1947 to 1950. In the 1970s the state of the building prompted the Hungarian State to order a major renovation which eventually began in 1980 and lasted till 1984. The reopening was held exactly 100 years after the original opening, on the September 27, 1984. Overview It is a richly-decorated building and is considered one of the architect's masterpieces. It was built in neo-Renaissance style, with elements of Baroque. Ornamentation includes paintings and sculptures by leading figures of Hungarian art including Bertalan Székely, Mór Than and Károly Lotz. Although in size and capacity it is not among the greatest, in beauty and the quality of acoustics the Budapest Opera House is considered to be amongst the finest opera houses in the world. The auditorium holds 1261 seats. It is horseshoe shaped and – according to measurements done in the 1970s by a group of international engineers – has the third best acoustics in Europe after La Scala in Milan and the Palais Garnier in Paris. Although many opera houses have been built since, the Budapest Opera House is still among the best in terms of the acoustics. In front of the building are statues of Ferenc Erkel and Franz Liszt. Liszt is the best known Hungarian composer. Erkel composed the Hungarian national anthem, and was the first music director of the Opera House; he was also founder of the Budapest Philharmonic Orchestra. Each year the season lasts from September to the end of June and besides opera performances the Opera House is home to the Hungarian National Ballet. The secondary building of the Hungarian State Opera is Erkel theatre. It is a much larger building that also hosts opera and ballet performances during the opera season. There are guided tours in the building in six languages (English, German, Spanish, French, Italian and Hungarian) almost every day. Features Facade: The decoration of the symmetrical façade follows a musical theme. In niches on either side of the main entrance there are figures of two of Hungary's most prominent composers, Ferenc Erkel and Franz Liszt. Both were sculpted by Alajos Stróbl. Murals: The vaulted ceiling of the foyer is covered in magnificent murals by Bertalan Székely and Mór Than. They depict the nine Muses. Foyer: The foyer, with its marble columns, gilded vaulted ceiling, murals and chandeliers, gives the State Opera House a feeling of opulence and grandeur. Main Entrance: Wrought-iron lamps illuminate the wide stone staircase and the main entrance. Main Staircase: Going to the opera was a great social occasion in the 19th century. A vast, sweeping staircase was an important element of the opera house as it allowed ladies to show off their new gowns. Interior, Hungarian State Opera House Chandelier: The mail hall is decorated with a bronze chandelier the weighs 3050 kg! It illuminates a magnificent fresco by Károly Lotz, of the Greek gods on Olympus. Central Stage: This proscenium arch stage employed the most modern technology of the time. It featured a revolving stage and metal hydraulic machinery. Royal Box: The royal box is located centrally in the three-storey circle. It is decorated with sculptures symbolizing the four operatic voices - soprano, alto, tenor and bass. Source: Wikipedia Camera Nikon D7000 Exposure 0.003 sec (1/400) Aperture f/5.6 Focal Length 16 mm ISO Speed 100
    Mot clé = design (titre ou description) | Niveau = 60

  • Eindhoven glow 2013 - Porté par le vent
    https://www.gaudry.be > Photography > Gallery
    [74] 16/11/2013 - Dernière modification le 15/02/2021 Le bal des Luminéoles GLOW - International Forum of Light in Art and Architecture Eindhoven 2013 - 8th Edition - 'Urban Playground' From November, 9th to 16th 2013, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Artist: Porté par le vent Location: Willemstraat, lichtstraat About the project: The French Porté par le vent (carried by the wind) designs poetic creations that float in the sky. During GLOW we can admire some of their creatures. With their long tails and fan-like wings they look a bit like birds or fish. They remain at height by using a little helium and are visible in the night due to soft colored light. The magical creatures have found a pleasant living environment in the city. Above the Willemstraat they dance a nocturnal ballet. It's like they have just left the shelter of the tall buildings to show themselves to the public for a while in their full glory. Source: gloweindhoven
    Mot clé = design (titre ou description) | Niveau = 61

  • Eindhoven glow 2013 - Laser
    https://www.gaudry.be > Photography > Gallery
    [75] 16/11/2013 - Dernière modification le 22/02/2021 GreenPower Lagoon Monster GLOW - International Forum of Light in Art and Architecture Eindhoven 2013 - 8th Edition - 'Urban Playground' From November, 9th to 16th 2013, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Artist: Davide Carioni & Lorenzo Pompei Location: Kop van het kanaal About the project: Davide Carioni, also known as “Asker”, is a graphic designer, painter, graffiti artist and media artist. Together with Lorenzo Pompei of Laser Entertainment, a company that creates laser and multimedial shows, he has developed the GreenPower Lagoon Monster. The work was first unveiled in Venice. The first patron saint of Venice was St. Theodore of Amasea, a Byzantine warrior who, legend has it, killed a dragon that was terrorising the town of Amasea. The story can be read as a metaphor for the victory of good over evil. During GLOW, this legend is brought to life in a completely fresh, new way. The dragon appears as a terrifying sea monster, rising up out of the waters of the Eindhoven canal. Only now, it isn’t St. Theodore of Amasea who vanquishes the dragon, but the technology of Davide Carioni and Lorenzo Pompei. Concept and 3d Motion Graphics by: Davide Original Asker Laser Graphics by Lorenzo Pompei Technical Concept and setup Laser Entertainment. (italy) Source: gloweindhoven
    Mot clé = design (titre ou description) | Niveau = 62

  • Eindhoven glow 2013 - GreenPower Lagoon Monster
    https://www.gaudry.be > Photography > Gallery
    [76] 16/11/2013 - Dernière modification le 12/02/2021 GreenPower Lagoon Monster GLOW - International Forum of Light in Art and Architecture Eindhoven 2013 - 8th Edition - 'Urban Playground' From November, 9th to 16th 2013, the city center of Eindhoven turns again into a forum of interventions, installations, performances and events based on the phenomena of artificial light. Artist: Davide Carioni & Lorenzo Pompei Location: Kop van het kanaal About the project: Davide Carioni, also known as “Asker”, is a graphic designer, painter, graffiti artist and media artist. Together with Lorenzo Pompei of Laser Entertainment, a company that creates laser and multimedial shows, he has developed the GreenPower Lagoon Monster. The work was first unveiled in Venice. The first patron saint of Venice was St. Theodore of Amasea, a Byzantine warrior who, legend has it, killed a dragon that was terrorising the town of Amasea. The story can be read as a metaphor for the victory of good over evil. During GLOW, this legend is brought to life in a completely fresh, new way. The dragon appears as a terrifying sea monster, rising up out of the waters of the Eindhoven canal. Only now, it isn’t St. Theodore of Amasea who vanquishes the dragon, but the technology of Davide Carioni and Lorenzo Pompei. Concept and 3d Motion Graphics by: Davide Original Asker Laser Graphics by Lorenzo Pompei Technical Concept and setup Laser Entertainment. (italy) Source: gloweindhoven
    Mot clé = design (titre ou description) | Niveau = 63

  • Devoxx 2014 - Easily Creating Beautiful Web Apps with Polymer and Paper Elements.
    https://www.gaudry.be > Photography > Gallery
    [77] 12/11/2014 - Dernière modification le 26/01/2021 Easily Creating Beautiful Web Apps with Polymer and Paper Elements. Web Components usher in a new era of web development based on encapsulated and interoperable custom elements that extend HTML itself. Built atop these new standards, Polymer makes it easier and faster to create anything from a button to a complete application across desktop, mobile, and beyond. In this talk, you'll learn how to build your own HTML elements and use Google's new material design elements. Create beautiful sites and apps with a unified look and feel for mobile, desktop, and everything in between. Source: DEVOXX. A demonstration that had only one default: giving me more desire to work with these components
    Mot clé = design (titre ou description) | Niveau = 64

  • Remi Forax @ Devoxx2015 - Design Pattern Reloaded
    https://www.gaudry.be > Photography > Gallery
    [78] 09/11/2015 - Dernière modification le 11/02/2021 Mixing functional programming and oriented object programming, revisiting the gang of four design patterns (functional interfaces, lambdas) in Java8.
    Mot clé = design (titre ou description) | Niveau = 65

  • Remi Forax - Design Pattern Reloaded - Devoxx2015
    https://www.gaudry.be > Photography > Gallery
    [79] 09/11/2015 - Dernière modification le 11/02/2021 Mixing functional programming and oriented object programming, revisiting the gang of four design patterns (functional interfaces, lambdas) in Java8.
    Mot clé = design (titre ou description) | Niveau = 66

  • Coucher de soleil sur les anciens minibus VW
    https://www.gaudry.be > Photography > Gallery
    [80] 07/01/2020 - Dernière modification le 13/02/2021 Je passe tous les jours devant en allant travailler; un soir au retour je n'ai pu résister à l'envie de les prendre en photo... Les VW T1 Dormobile (ceux avec le double pare-brise avant) et les T2 étaient synonymes de rêves de liberté, et l'aménagement Westfalia était vraiment bien conçu pour l'époque. J'adorais leurs formes arrondies avant les modèles plus anguleux des T3 (les T1 et T2 semblaient inspirés par la VW coccinelle, alors que les suivants héritaient plus du design de la Golf). Depuis l'intérêt manifesté par les hipsters, le prix de ces antiquités est malheureusement devenu presque indécent.
    Mot clé = design (titre ou description) | Niveau = 67

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Document created the 13/03/2010, last modified the 03/02/2021
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