Crystal City is an urban neighborhood in the southeastern corner of Arlington County, south of downtown Washington, D. C. Due to its extensive integration of office buildings and residential high-rise buildings using underground corridors, travel between stores and residences is possible without going above ground. Crystal City includes offices of numerous defense contractors, the United States Department of Labor, the United States Marshals Service and many satellite offices for The Pentagon, it is the location of Ronald Reagan Washington National Airport. Crystal City is centered along a stretch of Richmond Highway, just south of The Pentagon, just east of Pentagon City, within walking distance to the west of Ronald Reagan Washington National Airport. Characterized as one of many "urban villages" by Arlington County, Crystal City is exclusively populated by high-rise apartment buildings, corporate offices and numerous shops and restaurants. There is an extensive network of underground shopping areas and connecting corridors beneath Crystal City.
Crystal City has a station on the Washington Metro Blue and Yellow Lines, another on the Virginia Railway Express commuter train system. The layout of Crystal City was considered avant-garde at the time of construction, with superblocks bounded by arterial and circulating roads, with pedestrian traffic and the businesses serving it relocated from the streets to the pedestrian tunnels. However, Crystal City has since been redesigned to give it a more traditional, urban feel, with restaurants at street level, with traffic patterns changed to make streets like Crystal Drive function as city streets, rather than as circulating roads; as a consequence of Crystal City's extensive integration with both office buildings and residential high-rise buildings, it is possible for most residents living to the east of Route 1 to traverse from one end to the other, performing shopping or dining along the way underground, thus making a large part of Crystal City an underground city. This is of particular convenience during inclement weather.
Before development by the Charles E. Smith Company, the area was composed of industrial sites and low-rent motels. A drive-in theater existed at the intersection of Jefferson Davis Highway and 20th Street South between 1947 and 1963 and is visible on aerial photos of the period; the RF&P railroad tracks were moved closer to National Airport to accommodate more space for development. Though it is not a planned community, it unfolded in much that fashion after construction began on the first few condominiums and office buildings in 1963; the name "Crystal City" came from the first building, called Crystal House and had an elaborate crystal chandelier in the lobby. Every subsequent building took on the Crystal name and the whole neighborhood. Crystal City is integrated in layout and extensive landscaping, as well as the style and materials of the high rise buildings, most of which have a speckled granite exterior. Crystal City's Crystal Underground shopping mall opened in September 1976. Billed as a "turn-of-the-century shopping village," it featured antique leaded glass shop windows and cobblestone "streets."
Emphasis was on personalized service. The largest retail outlets were a 12,000-square-foot Jelleff's women's store, Larimers gourmet grocery and delicatessen, a Drug Fair; the mall featured an "Antique Alley" with small antique and craft stores. At opening there were 40 stores, with an anticipated expansion of 150,000 square feet with 70 more shops including the Crystal Palace food court. On June 26, 2004, the Crystal City area underwent a number of changes. Many buildings' addresses were changed on this date, several major roads were turned into two-way streets, many of the markings for the traditional building names were removed; as a result, local residents may refer to building names. In 2010, Arlington County developed the Crystal City Sector Plan, which presented the community’s vision to transform Crystal City into a more inviting and walkable community with more ground floor retail, better quality office space and more housing options; this 40-year plan won the American Planning Association’s 2013 National Planning Achievement Award for Innovation in Economic Planning and Development.
It pioneers the use of economic analysis for planning purposes and is among the first of its kind to study the economics of demolishing and replacing major commercial buildings. Crystal City has over 22,000 residents, while around 60,000 come to work there every weekday. Once home to numerous Federal agencies, Crystal City’s claim to fame now is not just its prime location next to Reagan National Airport, the Pentagon and dozens of Arlington’s best eateries, but as the place to be for thriving entrepreneurs. Places like Eastern Foundry U. Group have made their homes in Crystal City to target entrepreneurs ─ the people who are creating the innovation technologies that will become the way of the future, it is home to the United States Marshals Service and numerous Department of Defense offices. It has offices of numerous defense contractors, the Environmental Protection Agency, the General Services Administration, many satellite offices for The Pentagon during the Pentagon Renovation Program. Pentagon offices in Crystal City include the headquarters of the Warrior Transition Command and the Special Inspector General for Afghanistan Reconstruction.
At one time US Airways had its headquar
Pari Ravan is an Iranian romantic surrealist artist and painter based in Southern France. She graduated from the Tehran University of Art. At age 17 years old, Pari Ravan moved to Germany attended the School of Applied Arts in Mainz. From 1975 to 1979 she was a student of an Israeli painter of fantasy surrealism, she has won numerous international art awards in Iran, Italy, Japan and her works have been shown at various international exhibitions in Germany, USA, Luxembourg, Italy, Austria, China. Her paintings and sculptures are among others in museums and well-known art collections worldwide, as well as owned; the artist works in southern France. “Who’s who Art club international“, Genf Conseil National Français des Arts Plastique UNESCO International Society for Art of Imagination, London Comité National Monegasque de l’association internationale des arts plastiques, UNESCO ADAGP societé des auteurs dans les arts graphiques et plastiques Concordia patrimoine et culture/ France 260 personal and group exhibitions until october 2019 1979 Gallery Kunst und Psyche, Cologne 1997 Gallery Am Brunnen Bergisch – Gladbach.
November 1997 Le Lavoir „Charles Vasserot“, Saint Tropez. September 1997 Autor: Ph. J. M. R.1998 Town Hall Cologne, Cologne Town Hall Overath. Mai 1998 und Kölner Stadt Anzeiger 30. April 1998. Galerie du Lac, Nyon / Geneva, Press: La Cote 18. Juli 1998.1999 Konrad Adenauer Foundation, Bonn. Oktober 1999 Autor:Simon Vieth2000 Deutsche Welle, Cologne. November 2000, Monika Krebs Solingen Culture 18. November 2000 CHRISTIAN Beier and Solinger Morgen Post 4. November 2000 and Rheinische Kirchen Zeitung2001 Cercle Munster, Luxembourg. März 2001. Galerie Céline, Paris La Maison de Heidelberg, Montpellier. Mai 2001.2004 Provincial diet of Northrhine Westphalia, Duesseldorf. Juli 2004. Friedrich-Naumann-Foundation, Berlin-Potsdam. September 2004. Maison de l’Amérique Latine de Monaco, Monte-Carlo. November 2004 Autor Arno Neumann2004/05 Museum Roentgen, Remscheid. November 2005. Dezember 2005 Autor: Michael Lehnberg und Kulturmagazin, Bonn Dezember 2005.2010 Parc Phoenix, Nice. Juni 2013 Autor:Laura Winkler2014 Moya Museum Vienna, Austria 2016 Town Hall Gattieres/Nice Espace Culturel Louis Vogade Museum Vaduz Liechtenstein Skulptures Grandhotel Bad Ragaz 2006 Agora Gallery, New York 2007 Aigle de Nice International, Nice 2008 Salon International M.
C. A. Le Monde de la Culture des Arts, Cannes Agora Gallery, New York 2010 Galerie Mouvance, Agora Gallery, New York, Contemporary German Art Salon International des Arts Contemporains, Musée Autoworld, Brussels Musée Urbanisation, Peking 2011 Broadway Gallery, New York Museum Castello di Estense, Ferrara Maison de France, Montecarlo Grande Palais, Paris 2012 Southern Nevada Museum, Las Vegas 2013 7éme Rencontre Artistique Monaco Japon, Monaco Jardin Exotique, Monaco Hommage Meret Oppenheim, Art Work Basel-Liestal 2014 Galleria d’ Arte « V. Guidi » Casina Roma, San Donato Milanese - Comitee Nationale Monegasque IAAP/ UNSCO Auditorium RAINER III - Monaco, Friendship exhibition Japan/ Monaco 2015 Auditorium RAINER III Monaco, Friendship exhibition Japan/ Monaco Artspace Gallery New York - Modern European Art -2016 ART Genova, Gallery Sabrina Falzone, Genua Art Dubai, World Trade Center, Gallery Nina Torres, Miami Artiste du Monde, Salon Gare Maritime, Cannes Royal Gallery, London 2017 Museum Naval, Monaco 2018 Auditorium Rainer III.
Monaco2019 Jardim Exotique Monaco, Skulpture Security Art Basel PKS H. Player Gallery GEMLUC Auditorium Rainer III. Patronage Prinzess Carolin de Hannover i Monaco Bienale d'Art Contemporain Sacre Menton 2009 Biennale Internationale del Arte Contemporanea, Florence 2011 artfair Nice, 2012 Art Monaco, Art Basel-Liestal 2013 Art Innsbruck Art Basel-Liestal "Dreams" CA’Zanardi, Venecia Art Brandenburg, Potsdam 2014 Art Innsbruck, Austria Art Strassbourg, France 2015 Biennale Internationale Arte di Palermo, Italy 2017 Grand Palais, France 2018 Art Shopping, Caroussell de Louvre, Paris Bienale Cannes 2019 Art Antibes Art Catalan 1957 1. Prize of painting youth competition, Abadan 1998 International Syrlin-Artprize, Stuttgart 2007 Prize „L’Aigle de Nice“, Nice 2008 Excellent Art Prize Nationalmuseum City Kobe Prize in Menton Côte d’Azur Prize of painting Taipeh 2009 Gold Medal of painting of M. C. A. Cannes Prix d’Honneur et de Prestige für Sculptur des M. C. A. Cannes Mention
Brett Seguin is a Canadian retired professional ice hockey player. He was selected by the Los Angeles Kings in the 6th round of the 1991 NHL Entry Draft, he is the son of former National Hockey League winger Danny Seguin. Seguin played major junior hockey in the Ontario Hockey League with the Ottawa 67's, where he finished second in league scoring during the 1991–92 OHL season, scored a career total of 303 assists to surpass Wayne Groulx as the OHL's all-time assist leader. Seguin turned professional with the 1992–93 season, he played 12 seasons of minor pro hockey, including the 1998–99 season spent in the Central Hockey League with the expansion team Topeka ScareCrows where he became a fan favourite playing in the 1999 CHL All-Star game, recording the team's first hat trick on March 18, 1999 against the Wichita Thunder in a 4-0 win. Seguin hung up his skates following the 2003–04 season spent in the Central Hockey League with the Austin Ice Bats. In his career, he was one of the few elite players to be inducted into the 1,000 point club.
Biographical information and career statistics from Eliteprospects.com, or The Internet Hockey Database
The Center for Auto Safety is a Washington, D. C.-based 501 consumer advocacy non-profit group focused on the United States automotive industry. Founded in 1970 by Consumers Union and Ralph Nader, the group focuses its efforts on enacting reform though public advocacy and pressuring the National Highway Traffic Safety Administration and automakers through litigation. For decades, it was led by Executive Director Clarence Ditlow. Ditlow was admired in the auto safety community, although he had detractors among auto manufacturers; the Center for Auto Safety is led by Executive Director Jason Levine. The Center for Auto Safety was founded in 1970 by Consumers Union and Ralph Nader as a consumer safety group to protect drivers. Ralph Nader, the author of Unsafe at Any Speed, believed that automakers and the government were not adequately regulating safety. For many years, the Center was led by a well-known consumer safety advocate; the Center has advocated vigorously for driver safety and automaker accountability by pressuring government agencies and automakers with many lawsuits campaigns.
The Center has published The Car Book annually, which presents the latest safety ratings, dealer prices, fuel economy, insurance premiums, maintenance costs for new vehicles. The Center for Auto Safety counts the enacting of Lemon Laws in all 50 states among its greatest successes; the Center has testified over 50 times before Congressional Committees on auto safety and service bulletins, air pollution, consumer protection, fuel economy. The Center was the leading consumer advocate in passage of Magnuson-Moss Warranty Act, fuel economy provisions of Energy Policy and Conservation Act and Technical Service Bulletin disclosure in MAP-21; the Center succeeded in a lawsuit against DOT Secretary Anthony Foxx, forcing NHTSA to make public all manufacturer communications to dealers regarding safety issues. Additionally, former Center Executive Director Clarence Ditlow and Ralph Nader published The Lemon Book in 1980 to educate drivers on how to avoid buying a "lemon" and what to do if they purchase one.
The Center for Auto Safety has been involved in many campaigns to pressure automakers and NHTSA to issue recalls on dangerous car parts. Throughout its history, the Center has played a major role in numerous recalls including 6.7 million Chevrolets for defective engine mounts, 15 million Firestone 500 tires, 1.5 million Ford Pintos for exploding gas tanks, 3 million Evenflo child seats for defective latches. More the Center was the main proponent for recalls of 7 million Toyotas for sudden acceleration, 2 million Jeeps for fuel tank fires, 11 million GM vehicles for defective ignition switches, over 60 million exploding Takata airbag inflators; the Center for Auto Safety counts numerous far-reaching efforts among its successes: "Lemon laws" enacted in all 50 states State laws requiring auto manufacturers to disclose "hidden" warranties to consumers The Firestone tire recall The Ford Pinto recall due to its dangerous gas tank design Exposure of a lethal gas tank design in General Motors pickup trucks Improved U.
S. highway safety standards administered by the U. S. National Highway Traffic Safety Administration Recall of Jeep vehicles with fuel tanks that could explode in rear impact Pressuring General Motors to take action on their faulty airbags and ignition switches Annual publication of The Car Book to inform drivers of the safety of specific models Better protection for drivers against rollover and roof crush in SUVs Maintaining an online database of vehicle safety complaints submitted to the Center The Center for Auto Safety — official website The Safe Climate Campaign — official website of the Safe Climate Campaign CAS Vehicle Complaints Database — CAS online database for auto safety complaints
A monocle is a type of corrective lens used to correct or enhance the visual perception in only one eye. It consists of a circular lens with a wire ring around the circumference that can be attached to a string or wire; the other end of the string is connected to the wearer's clothing to avoid losing the monocle. The antiquarian Philipp von Stosch wore a monocle in Rome in the 1720s, in order to examine engravings and antique engraved gems, but the monocle did not become an article of gentlemen's apparel until the 19th century, it was introduced as a sense of high fashion. There are three styles of monocle; the first style consists of a simple loop of metal with a lens, slotted into the eye orbit. These were the first monocles could be found from the 1830s onwards; the second style, developed in the 1890s, was the most elaborate, consisting of a frame with a raised edge-like extension known as the gallery. The gallery was designed to help secure the monocle in place by raising it out of the eye's orbit so that the eyelashes would not jar it.
Monocles with galleries were the most expensive. The wealthy would have the frames custom-made to fit their eye sockets. A sub-category of the galleried monocle was the "sprung gallery", where the gallery was replaced by an incomplete circle of flattened, ridged wire supported by three posts; the ends were pulled together, the monocle was placed in the eye orbit, the ends released, causing the gallery to spring out and keep the monocle in place. The third style of monocle was frameless; this consisted of a cut piece of glass, with a serrated edge to provide a grip and sometimes a hole drilled into one side for a cord. The frameless monocle had no cord and would be worn freely; this style was popular at the beginning of the 20th century as the lens could be cut to fit any shape eye orbit inexpensively, without the cost of a customized frame. It is a myth. If customised, monocles could be worn securely with little effort. However, periodic adjustment is a fact of life for monocle wearers to keep the monocle from popping, as can be seen in films featuring Erich von Stroheim.
Only the rich could afford to have a monocle custom-fabricated, while the poor had to settle for ill-fitting monocles that were both less comfortable and less secure. The popular perception was that a monocle could fall off with the wrong facial expression; this is true to an extent, as raising. A once-standard comedic device exploits this: an upper-class gentleman affects a shocked expression in response to some event, his monocle falls into his drink, or smashes to pieces on the floor, etc. Another myth is, it has been said that he created his own style of monocle and wore it when he was away from the public or rarely when in public. The quizzing glass should not be confused with a monocle, since it is held to one's eye with a handle in a fashion similar to a lorgnette. A quizzing glass is not held by the eye socket itself. During the late 19th and early 20th centuries, the monocle was associated with wealthy upper-class men. Combined with a morning coat and a top hat, the monocle completed the costume of the stereotypical 1890s capitalist.
Monocles were accessories of German military officers from this period. German military officers known to have worn a monocle include Hans Krebs, Werner von Fritsch, Erich Ludendorff, Walter Model, Walter von Reichenau, Dietrich von Saucken, Hans von Seeckt, Hugo Sperrle. Monocles were most prevalent in the late 19th century, but are worn today; this is due in large part to advances in optometry which allow for better measurement of refractive error, so that glasses and contact lenses can be prescribed with different strengths in each eye. The monocle did, gain a following in the stylish lesbian circles of the early 20th century, when lesbians would wear a monocle for effect; such women included Una Lady Troubridge, Radclyffe Hall, Weimar German reporter Sylvia von Harden. Famous figures who wore a monocle include British politicians Joseph Chamberlain, his son Austen, Henry Chaplin, Angus Maude. Percy Toplis, founder of Pakistan Mohammad Ali Jinnah, Portuguese President António de Spínola, filmmakers Fritz Lang and Erich von Stroheim, prominent 19th-century Portuguese writer Eça de Queiroz, Soviet writer Mikhail Bulgakov, actor Conrad Veidt, Dadaists Tristan Tzara and Raoul Hausmann, esotericist Julius Evola, French collaborationist politician Louis Darquier de Pellepoix, Poet laureate Alfred Lord Tennyson, singer Richard Tauber, diplomat Christopher Ewart-Biggs, Major Johnnie Cradock, actors Ralph Lynn, George Arliss and Martyn Green, Karl Marx.
In another vein, G. E. M. Anscombe was one of only a few noted women who wore a monocle. Famous wearers of the 21st century so far include astronomer Sir Patrick Moore, former boxer Chris Eubank. Abstract expressionist painter Barnett Newman wore a monocle for getting a closer look at artworks. Richard Tauber wore a monocle to mask a squint in one eye. Fictional characters that wear monocles include Planters mascot Mr. Peanut, aristocratic 1920s sleuth Lord Peter Wimsey, the P. G. Wodehouse character Psmith, Batman antagonist the Penguin, Avengers antagonist and leader of HYDRA Baron Wolfgang Von Strucker. Count von Count from the children's program Sesame Street wears a
Parish close is a translation of the French term enclos paroissial. It refers to a number of locations in Brittany though not in the historic diocese of Léon, corresponding to the northern half of the department of Finistère; these feature an elaborately decorated parish church surrounded by an walled churchyard, date from the 16th and 17th centuries. The term enclos paroissial seems self-explanatory, but can seem a false friend to the English British English, reader. Cathedral closes are an important feature of urban architecture in Britain and it is easy to assume that a parish close is smaller but analogous. Cathedral closes include many administrative buildings, as well as the church. Parish closes are cultic in character; the walled churchyard surrounds only buildings and structures designed for worship – the church, the calvary, sometimes an ossuary or charnel house. There is a tradition of sacred enclosures with marked boundaries in Celtic polytheism; this reflected a pre-occupation with well-defined sacred features springs and groves.
After the arrival of Christianity, many older traditions and cultural traits persisted within the new religion. The place-name element lan or llan, now taken to signify a church signified an enclosure. In all Brythonic Celtic areas, there was a strong association between church enclosures and specific saints of a particular local character. Whatever the persistence of older themes and styles, the parish closes of Brittany took their present form in the early modern period, over a millennium after the region was Christianized. A major factor in permitting the elaboration of parish closes was the relative prosperity of Finistère in the 16th century; this was built on the maritime competition and constant warfare that plagued much of Western Europe in this period. A group of parishes, just inland, benefited hugely from supplying the ports with the hemp and linen needed to rig ships, as well as food and other supplies; this allowed them to engage in friendly civic competition with each other and embellishing closes that were displayed most during the periodic pardons, which attracted pilgrims from all over Brittany and beyond.
The majority of the churches were built in the 16th century and most of the calvaries are of the same period. Throughout the 17th century, the already-impressive churches were embellished with sculpture and decoration, much of it polychrome, turning them into rich and complex exhibitions of Catholic iconography Baroque in style. Parish closes are defined by a continuous containing wall surrounding the churchyard, of which the greater area is the parish cemetery. There are stiles but the only easy entrance is through a ceremonial arch elaborately detailed with pinnacles and carving. Within the gateway, an open, paved assembly area surrounds the crucifix; the calvaries of the close churches are significant works of popular art. They display three crucified figures: Christ and the two thieves. At the base, they may feature free-standing sculptural groups or both; these onlookers of the crucifixion nearly always include the Virgin Mary and St John the Apostle, but many other heroes and villains – sometimes including local or national magnates.
The ossuary or charnel house, where present, may be substantial, several were intended to contain large sculptures or paintings of the Deposition or Entombment of Christ. The ossuaries have been emptied of their bones; some of the church buildings exemplify late Gothic architecture, while others are Baroque in style, a number feature large belfries. The interiors are dominated by sumptuous Baroque decoration and statuary, much of it polychrome. Both the main altar and each of the many side and chapel altars are backed by a large retable focusing on the Passion of Christ or the life and death of a saint. A large, sometimes free-standing, central figure is surrounded by tableaux and reliefs in rich detail, which expound and expand the central theme. So, for example, a Passion, may be illustrated by scenes of martyrdom or sacrifice; the baptisteries are octagonal, surmounted by large canopies on pillars highly embellished, with vines, birds and narrative reliefs. The pulpit is a dominant feature within the nave, reflecting a revival of preaching during the 17th century, decorated with relevant scenes or symbols, like the Four Evangelists.
Sacred Sculpture of Brittany