Local eucalyptus kitchen island table
Tagged: , garybulla , bulla , woodworking
While one of the great advances in woodturning in recent years has been the development of the four jaw chuck to mount wood for turning, the price tag on a good chuck is a shock to many turners. In fact the price for a decent four jaw chuck often accedes the price of many starter lathes. One of the things that a wood turner needs to remember when going into faceplate turning is the use of the old fashioned glue block for holding wood.
The use of the glue block arises from the desire to not have screw holes observed in the bottom of such items as bowls and platters. Generally such an item is made by first rough turning it from green wood and then letting it dry in the shop for some time. Later it is remounted to the wood lathe and finish turned. It is during this remounting that it may be screwed to the faceplate, thus leaving holes in the finished product. These holes then have to be filled or covered in some way. In addition, the length of the screws determines a certain depth of wood that cannot be used or the tools would hit the screws themselves.
A simple solution, and one centuries old, is the use of a glue block to hold the wood to the lathe. First the bottom of the bowl is flattened using a plane or other tool. Second, a waste block of wood is screwed to the faceplate. Third the waste block is flattened. Third, the waste block is glued to the bottom of the bowl using carpenter’s white glue.
Generally a piece of craft paper is glued between the waste block and the bowl. This enables the bowl to be finish turned and then a chisel blow between the block and the bowl splits the paper down center. Then the waste paper can be sanded from the bottom of the bowl and the bottom finished. If desired, the paper could also be removed from the waste block and it could be used again.
There are a few draw backs to this system. While glue has a great hold but it needs to be clamped and let dry for at least eight hours. Also, the wood used has to be dry so this can not help with green turnings. In addition there is the fuss of sanding away all that glue and paper, a combination known for quickly clogging sand paper.
Thankfully, a couple of modern glues rise to the occasion. When turning dry wood such as a dried bowl blank, hot glue can be used to glue the wood block to the bowl. Withing a couple of minutes it is ready to mount on the lathe and turn. Either the block can be parted from the blank with the lathe running or the whole assembly can be taken off and the waste block removed with a a sharp rap of a chisel at the glue line. Any remaining glue is easily pealed off.
Similarly a medium thick cyanoacrylate glue can be used to bond a green blank to a waste block. The glue is applied to the waste block and accelerator to the blank and the two are pressed together. Again, a couple of minutes are sufficient to hold the work for turning and again a sharp blow at the glue line will separate them after the turning is done.
Modern adhesives simply allow the old methods to work in today’s shops. While the technology advances us a little we are still working in the historic fashion. The old ways may not always be the best, but they certainly work and work well.
So the reason I’ve been away so much is that 11 months ago I started shotting for a furniture company and ended up in Qc. Recently got fired. But now I am back to what I love! This was my last photoshoot for the company. Expect way more street photos and more. Thank you community! see you soon!
Tagged: , x100t , tijuana , alex , leon , afterlightfoto , furniture , midcentury , midcenturymodern , woodshop , woodwork , wood , sandiego , alexleon , tj , tijuanamx , fujifilm , afterlight
My sons and I made this live edge coffee table out of a 2" (50mm) thick slab of Red River Gum (Eucalyptus camaldulensis). The legs are made from 1/2" (13mm) hot rolled steel rod, and the cracks are "stitched" together using quartersawn Black Cherry bowties, and then filled with epoxy.
The table measures 62" (1.5m) x 28" (0.7m) and is 19" (0.5m) tall.
The table is finished with four coats of Watco Wipe-On Poly
Tagged: , esmithiii , esmithiii2003 , Eucalyptus , camaldulensis , Red , River , Gum , Eucalyptus camaldulensis , Red Gum , Red River Gum , Coffee Table , Hairpin Legs , Hairpin , Hair , pin , legs , coffee , table , Woodworking , Live , Edge , Live Edge
Ukrainian Cultural Heritage Village
Tagged: , Ukrainian-Cultural-Heritage-Village , pioneer , farming , architecture , school , barn , vintage , life , hard-work , church , Orthodox , Russia , Hotel , Lumber-Co , Blacksmith , house , Woodworking , sod-house , thach-roof , Settlers , granary , machine-shed , gardening , baking , Grekul , Burdei , immigrants-1900s , Edmonton , Alberta , Canada , Mr.HappyFace , Hardware-store , railway , elevator , farm-life , old , family , HFF , FenceFriday , Fenced , Happy , Fence , Friday , Happy Fence Friday , Metallic
Product reviews go a long way in helping the customer to come to a conclusion about a particular product or a service. It is not only important but also essential to go through several product reviews before you embark on buying one.
Go through the product reviews
When I was in a fix regarding which wood router I should be opting for, I have found the reviews very useful and enabled me to select the best wood router. Usually, user reviews and comments throw much light on the usefulness of a product. They acknowledge the positive aspects and make honest suggestions on the negative aspects of the product.
After having gone through several reviews on wood routers, I have come to the opinion that the user ratings are an important factor to consider when you are purchasing a new router.
Formulate your opinion on what are the key features
If you are a novice in purchasing wood routers, certainly the product reviews throw much light on the key features. You will come to know about the product features with the help of the reviews. Once you are clear about what the key features are, you can make a systematic enquiry into each feature of the product by reading several reviews.
Focus on each feature and study the different products. Get to know what makes each wood router unique in its own way. Have a clear analysis of what features you give top priority and what features you consider secondary, before you opt for one. Often it is your personal choices that determine the final decision.
Weigh both pros and cons
No tool comes with all the unique features. You need to see both the advantages and disadvantages in each type of routers. If only you weigh both the pros and cons in each type and formulate a table of features, you will be able to come to a reasonable decision. Create a table of pros and cons with each type of router and take a balanced view.
Sometimes, you will be totally impressed with one of the features of the tool forgetting the other important considerations. It is essential to have a balanced view when you are investing your hard earned money into these tools.
Take a balanced decision
Taking a balanced view in every matter is regarded as a virtue. The golden mean approach in weighing all the advantages and disadvantages is highly recommended. When it comes to buying a wood router, I suggest you to give preference to the most essential functional features to other small features.
There is a clear and predefined purpose for each tool. Ask yourself whether the model or the type of router you have selected meets all the essential parameters. If you are satisfied that the wood router you have opted for can deliver what it promises, then you can go for it.
I am quite convinced that many of the users give top priority to the most essential functions of the tools that they purchase. See the ratings for each of these functions. Once you complete the home work, you are most likely to get the wood router that works magically.
Strasbourg (/ˈstræzbɜrɡ/, French pronunciation: [stʁaz.buʁ, stʁas.buʁ]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is the capital and principal city of the Alsace region in north eastern France and is the official seat of the European Parliament. Located close to the border with Germany, it is the capital of the Bas-Rhin département. The city and the region of Alsace were historically Alemannic-speaking, hence the city’s Germanic name. In 2006, the city proper had 272,975 inhabitants and its urban community 467,375 inhabitants. With 759,868 inhabitants in 2010, Strasbourg’s metropolitan area (only the part of the metropolitan area on French territory) is the ninth largest in France. The transnational Eurodistrict Strasbourg-Ortenau had a population of 884,988 inhabitants in 2008.
Strasbourg is the seat of several European institutions, such as the Council of Europe (with its European Court of Human Rights, its European Directorate for the Quality of Medicines and its European Audiovisual Observatory) and the Eurocorps, as well as the European Parliament and the European Ombudsman of the European Union. The city is also the seat of the Central Commission for Navigation on the Rhine and the International Institute of Human Rights.
Strasbourg’s historic city centre, the Grande Île (Grand Island), was classified a World Heritage site by UNESCO in 1988, the first time such an honour was placed on an entire city centre. Strasbourg is immersed in the Franco-German culture and although violently disputed throughout history, has been a bridge of unity between France and Germany for centuries, especially through the University of Strasbourg, currently the second largest in France, and the coexistence of Catholic and Protestant culture. The largest Islamic place of worship in France, the Strasbourg Grand Mosque, was inaugurated by French Interior Minister Manuel Valls on 27 September 2012.
Economically, Strasbourg is an important centre of manufacturing and engineering, as well as a hub of road, rail, and river transportation. The port of Strasbourg is the second largest on the Rhine after Duisburg, Germany.
Etymology and Names
The city’s Gallicized name (Lower Alsatian: Strossburi, [ˈʃd̥rɔːsb̥uri]; German: Straßburg, [ˈʃtʁaːsbʊɐ̯k]) is of Germanic origin and means "Town (at the crossing) of roads". The modern Stras- is cognate to the German Straße and English street, all of which are derived from Latin strata ("paved road"), while -bourg is cognate to the German Burg and English borough, all of which are derived from Proto-Germanic *burgz ("hill fort, fortress").
Strasbourg seen from Spot Satellite
Strasbourg is situated on the eastern border of France with Germany. This border is formed by the River Rhine, which also forms the eastern border of the modern city, facing across the river to the German town Kehl. The historic core of Strasbourg however lies on the Grande Île in the River Ill, which here flows parallel to, and roughly 4 kilometres (2.5 mi) from, the Rhine. The natural courses of the two rivers eventually join some distance downstream of Strasbourg, although several artificial waterways now connect them within the city.
The city lies in the Upper Rhine Plain, at between 132 metres (433 ft) and 151 metres (495 ft) above sea level, with the upland areas of the Vosges Mountains some 20 km (12 mi) to the west and the Black Forest 25 km (16 mi) to the east. This section of the Rhine valley is a major axis of north-south travel, with river traffic on the Rhine itself, and major roads and railways paralleling it on both banks.
The city is some 400 kilometres (250 mi) east of Paris. The mouth of the Rhine lies approximately 450 kilometres (280 mi) to the north, or 650 kilometres (400 mi) as the river flows, whilst the head of navigation in Basel is some 100 kilometres (62 mi) to the south, or 150 kilometres (93 mi) by river.
In spite of its position far inland, Strasbourg’s climate is classified as Oceanic (Köppen climate classification Cfb), with warm, relatively sunny summers and cold, overcast winters. Precipitation is elevated from mid-spring to the end of summer, but remains largely constant throughout the year, totaling 631.4 mm (24.9 in) annually. On average, snow falls 30 days per year.
The highest temperature ever recorded was 38.5 °C (101.3 °F) in August 2003, during the 2003 European heat wave. The lowest temperature ever recorded was −23.4 °C (−10.1 °F) in December 1938.
Strasbourg’s location in the Rhine valley, sheltered from the dominant winds by the Vosges and Black Forest mountains, results in poor natural ventilation, making Strasbourg one of the most atmospherically polluted cities of France. Nonetheless, the progressive disappearance of heavy industry on both banks of the Rhine, as well as effective measures of traffic regulation in and around the city have reduced air pollution.
The first traces of human occupation in the environs of Strasbourg go back many thousands of years. Neolithic, bronze age and iron age artifacts have been uncovered by archeological excavations. It was permanently settled by proto-Celts around 1300 BC. Towards the end of the third century BC, it developed into a Celtic township with a market called "Argentorate". Drainage works converted the stilthouses to houses built on dry land.
The Romans under Nero Claudius Drusus established a military outpost belonging to the Germania Superior Roman province at Strasbourg’s current location, and named it Argentoratum. (Hence the town is commonly called Argentina in medieval Latin.) The name "Argentoratum" was first mentioned in 12 BC and the city celebrated its 2,000th birthday in 1988. "Argentorate" as the toponym of the Gaulish settlement preceded it before being Latinized, but it is not known by how long. The Roman camp was destroyed by fire and rebuilt six times between the first and the fifth centuries AD: in 70, 97, 235, 355, in the last quarter of the fourth century, and in the early years of the fifth century. It was under Trajan and after the fire of 97 that Argentoratum received its most extended and fortified shape. From the year 90 on, the Legio VIII Augusta was permanently stationed in the Roman camp of Argentoratum. It then included a cavalry section and covered an area of approximately 20 hectares. Other Roman legions temporarily stationed in Argentoratum were the Legio XIV Gemina and the Legio XXI Rapax, the latter during the reign of Nero.
The centre of Argentoratum proper was situated on the Grande Île (Cardo: current Rue du Dôme, Decumanus: current Rue des Hallebardes). The outline of the Roman "castrum" is visible in the street pattern in the Grande Ile. Many Roman artifacts have also been found along the current Route des Romains, the road that led to Argentoratum, in the suburb of Kœnigshoffen. This was where the largest burial places were situated, as well as the densest concentration of civilian dwelling places and commerces next to the camp. Among the most outstanding finds in Kœnigshoffen were (found in 1911–12) the fragments of a grand Mithraeum that had been shattered by early Christians in the fourth century. From the fourth century, Strasbourg was the seat of the Bishopric of Strasbourg (made an Archbishopric in 1988). Archaeological excavations below the current Église Saint-Étienne in 1948 and 1956 unearthed the apse of a church dating back to the late fourth or early fifth century, considered to be the oldest church in Alsace. It is supposed that this was the first seat of the Roman Catholic Diocese of Strasbourg.
The Alemanni fought the Battle of Argentoratum against Rome in 357. They were defeated by Julian, later Emperor of Rome, and their King Chonodomarius was taken prisoner. On 2 January 366, the Alemanni crossed the frozen Rhine in large numbers to invade the Roman Empire. Early in the fifth century, the Alemanni appear to have crossed the Rhine, conquered, and then settled what is today Alsace and a large part of Switzerland.
In the fifth century Strasbourg was occupied successively by Alemanni, Huns, and Franks. In the ninth century it was commonly known as Strazburg in the local language, as documented in 842 by the Oaths of Strasbourg. This trilingual text contains, alongside texts in Latin and Old High German (teudisca lingua), the oldest written variety of Gallo-Romance (lingua romana) clearly distinct from Latin, the ancestor of Old French. The town was also called Stratisburgum or Strateburgus in Latin, from which later came Strossburi in Alsatian and Straßburg in Standard German, and then Strasbourg in French. The Oaths of Strasbourg is considered as marking the birth of the two countries of France and Germany with the division of the Carolingian Empire.
A major commercial centre, the town came under the control of the Holy Roman Empire in 923, through the homage paid by the Duke of Lorraine to German King Henry I. The early history of Strasbourg consists of a long conflict between its bishop and its citizens. The citizens emerged victorious after the Battle of Oberhausbergen in 1262, when King Philip of Swabia granted the city the status of an Imperial Free City.
Around 1200, Gottfried von Straßburg wrote the Middle High German courtly romance Tristan, which is regarded, alongside Wolfram von Eschenbach’s Parzival and the Nibelungenlied, as one of great narrative masterpieces of the German Middle Ages.
A revolution in 1332 resulted in a broad-based city government with participation of the guilds, and Strasbourg declared itself a free republic. The deadly bubonic plague of 1348 was followed on 14 February 1349 by one of the first and worst pogroms in pre-modern history: over a thousand Jews were publicly burnt to death, with the remainder of the Jewish population being expelled from the city. Until the end of the 18th century, Jews were forbidden to remain in town after 10 pm. The time to leave the city was signalled by a municipal herald blowing the Grüselhorn (see below, Museums, Musée historique);. A special tax, the Pflastergeld (pavement money), was furthermore to be paid for any horse that a Jew would ride or bring into the city while allowed to.
Construction on Strasbourg Cathedral began in the twelfth century, and it was completed in 1439 (though, of the towers, only the north tower was built), becoming the World’s Tallest Building, surpassing the Great Pyramid of Giza. A few years later, Johannes Gutenberg created the first European moveable type printing press in Strasbourg.
In July 1518, an incident known as the Dancing Plague of 1518 struck residents of Strasbourg. Around 400 people were afflicted with dancing mania and danced constantly for weeks, most of them eventually dying from heart attack, stroke or exhaustion.
In the 1520s during the Protestant Reformation, the city, under the political guidance of Jacob Sturm von Sturmeck and the spiritual guidance of Martin Bucer embraced the religious teachings of Martin Luther. Their adherents established a Gymnasium, headed by Johannes Sturm, made into a University in the following century. The city first followed the Tetrapolitan Confession, and then the Augsburg Confession. Protestant iconoclasm caused much destruction to churches and cloisters, notwithstanding that Luther himself opposed such a practice. Strasbourg was a centre of humanist scholarship and early book-printing in the Holy Roman Empire, and its intellectual and political influence contributed much to the establishment of Protestantism as an accepted denomination in the southwest of Germany. (John Calvin spent several years as a political refugee in the city). The Strasbourg Councillor Sturm and guildmaster Matthias represented the city at the Imperial Diet of Speyer (1529), where their protest led to the schism of the Catholic Church and the evolution of Protestantism. Together with four other free cities, Strasbourg presented the confessio tetrapolitana as its Protestant book of faith at the Imperial Diet of Augsburg in 1530, where the slightly different Augsburg Confession was also handed over to Charles V, Holy Roman Emperor.
After the reform of the Imperial constitution in the early sixteenth century and the establishment of Imperial Circles, Strasbourg was part of the Upper Rhenish Circle, a corporation of Imperial estates in the southwest of Holy Roman Empire, mainly responsible for maintaining troops, supervising coining, and ensuring public security.
After the invention of the printing press by Johannes Gutenberg around 1440, the first printing offices outside the inventor’s hometown Mainz were established around 1460 in Strasbourg by pioneers Johannes Mentelin and Heinrich Eggestein. Subsequently, the first modern newspaper was published in Strasbourg in 1605, when Johann Carolus received the permission by the City of Strasbourg to print and distribute a weekly journal written in German by reporters from several central European cities.
From Thirty Years’ War to First World War
The Free City of Strasbourg remained neutral during the Thirty Years’ War 1618-1648, and retained its status as a Free Imperial City. However, the city was later annexed by Louis XIV of France to extend the borders of his kingdom.
Louis’ advisors believed that, as long as Strasbourg remained independent, it would endanger the King’s newly annexed territories in Alsace, and, that to defend these large rural lands effectively, a garrison had to be placed in towns such as Strasbourg. Indeed, the bridge over the Rhine at Strasbourg had been used repeatedly by Imperial (Holy Roman Empire) forces, and three times during the Franco-Dutch War Strasbourg had served as a gateway for Imperial invasions into Alsace. In September 1681 Louis’ forces, though lacking a clear casus belli, surrounded the city with overwhelming force. After some negotiation, Louis marched into the city unopposed on 30 September 1681 and proclaimed its annexation.
This annexation was one of the direct causes of the brief and bloody War of the Reunions whose outcome left the French in possession. The French annexation was recognized by the Treaty of Ryswick (1697). The official policy of religious intolerance which drove most Protestants from France after the revocation of the Edict of Nantes in 1685 was not applied in Strasbourg and in Alsace, because both had a special status as a province à l’instar de l’étranger effectif (a kind of foreign province of the king of France). Strasbourg Cathedral, however, was taken from the Lutherans to be returned to the Catholics as the French authorities tried to promote Catholicism wherever they could (some other historic churches remained in Protestant hands). Its language also remained overwhelmingly German: the German Lutheran university persisted until the French Revolution. Famous students included Goethe and Herder.
The Duke of Lorraine and Imperial troops crossing the Rhine at Strasbourg during the War of the Austrian Succession, 1744
During a dinner in Strasbourg organized by Mayor Frédéric de Dietrich on 25 April 1792, Claude Joseph Rouget de Lisle composed "La Marseillaise". The same year François Christophe Kellermann, a child of Strasbourg was appointed the head of the Mosel Army. He led his company to victory at the battle of Valmy and saved the young French republic. He was later appointed Duke of Valmy by Napoléon in 1808.
During this period Jean-Baptiste Kléber, also born in Strasbourg, led the French army to win several decisive victories. A statue of Kléber now stands in the centre of the city, at Place Kléber, and he is still one of the most famous French officers. He was later appointed Marshal of France by Napoléon.
Strasbourg’s status as a free city was revoked by the French Revolution. Enragés, most notoriously Eulogius Schneider, ruled the city with an increasingly iron hand. During this time, many churches and monasteries were either destroyed or severely damaged. The cathedral lost hundreds of its statues (later replaced by copies in the 19th century) and in April 1794, there was talk of tearing its spire down, on the grounds that it was against the principle of equality. The tower was saved, however, when in May of the same year citizens of Strasbourg crowned it with a giant tin Phrygian cap. This artifact was later kept in the historical collections of the city until it was destroyed by the Germans in 1870 during the Franco-Prussian war.
In 1805, 1806 and 1809, Napoléon Bonaparte and his first wife, Joséphine stayed in Strasbourg. In 1810, his second wife Marie Louise, Duchess of Parma spent her first night on French soil in the palace. Another royal guest was King Charles X of France in 1828. In 1836, Louis-Napoléon Bonaparte unsuccessfully tried to lead his first Bonapartist coup in Strasbourg.
During the Franco-Prussian War and the Siege of Strasbourg, the city was heavily bombarded by the Prussian army. The bombardment of the city was meant to break the morale of the people of Strasbourg. On 24 and 26 August 1870, the Museum of Fine Arts was destroyed by fire, as was the Municipal Library housed in the Gothic former Dominican church, with its unique collection of medieval manuscripts (most famously the Hortus deliciarum), rare Renaissance books, archeological finds and historical artifacts. The gothic cathedral was damaged as well as the medieval church of Temple Neuf, the theatre, the city hall, the court of justice and many houses. At the end of the siege 10,000 inhabitants were left without shelter; over 600 died, including 261 civilians, and 3200 were injured, including 1,100 civilians.
In 1871, after the end of the war, the city was annexed to the newly established German Empire as part of the Reichsland Elsass-Lothringen under the terms of the Treaty of Frankfurt. As part of Imperial Germany, Strasbourg was rebuilt and developed on a grand and representative scale, such as the Neue Stadt, or "new city" around the present Place de la République. Historian Rodolphe Reuss and Art historian Wilhelm von Bode were in charge of rebuilding the municipal archives, libraries and museums. The University, founded in 1567 and suppressed during the French Revolution as a stronghold of German sentiment, was reopened in 1872 under the name Kaiser-Wilhelms-Universität.
Strasbourg in the 1890s.
A belt of massive fortifications was established around the city, most of which still stands today, renamed after French generals and generally classified as Monuments historiques; most notably Fort Roon (now Fort Desaix) and Fort Podbielski (now Fort Ducrot) in Mundolsheim, Fort von Moltke (now Fort Rapp) in Reichstett, Fort Bismarck (now Fort Kléber) in Wolfisheim, Fort Kronprinz (now Fort Foch) in Niederhausbergen, Fort Kronprinz von Sachsen (now Fort Joffre) in Holtzheim and Fort Großherzog von Baden (now Fort Frère) in Oberhausbergen.
Those forts subsequently served the French army (Fort Podbielski/Ducrot for instance was integrated into the Maginot Line), and were used as POW-camps in 1918 and 1945.
Two garrison churches were also erected for the members of the Imperial German army, the Lutheran Église Saint-Paul and the Roman Catholic Église Saint-Maurice.
1918 to the present
A lost, then restored, symbol of modernity in Strasbourg : a room in the Aubette building designed by Theo van Doesburg, Hans Arp and Sophie Taeuber-Arp.
Following the defeat of the German empire in World War I and the abdication of the German Emperor, some revolutionary insurgents declared Alsace-Lorraine as an independent Republic, without preliminary referendum or vote. On 11 November 1918 (Armistice Day), communist insurgents proclaimed a "soviet government" in Strasbourg, following the example of Kurt Eisner in Munich as well as other German towns. French troops commanded by French general Henri Gouraud entered triumphantly in the city on 22 November. A major street of the city now bears the name of that date (Rue du 22 Novembre) which celebrates the entry of the French in the city. Viewing the massive cheering crowd gathered under the balcony of Strasbourg’s town hall, French President Raymond Poincaré stated that "the plebiscite is done".
In 1919, following the Treaty of Versailles, the city was annexed by France in accordance with U.S. President Woodrow Wilson’s "Fourteen Points" without a referendum. The date of the assignment was retroactively established on Armistice Day. It is doubtful whether a referendum in Strasbourg would have ended in France’s favour since the political parties striving for an autonomous Alsace or a connection to France accounted only for a small proportion of votes in the last Reichstag as well as in the local elections. The Alsatian autonomists who were pro French had won many votes in the more rural parts of the region and other towns since the annexation of the region by Germany in 1871. The movement started with the first election for the Reichstag; those elected were called "les députés protestataires", and until the fall of Bismarck in 1890, they were the only deputies elected by the Alsatians to the German parliament demanding the return of those territories to France. At the last Reichstag election in Strasbourg and its periphery, the clear winners were the Social Democrats; the city was the administrative capital of the region, was inhabited by many Germans appointed by the central government in Berlin and its flourishing economy attracted many Germans. This could explain the difference between the rural vote and the one in Strasbourg. After the war, many Germans left Strasbourg and went back to Germany; some of them were denounced by the locals or expelled by the newly appointed authorities. The Saverne Affair was vivid in the memory among the Alsatians.
In 1920, Strasbourg became the seat of the Central Commission for Navigation on the Rhine, previously located in Mannheim, one of the oldest European institutions. It moved into the former Imperial Palace.
When the Maginot Line was built, the Sous-secteur fortifié de Strasbourg (fortified sub-sector of Strasbourg) was laid out on the city’s territory as a part of the Secteur fortifié du Bas-Rhin, one of the sections of the Line. Blockhouses and casemates were built along the Grand Canal d’Alsace and the Rhine in the Robertsau forest and the port.
Between the German invasion of Poland on 1 September 1939 and the Anglo-French declaration of War against the German Reich on 3 September 1939, the entire city (a total of 120,000 people) was evacuated, like other border towns as well. Until the arrival of the Wehrmacht troops mid-June 1940, the city was, for ten months, completely empty, with the exception of the garrisoned soldiers. The Jews of Strasbourg had been evacuated to Périgueux and Limoges, the University had been evacuated to Clermont-Ferrand.
After the ceasefire following the Fall of France in June 1940, Alsace was annexed to Germany and a rigorous policy of Germanisation was imposed upon it by the Gauleiter Robert Heinrich Wagner. When, in July 1940, the first evacuees were allowed to return, only residents of Alsatian origin were admitted. The last Jews were deported on 15 July 1940 and the main synagogue, a huge Romanesque revival building that had been a major architectural landmark with its 54-metre-high dome since its completion in 1897, was set ablaze, then razed.
In September 1940 the first Alsatian resistance movement led by Marcel Weinum called La main noire (The black hand) was created. It was composed by a group of 25 young men aged from 14 to 18 years old who led several attacks against the German occupation. The actions culminated with the attack of the Gauleiter Robert Wagner, the highest commander of Alsace directly under the order of Hitler. In March 1942, Marcel Weinum was prosecuted by the Gestapo and sentenced to be beheaded at the age of 18 in April 1942 in Stuttgart, Germany. His last words will be: "If I have to die, I shall die but with a pure heart". From 1943 the city was bombarded by Allied aircraft. While the First World War had not notably damaged the city, Anglo-American bombing caused extensive destruction in raids of which at least one was allegedly carried out by mistake. In August 1944, several buildings in the Old Town were damaged by bombs, particularly the Palais Rohan, the Old Customs House (Ancienne Douane) and the Cathedral. On 23 November 1944, the city was officially liberated by the 2nd French Armoured Division under General Leclerc. He achieved the oath that he made with his soldiers, after the decisive Capture of Kufra. With the Oath of Kuffra, they swore to keep up the fight until the French flag flew over the Cathedral of Strasbourg.
Many people from Strasbourg were incorporated in the German Army against their will, and were sent to the eastern front, those young men and women were called Malgré-nous. Many tried to escape from the incorporation, join the French Resistance, or desert the Wehrmacht but many couldn’t because they were running the risk of having their families sent to work or concentration camps by the Germans. Many of these men, especially those who did not answer the call immediately, were pressured to "volunteer" for service with the SS, often by direct threats on their families. This threat obliged the majority of them to remain in the German army. After the war, the few that survived were often accused of being traitors or collaborationists, because this tough situation was not known in the rest of France, and they had to face the incomprehension of many. In July 1944, 1500 malgré-nous were released from Soviet captivity and sent to Algiers, where they joined the Free French Forces. Nowadays history recognizes the suffering of those people, and museums, public discussions and memorials have been built to commemorate this terrible period of history of this part of Eastern France (Alsace and Moselle). Liberation of Strasbourg took place on 23 November 1944.
In 1947, a fire broke out in the Musée des Beaux-Arts and devastated a significant part of the collections. This fire was an indirect consequence of the bombing raids of 1944: because of the destruction inflicted on the Palais Rohan, humidity had infiltrated the building, and moisture had to be fought. This was done with welding torches, and a bad handling of these caused the fire.
In the 1950s and 1960s the city was enlarged by new residential areas meant to solve both the problem of housing shortage due to war damage and that of the strong growth of population due to the baby boom and immigration from North Africa: Cité Rotterdam in the North-East, Quartier de l’Esplanade in the South-East, Hautepierre in the North-West. Between 1995 and 2010, a new district has been built in the same vein, the Quartier des Poteries, south of Hautepierre.
In 1958, a violent hailstorm destroyed most of the historical greenhouses of the Botanical Garden and many of the stained glass windows of St. Paul’s Church.
In 1949, the city was chosen to be the seat of the Council of Europe with its European Court of Human Rights and European Pharmacopoeia. Since 1952, the European Parliament has met in Strasbourg, which was formally designated its official ‘seat’ at the Edinburgh meeting of the European Council of EU heads of state and government in December 1992. (This position was reconfirmed and given treaty status in the 1997 Treaty of Amsterdam). However, only the (four-day) plenary sessions of the Parliament are held in Strasbourg each month, with all other business being conducted in Brussels and Luxembourg. Those sessions take place in the Immeuble Louise Weiss, inaugurated in 1999, which houses the largest parliamentary assembly room in Europe and of any democratic institution in the world. Before that, the EP sessions had to take place in the main Council of Europe building, the Palace of Europe, whose unusual inner architecture had become a familiar sight to European TV audiences. In 1992, Strasbourg became the seat of the Franco-German TV channel and movie-production society Arte.
In 2000, a terrorist plot to blow up the cathedral was prevented thanks to the cooperation between French and German police that led to the arrest in late 2000 of a Frankfurt-based group of terrorists.
On 6 July 2001, during an open-air concert in the Parc de Pourtalès, a single falling Platanus tree killed thirteen people and injured 97. On 27 March 2007, the city was found guilty of neglect over the accident and fined €150,000.
In 2006, after a long and careful restoration, the inner decoration of the Aubette, made in the 1920s by Hans Arp, Theo van Doesburg, and Sophie Taeuber-Arp and destroyed in the 1930s, was made accessible to the public again. The work of the three artists had been called "the Sistine Chapel of abstract art".
Strasbourg, Cathedral of Our Lady
The city is chiefly known for its sandstone Gothic Cathedral with its famous astronomical clock, and for its medieval cityscape of Rhineland black and white timber-framed buildings, particularly in the Petite France district or Gerberviertel ("tanners’ district") alongside the Ill and in the streets and squares surrounding the cathedral, where the renowned Maison Kammerzell stands out.
Notable medieval streets include Rue Mercière, Rue des Dentelles, Rue du Bain aux Plantes, Rue des Juifs, Rue des Frères, Rue des Tonneliers, Rue du Maroquin, Rue des Charpentiers, Rue des Serruriers, Grand’ Rue, Quai des Bateliers, Quai Saint-Nicolas and Quai Saint-Thomas. Notable medieval squares include Place de la Cathédrale, Place du Marché Gayot, Place Saint-Étienne, Place du Marché aux Cochons de Lait and Place Benjamin Zix.
Maison des tanneurs.
In addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Étienne, partly destroyed in 1944 by Allied bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played, the Gothic Église protestante Saint-Pierre-le-Jeune with its crypt dating back to the seventh century and its cloister partly from the eleventh century, the Gothic Église Saint-Guillaume with its fine early-Renaissance stained glass and furniture, the Gothic Église Saint-Jean, the part Gothic, part Art Nouveau Église Sainte-Madeleine, etc. The Neo-Gothic church Saint-Pierre-le-Vieux Catholique (there is also an adjacent church Saint-Pierre-le-Vieux Protestant) serves as a shrine for several 15th-century wood worked and painted altars coming from other, now destroyed churches and installed there for public display. Among the numerous secular medieval buildings, the monumental Ancienne Douane (old custom-house) stands out.
The German Renaissance has bequeathed the city some noteworthy buildings (especially the current Chambre de Commerce et d’Industrie, former town hall, on Place Gutenberg), as did the French Baroque and Classicism with several hôtels particuliers (i.e. palaces), among which the Palais Rohan (1742, now housing three museums) is the most spectacular. Other buildings of its kind are the "Hôtel de Hanau" (1736, now the city hall), the Hôtel de Klinglin (1736, now residence of the préfet), the Hôtel des Deux-Ponts (1755, now residence of the military governor), the Hôtel d’Andlau-Klinglin (1725, now seat of the administration of the Port autonome de Strasbourg) etc. The largest baroque building of Strasbourg though is the 150 m (490 ft) long 1720s main building of the Hôpital civil. As for French Neo-classicism, it is the Opera House on Place Broglie that most prestigiously represents this style.
Strasbourg also offers high-class eclecticist buildings in its very extended German district, the Neustadt, being the main memory of Wilhelmian architecture since most of the major cities in Germany proper suffered intensive damage during World War II. Streets, boulevards and avenues are homogeneous, surprisingly high (up to seven stories) and broad examples of German urban lay-out and of this architectural style that summons and mixes up five centuries of European architecture as well as Neo-Egyptian, Neo-Greek and Neo-Babylonian styles. The former imperial palace Palais du Rhin, the most political and thus heavily criticized of all German Strasbourg buildings epitomizes the grand scale and stylistic sturdiness of this period. But the two most handsome and ornate buildings of these times are the École internationale des Pontonniers (the former Höhere Mädchenschule, girls college) with its towers, turrets and multiple round and square angles and the École des Arts décoratifs with its lavishly ornate façade of painted bricks, woodwork and majolica.
Notable streets of the German district include: Avenue de la Forêt Noire, Avenue des Vosges, Avenue d’Alsace, Avenue de la Marseillaise, Avenue de la Liberté, Boulevard de la Victoire, Rue Sellénick, Rue du Général de Castelnau, Rue du Maréchal Foch, and Rue du Maréchal Joffre. Notable squares of the German district include: Place de la République, Place de l’Université, Place Brant, and Place Arnold
As for modern and contemporary architecture, Strasbourg possesses some fine Art Nouveau buildings (such as the huge Palais des Fêtes and houses and villas like Villa Schutzenberger and Hôtel Brion), good examples of post-World War II functional architecture (the Cité Rotterdam, for which Le Corbusier did not succeed in the architectural contest) and, in the very extended Quartier Européen, some spectacular administrative buildings of sometimes utterly large size, among which the European Court of Human Rights building by Richard Rogers is arguably the finest. Other noticeable contemporary buildings are the new Music school Cité de la Musique et de la Danse, the Musée d’Art moderne et contemporain and the Hôtel du Département facing it, as well as, in the outskirts, the tramway-station Hoenheim-Nord designed by Zaha Hadid.
The city has many bridges, including the medieval and four-towered Ponts Couverts that, despite their name, are no longer covered. Next to the Ponts Couverts is the Barrage Vauban, a part of Vauban’s 17th-century fortifications, that does include a covered bridge. Other bridges are the ornate 19th-century Pont de la Fonderie (1893, stone) and Pont d’Auvergne (1892, iron), as well as architect Marc Mimram’s futuristic Passerelle over the Rhine, opened in 2004.
The largest square at the centre of the city of Strasbourg is the Place Kléber. Located in the heart of the city’s commercial area, it was named after general Jean-Baptiste Kléber, born in Strasbourg in 1753 and assassinated in 1800 in Cairo. In the square is a statue of Kléber, under which is a vault containing his remains. On the north side of the square is the Aubette (Orderly Room), built by Jacques François Blondel, architect of the king, in 1765–1772.
The Pavillon Joséphine (rear side) in the Parc de l’Orangerie
The Château de Pourtalès (front side) in the park of the same name
Strasbourg features a number of prominent parks, of which several are of cultural and historical interest: the Parc de l’Orangerie, laid out as a French garden by André le Nôtre and remodeled as an English garden on behalf of Joséphine de Beauharnais, now displaying noteworthy French gardens, a neo-classical castle and a small zoo; the Parc de la Citadelle, built around impressive remains of the 17th-century fortress erected close to the Rhine by Vauban; the Parc de Pourtalès, laid out in English style around a baroque castle (heavily restored in the 19th century) that now houses a small three-star hotel, and featuring an open-air museum of international contemporary sculpture. The Jardin botanique de l’Université de Strasbourg (botanical garden) was created under the German administration next to the Observatory of Strasbourg, built in 1881, and still owns some greenhouses of those times. The Parc des Contades, although the oldest park of the city, was completely remodeled after World War II. The futuristic Parc des Poteries is an example of European park-conception in the late 1990s. The Jardin des deux Rives, spread over Strasbourg and Kehl on both sides of the Rhine opened in 2004 and is the most extended (60-hectare) park of the agglomeration. The most recent park is Parc du Heyritz (8,7 ha), opened in 2014 along a canal facing the hôpital civil.
Tagged: , france , strasbourg , night
28 Feb 2019
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Maserati at the 89th edition of the Geneva International Motor Show
Levante Trofeo V8 Launch Edition premieres at the Show: a limited edition of 100 units
An interactive journey through selected Italian excellences: Maserati presents the first step towards personalization
The stand features the entire MY19 Range, in the GranLusso and GranSport trims
Quattroporte S Q4 GranLusso and Levante S Q4 GranSport MY19 customized with Zegna PELLETESSUTA™
In order to showcase the sporty DNA of the Trident brand, the GranTurismo MC in the Grigio Lava Matte colour, in an exclusive new configuration, is on display
The future of the historic manufacturing plant in Modena defined
Modena, 28 February 2019 – Maserati is highlighting in the first and most important exhibition of the year in Europe
the Levante Trofeo SUV in the Launch Edition, a limited edition of 100 units, which will be the protagonist of the stand, along with the other models of the MY19 range. Another premiere of the Geneva Show are the new interiors in PELLETESSUTA™, an exclusive new material made by Ermenegildo Zegna exclusively for Maserati. To recall the Brand’s sporty DNA, Maserati will exhibit a GranTurismo MC (acronym for Maserati Corse), for the first time with an exterior in Grigio Lava Matte colour combined with interiors in carbon fibre. Maserati announced start of sales in Europe of the Levante Trofeo and Levante GTS.
Another new development will be revealed at the opening of the show, one that exemplifies Maserati’s ability to construct customized automobiles: an exciting one-off model, created according to the requests of a particular customer.
LEVANTE TROFEO LAUNCH EDITION – A LIMITED EDITION
To launch the new model in the market, Maserati is presenting the Levante Trofeo Launch Edition, a limited edition of 100 units. The Levante Trofeo Launch Edition will be available not only in the Blu Emozione Matte colour presented at the Geneva International Motor Show but also in the unique paints Giallo Modenese and Rosso Magma. The interior features sports seats with a premium full-grain "Pieno Fiore” natural leather, with contrasting stitching and a "Trofeo" logo embroidered on the headrest, available in blue, red or yellow. The exclusive carbon fibre inserts on the bumpers, side skirts and specially designed bonnet stand out.
The 22" Orione rims can be matte or glossy black finish, while the brake calipers are available in silver, blue, yellow or red.
The Levante Trofeo is equipped with one of the most powerful engines ever fitted in a Maserati road car. This is the 3.8 litre Twin Turbo V8, calibrated to mate perfectly with the Q4 Intelligent All-Wheel Drive system, providing it with a new crankcase design, specific crankshaft assembly, new oil pump and auxiliary belt and a different wiring layout.
Like all Maserati petrol engines, this V8 is assembled by Ferrari in Maranello. In terms of 0-100km/h acceleration, it stops the chronometer at 4.1”, while the maximum speed is close to the 300 km/h threshold.
The Levante Trofeo is fitted with the eight-speed ZF automatic gearbox used on all the Levante versions, acclaimed for its versatility and sporty character.
The “Corsa" driving mode with Launch Control functionality (in addition to the existing Normal, I.C.E., Sport and Off Road modes) has been adopted to enhance the sporty character of the ultimate Maserati SUV. “Corsa” driving mode further improves engine response and opens exhaust valves in acceleration, as well as providing faster gear shifting, lower air suspension height levels, sportier Skyhook damping and optimized Q4 Intelligent All-Wheel Drive settings. It also interacts with the Traction Control and ESP systems to maximize driving pleasure.
The Levante features the Integrated Vehicle Control (IVC) system for impressive driving dynamics, better performance, and a genuine Maserati driving experience, by helping to prevent vehicle instability, instead of correcting “driver mistakes” as a traditional Electronic Stability Program (ESP) system does.
The ideal 50:50 weight balance and the low centre of gravity – common to all Levante models, in combination with the finely tuned double-wishbone front / Multi Link rear suspension, as well as the wider 22-inch rear tyres on forged aluminium alloy wheels, provide the new Trofeo with perfectly balanced handling and lateral stability.
The unmistakable Levante design has reached new levels of sportiness in this model like the lower splitter, the side blades in the front air intakes, the side skirt inserts and the rear extractor, made of ultralight high-gloss carbon fibre.
At the front, the Levante Trofeo has Full Matrix LED adaptive headlights, a front grille with double vertical bars in Black Piano finish, lower honeycomb mesh fascia, body colour door handles and high-performance brake calipers available in red, blue, black, silver or yellow. And to cap it off, the “Saetta” Trofeo logo adorns the iconic C-pillar of the coupé styled Levante.
Inside the Levante Trofeo cabin is a wealth of elegant features which create an environment of pure luxury. “Pieno Fiore” is like no other leather used in the automotive industry for its natural, soft feel and for the unique character it develops throughout the years.
This amazing Levante’s quintessentially sporty personality is highlighted by new details in "3D Touch" matt carbon fibre, the specific instrument cluster graphics, floor mats with metal Trofeo badges, and a Maserati clock with a unique dial. The on-board set up is completed by a 1,280-watt, 17-speaker Bowers & Wilkins premium surround sound audio system for a concert hall sound experience.
The Levante Trofeo is the first ever Maserati equipped with 22-inch forged aluminium wheels, so Maserati cooperated with Continental to provide the new SportContact™ 6 tyre as standard equipment. The new ultra-sport tyre has substantially contributed to achieving the excellent and balanced handling and outstanding cornering performance of the most powerful Maserati in production today.
The special things about the Maserati stand at this 89th edition of the Geneva International Motor Show is the way it focuses on highlighting a distinctive Italianness and the process of craftsmanship and customization, considerations that have prompted Maserati to host on their stand – together with Ermenegildo Zegna, a longstanding partner and a leader in the field of men’s luxury clothing, two other leading artisanal firms in their field: Giorgetti, the internationally renowned Italian woodworking company, known for its furniture and unique design pieces, and De Castelli, a leading metalworking firm, specializing in the production of unique home design accessories, custom surfaces and projects.
At Maserati tradition becomes innovation, combining fine craftsmanship, advanced technology and sophisticated design for the sort of exclusive, unique mix only Maserati knows how to apply to its cars.
The stand provides an instructive tour through three different dedicated thematic areas. Each area will feature a display of tools, materials and components that, specially crafted by Zegna, De Castelli and Giorgetti, bear witness to the unending quest for excellence, style and originality, typical of products designed and Made in Italy, and therefore typical of Maserati.
Speaking of innovation and design, when it comes to customizing the stand, for the first time ever Maserati is taking advantage in the Customization Area of a D-Table, the only interactive table which combines the latest-generation software and elegant, sophisticated design.
Zegna is a longstanding partner of Maserati and for the Geneva show will be presenting the world premiere of its new car interiors in PELLETESSUTA™, a special woven nappa leather, the product of pioneering research by Ermenegildo Zegna, seeking to create a luxurious, innovative, lightweight and soft fabric that is versatile and well suited for the creation of products, ranging from home design complements to multimedia accessories.
The bond between Zegna and Maserati grows stronger with each passing year, in no small part due to the historical similarities of the two brands.
The Ermenegildo Zegna Group is one of the most distinguished businesses in all of Italy. Founded back in 1910 in Trivero, in the Biellese Alps, by a young entrepreneur named Ermenegildo, whose vision was to ethically produce the most sumptuous fabrics in the world by means of innovation and the utilization of the best luxury fibres, sourced directly in their countries of origin, the company is currently guided by the fourth generation of the Zegna family. The Group, which since the late 80’s has been implementing a strategy of vertical integration, has created a global luxury brand which currently offers fabrics, clothing and accessories. Today there are 504 single-label stores in over 100 countries, of which 272 are company-owned.
The Giorgetti cabinet-making tradition started in Brianza in 1898, and more than 120 years later is still continuing to evolve and innovate. The company looks to the future, how to convey and stay on top of all the changes in a dynamically transforming world. Giorgetti’s approach to interior design involves interpreting behaviours and tastes in various different markets, creating pieces that are free of all formal conventions, capable of coexisting harmoniously in any context, dissolving cultural and temporal distances.
The products made by Giorgetti epitomize the best in the proud catchline, “Made and Manufactured in Italy”. Starting from design, creativity and style, and all the way to the actual manufacture of a finished product, the entire manufacturing process is completely carried out in Italy by highly qualified personnel, boasting consummate skill in the furniture sector.
The craft-based means of production associated with the phrase, Made in Italy, transcends the rationale of standardized, mass-produced products, guaranteeing high levels of product customization.
The indispensable work of master craftsmen is capable of imbuing Giorgetti projects with that magical allure of unique, handmade pieces.
True to its commitment to restore metal’s privileged role in projectual experimentation, De Castelli is grafting a craft-based concept and approach to work onto typically industrial processes, a bold synthesis that leads to unprecedented results. The encounter with design engenders an approach to the material founded on respect for its vast potential, including the less obvious possibilities, the ones that gradually emerge in a collection of mass-produced products that are, at the same time, unique. Not only because the hand creating them is unique, but due to the uniqueness of the cultural process that puts the main emphasis on the aesthetic value – rather than purely functional ones – of the primal material with which De Castelli shapes living spaces. One thus overturns the dictum that confines the coldness of metal to the outer margins of interior design project, bringing steel, brass and copper, in their multiple variations and finishes, to the centre of a a completely renovated scenario where they can finally glow in self-generated radiance.
Delabré is the name of an artisanal finish conceived of and realized by De Castelli. It consists in the manual oxidation of materials like steel, copper and brass, capable of imbuing them with unique, unrepeatable chromatic effects.
THE OTHER MODELS IN THE MASERATI RANGE: GRANTURISMO MC, QUATTROPORTE AND GHIBLI
Visitors to the Geneva International Motor Show will find on display the GranTurismo MC (acronym for Maserati Corse) which perfectly represents the sporty DNA of the Modena company. The GranTurismo MC boasts an exclusive new configuration, for the first time ever with the Grigio Lava Matte as the exterior colour and “Nerissimo Carbon Pack” trim with the Black Chrome contrasting finishes for the various details: the upper portion of the grille with black vertical slats, the profiles of the boot, the lettering on the tailgate, the logo on the pillars, the side air intakes, exhaust outlets and window frames. With the Nerissimo Carbon pack the door handles, mirror caps, front splitter, and rear spoiler are in Carbon fibre. The same material will be available for the interior customization packs.
The stand also features various different Maserati models, including a Levante S Q4 GranSport in an exclusive trim with the exterior in a Bronze colour, which boasts interiors in Zegna PELLETESSUTA™. The car sports 21” polished Helios rims. For the first time in the history of this longstanding partnership with Zegna, the customization has been extended to also include the GranSport trims of the Maserati range. An especially sophisticated combination for this Levante, the first SUV in the more than one-hundred year history of Maserati.
On display, the Maserati Quattroporte S Q4 GranLusso with its Blu Sofisticato coloured body combined with interiors in PELLETESSUTA™ Zegna, an extremely elegant configuration to once again underscore the exclusive, luxurious character of this Italian manufacturer flagship, whose origins date back to Series I designed in 1963 to be the fastest sedan in the world. The 21” Atlante alloy rims with blue brake calipers and the sport seats underscore the dual nature of this model.
Two Maserati Ghibli S Q4 (GranSport and GranLusso trims), 430 hp, can be viewed on the stand. The GranSport trim is equipped with metallic Grigio Maratea paint on the outside and Nerissimo pack with a red interior in full-grain “Pieno Fiore” leather and black stitching, plus roof lining in black Alcantara. The rims are 21” in Glossy Black Titanium, which imbue the Maserati sedan, boasting Q4 Intelligent All-Wheel Drive system, with a unique, unmistakable character. The elegance of the GranLusso trim is highlighted by the tri-coat exterior Bianco Alpi paint and by the 20” Teseo rims; on the inside the full-grain “Pieno Fiore” black leather has been combined with Oak trim and roof lining in grey Alcantara.
The entire MY19 range, composed of Ghibli, Quattroporte and Levante models, has benefited from a luxurious restyling which combined targeted interventions in terms of both style and new contents.
Both the sedans and the SUV with MY19 specifications are equipped with a redesigned shorter-travel gearshift lever featuring a more intuitive shift pattern and improved operation.
The Maserati Levante Trofeo for the European market is capable of delivering 580 hp at 6,250 rpm, achieving extremely high peak rotation, maintaining the same torque of 730 Nm, usable in a wide range between 2,500 and 5,000 rpm. The Levante Trofeo therefore displays the characteristic of immediately providing high levels of torque even at low revs, a feature that is appreciated by the customers of this type of SUV. Thanks to new turbochargers with increased flow, a redesigned cylinder head with specific camshafts and valves, new pistons and new connecting rods, the Levante Trofeo is able to achieve impressive power peaks, in combination with specific engine calibration mapping.
The new Levante Trofeo features Full Matrix LED adaptive headlights as standard. Compared to Bi-Xenon headlamps, LED technology offers 20% better visibility, 32% cooler light and headlights that last twice as long.
The full LED headlights utilize a digital camera mounted behind the rear-view mirror that supports the Glare-free High Beam detection system, allowing the driver to keep the high beam on without dazzling oncoming drivers. The system is able to create a “zone of shade” around other vehicles switching dynamically on and off the LED matrixes. The full Matrix LED headlights can create up to four light tunnels simultaneously with each tunnel as large as the obstacle.
The Brembo braking system deals superbly with the high performance of the Levante Trofeo. The front brakes have adopted 6-piston aluminium monobloc calipers working on 380 mm x 34 mm drilled discs, while 4-piston aluminium monobloc calipers with 330 mm x 28 mm ventilated drilled discs are fitted at the rear. The ABS has undergone a specific setup for the Trofeo version.
Levante, Ghibli and Quattroporte share the same MTC+ infotainment system, which is based on a high resolution 8.4” multi-touch screen and a double rotary knob on the centre console.
For MY19 there is a choice of nine body colours for the Quattroporte and 10 for each of the Ghibli and Levante models. A new tri-coat colour is now available, born to enhance the design of each: the elegant Blu Nobile.
In the wide collection of alloy wheels designed specifically for every single Maserati model, there are five brand new designs in the MY19 catalogue in 20 and 21-inch sizes, two for each of the Levante and Quattroporte models and one for the Ghibli.
THE HISTORIC MODENA PLANT
Speaking of the historic Modena plant, recently Maserati announced that it reconfirms its strategic mission. The plant will be dedicated to the manufacturing of special high performance, high technology sports cars, in line with the tradition and values of the Brand, which has been present at Modena since 1939.
This will exploit the know-how and experience of the staff involved in the production of the cars, which require a very special fabrication cycle: a fully-fledged synergy of craftsmanship and innovation, scrupulous attention to detail and the highest quality standards, resulting in the manufacture of unique, exclusive products which represent the very best of the “Made in Italy” brand worldwide.
The current production lines will be upgraded, indeed, totally renewed, starting this Autumn: the first pre-series production of a new model, a characteristically Maserati sports car, will roll off the lines in the first half of next year.
Octo Maserati GranLusso and GranSport by Bulgari
Maserati’s prestige partnership with Bulgari, launched in 2012, has led to the creation of two exclusive wristwatches: Octo Maserati GranLusso and Octo Maserati GranSport by Bulgari Specifically intended for owners of the Brand’s cars, they feature the spectacular dial (with retrograde minutes and jumping hours) resembling the rpm-counter of a Maserati, while the stitched leather strap recalls the upholstery of Trident cars.
Ermenegildo Zegna Maserati Capsule Collection for Spring Summer 2019
At the Geneva Motor Show, Ermenegildo Zegna and Maserati are delighted to present the new Maserati Capsule Collection for Spring Summer 2019: an exquisite collection of leather goods, travel clothing and elegant accessories, displaying all the excellence for which these two iconic Italian brands are famed. Building on a well-established partnership launched early in 2013, Maserati and Zegna offer products of unrivalled quality of details, performance and design, made to measure for those wishing to surround themselves with luxury. The Maserati Capsule Collection is available in selected Ermenegildo Zegna stores worldwide and on Zegna.com
Maserati produces a complete range of unique cars with an amazing personality, immediately recognisable anywhere. With their style, technology and innately exclusive character, they delight the most discerning, demanding tastes and have always been an automotive industry benchmark. Ambassadors of this heritage are the Quattroporte flagship, the Ghibli sports sedan, the Levante, Maserati’s very first SUV, and the GranTurismo and GranCabrio sports cars. A range complete as never before, with petrol and diesel engines, rear or all-wheel drive, the finest materials and outstanding engineering. A tradition of successful cars, each of them redefining what makes an Italian sports car in terms of design, performance, comfort, elegance and safety.
How much can I sell my intarsia woodwork for? This is the question I get asked all the time. So I know that at least some of you out there are considering trying to sell your work.
So how much are they worth?
Early Days – A Typical Scenario
You’ve started on a new and exciting woodworking skill called Intarsia. You can’t get enough of it. Your family and friends are really impressed with the stuff you are making. So every new piece easily finds a home.
You are happy to give your finished pieces to your close family and friends. But then friends of friends start wanting pieces. It occurs to you that while you certainly enjoy making them there are costs involved other than your time. And even though you don’t feel you need to be paid for your time it would be nice to get some sort of return for your labours.
Mid Intarsia Crisis
Well maybe not a crisis but now you do start to think it might be good to sell a few intarsia pieces to recoup costs. And how much easier is it to get the boss to agree to a new machine in your workshop if you are showing a return. “Well dearest heart, I’ve made a few bob already and with that money I can buy a brand new – insert your preference here – so I can make my intarsia even more efficiently and then I’ll easily be able to get around to making that new coffee table you’ve always wanted and so richly deserve.” Woffle wofle woffle.
The Big Question – “How much are they worth?
“How long is a piece of string?
The golden rule. “They are worth whatever customers will pay for them”
Which doesn’t actually tell you anything. So let’s look at a couple of pricing scenarios.
The Academic Approach
A Masters degree in Business will tell you to do something like this. First calculate your total cost of production.
* Timber including any waste – $ Very little
* Plywood backing – $ A tiny amount
* Hangers from a framing shop – a few cents
* Sandpaper – $ more than you’d first imagine but still not much
* Glue – a few more cents
* Varnish or oil finish – $ a few dollars
* Workshop rent – it might be your garage but somebody some time had to pay for it.
* Broom for sweeping up
* yadda yadda yadda
* Cost of stall at local flea market/car boot sale
* Traveling cost to get there
* Your time sitting behind the stall all day
* The cream on the top that you deserve over and above your wages for running your own business. And now the big one.
* Your local mechanic charges $50 (or $60 or $70) per hour to fix your car. And it’s probably the first year apprentice that’s done the work anyway. It’s taken you 84 hours to make your masterpiece (you’ve carefully noted the hours) and it looks fabulous. You’re not greedy so maybe $20 per hour is okay. That makes $1680 plus the $50 for all the materials etc. $1700+. Probably not going to get that at the local flea market.
Okay, let’s be less ambitious and work for $5 per hour, I don’t actually need anything, this is just a hobby. And I’m sure I must have got those hours wrong, lets pretend it was only 40 hours work. So $200 plus a bit extra for materials, let’s call it $220 all up. Now that sounds more reasonable.So not-with-standing the business degree, what we’ve actually done is made a guess at the price. Surely there’s a better way. You’re right, there is.
An aside Sitting all day in the hot sun at a local flea market hoping a punter with $220 in their pocket will happen by is okay occasionally but not a regular, reliable income stream. Oh, you say, but if you take your work to a local gallery they want 40%, or 50% or more for themselves. And all they have to do is hang it on their wall, I had to do all the hard yakka to make it. Highway robbery. But if you go the gallery route you don’t have to hang around all day, every day looking for customers. They do that. That’s what you pay them for. And they have to spend the money to make their gallery look good, not you. We always tried to make quality woodwork so we could interest the best galleries in the land. Way to go. Happy to pay their cut as long as they keep them trucking over.
The Two Month Rule
I take my finished woodwork to the local craft gallery and talk to the owner. After some discussion we came to an agreed starting price and his percentage. Listen to the owner. If they are any good they know their market. Your beautiful intarsia gets hung on the wall. Hopefully the first thing the customer sees when they first walk into the gallery.
* If the work sells in less than two months it is too cheap.
* If it takes much longer than two months to sell it is too expensive.
* And you guessed it, if it sells in about two months the price is just right.
The first time I did this I took along 2 frog intarsia on Thursday. They both sold that weekend. Priced too cheaply but I knew there was a market.
Okay, so now you know the price you can sell them for. But maybe you are still only going to be earning $5 per hour based on the time it took you to make that first one.
So what have you gained?The knowledge that you can’t expect your customers to pay for your inefficiency.
So what can you do about it. There are lots of ways to streamline your production. You will make your 20th frog a lot more quickly than the first one. As you get more experienced you will come up with all sorts of short cuts. But that’s another article.
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