History.

Denver has traditionally been home to one of the busier airports in the nation because of its location. Many airlines including United Airlines, Western Airlines, former Frontier Airlines and People Express were hubbed at the old Stapleton International Airport. At times, Stapleton was a hub for three or four airlines. Reasons that justified the construction of the new DEN were that space was severely limited at Stapleton, and its runways were unable to deal efficiently with Denver's weather and wind patterns, causing nationwide travel disruption.  From 1980 to 1983, the Denver Regional Council of Governments (DRCOG) investigated six areas for a new metro area airport that were north and east of Denver. In September 1989, under the leadership of Denver Mayor Federico Peña, federal officials authorized the outlay of the first $60 million (equivalent to $ million today) for the construction of DEE. Two years later, Mayor Wellington Webb inherited the megaproject, scheduled to open on October 29, 1993.  Delays caused by poor planning and repeated design changes due to changing requirements from United Airlines caused Mayor Webb to push opening day back, first to December 1993, then to March 1994. By September 1993, delays due to a millwright strike and other events meant opening day was pushed back again, to May 15, 1994. In April 1994, the city invited reporters to observe the first test of the new automated baggage system. Reporters were treated to scenes of clothing and other personal effects scattered beneath the system's tracks, while the actuators that moved luggage from belt to belt would often toss the luggage right off the system instead. The mayor cancelled the planned May 15 opening. The baggage system continued to be a maintenance hassle and was finally terminated in September 2005, with traditional baggage handlers manually handling cargo and passenger luggage.  On September 25, 1994, the airport hosted a fly-in that drew several hundred general aviation aircraft, providing pilots with a unique opportunity to operate in and out of the new airport, and to wander around on foot looking at the ground-side facilities—including the baggage system, which was still under testing. FAA controllers also took advantage of the event to test procedures, and to check for holes in radio coverage as planes taxied around and among the buildings. DEN finally replaced Stapleton on February 28, 1995, 16 months behind schedule and at a cost of $4.8 billion (equivalent to $ billion today), nearly $2 billion over budget ($ billion today). The construction employed 11,000 workers. United Airlines Flight 1062 to Kansas City International Airport was the first to depart DIA and United Flight 1474 from Colorado Springs Airport was the first to arrive at the new airport.  After the airport's runways were completed but before it opened, the airport used the codes. DIA later took over as its codes from Stapleton when the latter airport closed.  During the blizzard of March 17–19, 2003, the weight of heavy snow tore a hole in the terminal's white fabric roof. Over two feet of snow on the paved areas closed the airport (and its main access road, Peña Boulevard) for almost two days. Several thousand people were stranded at DEN.  In 2004, DEN was ranked first in major airports for on-time arrivals according to the FAA. Another blizzard on December 20 and 21, 2006, dumped over of snow in about 24 hours. The airport was closed for more than 45 hours, stranding thousands. Following that blizzard, the airport invested heavily in new snow-removal equipment that has led to a dramatic reduction in runway occupancy times to clear snow, down from an average of 45 minutes in 2006 to just 15 minutes in 2014. As part of the original design of the airport, the city specified passenger volume "triggers" that would lead to a redevelopment of the master plan and possible new construction to make sure the airport is able to meet Denver's needs. The city hit its first-phase capacity threshold in 2008, and DIA is currently revising the master plan. As part of the master plan update, the airport announced selection of Parsons Corporation to design a new hotel, rail station and two bridges leading into the main terminal. The airport has the ability to add up to six additional runways, bringing the total number of runways to 12. Once fully built out, DIA should be able to handle 110 million passengers per year, up from 32 million at its opening.  On September 9, 2015, a political campaign was launched by Mayor Michael Hancock to radically expand commercial development at DIA, development previously prohibited by intergovernmental agreement between Denver and Adams County. The changes to the agreement were approved by both Denver and Adams County voters in November 2015. On November 19, 2015, the first part of a Hotel and Transit Center, the hotel, opened adjacent to the Jeppesen Terminal. On April 22, 2016, commuter rail service to the Hotel and Transit Center from Denver Union Station began.

Future.

In 2018, work began on a major interior renovation and reconfiguration including the beginning phases of construction to relocate two out of the three TSA security checkpoints from the Great Hall on Level 5 to Level 6 (East & West) while simultaneously updating and consolidating airline ticket counters/check-in for all airlines. Eventually, both pre and post security gathering and leisure areas will be incorporated into the spaces where both expansive TSA security areas on Level 5 are currently located. The third TSA security checkpoint currently accessible via the Concourse A bridge is expected to be removed. The renovation and reconfiguration will bring back the original intent and use of the Great Hall as a large commons area for airport patrons and visitors to enjoy. This phased terminal project is expected to be completed by 2025.  Additionally, work is underway on expanding all three concourses, with 12 new gates being added to A (including several gates with direct access to U.S. Customs and Border Protection), 11 to B and 16 to C for a total of 39 gates. Following the completion of this project, United Airlines will lease 24 additional gates on both A and B (bringing its total gate count at DEN to around 90), as well as build a new United Club in A and expand their existing clubs in B. Southwest Airlines will lease 16 of the new gates on C bringing its total gate count at DEN to 40. When both the ongoing terminal and concourse projects are completed, the airport will be able to handle upwards of 90 million passengers per year.

Geography.

The airport is driving distance from Downtown Denver, which is farther away than Stapleton International Airport, the airport DIA replaced. The distant location was chosen to avoid aircraft noise affecting developed areas, to accommodate a generous runway layout that would not be compromised by blizzards, and to allow for future expansion.  The of land occupied by the airport is more than one and a half times the size of Manhattan (). DIA occupies the largest amount of commercial airport land area in the United States and in North America, by a great extent. Dallas/Fort Worth International Airport is a distant second at. The land was transferred from Adams County to Denver after a 1989 vote, increasing the city's size by 50 percent and bifurcating the western portion of the neighboring county. As a result, the Adams County cities of Aurora, Brighton, and Commerce City are actually closer to the airport than much of Denver. All freeway traffic accessing the airport from central Denver leaves the city and passes through Aurora for just shy of, making the airport a practical exclave. Similarly, the A Line rail service connecting the airport with downtown Denver has two intervening stations in Aurora.

Facilities.

Jeppesen Terminal.

Jeppesen Terminal, named after aviation safety pioneer Elrey Borge Jeppesen, is the land side of the airport. Road traffic accesses the airport directly off of Peña Boulevard, which in turn is fed by Interstate 70 and E-470. Two covered and uncovered parking areas are directly attached to the terminal – four garages and an economy parking lot on the east side; and four garages and an economy lot on the west side.  The main terminal has six official floors, connected by elevators and escalators. Floors 1–3 comprise the lowest levels of the parking garages as well as the economy lots on both sides of the terminal. Floor 4 contains passenger pickup, as well as short-term and long-term parking. Floor 5 is used for parking as well as drop offs and pickups for taxis and shuttles to rental car lots and off-site parking. The fifth floor also contains the baggage carousels and security checkpoints. Floor 6 is used for passenger drop off and check-in counters. Passengers are routed first to airline ticket counters or kiosks on the sixth floor for checking in.  DIA has three midfield concourses, spaced far apart. Concourse A is accessible via a pedestrian bridge directly from the terminal building, as well as via the underground train system that services all three concourses. For access to Concourses B and C, passengers must utilize the train. Once in 1998 and again once in 2012, the train system encountered technical problems and shut down for several hours, creating tremendous back-logs of passengers in the main terminal since no pedestrian walkways exist between the terminal and the B and C Concourses. On both occasions, buses had to be used because of the train problems.  Concourse A has 51 gates, which includes several "ground load positions" requiring passengers to exit the main concourse through shared doors to access their aircraft. Concourse A handles all domestic airlines except Alaska, Southwest, and Spirit as well as all international arrivals (excluding airports with border preclearance). There are currently twelve dedicated gates for international arrivals; five of those are equipped to handle widebody aircraft. Two airline lounges are currently located on the top floor of the central section of Concourse A: an American Admirals Club and a Delta Sky Club.  Concourse B has 70 gates. United Airlines is the sole occupant of Concourse B. Mainline United flights operate from the main concourse building, whereas United Express operations are primarily handled at the east end of the concourse, which currently includes two concourse extensions for smaller regional planes. Four gates near the center of the concourse are equipped to handle widebody aircraft and each have twin jet bridges labeled A and B. There are two United Clubs on the second floor of Concourse B, situated about an equal distance away from the people mover station: one near gate B32 and the other near gate B44.  Concourse C has 29 gates. Southwest Airlines is the primary occupant of the concourse with only two other airlines, Alaska Airlines and Spirit Airlines, utilizing the concourse. A 2014 expansion added five new gates to the west end of the concourse. The expansion, at a cost of $46 million, allowed Southwest to consolidate all of its operations into Concourse C (prior to the expansion, Southwest was using two gates on Concourse A, which it had inherited from its merger with AirTran Airways). American Express recently began construction on a Centurion Lounge in the upper level of the eastern wing of Concourse C. The lounge is expected to open in mid-2020, and will be the second largest of its kind.

Hotel and Transit Center.

The DIA Hotel and Transit Center is made up of three integrated functional areas: hotel, public ground transportation, and public plaza. Construction of the $544 million project began on October 5, 2011, and was completed April 2016. The project directly connects a hotel and transit center to the Jeppesen terminal and includes a commuter rail train station, run by Regional Transportation District (RTD), and a 519-room hotel and conference center, run by Westin Hotels & Resorts. The hotel opened November 19, 2015, and the commuter rail service began on April 22, 2016. Gensler and Anderson Mason Dale Architects were the project architects. The project builder was MHS, a tri-venture composed of Mortenson Construction, Hunt Construction, and Saunders Construction. The rail station is located underneath the hotel with a weather-protection canopy extending south from the hotel and over the tracks. The rail service provides a direct connection between downtown Denver Union Station and the airport. There is also room for additional future rail lines. Ten bus bays are located under the hotel and adjacent to the transit center/rail lines providing connections for RTD regional buses to Aurora, Boulder, and Westminster as well as shuttle bus service for economy lots and airport employees. The plaza is operated by Denver Arts and Venues, the City and County of Denver agency that operates Denver-owned entertainment venues.

Ground transportation.

The Regional Transportation District (RTD) operates three bus routes under the frequent airport express bus service called skyRide, as well as one Express bus route and one Limited bus route, between DIA and various locations throughout the Denver-Aurora and Boulder metropolitan areas. RTD also operates the University of Colorado A Line, a commuter rail line that runs between the airport and Denver Union Station in downtown Denver.  Scheduled bus service is also available to points such as Fort Collins, and van services stretch into Nebraska, Wyoming, and Colorado summer and ski resort areas. Amtrak offers a Fly-Rail plan for ticketing with United Airlines for trips into scenic areas in the Western U.S. via a Denver stopover.  The Regional Transportation District's airport rail link is an electric commuter rail line that runs from Denver Union Station to the DIA Hotel and Transit Center. The A Line, sometimes called the East Rail Line, and under a sponsorship agreement called "University of Colorado A Line", connects passengers between downtown Denver and Denver International Airport in about 37 minutes. The line connects to RTD's rail service that runs throughout the metro area. The A Line is a 22.8-mile commuter rail transit corridor connecting these two important areas while serving adjacent employment centers, neighborhoods and development areas in Denver and Aurora. The A Line was constructed and funded as part of the Eagle P3 public-private partnership and opened for service on April 22, 2016.

Statistics.

Annual traffic.

(a) Passenger totals for first two months of 1995 reflect operations at Stapleton International Airport.

Features.

Aesthetics.

The Jeppesen Terminal's internationally recognized peaked roof, designed by Fentress Bradburn Architects, resembles snow-capped mountains and evokes the early history of Colorado when Native American teepees were located across the Great Plains. The catenary steel cable system, similar to the Brooklyn Bridge design, supports the fabric roof. DIA is also known for a pedestrian bridge connecting the terminal to Concourse A that allows travelers to walk from the main Terminal to Concourse A, while viewing planes taxiing beneath them. It offers views of the Rocky Mountains to the west and the high plains to the east.

Art.

Both during construction and after opening, DIA has set aside a portion of its construction and operation budgets for art. The corridor from the main terminal and Concourse A frequently displays temporary art exhibits. A number of public art works are present in the underground train that links the main terminal with concourses, including art pieces from the history of Colorado.  The airport features a bronze statue of Denver native Jack Swigert in Concourse B. Swigert flew on Apollo 13 as Command Module Pilot, and was elected to the House of Representatives in 1982, but died of cancer before he was sworn in. The statue is dressed in an A7L pressure suit, and is posed holding a gold-plated helmet. It is a duplicate of a statue placed at the United States Capitol in 1997.  In March 2019 the airport unveiled an animated, talking gargoyle in the middle of one of the concourses. The gargoyle interacts with passengers and jokes about the supposed conspiracies connected to the airport.  Other DIA Art Commissions have been awarded to artists Leo Tanguma, Gary Sweeney, and Gary Yazzie.  In 2013 the DIA was honored by "USA Today" for having one of the ten best airports for public art in the United States.

"Blue Mustang".

"Blue Mustang", by El Paso-born artist Luis Jiménez, was one of the earliest public art commissions for Denver International Airport in 1993. The "Blue Mustang" is a bright blue cast-fiberglass sculpture with glowing red eyes located between the inbound and outbound lanes of Peña Boulevard. Jiménez was killed in 2006 at age 65 while creating the sculpture when the head fell on him and severed an artery in his leg. At the time of his death, Jiménez had completed painting the head of the mustang. "Blue Mustang" was completed by others, and unveiled at the airport on February 11, 2008. The statue has been the subject of considerable controversy, and has acquired the nickname "Blucifer" for its demonic appearance. The sculpture has been defended and disparaged by many people; one incident involved the vandalizing of the sculpture's hooves with orange paint.

Denver Airport Murals.

The Denver International Airport has four murals, all of which have been the topic of conspiracy theorists and debate. The murals are very ambiguous in meaning, depicting scenes including caged animals, fires, suffering people, and a soldier with a blade and a gas mask. They have been interpreted in the past by onlookers to represent war, hope, and even the New World Order.

Solar energy system.

Denver International Airport currently has four solar photovoltaic arrays on airport property, with a total capacity of 10 megawatts or 16 million kilowatt-hours of solar electricity annually.  In mid-2008, Denver International Airport inaugurated a $13 million (equivalent to $ million today) solar farm situated on directly south of Jeppesen Terminal between Peña Boulevard's inbound and outbound lanes. The solar farm consists of more than 9,200 solar panels that follow the sun to maximize efficient energy production and generate more than 3.4 million kilowatt hours of electricity per year. Owned and run by a specialist independent energy company, Fotowatio Renewable Ventures, its annual output amounts to around 50% of the electricity required to operate the train system that runs between the airport's terminal and gate areas. By using this solar-generated power, DEN will reduce its carbon emissions as much as five million pounds each year.  In December 2009, a $7 million ($ million today), 1.6-megawatt solar project on approximately north of the airport's airfield went into operation. The array is a project that involves MP2 Capital and Oak Leaf Energy Partners generating over 2.7 million kilowatt-hours of clean energy annually and provides approximately 100% of the airport's fuel farm's electricity consumption.  A third solar installation situated on, dedicated in July 2011, is a 4.4MW complex, expected to generate 6.9 million kilowatt-hours of energy. Intermountain Electric Inc. built the system, with solar panels provided by Yingli Green Energy. The power array will reportedly reduce CO2 emissions by 5,000 metric tons per year.  The airport added its fourth solar power array in June 2014. The $6 million system can generate up to 2MW, or 3.1 million kilowatt-hours of solar electricity annually. It is located north of the airfield and provides electricity directly to the Denver Fire Department's Aircraft Rescue and Fire Fighting (ARFF) Training Academy.  Denver International Airport's four solar array systems now produce approximately six percent of the airport's total power requirements. The output makes DEN the largest distributed generation photovoltaic energy producer in the state of Colorado, and the second-largest solar array among U.S. airports.

Controversy.

Land dispute.

Denver and jurisdictions surrounding the airport are involved in a protracted dispute over how to develop land around the facility. Denver Mayor Michael Hancock wants to add commercial development around the airport, but officials in Adams County believe doing so violates the original agreement that allowed Denver to annex the land on which the airport sits.

Denver International Airport, locally known as DIA, is an international airport in the Western United States, primarily serving metropolitan Denver, Colorado, as well as the greater Front Range Urban Corridor. At, it is the largest airport in North America by land area and the second largest in the world, behind King Fahd International Airport. Runway 16R/34L, with a length of, is the longest public use runway in North America and the seventh longest in the world.

丹佛国际机场(英语:Denver International Airport,),是一座位于美国科罗拉多州丹佛市的民用机场,并且是美国总占地面积最大及全世界第三大机场,仅次于法赫德国王国际机场和蒙特利尔-米拉贝勒国际机场,跑道16R/34L是全美国最长的公共跑道。 2014年,以乘客流量计算,丹佛国际机场是全美第六大机场、世界第十八大机场(超过5300万人次)。 它也拥有第三大的区域航线网络。 这个机场位于丹佛市的东北面,由丹佛市政府营运。


Etymology.

Milford Sound is named after Milford Haven in Wales, while the Cleddau River which flows into the sound is also named for its Welsh namesake. The Māori named the sound "Piopiotahi" after the thrush-like piopio bird, now extinct. "Piopiotahi" means "a single piopio", harking back to the legend of Māui trying to win immortality for mankind—when Maui died in the attempt, a piopio was said to have flown here in mourning.

Geography.

As a fiord, Milford Sound was formed by a process of glaciation over millions of years.  Milford Sound runs 15 kilometres inland from the Tasman Sea at Dale Point (also named after a location close to Milford Haven in Wales)—the mouth of the fiord—and is surrounded by sheer rock faces that rise or more on either side. Among the peaks are The Elephant at, said to resemble an elephant's head, and The Lion,, in the shape of a crouching lion.  Milford Sound sports two permanent waterfalls, Lady Bowen Falls and Stirling Falls. After heavy rain temporary waterfalls can be seen running down the steep sided rock faces that line the fiord. They are fed by rain water drenched moss and will last a few days at most once the rain stops.

Climate.

With a mean annual rainfall of each year, a high level even for the West Coast, Milford Sound is known as the wettest inhabited place in New Zealand and one of the wettest in the world. Rainfall can reach during a span of 24 hours. The rainfall creates dozens of temporary waterfalls (as well as a number of major, more permanent ones) cascading down the cliff faces, some reaching a thousand metres in length. Smaller falls from such heights may never reach the bottom of the sound, drifting away in the wind.  Accumulated rainwater can, at times, cause portions of the rain forest to lose their grip on the sheer cliff faces, resulting in tree avalanches into the fiord. The regrowth of the rain forest after these avalanches can be seen in several locations along the sound.

Wildlife.

Milford Sound is home to a variety of marine mammals, including Seals and the southernmost wild population of bottlenose dolphins. Whales, especially the Humpback and Southern Right Whales, are increasingly observed due to recoveries of each species. Penguins are also common within the sound, which is a breeding site for the Fiordland penguin and has subsequently been identified as an Important Bird Area by BirdLife International.  As a result of Milford Sound's high rainfall and the density of saltwater, the surface of Milford Sound is a layer of freshwater containing tannins from the surrounding rainforest. This filters much of the sunlight which enters the water, allowing for a variety of Black coral to be found at depths of as shallow as 10 metres, significantly closer to the surface than usual.

History.

Milford Sound was initially overlooked by European explorers, because its narrow entry did not appear to lead into such large interior bays. Sailing ship captains such as James Cook, who bypassed Milford Sound on his journeys for just this reason, also feared venturing too close to the steep mountainsides, afraid that wind conditions would prevent escape.  The fiord was a playground for local Māori who had acquired a large amount of local marine knowledge including tidal patterns and fish feeding patterns over generations prior to European arrival. The fiord remained undiscovered by Europeans until Captain John Grono discovered it c.1812 and named it Milford Haven after his homeland in Wales. Captain John Lort Stokes later renamed Milford Haven as Milford Sound. Following the passage of the Ngai Tahu Claims Settlement Act 1998, the name of the fiord was officially altered to Milford Sound / Piopiotahi.  While Fiordland as such remained one of the least-explored areas of New Zealand up to the 20th century, Milford Sound's natural beauty soon attracted national and international renown, and led to the discovery of the Mackinnon Pass in 1888, soon to become a part of the new Milford Track, an early walking tourism trail. In the same year, the low watershed saddle between the Hollyford River and the Cleddau River was discovered, where the Homer Tunnel was to be developed about sixty years later to provide road access.  As of the 2006 census, just 120 people lived in Milford Sound, most of them working in tourism or conservation.

Tourism.

Overview.

Milford Sound attracts between 550,000 and 1 million visitors per year. This makes the sound one of New Zealand's most-visited tourist spots even with its remote location and long journey times from the nearest population centres. Many tourists take one of the boat tours which usually last one to two hours. They are offered by several companies, departing from the Milford Sound Visitors' Centre.  Tramping, canoeing, and some other water sports are possible. A small number of companies also provide overnight boat trips. There is otherwise only limited accommodation at the sound, and only a very small percentage of tourists stay more than the day. Tourists usually stay in Te Anau or Queenstown.  The Milford Discovery Centre & Underwater Observatory is located in Harrisons Cove on the north side of the fiord. Situated within the Piopiotahi Marine Reserve, the underwater observatory allows visitors to view the fiord's unique marine environment at a depth of 10 metres. Due to a natural phenomenon called 'deep water emergence,' deep-water animals such as black coral can be viewed in the shallow waters surrounding the observatory. A dark surface layer of fresh water, stained brown by tannins from the surrounding forest, along with cold water temperatures allow the black corals to grow close to the surface throughout Milford Sound and Fiordland.  Milford Sound is also a destination for cruise ships.

Transport.

By road, Milford Sound is from Queenstown and from Invercargill (about four hours' drive), with most of the tour buses to the sound departing from Queenstown. Some tourists also arrive from the smaller tourism centre of Te Anau, away. There are also scenic flights by light aircraft and helicopter tours to and from Milford Sound Airport. The drive to Milford Sound itself passes through unspoiled mountain landscapes before entering the Homer Tunnel which emerges into rain-forest-carpeted canyons that descend to the sound. The winding mountain road, while of high standards, is very prone to avalanches and closures during the winter half of the year.  The long distance to the sound means that tourist operators from Queenstown all depart very early in the day, arriving back only late in the evening. This ensures that most tourists visit Milford Sound within a few hours around midday, leading to some congestion on the roads and at the tourist facilities during the main season. The peak-time demand is also the reason for the large number of tour boats active in the sound at much the same time.  Over the years, various options of shortening the distance to Milford Sound from Queenstown have been mooted, including a gondola route, a new tunnel from Queenstown, or a monorail from near Lake Wakatipu to Te Anau Downs. All would reduce the current round-trip duration (which has to travel via Te Anau), thus allowing tourism to be spread out over more of the day. While a gondola is considered to be out of the running after the DOC declined approval for environmental reasons, the tunnel and the monorail proposals have applied to the Department of Conservation for concessions for land access.  There are a variety of plane charter companies that fly to Milford Sound. Most of the companies fly out of Queenstown International Airport. These companies include: True South Flights, Glenorchy Air, Air Milford, and Milford Sound Scenic Flights.

Diesel spill.

On 8 February 2004 a spill of 13,000 litres of diesel fuel was discovered, resulting in a 2-kilometre spill which closed the fiord for two days while intensive cleanup activities were completed. Apparently a hose was used to displace the fuel from the tanks of one of the tour vessels, and various government officials claimed it appeared to be an act of ecoterrorism motivated by rising numbers of tourists to the park, though more details did not become known. The spill was removed and wildlife impact appears minimal.

Milford Sound / Piopiotahi is a fiord in the south west of New Zealand's South Island within Fiordland National Park, Piopiotahi (Milford Sound) Marine Reserve, and the Te Wahipounamu World Heritage site. It has been judged the world's top travel destination in an international survey (the "2008 Travelers' Choice Destinations Awards" by TripAdvisor) and is acclaimed as New Zealand's most famous tourist destination. Rudyard Kipling had previously called it the eighth Wonder of the World.

米尔福德峡湾或称米佛峡湾(英语:Milford Sound、)是位于新西兰南岛的西南部峡湾国家公园内的一处冰河地形,在1990年被列入世界遗产蒂瓦希波乌纳穆,在毛利语的意思为「第一只野生画眉」。


Early life.

Soleri was born in Turin, Italy, Europe. He was awarded his "laurea" (master's degree) in architecture from the Politecnico di Torino in 1946. He visited the United States in December 1946 and spent a year and a half in fellowship with Frank Lloyd Wright at Taliesin West in Arizona, and at Taliesin in Spring Green, Wisconsin. During this time, he gained international recognition for a bridge design that was displayed at the Museum of Modern Art.  In 1950, Soleri, with his wife Colly (née Corolyn Woods), returned to Italy where he was commissioned to build a large ceramics factory, Ceramica Artistica Solimene, in Vietri on the Amalfi coast.  Soleri adapted ceramics industry processes learned at this time to use in his award-winning designs and production of ceramic and bronze windbells and silt-cast architectural structures. For more than 40 years, proceeds from sales of the wind-bells have been an important source of funds for construction that is meant to test his theoretical work. Ceramic and bronze bells continue to be produced and sold at Arcosanti and Cosanti in Arizona.  In 1956, Soleri settled in Scottsdale, Arizona, with Colly and the elder of their two daughters; the younger was born in Arizona. He began building Arcosanti in 1970 with the help of architecture and design students, as a place to test his urban design hypotheses. This "urban laboratory" (so-dubbed by Ada Louise Huxtable, who at the time was the architectural critic of The NY Times) became internationally renowned.  Paolo and Colly Soleri made a lifelong commitment to research and experimentation in urban planning. They established the Cosanti Foundation, a 501-3C educational non-profit foundation. Soleri's philosophy and works were strongly influenced by the Jesuit paleontologist and philosopher Pierre Teilhard de Chardin.  Soleri died on 9 April 2013 and was buried at Arcosanti in its private cemetery, beside his wife.

Arcosanti.

The Cosanti Foundation's major project is Arcosanti. Arcosanti, as originally designed by Soleri, was intended for 5,000 people; it has been in construction since 1970. Located near Cordes Junction, about north of Phoenix and visible from Interstate I-17 in central Arizona, the intention of the project is to provide a model that can demonstrate Soleri's concept of "Arcology", architecture coherent with ecology. Arcology was envisioned by Soleri as a hyper-dense city, designed to: maximize human interaction with ready access to shared, cost-effective infrastructural services; conserve water and reduce sewage; minimize the use of energy, raw materials and land; reduce waste and environmental pollution; increase interaction with the surrounding natural environment. In 2010, construction was underway to complete Arcosanti's Greenhouse Apron, but that initiative was put on hold not long after Soleri's death in 2013.  Arcosanti is intended as a prototype of a desert arcology. Soleri's other arcology designs envisioned sites such as the ocean (Nova Noah), "et al." (see: Arcology: City in the Image of Man). Since 1970, over 7000 people have participated in Arcosanti's construction. Their international affiliation group is called the Arcosanti Alumni Network.

Other achievements.

The International Architecture Symposium "Mensch und Raum" (Man and Space) at the Vienna University of Technology in 1984 received international attention. Paolo Soleri participated with, among others: Justus Dahinden, Dennis Sharp, Bruno Zevi, Jorge Glusberg, Otto Kapfinger, Frei Otto, Pierre Vago, Ernst Gisel, and Ionel Schein.  Soleri was a distinguished lecturer in the College of Architecture at Arizona State University and a member of the Lindisfarne Association.  In 1966, Paolo Soleri began working on the design for the Paolo Soleri Amphitheater in Santa Fe, New Mexico. It was built for the IAIA (Institute of American Indian Arts) on what is now the campus of the Santa Fe Indian School using large silt cast forms. The property is owned by the nineteen Native American Pueblos of New Mexico and is therefore not protected by local or state preservation laws.  A landmark exhibition, "City in the Image of Man - The Architectural Visions of Paolo Soleri", organized in 1970 by the Corcoran Gallery of Art in Washington, DC, traveled extensively thereafter in the U.S. and Canada, breaking records for attendance. "Two Suns Arcology, A Concept for Future Cities" opened in 1976 at the Xerox Square Center in Rochester, New York. In 1989, "Paolo Soleri Habitats: Ecologic Minutiae", an exhibition of arcologies, space habitats, and bridges, was presented at the New York Academy of Sciences. More recently, "Soleri's Cities, Architecture for the Planet Earth and Beyond" was featured at the Scottsdale Center for the Arts in Scottsdale, AZ. A Soleri bell appears in the film What the *Bleep* Do We Know? His work has been exhibited worldwide.  In 1976, Paolo Soleri was a key participant at UN Habitat I, the first UN forum on human settlements, held it Vancouver, British Columbia, Canada, North America. Soleri appeared there together with Buckminster Fuller.  The Paolo Soleri Archives, the collection of Soleri's drawings and writings, is located at Arcosanti. The Soleri Archives is managed by Sue Kirsch under the direction of Tomiaki Tamura, a Cosanti Board Trustee and Arcosanti's Director of Special Projects. Tomiaki Tamura resides at Arcosanti.  An interview with Soleri was featured in the environmental documentary "The 11th Hour" (2007).  On 10 December 2010, the Soleri Bridge and Plaza was completed. The structure had been commissioned by Scottsdale Public Art. The pedestrian bridge based on Paolo Soleri's design is located on the South Bank of the Arizona Canal and connects a developed retail area of the Scottsdale Waterfront with Old Town Scottsdale. The bridge is incorporated into a plaza including silt cast artwork, as well as a large bell assembly called The Goldwater Bell, also designed by Paolo Soleri.  The feature-length documentary film "" (2013) contains interviews with Morley Safer, Paul Goldberger, Catherine Hardwicke, Will Bruder, Jean-Michel Cousteau, Steven Holl, and Eric Lloyd Wright.

Awards.

Soleri received fellowships from the Graham Foundation and from the Guggenheim Foundation (1964, Architecture, Planning, & Design). He was awarded three honorary doctorates and several awards from design groups worldwide:

Sexual abuse allegation.

In October 2010, Daniela Soleri – Paolo Soleri's daughter – resigned from the Cosanti Foundation board, citing abuse by her father. She stated that some of Soleri’s inner circle had been told decades earlier, but nothing had been done about it at the time. After the resignation, Soleri stepped down as chairman, but the board made no public statement on the reasons.  After the Scottsdale Museum of Contemporary Art had a major retrospective exhibition on Paolo Soleri in October 2017, Daniela published an article on the website "Medium" on 13 November 2017 accusing her father of persistent sexual abuse, writing: "In my early adolescence, my father, an architect and craftsman, began sexually molesting me, eventually attempting rape when I was 17." Encouraged to publish the article by the #MeToo movement, Daniela wrote that she had already come forward to many of her father's colleagues but received little response:  In the article, Daniela wrote about her lingering admiration for some of Soleri's work and ideas. However, she also warned against uncritical praise of artists with abusive tendencies and the tendency to "accept abusive behavior as a necessary and justified cost for the contributions of intellect or creativity". Of her father, Daniela wrote:  As noted in "Dezeen", Daniela's article suggested that she had approached "The New York Times" or other news publishers to discuss her father's abuse, but had been turned away. The Cosanti Foundation Board released an official statement in response to Daniela Soleri's:  "Curbed" editor-in-chief Kelsey Keith wrote "[Daniela] Soleri's account is breathtaking not only for its thorough and very personal reckoning with the truth, but for its clear-eyed articulation of the reasons why assigning all intellectual power to a solitary genius is so harmful." Keith noted that architecture as a profession "hasn't (yet) experienced its Weinstein moment", referring to the Harvey Weinstein sexual abuse allegations and the resulting "Weinstein effect" of reporting sexual misconduct committed by powerful men in media and other industries. In a 2018 "Curbed" article, Hilary George-Parkin said: "While Hollywood, tech, sports, media, politics, the restaurant industry, and others are reeling from high-profile revelations and resignations, the design world has remained—with the notable exception of Daniela Soleri's account of sexual abuse by her father, architect Paolo Soleri—mostly undisturbed in the public realm."

References.

Notes Bibliography

Paolo Soleri (21 June 1919 – 9 April 2013) was an Italian architect. He established the educational Cosanti Foundation and Arcosanti. Soleri was a lecturer in the College of Architecture at Arizona State University and a National Design Award recipient in 2006. He coined the concept of 'arcology' – a synthesis of architecture and ecology as the philosophy of democratic society. He died at home of natural causes on 9 April 2013 at the age of 93.

保罗·索莱里(,1919年-6月21日-2013年-4月9日),意大利裔美国建筑师。


Prince Ernest Augustus of Hanover (born 1914)

Life.

The christening of Ernst August in the summer of 1914 was the last great gathering of European monarchs before the start of World War I. He had an illustrious list of godparents: George V of the United Kingdom, Franz Joseph of Austria, Nicholas II of Russia, Ludwig III of Bavaria, Frederick Francis IV, Grand Duke of Mecklenburg-Schwerin, Prince Adalbert of Prussia, Prince Oskar of Prussia, Prince Maximilian of Baden, the 1st Royal Bavarian Heavy Cavalry Regiment, and all four of his grandparents: the German Emperor and Empress and the Duke and Duchess of Cumberland.  He ceased being heir to the duchy of Brunswick at the age of four, when his father abdicated in 1918. After his father's death in 1953, he became head of the House of Hanover.  During World War II, he fought at the Russian Front as "Oberleutnant" in the staff of Generaloberst Erich Hoepner. He was seriously injured near Charkov in spring 1943.  He had joined the SS in 1933 and remained a member for one year. His official "denazification" certificate from 1949 vetting his Third Reich associations classified him as "a nominal Nazi supporter", without being a Nazi party member, and according to a Foreign Office record.  In 1938 his sister, Princess Frederica had married the later King Paul I of the Hellenes and in 1946 his younger brother Prince George William married Princess Sophie of Greece and Denmark, thus becoming the brother-in-law of Prince Philip, Duke of Edinburgh and Queen Elizabeth II of the United Kingdom.  Ernest Augustus was himself an heir to the British titles of Prince of Great Britain and Ireland, recognised "ad personam" for Ernst August's father as well as for him and his siblings by King George V of the United Kingdom on 17 June 1914, Duke of Cumberland and Teviotdale, Earl of Armagh, which however were all suspended under the Titles Deprivation Act 1917. In addition to being a German, he also held British nationality, after successfully claiming it under the Sophia Naturalization Act 1705 in the case of "Attorney-General v. Prince Ernest Augustus of Hanover". Nonetheless, a problem arose as foreign royal titles can't be entered into a British passport. Therefore, the titles "Prince of Hanover, Duke of Brunswick and Lüneburg" could not be mentioned there, nor could the British titles due to the Titles Deprivation Act of 1917. The name which was finally entered into his British documents, was thus "Ernest Augustus Guelph", with the addition of "His Royal Highness". "Guelph" is thus also the British last name of his siblings and children, all styled "Royal Highnesses" in the United Kingdom.  In 1961 he sold his remaining properties at Herrenhausen Gardens, including the site of Herrenhausen Palace which had been destroyed by a British bombing raid in 1943. He kept however the "Princely House", a small palace built in 1720 by George I of Great Britain for his daughter Anna Louise. Ernest Augustus converted Marienburg Castle into a museum in 1954, after having moved to nearby Calenberg Demesne, which caused a row with his mother, who was forced to move out. He also sold the family's exile seat, "Cumberland Castle" at Gmunden, Austria, to the state of Upper Austria in 1979, but his family foundation based in Liechtenstein kept vast forests, a game park, a hunting lodge, "The Queen's Villa" and other property at Gmunden. The family property is now managed by his grandson Ernst August.

Marriage and children.

On 5 September 1951, Ernest Augustus married Princess Ortrud of Schleswig-Holstein-Sonderburg-Glücksburg (1925–1980). The wedding was attended by many important royal figures, including his sister Queen Frederica and her husband King Paul I of Greece, and the heads of the houses of Saxony, Hesse, Mecklenburg, Oldenburg, and Baden. The wedding was followed with a reception in the Gallery Building at Herrenhausen Gardens, the only part of the House of Hanover's former summer palace still intact, as the palace itself had been burned down during World War II.  His children by his first wife are:  Princess Ortrud died in 1980.  Ernest Augustus married again in 1981, Countess Monika zu Solms-Laubach (1929–2015), daughter of Georg, 9th Count of Solms-Laubach, and Johanna, princess of Solms-Hohensolms-Lich.  He died at Schulenburg, Pattensen, Lower Saxony, Germany, aged 73, and was buried next to his first wife on a round bastion of Marienburg Castle (Hanover).

In popular culture.

He was portrayed by Daniel Betts in the first season of the Netflix series "The Crown".

Ancestry.

Patrilineal descent, descent from father to son, is the principle behind membership in royal houses, as it can be traced back through the generations – which means that the "historically accurate" royal house of monarchs of the House of Hanover was the House of Lucca (or Este, or Welf).  This is the descent of the primary male heir. For the complete expanded family tree, see List of members of the House of Hanover.

Ernst August, Hereditary Prince of Brunswick, Prince of Hanover (; 18 March 1914 – 9 December 1987) was head of the House of Hanover from 1953 until his death. From his birth until the German Revolution of 1918–1919 he was the "Erbprinz" (Hereditary Prince) of the Duchy of Brunswick, a state of the German Empire.

恩斯特·奥古斯特四世(Ernst August IV,1914年-3月18日-1987年-12月9日),全名恩斯特·奥古斯特·格奥尔格·威廉·克里斯蒂安·路德维希·弗朗茨·约瑟夫·尼库劳斯·奥斯卡(Ernst August Georg Wilhelm Christian Ludwig Franz Joseph Nikolaus Oskar),1923年—1987年为汉诺威家族首领。


Breed characteristics.

Icelandic horses weigh between and stand an average of high, which is often considered pony size, but breeders and breed registries always refer to Icelandics as horses. Several theories have been put forward as to why Icelandics are always called horses, among them the breed's spirited temperament and large personality. Another theory suggests that the breed's weight, bone structure and weight-carrying abilities mean it can be classified as a horse, rather than a pony. The breed comes in many coat colors, including chestnut, dun, bay, black, gray, palomino, pinto and roan. There are over 100 names for various colors and color patterns in the Icelandic language. They have well-proportioned heads, with straight profiles and wide foreheads. The neck is short, muscular, and broad at the base; the withers broad and low; the chest deep; the shoulders muscular and slightly sloping; the back long; the croup broad, muscular, short and slightly sloping. The legs are strong and short, with relatively long cannon bones and short pasterns. The mane and tail are full, with coarse hair, and the tail is set low. The breed is known to be hardy and an easy keeper. The breed has a double coat developed for extra insulation in cold temperatures.  Characteristics differ between various groups of Icelandic horses, depending on the focus of individual breeders. Some focus on animals for pack and draft work, which are conformationally distinct from those bred for work under saddle, which are carefully selected for their ability to perform the traditional Icelandic gaits. Others are bred solely for horsemeat. Some breeders focus on favored coat colors.  Members of the breed are not usually ridden until they are four years old, and structural development is not complete until age seven. Their most productive years are between eight and eighteen, although they retain their strength and stamina into their twenties. An Icelandic mare that lived in Denmark reached a record age of 56, while another horse, living in Great Britain, reached the age of 42. The horses are highly fertile, and both sexes are fit for breeding up to age 25; mares have been recorded giving birth at age 27. The horses tend to not be easily spooked, probably the result of not having any natural predators in their native Iceland. Icelandics tend to be friendly, docile and easy to handle, although also enthusiastic and self-assured. As a result of their isolation from other horses, disease in the breed within Iceland is mostly unknown, except for some kinds of internal parasites. The low prevalence of disease in Iceland is maintained by laws preventing horses exported from the country being returned, and by requiring that all equine equipment taken into the country be either new and unused or fully disinfected. As a result, native horses have no acquired immunity to disease; an outbreak on the island would be likely to be devastating to the breed. This presents problems with showing native Icelandic horses against others of the breed from outside the country, as no livestock of any species can be imported into Iceland, and once horses leave the country they are not allowed to return.

Gaits.

The Icelandic is a "five-gaited" breed, known for its sure-footedness and ability to cross rough terrain. As well as the typical gaits of walk, trot, and canter/gallop, the breed is noted for its ability to perform two additional gaits. Although most horse experts consider the canter and gallop to be separate gaits, on the basis of a small variation in the footfall pattern, Icelandic breed registries consider the canter and gallop one gait, hence the term "five-gaited".  The first additional gait is a four-beat lateral ambling gait known as the "tölt". This is known for its explosive acceleration and speed; it is also comfortable and ground-covering. There is considerable variation in style within the gait, and thus the tölt is variously compared to similar lateral gaits such as the rack of the Saddlebred, the largo of the Paso Fino, or the running walk of the Tennessee Walking Horse. Like all lateral ambling gaits, the footfall pattern is the same as the walk (left hind, left front, right hind, right front), but differs from the walk in that it can be performed at a range of speeds, from the speed of a typical fast walk up to the speed of a normal canter. Some Icelandic horses prefer to tölt, while others prefer to trot; correct training can improve weak gaits, but the tölt is a natural gait present from birth. There are two varieties of the tölt that are considered incorrect by breeders. The first is an uneven gait called a "Pig's Pace" or "Piggy-pace" that is closer to a two-beat pace than a four-beat amble. The second is called a "Valhopp" and is a tölt and canter combination most often seen in untrained young horses or horses that mix their gaits. Both varieties are normally uncomfortable to ride.  The breed also performs a pace called a "skeið", "flugskeið" or "flying pace". It is used in pacing races, and is fast and smooth, with some horses able to reach up to. Not all Icelandic horses can perform this gait; animals that perform both the tölt and the flying pace in addition to the traditional gaits are considered the best of the breed. The flying pace is a two-beat lateral gait with a moment of suspension between footfalls; each side has both feet land almost simultaneously (left hind and left front, suspension, right hind and right front). It is meant to be performed by well-trained and balanced horses with skilled riders. It is not a gait used for long-distance travel. A slow pace is uncomfortable for the rider and is not encouraged when training the horse to perform the gait. Although most pacing horses are raced in harness using sulkies, in Iceland horses are raced while ridden.

History.

The ancestors of the Icelandic horse were probably taken to Iceland by Viking Age Scandinavians between 860 and 935 AD. The Norse settlers were followed by immigrants from Norse colonies in Ireland, the Isle of Man and the Western Isles of Scotland. These later settlers arrived with the ancestors of what would elsewhere become Shetland, Highland, and Connemara ponies, which were crossed with the previously imported animals. There may also have been a connection with the Yakut pony, and the breed has physical similarities to the Nordlandshest of Norway. Other breeds with similar characteristics include the Faroe pony of the Faeroe Islands and the Norwegian Fjord horse. Genetic analyses have revealed links between the Mongolian horse and the Icelandic horse. Mongolian horses are believed to have been originally imported from Russia by Swedish traders; this imported Mongol stock subsequently contributed to the Fjord, Exmoor, Scottish Highland, Shetland and Connemara breeds, all of which have been found to be genetically linked to the Icelandic horse.  About 900 years ago, attempts were made to introduce eastern blood into the Icelandic, resulting in a degeneration of the stock. In 982 AD the Icelandic Althing (parliament) passed laws prohibiting the importation of horses into Iceland, thus ending crossbreeding. The breed has now been bred pure in Iceland for more than 1,000 years.  The earliest Norse people venerated the horse as a symbol of fertility, and white horses were slaughtered at sacrificial feasts and ceremonies. When these settlers arrived in Iceland, they brought their beliefs, and their horses, with them. Horses played a significant part in Norse mythology, and several horses played major roles in the Norse myths, among them the eight-footed pacer named Sleipnir, owned by Odin, chief of the Norse gods. Skalm, a mare who is the first Icelandic horse known by name, appeared in the "Book of Settlements" from the 12th century. According to the book, a chieftain named Seal-Thorir founded a settlement at the place where Skalm stopped and lay down with her pack. Horses also play key roles in the Icelandic sagas "Hrafnkel's Saga", "Njal's Saga" and "Grettir's Saga". Although written in the 13th century, these three sagas are set as far back as the 9th century. This early literature has an influence today, with many riding clubs and horse herds in modern Iceland still bearing the.  Horses were often considered the most prized possession of a medieval Icelander. Indispensable to warriors, war horses were sometimes buried alongside their fallen riders, and stories were told of their deeds. Icelanders also arranged for bloody fights between stallions; these were used for entertainment and to pick the best animals for breeding, and they were described in both literature and official records from the Commonwealth period of 930 to 1262 AD. Stallion fights were an important part of Icelandic culture, and brawls, both physical and verbal, among the spectators were common. The conflicts at the horse fights gave rivals a chance to improve their political and social standing at the expense of their enemies and had wide social and political repercussions, sometimes leading to the restructuring of political alliances. However, not all human fights were serious, and the events provided a stage for friends and even enemies to battle without the possibility of major consequences. Courting between young men and women was also common at horse fights.  Natural selection played a major role in the development of the breed, as large numbers of horses died from lack of food and exposure to the elements. Between 874 and 1300 AD, during the more favorable climatic conditions of the medieval warm period, Icelandic breeders selectively bred horses according to special rules of color and conformation. From 1300 to 1900, selective breeding became less of a priority; the climate was often severe and many horses and people died. Between 1783 and 1784, around 70% of the horses in Iceland were killed by volcanic ash poisoning and starvation after the 1783 eruption of Lakagígar. The eruption lasted eight months, covered hundreds of square miles of land with lava, and rerouted or dried up several rivers. The population slowly recovered during the next hundred years, and from the beginning of the 20th century selective breeding again became important. The first Icelandic breed societies were established in 1904, and the first breed registry in Iceland was established in 1923.  Icelandics were exported to Great Britain before the 20th century to work as pit ponies in the coal mines, because of their strength and small size. However, those horses were never registered and little evidence of their existence remains. The first formal exports of Icelandic horses were to Germany in the 1940s. Great Britain's first official imports were in 1956, when a Scottish farmer, Stuart McKintosh, began a breeding program. Other breeders in Great Britain followed McKintosh's lead, and the Icelandic Horse Society of Great Britain was formed in 1986. The number of Icelandic horses exported to other nations has steadily increased since the first exports of the mid-19th century. Since 1969, multiple societies have worked together to preserve, improve and market these horses under the auspices of the International Federation of Icelandic Horse Associations. Today, the Icelandic remains a breed known for its purity of bloodline, and is the only horse breed present in Iceland.  The Icelandic is especially popular in western Europe, Scandinavia, and North America. There are about 80,000 Icelandic horses in Iceland (compared to a human population of 317,000), and around 100,000 abroad. Almost 50,000 are in Germany, which has many active riding clubs and breed societies.

Uses.

Icelandic horses still play a large part in Icelandic life, despite increasing mechanization and road improvements that diminish the necessity for the breed's use. The first official Icelandic horse race was held at Akureyri in 1874, and many races are still held throughout the country from April through June. Both gallop and pace races are held, as well as performance classes showcasing the breed's unique gaits. Winter events are often held, including races on frozen bodies of water. In 2009 such an event resulted in both horses and riders falling into the water and needing to be rescued. The first shows, focused on the quality of animals as breeding stock, were held in 1906. The Agricultural Society of Iceland, along with the National Association of Riding Clubs, now organizes regular shows with a wide variety of classes. Some horses are still bred for slaughter, and much of the meat is exported to Japan. Farmers still use the breed to round up sheep in the Icelandic highlands, but most horses are used for competition and leisure riding.

Registration.

Today, the Icelandic horse is represented by associations in 19 countries, with the International Federation of Icelandic Horse Associations (FEIF) serving as a governing international parent organization. The FEIF was founded on May 25, 1969, with six countries as original members: Austria, Denmark, Germany, Iceland, the Netherlands, and Switzerland. France and Norway joined in 1971, and Belgium and Sweden in 1975. Later, Finland, Canada, Great Britain, USA, Faroe Islands, Luxembourg, Italy, Slovenia and Ireland became members, but Ireland subsequently left because of a lack of members. New Zealand has been given the status of "associate member" as its membership base is small. In 2000, WorldFengur was established as the official FEIF registry for Icelandic horses. The registry is a web database program that is used as a studbook to track the history and bloodlines of the Icelandic breed. The registry contains information on the pedigree, breeder, owner, offspring, photo, breeding evaluations and assessments, and unique identification of each horse registered. The database was established by the Icelandic government in cooperation with the FEIF. Since its inception, around 300,000 Icelandic horses, living and dead, have been registered worldwide. The Islandpferde-Reiter- und Züchterverband is an organization of German riders and breeders of Icelandic horses and the association of all Icelandic horse clubs in Germany.

The Icelandic horse is a breed of horse developed in Iceland. Although the horses are small, at times pony-sized, most registries for the Icelandic refer to it as a horse. Icelandic horses are long-lived and hardy. In their native country they have few diseases; Icelandic law prevents horses from being imported into the country and exported animals are not allowed to return. The Icelandic displays two gaits in addition to the typical walk, trot, and canter/gallop commonly displayed by other breeds. The only breed of horse in Iceland, they are also popular internationally, and sizable populations exist in Europe and North America. The breed is still used for traditional sheepherding work in its native country, as well as for leisure, showing, and racing.

冰岛马是发展自冰岛的一个马品种。冰岛马虽然细小如矮种马,但一般品种登记都将牠们分类为马。冰岛马的发育迟缓,但也很长寿及耐苦。在国内,牠们只会患上很少类的疾病,因为冰岛禁止马匹入口及接收已出口的马匹。 冰岛马有五种步态。牠们是冰岛内唯一的马品种,在国际也享负胜名,也有大量在欧洲及北美洲生活。在冰岛,牠们会被用在帮助放牧、娱乐、马术表演及赛马


Power generation.

A virtual power plant is a system that integrates several types of power sources to give a reliable overall power supply. The sources often form a cluster of different types of dispatchable and non-dispatchable, controllable or flexible load (CL or FL) distributed generation (DG) systems that are controlled by a central authority and can include microCHPs, natural gas-fired reciprocating engines, small-scale wind power plants (WPP)s, photovoltaics (PVs), run-of-river hydroelectricity plants, small hydro, biomass, backup generators, and energy storage systems (ESS).  This system has benefits such as the ability to deliver peak load electricity or load-following power generation on short notice. Such a VPP can replace a conventional power plant while providing higher efficiency and more flexibility. More flexibility allows the system to react better to fluctuations, but whose complexity requires complicated optimization, control, and secure communications. An interactive simulation on the website of the VPP operator Next Kraftwerke illustrates how the technology works.  According to a 2012 report by Pike Research, VPP capacity would, from 2011 to 2017, increase by 65%, from 55.6 gigawatts (GW) to 91.7 GW worldwide, generating from $5.3 billion to $6.5 billion in worldwide revenue in 2017. In a more aggressive forecast scenario, the clean-tech market intelligence firm forecasts that global VPP revenues could reach as high as $12.7 billion during the same period.  Virtual power plants represent an 'Internet of Energy, said senior analyst Peter Asmus of Pike Research. "These systems tap existing grid networks to tailor electricity supply and demand services for a customer. VPPs maximize value for both the end user and the distribution utility using a sophisticated set of software-based systems. They are dynamic, deliver value in real time, and can react quickly to changing customer load conditions.

Ancillary services.

Virtual power plants can also be used to provide ancillary services to grid operators in order to help maintain grid stability. Ancillary services include frequency regulation, load following, and providing operating reserve. These services are primarily used to maintain the instantaneous balance of electrical supply and demand. Power plants providing ancillary services must respond to signals from grid operators to increase or decrease load on the order of seconds to minutes in response to varying levels of consumer demand.  Since ancillary services are typically provided by controllable fossil-fuel generators, future carbon-free electrical grids that contain high percentages of solar and wind must rely on other forms of controllable power generation or consumption. One of the most well-known examples of this is Vehicle to Grid technology. In this case, distributed electrical vehicles connected to the grid can be controlled together to act as a single virtual power plant. By selectively controlling the rate at which each individual vehicle charges, the grid sees a net injection or consumption of energy as if a large scale battery was providing this service.  Similarly, flexible demand in the form of heat pumps or air conditioners has also been explored to provide ancillary services to the grid. As long as indoor thermal comfort is maintained, an aggregation of distributed heat pumps can be selectively turned off and on in order to vary their aggregate power consumption and follow an ancillary service signal. Again, the effect on the grid is the same as if a large scale power plant was providing the service.  Since they operate in parallel, virtual power plants can have the advantage of higher ramp rates than thermal generators, which is especially important in grids that experience a duck curve and have high ramping requirements in the morning and evening. However, the distributed nature generates communication and latency issues, which could be problematic for providing fast services like frequency regulation.

Energy trading.

A virtual power plant is also a cloud-based central or distributed control center that takes advantage of information and communication technologies (ICTs) and Internet of things (IoT) devices to aggregate the capacities of heterogeneous Distributed Energy Resources (DERs) to form "a coalition of heterogeneous DERs" for the purpose of energy trading on the wholesale electricity markets or providing ancillary services for system operators on behalf of non-eligible individual DERs.  A VPP acts as an intermediary between DERs and the wholesale electricity market and trades energy on behalf of DER owners who by themselves are unable to participate in that market. The VPP behaves as a conventional dispatchable power plant from the point of view of other market participants, although it is indeed a cluster of many diverse DERs. Also, in the competitive electricity markets, a virtual power plant acts as an arbitrageur between diverse energy trading floors (i.e., bilateral and PPA contracts, forward and futures markets, and the pool).  So far, for risk management purposes, five different risk-hedging strategies (i.e., IGDT, RO, CVaR, FSD, and SSD) have been applied to the decision-making problems of VPPs in the research articles to measure the level of conservatism of VPPs' decisions in diverse energy trading floors (e.g., day-ahead electricity market, derivatives exchange market, and bilateral contracts):

United States.

Energy markets are those commodity markets that deal specifically with the trade and supply of energy. In the United States, virtual power plants not only deal with the supply side, but also help manage demand, and ensure reliability of grid functions through demand response (DR) and other load-shifting approaches, in real time.  An often-reported energy crisis in America has opened the door for government-subsidized companies to enter an arena that has only been available to utilities and multinational billion-dollar companies until now. With the deregulation of markets around the United States, the wholesale market pricing became the exclusive domain of large retail suppliers; however local and federal legislation along with large end-users are beginning to recognize the advantages of wholesale activities.  California is the leader in green technology, with governmental bodies subsidizing and pushing an agenda that is not shared by much of the rest of the United States. In California there are two electrical markets: private retail and wholesale. California Senate Bill 2X—which passed the California legislature on March 30, 2011—mandates 33% renewables by 2020 without mandating any particular method to reach that goal.

Europe.

The Institute for Solar Energy Supply Technology of the University of Kassel in Germany pilot-tested a combined power plant that linked solar, wind, biogas, and pumped-storage hydroelectricity to provide load-following power around the clock, completely from renewable sources. Virtual power station operators are also commonly referred to as aggregators.  To test the effects of micro combined heat and power on a smart grid, 45 natural gas SOFC units (each generating 1.5kW) from Republiq Power (Ceramic Fuel Cells) will be placed in 2013 on Ameland to function as a virtual power plant.  An example of a real-world virtual power plant can be found on the Scottish Inner Hebrides island of Eigg.  Next Kraftwerke from Cologne, Germany operates a virtual power plant in seven European countries providing peak-load operation, power trading and grid balancing services. The company aggregates distributed energy resources from biogas, solar and wind as well as large-scale power consumers.

Australia.

In August 2016, AGL Energy announced a 5MW virtual-power-plant scheme for Adelaide, Australia. The company will supply battery and photovoltaic systems from Sunverge Energy, of San Francisco, to 1000 households and businesses. The systems will cost consumers AUD $3500 and are expected to recoup the expense in savings in 7years under current distribution network tariffs. The scheme is worth AUD $20million and is being billed as the largest in the world.

A virtual power plant (VPP) is a cloud-based distributed power plant that aggregates the capacities of heterogeneous distributed energy resources (DER) for the purposes of enhancing power generation, as well as trading or selling power on the electricity market. Examples of virtual power plants exist in the United States, Europe, and Australia.

虚拟电厂(Virtual power plant)是以电网云为基础的分布式电厂,可以聚集各种不同类型技术的电力。主要目的是增强电力调度能力、以及促进电力自由市场交易的活络。目前虚拟电厂在美国、欧洲和澳大利亚均有相关案例。


History.

Origins and formation (1968–1969).

John Lennon and Yoko Ono first met in 1966. Lennon was a world-famous member of the Beatles, and Ono was an avant-garde artist and performer. By 1968, the two established a romantic relationship and they began collaborating on a number of musical projects. They first recorded together in May 1968; these recordings would be released in November as the experimental album "". The pair also worked throughout the summer on "Revolution 9", an experimental piece that appeared on the Beatles' White Album. In December 1968, Lennon and Ono appeared together at The Rolling Stones Rock and Roll Circus with a supergroup named "The Dirty Mac", consisting of Eric Clapton, Keith Richards of the Rolling Stones, Mitch Mitchell of the Jimi Hendrix Experience, and violinist Ivry Gitlis. Lennon and Ono continued with their experimental releases parallel to Lennon's activities in the Beatles, releasing "" in May 1969.  On 20 March 1969, Lennon and Ono married, and subsequently began their first "Bed-in for Peace" event. The event saw the new couple using press coverage of their marriage to advocate for peace. Recordings made around this time would be released as their third and final experimental album, "Wedding Album".  Following the success of the first bed-in, Lennon and Ono held a second in Montreal in May. During the Bed-in, the couple and their guests recorded the Lennon-penned song "Give Peace a Chance" and Ono's "Remember Love". These were released on 4 July as a single credited to the Plastic Ono Band. It was the first single released by Lennon outside of the Beatles, with whom he was still active. Although an independent composition and release by Lennon, his Beatles writing partner Paul McCartney was still credited, as both a contractual and personal agreement of sharing credit. There is written and photographic evidence to suggest, however, that the original Plastic Ono Band was a sound and light installation set up in the Apple press office. In the 26th July, 1969 edition of 'Disc and Music Echo', Derek Taylor, the Beatles press officer, wrote the following article: 'The band was made in perspex in Hoylake, in Cheshire (where Selwyn Lloyd and I were brought up separately) by an inventor I know called Charles Melling. It was Yoko’s idea, with John, made to her specifications; four pieces - like John,Paul,George and Ringo, three taller and one shorter. Two rectangular, one cylindrical and a cube. One column holds a tape-recorder and amplifier, another a closed circuit TV set with live camera, a third a record player with amplifier, and the fourth has a miniature light show and a loud speaker. But they could hold anything, they are as adaptable as the Beatles. The perspex columns were fitted with their equipment by Apple electronics under the direction of (Magic) Alexis Mardas and here ends the first and last technological press release you will have from me'.  The single was preceded by a press launch for the Plastic Ono band on 3 July. According to Ono, the name was coined by Lennon as a result of Ono's use of plastic stands for recording. Press material outlined the "band" as a conceptual movement, not limited to a strict membership like a normal group. Lennon and Ono also stated that the audience were members, with the accompanying slogan "YOU are the Plastic Ono Band".

Toronto Rock Revival Festival and early singles (1969–1970).

The Plastic Ono Band remained dormant for most of the summer of 1969 as the Beatles worked on completing "Abbey Road". On 12 September, Lennon received a call from John Brower, organizer of the Toronto Rock and Roll Revival festival (set to occur the following day), offering Lennon free attendance to the festival in order to boost its profile. Lennon offered instead to perform at the festival. Brower agreed, and Lennon quickly assembled a band. He initially approached Beatles bandmate George Harrison to play lead guitar, but Harrison turned him down. Eric Clapton (who had played guitar in Lennon's earlier live group, the Dirty Mac) was chosen instead. Bassist Klaus Voormann and drummer Alan White filled out the first performing lineup of the Plastic Ono Band. While organizing the band, Lennon privately decided to leave the Beatles, due to the tensions in the band at the time. The band rehearsed on the plane to Toronto, and performed both rock songs sung by Lennon and experimental pieces led by Ono. The show was recorded, and released in December as "Live Peace in Toronto 1969", the first LP credited to the Plastic Ono Band.  On 20 September, Lennon revealed to the other Beatles that he was leaving the band, although it was not revealed publicly at the time. A few days later, the Plastic Ono Band began the recording of their next single. "Cold Turkey" had been initially presented by Lennon as a potential Beatles single, but this was rejected by McCartney. "Cold Turkey" and its b-side "Don't Worry Kyoko" featured a Plastic Ono Band almost identical to the Toronto lineup except White was replaced by Beatles drummer Ringo Starr. The writing credits for "Cold Turkey" featured only Lennon's name, reflecting his split with McCartney and the Beatles.  Following the release of the "Cold Turkey" single, Lennon began preparations for a follow-up. On 26 November, he mixed "You Know My Name (Look Up the Number)" and "What's the New Mary Jane", for release as a single. Both songs were old Beatles recordings. "You Know My Name" dated initially from 1967, with further work by Lennon and McCartney in 1969. The b-side was a 1968 Lennon song originally intended for inclusion on the White Album. The single was put on hold by EMI, and was ultimately canceled, possibly due to objections from the Beatles.  On 15 December, the Plastic Ono Band took part in a benefit concert for UNICEF at the Lyceum Ballroom in London, entitled "Peace for Christmas". With 48 hours' notice, Lennon and Ono assembled the Toronto lineup of the band (Clapton, Voorman, and White), with the addition of keyboardist Billy Preston. Clapton brought along the Delaney & Bonnie and Friends touring group, with whom he was touring at the time. In addition to Delaney and Bonnie Bramlett, the group included Lennon's Beatles bandmate George Harrison, saxophonist Bobby Keys, drummer Jim Gordon, and trumpet player Jim Price. Keith Moon of the Who also joined the performance. Lennon would later refer to this lineup as "the Plastic Ono Supergroup". Following the performance, Lennon and Ono engaged in a media blitz and advertising campaign for peace, taking out billboards in major cities saying "WAR IS OVER! If You Want It – Happy Christmas from John & Yoko".  The new year saw the Plastic Ono Band reconvening to record another single. "Instant Karma!" was written and recorded on 27 January 1970, fulfilling Lennon's idea for an instant single. Lennon, Ono, George Harrison, Klaus Voorman, Alan White, and Billy Preston, along with backing vocalists recruited from a nearby pub, composed the POB for the session. On Harrison's suggestion, famed American producer Phil Spector was hired, beginning a working relationship that extended long into both his and Lennon's careers. "Instant Karma", backed with Ono's "Who Has Seen the Wind?", was released just over a week later. The single was credited to "Lennon/Ono with the Plastic Ono Band", in contrast to earlier releases, which were credited to the band alone.

"Plastic Ono Band" albums to "Happy Xmas (War Is Over)" (1970–1971).

During the summer of 1970, Lennon and Ono undertook primal therapy under the guidance of Arthur Janov in Los Angeles. This therapy had a great effect on Lennon's writing. In the meantime, the Beatles had publicly broken up, and the pair returned to London at the end of September to begin recording on a pair of studio albums, "John Lennon/Plastic Ono Band" and "Yoko Ono/Plastic Ono Band". The core of the Plastic Ono Band backing the two was Klaus Voorman on bass and Ringo Starr on drums. Phil Spector produced the albums, and he and Billy Preston added keyboards to some select tracks. The "Lennon" album featured straightforward, stripped down rock, while "Ono" featured experimental and Avant-garde music. Both albums were released on 11 December, each to critical acclaim. The single "Mother"/"Why" was released, the songs coming from "John Lennon" and "Yoko Ono" respectively. Subsequently, "Power to the People" was recorded with a lineup of Billy Preston, Bobby Keys, Klaus Voorman, and Alan White. Ono's b-side "Open Your Box" featured Voorman and Jim Gordon. The single was released the following spring, with the sides credited to "John Lennon/Plastic Ono Band" and "Yoko Ono/Plastic Ono Band" respectively.  In the spring and summer of 1971, Lennon and Ono respectively recorded "Imagine" and "Fly". Despite the albums featuring regular members of the Plastic Ono Band (such as George Harrison, Klaus Voorman, Alan White, Jim Keltner, and Jim Gordon) and Phil Spector's production of "Imagine", the albums were credited not to the Plastic Ono Band, but to Lennon and Ono as solo artists. On 6 June, Lennon and Ono performed with Frank Zappa and the Mothers of Invention in New York City, dubbing the collaboration as the "Plastic Ono Mothers".  The next use of the Plastic Ono Band name was the 1971 Christmas single "Happy Xmas (War Is Over)". Credited to "John & Yoko/The Plastic Ono Band", the recording featured drummer Jim Keltner, pianist Nicky Hopkins (who had played on "Imagine"), and guitarists Hugh McCracken, Chris Osbourne (who had played on "Fly"), Teddy Irwin, and Stuart Scharf. The b-side "Listen, the Snow Is Falling" featured the same musicians as "Happy Xmas", with the addition of Klaus Voorman on bass. Produced by Phil Spector, the single was issued on 1 December.

Move to New York: Plastic Ono Elephant's Memory Band (1971–1973).

Lennon and Ono left the UK to settle in New York City during the fall of 1971. In Greenwich Village, the couple became more politically active and began writing protest songs. These songs became the basis for their next album, "Some Time in New York City". As backing, they enlisted the help of New York band Elephant's Memory, consisting of guitarist Wayne 'Tex' Gabriel, bassist Gary Van Scyoc, saxophonist Stan Bronstein, keyboardist Adam Ippolito, keyboardist John La Boosca, and drummer Richard Frank, Jr. Phil Spector produced, and Jim Keltner also played on the album. The album was released on 12 June 1972, credited to "John & Yoko/Plastic Ono Band with Elephant's Memory plus Invisible Strings". "Some Time in New York City" included a second disc, entitled "Live Jam", which included the recordings from the 1969 Peace for Christmas concert and the 1971 performance with Frank Zappa.  Ono and Lennon continued their work with Elephant's Memory throughout 1972, performing as the Plastic Ono Elephant's Memory Band (which also included Jim Keltner). On 30 August, they performed a pair of benefit concerts at Madison Square Garden. The benefit, entitled "One to One", was organised by Geraldo Rivera to raise money for children with mental challenges. By this time, La Boosca had departed the band, and the concert saw the addition of John Ward on bass. The concert was filmed and recorded, later released in February 1986 as the album "Live In New York City". They also performed at the "Jerry Lewis MDA Labor Day Telethon".  The last collaboration of the Plastic Ono Elephant's Memory Band was Ono's double album "Approximately Infinite Universe". It was recorded throughout the fall of 1972, and was released in January 1973.

Lennon's split with Ono and the Lost Weekend (1973–1974).

By the beginning of 1973, recording had begun in earnest on Ono's next album, "Feeling the Space", featuring a new group of studio musicians. The newest incarnation of the Plastic Ono Band featured guitarist David Spinozza, keyboardist Ken Ascher, bassist Gordon Edwards, percussionists Arthur Jenkins and David Friedman, saxophonist Michael Brecker, pedal steel guitarist Sneaky Pete Kleinow, as well as regular contributor Jim Keltner. The album would be released in November.  Throughout 1973, Lennon and Ono's relationship became strained. By August, the two had begun a period of separation that Lennon called "The Lost Weekend". Lennon began the recording of his own album, "Mind Games", using the same players as on "Feeling the Space", dubbed "The Plastic U.F.Ono Band". Around the time of the album's release in November, Lennon moved to Los Angeles with new lover May Pang. In October, Lennon began the recording of an album of rock 'n' roll oldies (a contractual obligation due to a lawsuit). These featured many Plastic Ono Band regulars (including much of the "U.F.Ono Band", Klaus Voorman, and the return of Phil Spector to the production chair), but upon release in 1975 as "Rock 'n' Roll", it was credited to Lennon alone.  The sessions for "Rock 'n' Roll" were extremely troubled, and the sessions were abandoned until a later date. In July 1974, Lennon returned to New York to record "Walls and Bridges". The new "Plastic Ono Nuclear Band" featured both old and new faces, with Jim Keltner, Kenneth Ascher, and Arthur Jenkins continuing from "Mind Games", the returns of Klaus Voorman, Nicky Hopkins, and Bobby Keys, and the addition of guitarists Jesse Ed Davis and Eddie Mottau. Recording was finished in August, and the album was released 26 September and 4 October in the US and UK respectively.  "Walls and Bridges" would prove to be the last release of new material by the Plastic Ono Band in the 1970s. Lennon subsequently returned to his marriage with Ono and retired from music following the birth of his son Sean. The compilation "Shaved Fish" was released in October 1975, Lennon's last release credited to the Plastic Ono Band. Upon his and Ono's return to music in 1980 for the album "Double Fantasy", they played with an all-new group of studio musicians who were not billed as any variation of the Plastic Ono Band name. Lennon was shot and killed shortly after the release of the album.

Revival (2009–2015).

In 2009, Yoko Ono revived the Plastic Ono Band name with the 2009 EP "Don't Stop Me!", a preview of the album "Between My Head and the Sky". Both albums, and subsequent activities, are credited to the "Yoko Ono Plastic Ono Band". The core members of the new Plastic Ono Band are Sean Lennon (the son of Ono and Lennon), Cornelius (Keigo Oyamada) and Yuka Honda. Since 2009, the band has performed live concerts, with additional members including bassist Shimmy Hirotaka Shimizu, horn player Michael Leonhart, cellist Erik Friedlander, and drummer Yuko Araki. They have also performed with many guest performers, including Kim Gordon, Thurston Moore, Bette Midler, Lady Gaga, Mark Ronson, Scissor Sisters, Harper Simon, Paul Simon and Gene Ween.  In 2010, at a concert entitled "We Are the Plastic Ono Band", Ono and Sean Lennon reunited with Eric Clapton, Klaus Voorman, and Jim Keltner. In 2011, Ono and Lennon collaborated with The Flaming Lips on an EP entitled "The Flaming Lips with Yoko Ono/Plastic Ono Band". The latest release from the Yoko Ono Plastic Ono Band is the 2013 album "Take Me to the Land of Hell". The Yoko Ono Plastic Ono Band continued to make live appearances into 2015.

The Plastic Ono Band was a rock band formed by John Lennon and Yoko Ono in 1969 for their collaborative and solo projects.

塑胶小野乐队(英语:Plastic Ono Band)是约翰·列侬和小野洋子宣告的乐队概念,在1969年披头士乐队解散前成立。