Diarrrhea And Acid Reflux

The worker and peasant

The worker and peasant is a monumental work of art par excellence, symbolizing the ideals of the Soviet era. This consists of a male and a female figure: A worker (рабочий) and a clerk at a kolxoz or collective farm (колхозница) who rise above their heads, respectively, a hammer and sickle symbolizing the construction of Soviet society through the joint effort of urban workers and agricultural workers.

The work is 25 meters wide and weighing 185 tons, and is today built on a pedestal of 33 meters. As a work of stainless steel is the biggest in the world.

was created for the Soviet Pavilion of the Paris World Exhibition of 1937 after being selected in a competition to build the pavilion, said in July 1936. According to its creator, architect Борис Иофан (Boris Iofan): "I quickly came the idea of \u200b\u200ba sculpture of a boy and a girl who personified in themselves the owner-Soviet years of the earth: the working class and peasantry collective farms. They raise high the emblem of the Land of the Soviets, the hammer and sickle " For the realization of sculpture was held another contest which was won by sculptor В.И. Мухина (Vera Ignatevna Muxina).

The work was made from a plaster of a meter and a half and was held at the Institute of mechanical engineering and metallurgy under the direction of Professor П.Н. Львов (PN Lvov). The sculpture was built in chrome-nickel stainless steel *, an element that was then used for the first time in sculpture and that initially caused doubts in his ability to express a work of art.
* nichrome stainless steel was an achievement of modern metallurgy and is equivalent to gold in its resistance
corrosion
used in their manufacture stainless steel sheets of Soviet ½ thick and 1 mm. To build the heads of the couple is left with sculptural clay molds natural size as produced by the sculptors Muxina and Ivanova and then was made a plaster cast. The statue as a whole to reach a height of 23.5 meters sickle while the height of the worker reached 17.25 meters to the top of the head. All work was done in just 3 ½ months, involving up to 180 people under strenuous working hours to 15 hours daily.

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Muxina sculptors worked ote 2, Ivanova and Zelenskaya. Decades later it was learned the participation of another sculptor in the realization of the work, a certain Иосиф Моисеевич Чайков (Iosif Moiseevich Chaikov), who for lack of a biography very tight to the canons of the time was simply removed from the story of a symbol so predominantly Soviet. Chaikov raised in the family of a copyist of religious texts and study between 1910-1913 in Paris. Then, between 1922 and 1923, lived in Berlin where his work was exhibited at the Great Exhibition of the city. Was initially an advocate of cubism and constructivism, but then returned adherent of socialist realism.

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the Soviet pavilion in Paris

The USSR was assigned a place in Paris along the Seine in 160 by 21 meters. There, the Soviets set up their pavilion, a building 150 meters long and at its front, 34 feet high, installed the sculpture of Worker and Peasant. By an irony of fate all got up in front of the Pavilion of Nazi Germany, so that the symbols of Soviet ideology and looked straight in the direction opposite of the symbols of Nazi ideology, the eagle and swastika.
The sculpture was originally dissension or work as a removable and intended to use in a unique public exhibition, fair Paris, after which it would be destroyed by their disarmament and return transportation back to USSR was done with great carelessness leading in practice as scrap on the train which provoked large-os are on site and requires that between January and August 1939 had to be rebuilt because of its popularity was given a new destination: Being raised on a pedestal in front of the north entrance of the fair ВСХВ (now ВВЦ) in Moscow. Vera Ignatevna again had to redo half of the details of the sculpture back in Russia and rearmament was not too detailed so as not had much time so that the joints were not very well assembled some pieces being separated even 20 cm, areas that were covered with pieces of tin. Finally it was mounted on a steel frame of no more Alura 10 meter.

On both sides of the pedestal-mounted sculpture of Paris set sobrerrelieves presented in pieces that no one in the USSR was able to appreciate it when remove the facility is considered pointless to carry large chunks of concrete that had the sobrerrelieves back to the Soviet Union being donated to French metalworkers union.

Vision sobrerrelieves part of those in his version contemporary after reconstruction of the complete work in Moscow

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A-or before an assembly of sculpture in Moscow in 1938 rose an identical sculpture in the town of Bikin (19.600 inhabitants), the Russian Far East. The piece, located on the House of town culture, was much smaller and size as was done in concrete.

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Its restoration

As the work had been created for a unique presentation in Paris later published and permanent exhibition in Moscow was not hand with no plan for cleaning and conservation of an-there than 70 years later was in critical condition from dirt and wear of materials which led to the decision to restore it in October 2003. The monument was dismantled in 40 parts (heads, legs, hands, aprons, pan-Oleta and peasant shoes, worker boots, etc..) Waiting to be returned to its original place completely renovated in late 2005.

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However, due to funding problems the work was delayed in its delivery is postponed first to 2006 and then in 2007, delays that made many Russians think that the work would disappear forever from the landscape city \u200b\u200bof Moscow. However, Вадим Церковников (Tserkovnikov Vadim), who was responsible for the direction of the works publicly criticize these tentative dates considered opinions of inexperienced officials based their comments on the restoration of bronze sculptures not too large, they did not consider lack of funding for the project nor the improvisation that was handling the project as clearly revealed in the following fact: After being removed from Moscow authorities immediately surrendered lease and by 49 an-os field of 4.5 hectares occupied by the sculpture, which began to be used as parking lots. As a result of this action, the monument was no place to return to be lifted, from there the restorers did not know how to continue their work because they did not know where he was to be reinstated or that height would have a new pedestal.

However, the action of the authorities in Moscow had made no agreement with the federal agencies that had violated the law "On preservation and use of monuments of history and culture" that allowed him to cancel the contract.

The beginning of the restoration

The 6 000 steel plates of the sculpture were individually analyzed with X-rays for each of them give a report that allowed us to generate a report final of 120 volumes, which allowed us to understand which way to take the restoration of order to respect the plasticity of the work. This action led to the complete replacement of 250 steel plates and the partial restoration of another undisclosed number of them. Welding work was carried out with laser which allowed to make invisible seams.

also withdrew several tons of trash and bird droppings and erase the graffiti of the legs of the monument, full of entries of type Сергей + Таня (Sergei and Tanya), it also strengthened the frame of the sculpture that was covered with rust being completely replaced.

Later The work is clean waste suffered corrosion in its 70-years of an existence, a very laborious as only could be done manually, using a special paste harmlessly. This work was performed in the workshop, which possessed little lacked ventilation and heating which limits the months in which to work because the substances requiring a minimum temperature of 15 º C. Finally, the sculpture was covered with rust estimate that we can withstand the elements for at least a full century.

The sculpture was mounted on a pedestal again, 10 meters higher than the previous copy of that used in the Paris World Exhibition in 1937 ( can compare both versions in photos superiores observando a ambos costados los sobrerrelieves ). La falta de inversionistas para financiar la construccion de este pedestal fue tambien otro elemento que retraso muchisimo la entrega final del proyecto pues el armado de la escultura y la construccion de una nueva carcasa pasaba de antemano por conocer las caracteristicas definitivas del pedestal que lo sostendria.

Su instalacion final

La escultura de 185 toneladas fue montada en su nueva base (que alberga una sala de exposiciones y el Museo de Vera Muxina) el sabado 28 de noviembre de 2009 uniendose a ella con un conjunto de pernos y tuercas. Para la operacion will use a special crane from Finland whose Finnish company lease Pekaniska cost 47 million rubles ( One million 551 thousand dollars / One million 200 thousand euros ) option is forced to take into consideration that lease in Russia would cost 160 million rubles, slightly more than triple! The crane weight tons was disarmed in neighboring Finland and transported by ship to St. Petersburg from where it was conducted by train to Moscow.

The work was inaugurated in a solemn ceremony attended by the Mayor of Moscow Юрий Лужков (Yuri Luzhkov) at 5 pm on December 4, 2009 and crowned with the launching of fireworks.

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The dismantling, storage and restoration had cost 2.9 billion rubles (95 million dolares/74 million euros), which were funded Moscow government as mayor of the city expects to ask the authorities of the country to transfer the monumental heritage of the city. By the end

2011 is expected to equip the new complex environment with a set of buildings that include an exhibition hall, a hotel, a dramatic new theater for Moscow and underground parking for 1,500 cars.

The sculpture reflecting the colors of the flag of the Russian Federation, white, blue and red-lo that shows the Soviet symbol but as an expression of historical greatness of Russia as a manifestation of a commitment to the Soviet past.

Christopher Lowell Parody

-EL NACIONAL-See Cúcuta. UFPs

From a year ago which came "crowing" about the Grand National Concert, which will take place in Bogota, and would have replicas on the same day July 20 in the departmental capitals.

With regard to what happened in the city of Cucuta, was just a touch and lack of respect for local musicians. It organized a qualifying question in the "backline" was the third category, citing the musicians on day 19, in Villa del Rosario, for sound check, when this town was with restricted access roads for the safety of next day-July -20, at which the artists had to return to Cúcuta through a trail, as the authorities were not allowed to move through the international highway.

The day of the concert were scheduled for seven o'clock in the morning when the Clock Tower, and transferred Villa del Rosario at about eight o'clock, when the concert was scheduled to begin at noon. There on stage, presenters were devoted to praise and concern only a Pipe Pelaez, who is neither in the region, cavalierly ignoring the artists who were chosen in the disputed call. It was more a promotion of the artist vallenato, a national concert.
I get five in the afternoon and the disorder could not be greater, at that time was still far off the presentation of the bands that were cited at seven o'clock. It was quite an accumulation of blunders and lack of compliance with local musicians.

That blunder by the Ministry of Culture, who were in charge of producing the event, and did not bother to watch for its realization. Artists excited waiting for a concert by category, as it was the Bicentennial concert, and hoped in a serious production, being involved in the Secretariat of Culture.

artists deserve due respect, can not be treated as useful idiots. In this case were used as mere filler for the presentation of sr. Peláez.

Bicentennial is that this has not stopped, nor will leave nothing to the region, as they miss a chance to create processes, works, events and serious and important achievements. A year of preparation and expectation, to commit an anachronistic military parade attended by college students of various municipalities, for the authorities, very plump and indoors at the main table, see the boys marching and military under the sun Cucuteño heatwave.

not leave us anything the much-vaunted Bicentennial, but that is not being the seat of a real NATIONAL PUZZLING.

How Much For Redrock Bowling

-ARCHITECTURE-Final 1st.

Since its inception eleven years ago, the Department of Architecture at the University Francisco de Paula Santander - UFPs-such as school, has developed an unconventional pedagogical strategy in teaching architecture.

This is based on workshops constructive experimentation developed by students in first and second half of the race.

As is the student pilot workshop through the development of design projects and construction testing performed at 1 / 1 (one / one), generating prototypes in final material that will enable faster results in testing. The project will use it to experience a range of experiences and resources that lead the student to mature and question their work during the process, photographing, taking notes, analyzing each of the moments in which to develop his work.

lines are established for each student's personal work, which lead them features ways to make each of them.

Emphasis is placed on the material as a signifier. The importance of the choice of material and technical construction: The construction with neutral materials (industrial), metals, wood, plastics, liquids, materials intangibles (light, sound) and materials.

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The works presented in this article correspond to several of the final engineering students in the first half of the first academic year 2010. The presentation was public, and was conducted in diverse offering Julio Pérez Ferrero Library.

There are some totally creative proposals, which made this the best shows that has taken place in this city, in recent years.

COLUMN OF GELATIN, a double cylinder of clear acrylic that lets you put the light on the inner cylinder element and develop gelatin layers of different colors, resulting in the container space dilation happens with respect to the outer cylinder. It is a process object, because as time passes, the heat emitted from the light source and ambient temperature affect the freezing cold of gelatin, achieving interesting flows and movement of material, and the ongoing transformation of the rich visual texture.

A new proposal regarding the material used, and is faithful representation of the recursive and proactive ability of students in this school

SOURCE OF LIGHT element arranged parallel metal strips, each with waves inverted compared to its adjacent. The top of the structure is anchored to the wall, as it descends, it generates a forward curvature, so the bottom of the piece is suspended in the air.
The student achieved a great success with la elección de la dinámica luz azul, que ubica en la parte superior, consiguiendo una incidencia tangencial que logra un extraordinario efecto visual de movimiento.
Una obra visualmente cautivadora, y conceptualmente perfecta.

Este trabajo será instalado de manera permanente, en el espacio de la biblioteca Julio Pérez Ferrero donde fue presentada, tras petición del director de la institución, y la donación de la obra por parte de la alumna creadora.



Estructura erigida a partir del arco como elemento lineal y repetitivo, que se va desarrollando de manera ascendente-descendente, a la vez que gira sobre central axis, while the elements are increasing or decreasing, according as the turn appreciate this piece attempts.
A structure that offers visually appealing, complex, and varied from any point of view is to observe.

accumulation as a concept, the jetty as structure and as a game, and recreational use of an object, placed solidly this construction in a land of joy, and takes us by the hand to the world Childhood .. The arrangement of the piece-happens-levels allows various interpretations in the viewer, and the filling material used, admits the imprint of any involvement that applied on it. A colorful site that encourages visitors to touch, and rightly allows this interaction by the public.
is a building with an attitude that takes the game as design, and design as a game.

This penetrable is made with ordered strips of plastic that hang from the upper structure, where each inserted into a hole created by the light also flows, achieving an illumination color stains the plastic elements.
work arising from the verb live. For a moment the spectators occupy a space within the facility designed, which is a welcoming place. It is not a neutral place, a place chosen.
A work in which the viewer feels a part, he is, and the account.

A byproduct of two different models of aesthetic experience, is a consistent fusion of the element to be developed internally, and the structure that surrounds and supports. It tells how the forms relate to their environment. It is a response to hostility between the do and how to do it, linking parallels ends proposed reorganization of information or contained in a limited space.
A work that addresses the complexity of the contrast, and that leaves excellently delivered.

a work that illustrates the poetic and aesthetic possibilities of science fiction. In a speech on technological developments and possible worlds, that interrogates the laboratory creations, although its purpose is purely aesthetic.

design that emerges from the dynamic flow resulting from the construction of the object from multiple repetitive elements. A structure of disjointed movements that establish degrees of permanence in line with the process of realization. A work whose materialization process creates expectant moments in the piece, supported by the joint action disrupted.
light emerging involvement within the frameworks of each element, focuses on the techno-cultural city, and virtualization as an agent of change in the objective perception.
A dynamic piece offers its support structure as an aesthetic experience of light.

Set pieces with their own characteristics, and placed in a metal line as if it were a path. Suspended as blimps, are designs that contain themselves in shape, and exert an influence silent parts.

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The forest goes beyond the mere interest in the subject as a repository of all meanings. Proposed as part of a whole, the elements are acquiring new meanings, because the poetic force and intimate that achieve these objects between them.

Work constructive projects at other levels, sometimes as an autonomous object, sometimes as the object itself. As a spirit that invades the surface, traveling, introduced by bending, as the volume of the architecture.

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A work that takes advantage of the possibilities of light. Establishing a leading role for her on the grouping of white cubes. A minimalist reconstruction of the "ladder", with the vertigo of balance.

This 'awareness' developed by architecture students from the UFPs in the first two semesters, during which they are immersed in the creative design, but sections of the architecture allows them to then deal with the constructive proposals of innovative and proactive way .

This coupled with the real knowledge of the wants, needs and strengths of our city and region, due to the processes and field research to develop during each year of the race, can foreshadow that this experience would lead to a significant positive change in the physical aspect of Cúcuta.