Woodhenge PowerPoint
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Woodhenge was a circular arrangement of wooden posts located at Cahokia Mounds in Illinois. It was reconstructed four times to more accurately mark the solstices and equinoxes. The structures became larger with each reconstruction, with the last planned to have 72 posts. Woodhenge was used to tell time and for celebrations related to astronomical events.
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The modesty ofthe presentationof the statuesbody,.docx
The modesty of
the presentation
of the statue's
body, which is
shrouded and
protected, is in
sharp contrast
to its bellowing
size. The copper
material actu-
ally aids that
effect, acting as
sharp armor.
mm' WE »
oday, the image of the Statue of Liberty brightly illuminated
at night is seared into the minds of millions. But the history
. -• of that lighting is a dim mix replete with unfulfilled hopes
and visions until the statue's centennial in 1986.
^ The copper torch of the statue was initially designed to be
a lighthouse that would send its light fifty miles out to sea,
but it never produced more than a weak glow.' In 1916, the
original was replaced by a torch created by the sculptor Gutzon
Borglum. That hght, now on display in the statue's museum,
used 600 independent pieces of yellow tinted glass "to enhance
and beautify the lighting effects,"^ but it leaked, allowing water
to enter and damage the statue's arm.' At that time, fifteen
500-candle-power gas-filled electric lamps were installed in the
torch, while 246 projectors using 250-watt incandescent bulbs
were distributed among the star points beneath the pedestal
and on the roofs of buildings on the Island, illuminating the
statue for the first time.''
The hghting of the statue underwent several fixes and
modernizations over the years, notably in 1931, 1945, and
1949,' but a thorough renovation of the lighting only occurred
with the major reconstruction of the statue, begun in 1984. The
lighting redesign was filled with challenges, both conceptual
and practical. Few outdoor sculptures are set against the
towering buildings and structures of a working urban harbor,
are surrounded by water, by moving boats and ships, and serve
as a national and international icon.
In 1986, to commemorate the Statue of Liberty's 100th
anniversary, relighting was undertaken by lighting designer
Howard M. Brandston, who collaborated with a team from
the General Electric Company. Their work is what we see
today. Lighting the statue was a formidable job, and designer
Brandston felt the pressure. Channeling "all of the immigrants
who came to the U.S.,"* he says, he designed the lighting to
emphasize the statue's height (151.1 feet) to "better refiect
the iconic role the Statue of Liberty plays
in American life and [its] towering role in
American culture."^
New luminaires, complete light fixtures,
translated vision into reality. "There aren't
many lamps meant to light ladies with green
skin," Brandston now chuckles,* but his
additional goal of emphasizing the sculptural
quality of the statue required work by the
GE team in Nela Park, Cleveland, Ohio, to
develop their metal halide lamps in two new
colors, which they created by varying the
chemistry of the gases within the bulb.' The
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The modesty ofthe presentationof the statuesbody,.docx
The modesty of
the presentation
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body, which is
shrouded and
protected, is in
sharp contrast
to its bellowing
size. The copper
material actu-
ally aids that
effect, acting as
sharp armor.
mm' WE »
oday, the image of the Statue of Liberty brightly illuminated
at night is seared into the minds of millions. But the history
. -• of that lighting is a dim mix replete with unfulfilled hopes
and visions until the statue's centennial in 1986.
^ The copper torch of the statue was initially designed to be
a lighthouse that would send its light fifty miles out to sea,
but it never produced more than a weak glow.' In 1916, the
original was replaced by a torch created by the sculptor Gutzon
Borglum. That hght, now on display in the statue's museum,
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and beautify the lighting effects,"^ but it leaked, allowing water
to enter and damage the statue's arm.' At that time, fifteen
500-candle-power gas-filled electric lamps were installed in the
torch, while 246 projectors using 250-watt incandescent bulbs
were distributed among the star points beneath the pedestal
and on the roofs of buildings on the Island, illuminating the
statue for the first time.''
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modernizations over the years, notably in 1931, 1945, and
1949,' but a thorough renovation of the lighting only occurred
with the major reconstruction of the statue, begun in 1984. The
lighting redesign was filled with challenges, both conceptual
and practical. Few outdoor sculptures are set against the
towering buildings and structures of a working urban harbor,
are surrounded by water, by moving boats and ships, and serve
as a national and international icon.
In 1986, to commemorate the Statue of Liberty's 100th
anniversary, relighting was undertaken by lighting designer
Howard M. Brandston, who collaborated with a team from
the General Electric Company. Their work is what we see
today. Lighting the statue was a formidable job, and designer
Brandston felt the pressure. Channeling "all of the immigrants
who came to the U.S.,"* he says, he designed the lighting to
emphasize the statue's height (151.1 feet) to "better refiect
the iconic role the Statue of Liberty plays
in American life and [its] towering role in
American culture."^
New luminaires, complete light fixtures,
translated vision into reality. "There aren't
many lamps meant to light ladies with green
skin," Brandston now chuckles,* but his
additional goal of emphasizing the sculptural
quality of the statue required work by the
GE team in Nela Park, Cleveland, Ohio, to
develop their metal halide lamps in two new
colors, which they created by varying the
chemistry of the gases within the bulb.' The
bulbs had to be created specifically to not
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and robes.'"
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This video will help you get started in exploring the Last House on the Hill Web edition, a multigraph about the Berkeley Archaeologists @ Çatalhöyük (BACH) project at this famous 9000-year old Neolithic mound settlement in Central Anatolia, Turkey. This video focuses on the work of the BACH team and the 7-year history of the project. It is a guide to understanding the way in which we collected and documented the materials that you will find in this multigraph. If you want to read more on these topics, look at Chapters 1-4 of the printed monograph: Last House on the Hill
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