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Flamboyant

Flamboyant is a lavishly-decorated style of Gothic architecture that appeared in France and Spain in the 15th century, and lasted until the mid-sixteenth century and the  beginning of the Renaissance. Elaborate stone tracery covered both the exterior and the interior. Windows were decorated with a characteristic s-shaped curve. Masonry wall space was reduced further as windows grew even larger. Major examples included the northern spire of Chartres Cathedral, Trinity Abbey, Vendôme, and Burgos Cathedral and Segovia Cathedral in Spain.

England produced its own very ornamental version, called Perpendicular Gothic, at about the same time. In the British version, the multiple interior levels of earlier periods were replaced by single towering level. It also included distinct features such as the fan vault. Examples of Perpendicular Gothic include the choir of Gloucester Cathedral (1335; Kings College Chapel, Cambridge (1446-1515), and the Chapel of Henry IV in Westminster Abbey. It was gradually replaced by Renaissance architecture in the 16th century.

The Period
French scholars define Flamboyant as the fourth phase of Gothic style, preceded by Primary Gothic, Classic Gothic and Rayonnant Gothic. British and American historians describe it as a period of Late Gothic architecture, following Early Gothic architecture, High Gothic, and Rayonnant.

Characteristics
Flamboyant is characterized by double curves forming flame-like shapes in the bar-tracery, which give the style its name; by the multiplication of ornamental ribs in the vaults; and by the use of the arch in accolade. Ribs in Flamboyant tracery are recognizable by their flowing forms, which are influenced by the earlier curvilinear tracery of the Second Gothic (or Second Pointed) styles. Very tall and narrow pointed arches and gables, particularly double-curved ogee arches, are common in buildings of the Flamboyant style. In most regions of Europe, Late Gothic styles like Flamboyant replaced the earlier Rayonnant style and other early variations.

The style was particularly popular in Continental Europe. In the 15th and 16th centuries, architects and masons in the Kingdom of France, the Crown of Castile, the Duchy of Milan, and Central Europe exchanged expertise through theoretical texts, architectural drawings, and travel, and spread the use of Flamboyant ornament and design across Europe. Notable examples of Flamboyant style are the west rose window of Sainte-Chapelle (1485–1498); the west porch of the Church of Saint-Maclou, Rouen, (c.1500–1514); the west front of Troyes Cathedral (early 16th century), and a very early example, the upper tracery of Great West Window of York Minster (1338–1339). Further major examples include the chapel of the Constable of Castile (Capilla del Condestable) at Burgos Cathedral (1482–94); Notre-Dame de l'Épine, Champagne; the north spire of Chartres Cathedral (1500s–); and Segovia Cathedral (1525–).

The Late Gothic style appeared in Central Europe with the construction of the new Prague Cathedral (1344–) under the direction of Peter Parler. This model of rich, variegated tracery and intricate reticulated (net-work) rib-vaulting was widely used in the Late Gothic of continental Europe, and was emulated in the collegiate churches and cathedrals, and by urban parish churches that rivalled them in size and magnificence. Use of the ogee was especially common.

In the late 15th and early 16th centuries, Flamboyant forms spread from France to the Iberian Peninsula, where the Isabelline style became the dominant mode of prestige construction in the Crown of Castile, the portion of Spain governed by Isabella I of Castille. During the same period, Flamboyant features also appeared in Manueline style in the Kingdom of Portugal. In Central Europe, the Sondergotik ("Special Gothic") style was contemporaneous with Flamboyant in France and the Isabelline in Spain.

The term "Flamboyant" was first used by the French artist Eustache-Hyacinthe Langlois (1777–1837) in 1843, and then by the English historian Edward Augustus Freeman in 1851. In architectural history, the Flamboyant is considered the last phase of French Gothic architecture and appeared in the closing decades of the 14th century, succeeding the Rayonnant style and prevailing until its gradual replacement by Renaissance architecture during the first third of the 16th century.

Notable examples of Flamboyant in France include the west rose window of Sainte-Chapelle in Paris, the transepts of Sens Cathedral and Beauvais Cathedral, the façade of Sainte-Chapelle de Vincennes and the west front of Trinity Abbey, Vendôme. Significant examples of civil architecture include the Palais Jacques Cœur in Bourges and the Hôtel de Cluny in Paris. In the late 15th and early 16th centuries, contemporary styles called Decorated Gothic and Perpendicular Gothic appeared in England.

Origins
Although the precise origin of the Flamboyant style remain unclear, it likely emerged in northern France and the County of Flanders during the late 14th century. Parts of these lands were involved in the cloth trade with the Kingdom of England or were under the control of John of Lancaster, 1st Duke of Bedford, regent of France for his nephew Henry VI, King of France from 1422 to 1453. Through this direct connection, the flickering, flame-like tracery motifs after which the style is named may have been "inspired by the English Decorated style", though this is disputed. In addition, the Duchy of Normandy, was in personal union with England until the 13th century, while during the Hundred Years' War, Rouen, capital of Normandy, was English territory from 1419 until 1449. Earlier in the conflict, John, Duke of Berry was taken hostage in England. The ongoing war provided many opportunities for cultural exchange, as evidenced by the fireplace in the ducal palace in Poitiers and the panelled, screen-like upper parts of the west façade of Rouen Cathedral.

Tracery patterns of the 14th century are either rich, flame-like forms inspired by the English Decorated (e.g. west façade of York Minster) or the "panelled severity" of English Perpendicular style (e.g. King's College Chapel, Cambridge). According to Robert Bork, "continental builders borrowed almost exclusively from the Decorated style, which had largely passed out of fashion in England by 1360, rather than from the more current Perpendicular style". The clear rejection of the grid-like forms in France indicates some awareness of the contrasting styles. The emergence of the Flamboyant style was a gradual process. What has been termed "proto-Flamboyant" appeared at the Saint-Ouen Abbey, Rouen in the inner wall of the north transept between 1390 and 1410. No flowing, double-curved forms were used there but the "eight double lancet panels seem to spin around a quatrefoil center". Although this rose motif appears dynamic and in motion, its design was not based on the double-curve. It is an early example of experimentation with tracery forms that anticipates the use of flowing, double-curve forms in Normandy. More so than the great churches of northern France, palaces constructed by royal and elite patrons provided "fertile grounds for innovation" with curvilinear tracery in France while England turned to the Perpendicular style.

France
The term "Flamboyant" was coined in the early 19th century, primarily to refer to French monuments with flame-like, curvilinear tracery that were constructed between circa 1380 and 1515. The Flamboyant style appeared in France during the Hundred Years' War against England (1337–1444). Despite this, the construction of new cathedrals, churches, and civil structures—as well as additions to existing monuments—went ahead in France and continued throughout the early 16th century. Features of the Flamboyant style are richly articulated façades, very high, lavishly decorated porches, towers, and spires. Early examples included the castle chapel of John, Duke of Berry, at Riom (1382), the fireplace in the great chamber (1390s) of the ducal palace at Poitiers, and in the La Grange chapels (c. 1375) at Amiens Cathedral.

Residences of the nobility were among the earliest structures that were entirely built in the Flamboyant style. The Palais Jacques Coeur, residence of the treasurer of the King at Bourges was built between 1444 and 1451. It combines residential and official wings that are richly decorated with gables, turrets, and chimneys arranged around a central courtyard. The Château de Châteadun, which was transformed between 1459 and 1468 by Jehan de Dunois, the half-brother of king Charles VI, and was one earliest residences built for leisure in France. The Château has one of the seven remaining Sainte-Chapelle chapels and an elegant spiral staircase. The corresponding façade is decorated with characteristic flame-like tracery in the windows and also includes dormers with fleur-de-lys, denoting the owner's status as a descendant of Charles V. Another notable example is the Hôtel de Cluny in Paris, originally the residence of the abbot of Cluny, now the Museum of the Middle Ages. Flamboyant details are found in the chapel, the doorways, windows, tower, and roof-line. A late example of Flamboyant civil architecture in France is the Parlement de Normandie, now the Palais de Justice of Rouen (1499–1528), which has slender, crocketed pinnacles and lucarnes terminated with fleurons. They were designed by architects Roger Ango and Roulland Le Roux.

Low Countries
Variations of Flamboyant, influenced by France but with their own characteristics, began to appear in other parts of continental Europe. Flamboyant had a particularly strong influence in Low Countries, which was then part of the Spanish Netherlands and was also a part of the Catholic diocese of Cologne. Extraordinarily high towers were a feature of the Belgian style. In the 15th century, Belgian architects produced remarkable examples of religious and secular Flamboyant architecture, one of which is the tower of St. Rumbold's Cathedral in Mechelen (1452–1520), which was built as both a bell tower and a watch tower for the defence of the city. The tower was intended to be 167 m high and was designed to have a 77 m spire, only 7 m of which was completed. Other notable Flamboyant cathedrals include Antwerp Cathedral with a 123 m tower and an unusual dome on pendentives that is decorated with a Flamboyant rib vault; St. John's Cathedral ('s-Hertogenbosch) in 's-Hertogenbosch (1220–1530), the Cathedral of St. Michael and St. Gudula in Brussels (1485–1519); and Liege Cathedral.

Adaptations in Holland and of Zeeland
Many churches in the former Counties of Holland and of Zeeland are built in a style sometimes inaccurately separated as Hollandic and as Zeelandic Gothic. These are in fact Brabantine Gothic style buildings with concessions necessitated by local conditions. Thus (except for Dordrecht), because of the soggy ground, weight was saved by wooden barrel vaults instead of stone vaults and the flying buttresses required for those. In most cases, the walls were made of bricks but cut natural stone was not unusual.

Everaert Spoorwater played an important role in spreading Brabantine Gothic into Holland and Zeeland. He perfected a method by which the drawings for large constructions allowed ordering virtually all natural stone elements from quarries on later Belgian territory, then at the destination needing merely their cementing in place. This eliminated storage near the construction site, and the work could be done without the permanent presence of the architect.

Spain
Before the unification of Spain, monuments were constructed in the Flamboyant style in the Crown of Aragon and Kingdom of Valencia, where Marc Safont was among the most important architects of the Late Middle Ages. Safont was commissioned to repair the Palau de la Generalitat de Catalunya in Barcelona and worked on this project from 1410 to 1425. He designed the building's courtyard and elegant galleries. Also notable is the Chapel of Sant Jordi (1432–34), which has a striking façade consisting of an entry portal flanked by windows resplendent with blind and openwork Flamboyant tracery. The chapel's interior includes a lierne vault with a keystone depicting Saint George and the Dragon.

Following the 1428 Catalonia earthquake, a replacement Flamboyant rose window on the west façade of the church of Santa Maria del Mar, Barcelona, was completed by 1459. It is worth mentioning a few examples of civil buildings, in particular the trading floors(Lonjas) in Palma de Mallorca( 1420-1452) and Valencia(1482-1498) having a similar design with a columnar hall plan, the one in Valencia being more ambitious. The fine columns have a helicoidal design, characteristic of Iberian Gothic architecture. Other examples can be found in the church of Santiago in Villena, the Cistercian monastery of Secar de la Real in Palma, the church of Magdalena in Olivenza or the Palace of Montarco in Ciudad Rodrigo. Additional examples of the Flamboyant style in the Kingdom of Valencia include the cloister of the Convent of Sant Doménec, the dome of the cathedral of Valencia, or the reformed transept of the cathedral of Orihuela. In the kingdom of Castile, representative examples of civil Gothic architecture include the Infantado Palace in Guadalajara, the Casa de las Conchas in Salamanca or the castle of Manzanares el Real. There are a good number of fine cloisters built during the 15th century such us the ones in the cathedrals of Burgo de Osma, Sigüenza, Lérida(LLeida), Segovia, Oviedo, in monasteries like San Salvador in Oña, Santa Maria la Real in Nájera, Santa Maria de la Oliva in Carcastillo, or San Juan de los Reyes in Toledo, and in churches like Santo Domingo in Jerez de la Frontera, Santa Maria in Los Arcos (Navarra), San Miguel in Oñate or Santa Maria la Real in Sasamón.

Spain was united by the marriage of Ferdinand of Aragon and Isabella of Castile in 1469, and saw the conquest of Granada, the last stronghold of Moorish occupation, in 1492. This was followed by a great wave of construction of new cathedrals and churches in what became known as the Isabelline style after the queen. This late Spanish Gothic style includes a mixture of French-inspired Flamboyant tracery and vaulting features, Flemish features such as fringed arches, and elements that may have been borrowed from Islamic architecture, such as the crossed rib vaults and pierced openwork tracery of Burgos Cathedral. To this, Spanish architects such as Juan Guas added distinctive new features, for example in the Monastery of San Juan de los Reyes in Toledo (1488–1496) and the Colegio de San Gregorio (completed 1487). The rose window on the west façade of Toledo Cathedral (late 15th century) is a good example.

Juan de Colonia and his son Simón de Colonia, originally from Cologne, are other notable architects of the Isabelline style; they were the chief architects of the flamboyant features of Burgos Cathedral (1440–1481), including the openwork towers and the tracery in the star vault in the Chapel of the Constable.

Portugal
The Manueline style was named for King Manuel I of Portugal, who reigned from 1495 to 1523, a period of cultural and economic splendour in Portugal, the style was originally known as ad modus hispaniae. Batalha Monastery's construction began in 1387 to celebrate John I of Portugal's victory over John I of Castile at the 1385 Battle of Aljubarrota, which secured the independence of the Kingdom of Portugal. Batalha was modified in the Flamboyant style after 1400. The building includes elements borrowed by the English Perpendicular style, tracery inspired by French Flamboyant, and German-inspired openwork steeples.

In 1495, Portuguese navigators opened a sea-route to India and began trading with Brazil, Goa, and Malacca, bringing enormous wealth into Portugal. King Manuel funded a series of new monasteries and churches that were covered with decoration inspired by banana trees, sea shells, billowing sails, seaweed, barnacles, and other exotic elements as a monument to the Portuguese navigator Vasco de Gama and to celebrate Portugal's empire. The most lavish example of this decoration is found on the Convent of Christ in Tomar (1510–1514).

Central Europe
Architects in central Europe adopted some forms and elements of Flamboyant in the late 14th century, and added many innovations of their own. The Late Gothic buildings of Austria, Bavaria, Saxony, and Bohemia are sometimes called Sondergotik. The high triple west porch of Ulm Minster was placed at the base of the tower; it was designed by Ulrich von Ensingen. The porch, which was in the centre of the façade — a break from earlier Gothic styles. Work on the tower was continued by Ensingen's son after 1419 and much more decoration was added from 1478 to 1492 by Matthaus Boblinger. The spire was added between 1881 and 1890, which made it the tallest tower in Europe.

Other remarkable towers were constructed like openwork webs of stone; these include Johannes Hultz's additions to the tower of Freiburg Minster, which had an open spiral staircase and a lacework octagonal spire; the additions were begun in 1419.

British Isles
Flamboyant had little influence in England, where the Perpendicular style prevailed. Flamboyant architecture was not common in the British Isles but examples are numerous. The flame-like window tracery appeared at Gloucester Cathedral before it appeared in France. In Scotland, Flamboyant detailing was employed in window tracery of the northern side of the nave at Melrose Abbey, and for the west window that completed the construction of Brechin Cathedral. Melrose Abbey had been destroyed during the English invasion of 1358 and the initial rebuilding followed the traditions of English masons. From c.1400, the Parisian master-builder John Morow began work on the Abbey, leaving an inscription identifying him in the church's south transept. Morow had possibly been brought to Great Britain by Archibald Douglas, 4th Earl of Douglas, for whom he also worked on Lincluden Collegiate Church. The design of some windows in both Brechin and Melrose are so similar it is possible Morow or his team of Continental masons worked on both. Comparison can also be made with the chapel (1379–) of the Château de Vincennes, a castle and royal residence near Paris. Somewhat later, further Flamboyant work was done on the western bays of Brechin Cathedral.

In England, the contemporaneous Late Gothic (or Third Pointed) style Perpendicular Gothic was prevalent from the middle 14th century. A very early example of Flamboyant tracery is found in the top of the Great West Window in York Minster—the cathedral of the Archbishop of York. It also appears in the Flamboyant curvilinear bar-tracery of St Matthew's Church at Salford Priors, Warwickshire.

Tracery
The flamboyant tracery designs are the most characteristic feature of the Flamboyant style. They appeared in the stone mullions, the framework of windows, particularly in the great rose windows of the period, and in complex, pointed, blind arcades and arched gables that were stacked atop one another, and which often covered the entire façade. They were also used in balustrades and other features. Interlocking openwork gables and balustrades, as seen on the west porch of the church of Saint-Maclou, Rouen, were often used to disguise or diffuse the mass of buildings.

An important early example from the late 15th century is the west rose window of the royal chapel, Sainte-Chapelle (1485–98), depicting the Apocalypse of St John. It is 9 meters (29.5 feet) in diameter, with eighty-nine panels arranged in three concentric zones around a central eye. Flamboyant rose windows are also prominent features of the transept of Sens Cathedral (15th c.) and the transept of Beauvais Cathedral (1499), one of the few parts of that Cathedral still standing. The Flamboyant façades of Sens Cathedral, Beauvais Cathedral, Senlis Cathedral and Troyes Cathedral (1502–1531) were all the work of the same master builder, Martin Chambiges.

Flamboyant windows were often composed of two arched windows, over which was a pointed, oval design divided by curving lines called soufflets and mouchettes. Examples are found in the Church of Saint-Pierre, Caen. Mouchettes and soufflets were also applied in openwork form to gables, as seen on the west façade of Trinity Abbey, Vendôme.

Façades and porches
The term "Flamboyant" typically refers to church façades and to some secular buildings such as the Palais de Justice in Rouen. Church façades and porches were often the most elaborate architectural features of towns and cities, especially in France, and frequently projected outwards onto marketplaces and town squares. The intricate and dazzling forms of many façades and porches often appealed to their urban contexts; in some cases, new façades and porches were designed to create impressive architectural vistas when viewed from a specific street or square. This architectural response to increasing concerns with the aesthetics of urban space is particularly notable in Normandy, where a striking group of late 15th- and early 16th-century projecting polygonal porches were constructed in the Flamboyant style; examples include Notre-Dame, Alençon; La Trinité, Falaise; Notre-Dame, Louviers; and Saint-Maclou, Rouen.

Martin Chambiges, the most prolific French architect between c. 1480 and c. 1530, combined three-dimensional forms such as nodding ogees with a miniaturized vocabulary of niches, baldachins, and pinnacles to produce dynamic façades with a new sense of depth at Sens Cathedral, Beauvais Cathedral, and Troyes Cathedral. The addition of sumptuous Flamboyant façades and porches provided new public faces to older monuments that survived the Hundred Years' War. Façades and porches often used the arc en accolade, an arched doorway that was topped by short pinnacle with a fleuron or carved stone flower, often resembling a lily. The short pinnacle bearing the fleuron had its own decoration of small, sculpted forms like twisting leaves of cabbage or other naturalistic vegetation. There were also two slender pinnacles, one on either side of the arch.

Vaults, piers, and mouldings
Elision—the elimination of capitals—coupled with the introduction of continuous and "dying" mouldings, are additional noteworthy characteristics of which the parish church of Saint-Maclou in Rouen is a key example. The uninterrupted fluidity and merging of disparate forms led to the emergence of decorative Gothic vaults in France.

Another characteristic feature were vaults with additional types of ribs called the lierne and the tierceron, whose functions were purely decorative. These ribs spread out over the surface to make a star vault; a ceiling of star vaults gave the ceiling a dense network of decoration. Another feature of the period was a type of very tall, round pillar without a capital, from which ribs sprang and spread upwards to the vaults. They were often used as the support for a fan vault, which branched upward like a spreading tree. A fine example is found in the chapel of the Hotel de Cluny in Paris (1485–1510).

Religious architecture

 * Auch (Gers), Auch Cathedral (except the façade)
 * Beauvais (Oise), transept façades of Beauvais Cathedral
 * Beauvais (Oise), choir and chapels of the Church of Saint-Étienne de Beauvais
 * Bourg-en-Bresse (Ain), Royal Monastery of Brou
 * Caudebec-en-Caux (Seine-Maritime), Church of Notre-Dame
 * L'Épine (Marne), Notre-Dame de l'Épine
 * Évreux (Eure), north transept of Évreux Cathedral
 * Louviers (Eure), Notre-Dame de Louviers (north and south façade)
 * Nantes (Loire-Atlantique), Nantes Cathedral
 * Paris, Church of Saint-Séverin
 * Paris, Saint-Jacques Tower, bell tower of the former church of Saint-Jacques de la Boucherie
 * Pont-de-l'Arche (Eure), Notre-Dame-des-Arts
 * Rouen (Seine-Maritime), Rouen Cathedral (in part)
 * Rouen (Seine-Maritime), Church of Saint-Maclou
 * Rouen (Seine-Maritime), abbey-church of Saint-Ouen
 * Rue (Somme), Chapel of Saint-Esprit
 * Saint-Nicolas-de-Port (Meurthe-et-Moselle), Basilica of Saint-Nicolas
 * Saint-Riquier (Somme), Abbey
 * Senlis (Oise), transepts of Senlis Cathedral
 * Sens (Yonne), Sens Cathedral (south transept)
 * Thann (Haut-Rhin), St Theobald's Church
 * Toul (Meurthe-et-Moselle), west façade of Toul Cathedral
 * Tours (Indre-et-Loir), Tours Cathedral (west façade)
 * Vendôme (Loir-et-Cher), west façade of the Abbaye de la Trinité
 * Vincennes (Val-de-Marne), Sainte-Chapelle

Civil architecture

 * Beaune (Côte-d'Or), hospices
 * Beauvais (Oise), former episcopal palace
 * Bourges (Cher), Palais Jacques Cœur
 * Château de Châteaudun (Eure-et-Loir)
 * Paris, Hôtel de Cluny
 * Paris, Hôtel de Sens
 * Rouen (Seine-Maritime), Palais de Justice

Notable examples outside France

 * St. Lorenz, Nuremberg (nave ceiling in particular), Germany
 * Milan Cathedral, a relatively rare Italian building in the style, which is adopted very fully here
 * Vladislav Hall in Prague Castle (vaults), Czech Republic
 * Seville Cathedral, Spain
 * Capella de Sant Jordi, Palau de la Generalitat de Catalunya, Barcelona, Spain
 * Batalha Monastery, Portugal
 * Brussels Town Hall, Belgium
 * Church of St. Anne, Vilnius, Lithuania
 * St. Barbara's Church, Kutná Hora, Czech Republic

title: Flamboyant


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Talk:U.S. Route 218

1933 (or '34) extension in Minnesota
The official 1934 state map shows U.S. 218 marked along 12/52 and 10/52 to St. Cloud, and marked as "U.S. 218 Detour" along U.S. 10 to Brainerd. (This is removed on the 1935 map.) Steve Riner's site says U.S. 218 was marked to 12/52 in St. Paul from 1934-35 and the remainder was MN 218. He might have more sources, but that still doesn't change (or explain) what's going on with the official map.

I'm not really sure what to make of this. Thoughts? --Sable232 (talk) 04:32, 26 January 2011 (UTC)

US 265
The National Map CO. Map shows this as US 265
 * There are other inconsistencies on that map. I think it's a publishing error and not really worth mentioning. –Fredddie™ 02:29, 9 February 2018 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:U.S. Route 218


text: Category:Canadian military stubs

title: Category:Canadian military stubs


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Wikipedia:Articles for deletion/Information object

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. — J I P | Talk 15:33, 16 October 2005 (UTC)

Information object
Definition - at best uninformation  Dl yo ns 493   Ta lk   18:36, 8 October 2005 (UTC)
 * Delete. Currently, it appears to meet CSD A1, so possibly speedy. If expanded, may reconsider. Andrew pmk | Talk 18:59, 8 October 2005 (UTC)
 * Delete CanadianCaesar 20:16, 8 October 2005 (UTC)
 * Speedy Delete. short article, no context. --Mysidia (talk) 08:08, 9 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Axolemma

In neuroscience, the axolemma (, and 'axo-' from axon ) is the cell membrane of an axon, the branch of a neuron through which signals (action potentials) are transmitted. The axolemma is a three-layered, bilipid membrane. Under standard electron microscope preparations, the structure is approximately 8 nanometers thick.

Composition
The skeletal framework of this structure is formed by a spectrum of hexagonal or pentagonal arrangement on the inside of the cell membrane, as well as actin connected to the transmembrane. The metric cellular matrix is bound by transmembrane proteins, including the β1-integrin, to the cytoskeleton via the membrane skeleton. The axolemma is a phospholipid bilayer membrane, and charged ions/particles cannot directly pass through it. Instead, transmembrane proteins, such as specialized energy dependent ion pumps (the sodium/potassium pump), and ion channels (ligand-gated channels, mechanically gated channels, voltage-gated channels, and leakage channels) that sit within the axolemma are required to assist these charged ions/particles across the membrane, and to generate transmembrane potentials that will generate an action potential.

Function
The primary responsibility of cell membranes, including those surrounding the axon, is to regulate what goes into the cell and what goes out of the cell. The axolemma plays an important role in the nervous system, specifically the sensation, integration, and response pathways within the nervous system. Communication between neurons within the nervous system relies on excitable membranes, especially the axolemma. The axolemma is responsible for relaying signals between the neuron and it's Schwann Cells. These signals control the proliferative and myelin-producing functions of the Schwann Cells, and also partly play a role in the regulation of the size of the axon.

The axolemma's role in the generation of action potentials
The variations in electrical state of the axolemma is referred to as the membrane potential – a potential being the distribution of charge between the inside and outside of the cell, which is measured in millivolts (mV). The transmembrane proteins keep the concentration of ions inside the cell and the concentration of ions outside the cell relatively balanced, with a net neutral charge, but if a difference in charge occurs right at the surface of the axolemma, either internally or externally, electrical signals, such as action potentials, can be generated.

When the cell, or axon, is at rest, the concentration of sodium (Na+) outside of the cell is greater than the concentration of Na+ inside of the cell, and the concentration of potassium (K+) inside of the cell is greater than the concentration of K+ outside of the cell. This difference in charge is referred to as the resting membrane potential – which is measured at -70mV.

The opening of channels within the axolemma, allows for Na+ to flow down its concentration gradient, and into the cell. Na+ is a positively charge ion, so the influx on Na+ causes the membrane potential to move toward zero. This is referred to as depolarization. However, the concentration gradient of Na+ is strong enough to allow Na+ to flow into the cell until the membrane potential to reach +30mV.

The membrane potential reaching +30 mV, and the concentration of Na+ being so high, causes other voltage-gated channels, that are specific to K+ to open. K+ then flows down its concentration gradient and out of the cell. Since the positively charged K+ is leaving the cell, the membrane potential goes back down toward its resting membrane potential. The movement of the membrane voltage back toward -70 mV is referred to as repolarization. However, repolarization overshoots the resting membrane potential, because the K+ channels experience a delay when closing, which causes a period of hyperpolarization.

This change in charge, voltage, and membrane potential generates an electrical signal referred to as an action potential. Action potentials are used for communication between neurons within nervous tissue.

title: Axolemma


text: Category:Hotels in Rwanda

title: Category:Hotels in Rwanda


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The Dean Martin Comedy World

The Dean Martin Comedy World is an American variety comedy television series, seen on NBC during the summer of 1974, as a summer replacement for The Dean Martin Show. It was also that program's last summer replacement series. The show was hosted by Jackie Cooper, Nipsey Russell and Barbara Feldon.

Overview
Created by Dean Martin and his producer Greg Garrison, the premise of this series was that it traveled around the world to find new comedy acts and show them on the air. Clips from classic comedy films (like Charlie Chaplin's Modern Times) were also used, as were interviews with comedy legends like Jack Benny (in one of his last appearances before his December 26 death later that year) and Don Rickles. The hodge-podge, staccato-style of editing different comic bits didn't work out, and the show left the air by the end of the summer.

Notable among those who appeared was the debut television performance by Andy Kaufman.

In addition, British comedy troupe Monty Python had its first primetime appearance on United States television on this show, with clips from several sketches and Terry Gilliam animations used. (It was Garrison's purchase of the rights to air Python clips that paid for the conversion of the BBC series from PAL to NTSC, which allowed Monty Python's Flying Circus to be sold to PBS later that year.) These clips did have to pass muster with American network censors, and so in the "Dull Life of a City Stockbroker" sketch the topless news agent was cut out.

title: The Dean Martin Comedy World


text: File:Uprising (film).jpg

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Talk:U.S. Route 19

Talk:U.S. Route 11 has details on the Bristol truck route. --SPUI (T - C) 12:21, 18 May 2006 (UTC)

Length Calaulation
I used ArcGIS 9 to calculate the length of 1,398 miles, which does not include a concurrency with US HWY 321 which is about 8 miles. Add that to the length ArcMap found and the length is 1,406 miles. If anyone has an official documented reference, please correct it. Stratosphere 05:14, 1 July 2006 (UTC)

Disambiguate "Corridor L" into multiple articles

 * I didn't put the tag there, but it wasn't on the talk page, so I created it. Personally, I feel that there should be disambiguation pages, because Corridor L has links from other pages, and just goes to a redirect to here, which isn't the best thing, because Corridor L is only a small part of US 19.  If it had its own article, it would be much more beneficial. Those are just my two cents. --Riley 03:01, 25 August 2006 (UTC)

Infobox
Only the 10 most major junctions should be listed. -- T M F Let's Go Mets - Stats 04:13, 28 January 2007 (UTC)
 * Well there's 11 left, but I think we can bend it a little. - Aerobird Target locked - Fox One! 14:51, 28 January 2007 (UTC)

Anomaly in Georgia section
The route in Georgia is described from north to south, whereas all other portions are described from south to north. — Preceding unsigned comment added by Edgy4 (talk • contribs) 01:07, 9 September 2016 (UTC)

Major intersections in Georgia north of GA 400 freeway
Here are the major intersections on US 19 north of the GA 400 freeway.

Dawson County
 * [[Image:Georgia 53.svg|20px]] Georgia State Route 53
 * [[Image:Georgia 136.svg|25px]] Georgia State Route 136

Lumpkin County
 * [[Image:Georgia 60.svg|20px]][[Image:Georgia 115.svg|25px]] Georgia State Route 60 and Georgia State Route 115 (northern end of SR 400, southern end of concurrency with SR 60)
 * [[Image:Georgia 52.svg|20px]] Georgia State Route 52 in Dahlonega
 * [[Image:Georgia 60.svg|20px]] Georgia State Route 60 (northern end of concurrency)
 * [[Image:US 129.svg|25px]][[Image:Georgia 11.svg|20px]] U.S. Route 129 and Georgia Sate Route 11 (southern end of concurrency)

Union County —C.Fred (talk) 22:25, 21 April 2007 (UTC)
 * [[Image:Georgia 180.svg|25px]] Georgia State Route 180 (which runs concurrently for approximately 2 miles)
 * [[Image:US 76.svg|20px]][[Image:Georgia 2.svg|20px]][[Image:Georgia 515.svg|25px]] U.S. Route 76, Georgia State Route 2 and Georgia State Route 515 in Blairsville (which run concurrently for less than a mile)
 * [[Image:Georgia 325.svg|25px]] Georgia State Route 325

Major junctions
While I can understand the need to keep the infobox concise, a hard limit of 10 junctions is inappropriate here. We can probably do without I-279, but I-90 and I-70 (at the I-79 concurrency) are primary interstates. Both of these are also high-traffic interchanges serving Washington, PA and Erie, PA. -- JeffBillman (talk) 22:55, 1 February 2008 (UTC)
 * It's inappropriate to have five junctions for Pennsylvania when less than a fifth of the route is in the state. -- T M F Let's Go Mets - Stats 22:57, 1 February 2008 (UTC)
 * Yes, but look at traffic. Certainly more people use US-19 in suburban Pittsburgh than in long rural stretches of West Virginia and Georgia.  Besides, I'd like to know what criteria you used to eliminate the primary interstates.  (I'd also like to know why a so-called admin told me not to make edits to this page again, but that's another issue entirely.)  10 is an arbitrary number (as is 5), and inappropriate to determine notability.  -- JeffBillman (talk) 23:01, 1 February 2008 (UTC)
 * And the Pittsburgh area needs only one junction, which I left in my version of the junctions. If you're really concerned about listing every intersection with an Interstate in Pennsylvania, start the "major intersections" section for the article, which is intended to be a list of junctions major enough to be mentioned but not major enough to be given mention in the infobox (as the infobox is for intersections with major routes in major areas that help show where the route travels).
 * Criteria: I-90 was removed for being too close to the northern terminus, hence duplicating a location (Erie) in the infobox. I-70 and I-279 were removed for being extra Pittsburgh-area junctions. -- T M F Let's Go Mets - Stats 23:56, 1 February 2008 (UTC)
 * More than ten junctions makes the infobox too big. --Rschen7754 (T C) 23:08, 1 February 2008 (UTC)

 * I disagree, but I'll set aside that issue for now. If we're going to limit it to no more than 10, let's try to determine the (>/=)10 junctions that are most noteworthy of mention here.  I would submit that the junction with the I-70/I-79 concurrency is certainly in the top 10, and I would further suggest that the I-90 junction is also in the top 10.  Traffic ought to be a factor in making this determination; allow me to find some sources that indicate this before we put these back in the article. -- JeffBillman (talk) 23:33, 1 February 2008 (UTC)

 * I would also suggest that we move rather slowly on this. While it's certainly difficult to determine tone on the Internet, the fact that both of you have been extremely quick to defend the paring of the list suggests to me that we all could probably use a wikibreak on this one. -)  So let these be my last words on this for today, and I'll take up this article tomorrow (or the next day, etc.).  Perhaps the two of you would like to do the same.  Sound fair? -- JeffBillman (talk) 23:33, 1 February 2008 (UTC)
 * The guideline does not get bent. And to make the record straight, I've been through situations on Wikipedia that have been literally a hundred times more stressful than this. --Rschen7754 (T C) 23:37, 1 February 2008 (UTC)
 * For the record, I've already had a wikibreak and this certainly isn't anything that warrants a wikibreak. I've been through much worse. In any event, the guideline I referenced has been in place for a long time and is widely accepted. The existence of a 10-junction limit is nothing new. -- T M F Let's Go Mets - Stats 23:56, 1 February 2008 (UTC)

 * Okay, how about this: There are 13 junctions with Interstate highways from recent edits that need to be pared down to 10 or less, yes?  We take out I-279.  We take out I-77 in West Virginia, as the section on US 19 in WV already says the route parallels I-77, and the town of the "major junction" is redlinked.  Then we could take out I-80 if we can also agree to take out at least one of the three Atlanta-area junctions.  (No reason Pittsburgh only gets one, while Atlanta gets three.)  Might I suggest taking out I-75's Forest Park, GA junction, as the article already mentions the parallels of 19 with 75?  If it's possible, we can even pair up the I-90 junction with the terminus:  "US 20 near I-90 at Erie, PA".  That takes the total number of "major junctions" down to 8, plus the two termini.  And it preserves the junction with the I-70/I-79 concurrency, which might actually be the busiest junction on the whole route given the existence of the Washington (PA) Mall on this full cloverleaf interchange. -- JeffBillman (talk) 09:06, 2 February 2008 (UTC)

How about the following:
 * in Perry, FL in Albany, GA  in Atlanta, GA  in Asheville, NC  in Bristol, VA  in Bluefield, WV  in Clarksburg, WV  in Pittsburgh, PA

--NE2 12:41, 3 February 2008 (UTC)

 * Well, since US 98 overlaps US 19 into Chassahowitzka, I'd make that adjustment. Otherwise, I think we should move closer towards more state-specific US 19 articles, including Florida. DanTD (talk) 15:01, 3 February 2008 (UTC)
 * We don't need to list both ends of an overlap... --NE2 17:32, 3 February 2008 (UTC)
 * To only list one end is somewhat misleading, though. DanTD (talk) 17:43, 3 February 2008 (UTC)
 * Not at all. We're saying there's a junction with US 98 in Perry, not that that's the only junction with US 98. --NE2 17:59, 3 February 2008 (UTC)

 * Yeah, I'm thinking we need state-specific articles. The US 30 junction is the same as I-279, and I-20, I-40, and I-81 are each already in the infobox.  But your proposal actually increases the number of junctions to 17.  If we must limit ourselves to 10, adding junctions seems a bit counterproductive. -- JeffBillman (talk) 02:58, 4 February 2008 (UTC)
 * I believe NE2's proposal was replacing the existing junctions with those... (which I support) -- T M F Let's Go Mets - Stats 03:57, 4 February 2008 (UTC)
 * Interesting... considered you just deleted one of the proposed junctions from the infobox. But might I ask what your rationale is in supporting the proposal? -- JeffBillman (talk) 04:16, 4 February 2008 (UTC)
 * It's the best proposal I've seen here. -- T M F Let's Go Mets - Stats 04:21, 4 February 2008 (UTC)
 * Good as anything I've got. Go for it, NE2. -- JeffBillman (talk) 04:26, 4 February 2008 (UTC)

U.S. Route 19 in Florida
Is anybody working on a state-specific U.S. Route 19 article for Florida? Because if not I'll try to write one, and if anyone is, I'm always willing to add whatever I can. Plus, if I do decide to write one, I'll gladly accept whatever input is available. By the way, I've also called for the possibility of a US 19-98 article in the past, since there happens to be one for US 17-92. DanTD (talk) 01:24, 7 February 2008 (UTC)

 * Hmm, no answers. I suppose I should take this as a "no" and hit the sandbox for this one. DanTD (talk) 13:11, 7 March 2008 (UTC)

I agree. Go ahead and do it. Deigo (talk) 13:43, 11 August 2008 (UTC)

Exact Location of Erie Terminus?
At what intersection does this route terminate in Erie? RSLitman (talk) 23:58, 16 March 2008 (UTC)
 * Peach (US 19) and 28th (U.S. Route 20) Streets. -- T M F Let's Go Mets - Stats 00:11, 17 March 2008 (UTC)

Splitting 19E from main page.
So a discussion was requested about the split of US 19E. Seeing how this really only pertains to North Carolina and Tennessee (which have there own specific pages), I don't see any point of this. So I say no to a split. --WashuOtaku (talk) 01:13, 14 March 2011 (UTC)
 * Nobody appears to be interested about the request to split the page; removed discussion from main page, which I hope will not come up again. --WashuOtaku (talk) 04:49, 24 July 2011 (UTC)
 * I wouldn't have minded. It's simply a question of when and how to do it. DanTD (talk) 15:36, 25 July 2011 (UTC)

US 19 Tenn History Section
The Section is empty, could someone provide information for the Section? Qutlooker (talk) 01:18, 20 December 2021 (UTC)

title: Talk:U.S. Route 19


text:
Smarts

Smarts may refer to:

 * SMARTS, market analysis and surveillance software by Nasdaq
 * Smiles arbitrary target specification, a line notation language for specifying molecular query patterns
 * Smarts Mountain, a mountain in New Hampshire
 * Small and Medium Research Telescope System (SMARTS), a group of telescopes at Cerro Tololo Inter-American Observatory
 * Simple Model of the Atmospheric Radiative Transfer of Sunshine or SMARTS, a computer programme

title: Smarts


text:
Rodovia dos Tamoios

Rodovia dos Tamoios (official designation SP-099) is a highway in the Brazilian state of São Paulo.

The highway is a dual carriageway running from the city of São José dos Campos, located in the Paraíba River valley in the upper plateau of São Paulo down the Serra do Mar to the coastal lowlands of the city of Caraguatatuba, connecting to the Rodovia Rio-Santos (federal highway). As such, it is part of a series of Serra do Mar highways which include Rodovia Anchieta (SP-150) and Rodovia dos Imigrantes (SP-160), departing from São Paulo, the Mogi das Cruzes-Bertioga highway, and the Taubaté-Ubatuba highway. The SP-099 starts at the Rodovia Presidente Dutra, and crosses with Rodovia Carvalho Pinto (SP-070), two huge thoroughfares which direct the road flow from and to São Paulo megalopolis to the Northern coast beach resorts.

The road is thus named in order to remember the Tamoio, the ethnic group of original Indian tribes who inhabited the coast from Santos to Espírito Santo at the time of discovery, in 1500. It was managed and maintained by the Department of Roads of the State of São Paulo (DER) until April 18, 2015. Now it's maintained by Ecopistas and Concessionária Tamoios. Toll was not required until 2016.

The section crossing the Serra do Mar was a single lane road until 2022, turning into a dual lane with the inauguration of a new 22 km-long road for drivers heading uphill on the Serra do Mar towards São José dos Campos in 26 March 2022. The project, that took seven years to complete, required the excavation of 1.7 million cubic meters of rock and the construction of six viaducts and four tunnels in an investment of over 3 billion reais. One of the tunnels, with a length of 5,555 meters, is the longest road tunnel in Brazil.

title: Rodovia dos Tamoios


text:
NBC logo

The National Broadcasting Company (NBC) has used several corporate logos over the course of its history. The first logo was used in 1926 when the radio network began operations. Its most famous logo, the peacock, was first used in 1956 to highlight the network's color programming. While it has been in use in one form or another for all but four years since then, the peacock did not become part of NBC's main logo until 1979 and did not become the network's sole logo until 1987. The logos were designed by employees of NBC, rather than by an advertising agency. The first logo incorporated design from then-parent company RCA, and was a unique logo not related to the NBC radio network.

Recent logos have been themed for different holidays during the year (such as Halloween, Valentine's Day, and New Year's Day), in observance of its upcoming or ongoing broadcasts of the Olympics, as well as an American flag-themed logo in the wake of the events of al-Qaeda's terrorist attack on the United States on September 11, 2001. The logo has been adapted for color television and high definition as technology has advanced. As NBC acquired other television channels, the logo branding was adopted to other networks including: CNBC, NBCSN, MSNBC, Golf Channel, and NBC Sports Regional Networks. The logo was also incorporated into the corporate emblem of the network's parent company, NBCUniversal, then became a part of a redesigned Comcast mark at the end of 2012 after it was acquired by the latter a year before.

1926–1937
NBC debuted as a radio network in 1926, with a logo depicting a microphone surrounded by lightning bolts, superimposed over a map of the United States. The "NBC" letters appeared in an arc above the graphic.

1931–1943
In 1931, NBC introduced its second logo – a square with a diagonal NBC text in it, and lightning bolts around the "B." This logo was later adopted in 1941 for use as the original logo for the newly formed NBC television network.

Television network logos (1943–1975)
In 1943, NBC introduced its third logo, a microphone surrounded by lightning bolts, which was a modification of the original 1926 logo used by the NBC radio network. Lightning bolts were also part of the logo of corporate parent RCA, as well as that of one-time sister company RKO Pictures. The waves placed on the left side were meant for the radio network, and the right waves were meant for the television network. A network identification featuring this logo includes a male announcer saying "This is NBC, the National Broadcasting Company," followed by the NBC chimes. On the network's flagship television station WNBT (now WNBC), this was accompanied by the same announcer saying "WNBT, New York." At the beginning of telecasts, a card was shown with a different NBC logo with the letters in cursive and enclosed in a rectangle (a logo also used at the end of broadcasts in the early 1950s). This was replaced by another card depicting an NBC cameraman operating an RCA camera was shown underneath the text "NBC Television Presents." The letters "NBC", lighting in tune with the chimes, indicated time for station identification or the end of a telecast.

In 1953, a stylized xylophone and mallet was introduced, symbolizing the NBC chimes, which were first heard on NBC radio in 1927 as a seven-tone sequence. The current tones – which were first adopted in 1929 as a simplified cue for identification of its radio affiliates because of issues with orchestrating the seven notes properly – are only three notes, G, E' and C' (contrary to popular belief, the selection of the three notes was not intended to represent the initials of the network's eventual owner, the General Electric Company, which was an early shareholder in RCA, which itself founded NBC by creating it as a subsidiary). There is some indication that the xylophone logo was used at 5:32 p.m. Eastern Time on December 17, 1953, to announce the Federal Communications Commission's (FCC) approval of the new color standard, which would go into effect 30 days later. This logo debuted in December 1953, during the Tournament of Roses Parade.

Introduction of the Peacock (1956–1959)
John J. Graham designed a peacock for the NBC television network: an abstraction of an eleven-feathered peacock indicating richness in color. This brightly hued peacock, which NBC called the "Bird," was adopted because of the increase in color programming. In addition, NBC's owner, RCA, manufactured color television sets. As a result, the peacock became a marketing tool, in the hopes that people tuning in to NBC would purchase color TV sets. NBC's first color broadcasts showed only a still frame of the colorful peacock. Several modifications were made by NBC before the emblem made its first on-air appearance on May 22, 1956.

In the summer of 1957, beginning with Your Hit Parade, the peacock became animated and introduced every NBC color telecast until a revamped animation appeared in 1962. Its musical backing was a gong while the peacock began its formation, with a male announcer saying "The following program is brought to you in living color on NBC," while the music crescendoed followed by a nine-note flourish while the peacock's feathers changed color and finally spread out. According to Game Show Network executive David Schwartz, the first announcer who spoke those famous words behind the Peacock graphic logo was Ben Grauer, who had been a familiar voice on NBC since 1930. A slide with the letters "NBC" in red, green, and blue respectively and with "TELEVISION" underneath appeared at the end of every color telecast.

Snake logo (1959–1975)
Starting in September 1959, an animated logo joined the Peacock, appearing at the end of every telecast. Starting with the "N", each letter would grow from the other, forming a stacked typographic logo consisting of an "NB" ligature with the "C" forming the base. This would be known as the "NBC snake". Several versions of this exist; the first is the snake forming in front of a multicolored background while an RCA TK-40 or TK-41 camera passed by with a jazz rendition of the NBC chimes, while the second consists of the snake forming against a color-changing background, going from blue to green to red, on each note of the regular, automated NBC chimes. The logo was also designed by John J. Graham.

Laramie era: 1962

In 1962 on Laramie, a new version of the Peacock opening logo was introduced in which the bird fanned its bright plumage against a kaleidoscopic color background (with the eleven melded feathers shrinking and separating into the peacock's form). As with the 1956 Peacock, this logo appeared at the start of every NBC color telecast; as all NBC shows eventually began airing in color, it was generally used only to open those shows that were produced by NBC itself, such as The Tonight Show Starring Johnny Carson. It was, however, seen on the NBC airings of The Wizard of Oz as well as on the broadcast of Peter Pan, which had been videotaped at NBC Studios (NBC had previously telecast live versions of Peter Pan in 1955 and 1956 on the anthology Producers' Showcase). The "Laramie Peacock," named for the series which introduced it, used the same "living color" tagline as the first peacock, but the accompanying music was a soft, woodwind-based number, with Mel Brandt providing the voiceover. It was revised further in April 1968, the music having been slightly rearranged and the animation shortened by a few seconds. Another version, with Vic Roby announcing, "Now, a special program in living color on NBC," was unveiled for use on specials during this same period. It was shortened further in 1975, when the peacock was retired.

The "Laramie Peacock" made special appearances throughout the ensuing years, mostly in a retro-kitsch context or to commemorate a significant broadcast event on NBC. It was used to promote the network's coverage of the NASCAR Cup Series race held at Darlington Raceway in the Florence, South Carolina region from 2015 to 2020, when it was the series' annual throwback round, where many racecars featured a throwback motif. The Peacock also made an appearance before the premiere of The Tonight Show with Conan O'Brien in 2009. The "Laramie Peacock" has also been used by local stations: the sequence was shown at the beginning of Pittsburgh Dad's Guide to Christmas, a special aired on Pittsburgh NBC affiliate WPXI on December 19, 2014.

Trapezoid N Logo (1976–1979)
NBC updated its image in 1975 with the introduction of an abstract "N," a bold, bright and contemporary design consisting of two trapezoids – one red and one blue. One of the technological innovations of this logo was its use in the first electronically animated ident for an American television network; the trapezoid "N" was previewed in a print ad in October 1975, before it was officially used on-air on January 1, 1976, at the start of the Bicentennial year. On the January 10, 1976 episode of NBC's Saturday Night (now Saturday Night Live), Weekend Update host Chevy Chase mocked the new logo and its $1million design cost. Johnny Carson also discussed the new logo and its cost on The Tonight Show.

In February 1976, Nebraska ETV (later Nebraska Educational Telecommunications, now Nebraska Public Media), the PBS member network for Nebraska, filed a trademark infringement lawsuit against NBC. The new NBC logo was virtually identical to the logo that Nebraska ETV had been using since 1974, with the only cosmetic difference between the two designs being that the right trapezoid of the NBC logo had blue coloring. An out-of-court settlement was reached in which NBC gave Nebraska ETV over $800,000 worth of new broadcasting equipment, including a color mobile unit. It also paid Nebraska ETV $55,000 to cover the cost of designing and implementing a new logo. In return, NBC was allowed to keep the "N" logo.

Proud N Logo (1979–1986)
The Peacock returned as part of NBC's branding in September 1979. The "N" and the Peacock were combined to create a design called the "Proud N." This marked the first time that the Peacock was actually part of NBC's own logo. It was simplified in keeping with the letter's pared-down design. Although all eleven feathers were intact, the teardrop tips were removed, while a simpler color scheme was used for the feathers themselves (blue for the feather behind the peacock's body; yellow, orange, red, violet and indigo respectively for the other feathers on both sides). The Peacock's body became a simple triangular shape, without any feet. On several occasions, the new Peacock was used independently of the "N," starting with the new "Proud as a Peacock" advertising campaign that reintroduced the Peacock; however, the "N" and the Peacock were usually combined between 1979 and 1986. The 1979 "Proud N" logo was designed by Lippincott & Margulies.

Initially, the Peacock was not NBC's primary logo and was only used to distinguish color broadcasts. Instead, NBC was identified by other logos such as the xylophone and the NBC snake. However, the Peacock became so closely associated with NBC that in 1979, the network's president at the time, Fred Silverman, incorporated it into the logo. This decision was influenced by research conducted in 1977 by Peter H. Kliegman from NBC's corporate planning department, which recognized the Peacock's value in identifying NBC-TV, and recommended its use as a logo. In 1986, the "N" was retired and the Peacock became the sole logo used by NBC, including the radio network.

Modern Peacock logo (1986–present)
In 1980, just one year after the "Proud N" was introduced, NBC hired renowned design firm Chermayeff & Geismar to create a new brand identity for the network. Steff Geissbühler designed the simplified peacock that became the network's new logo. The 11 feathers of the previous peacock logo were pared down to six, encompassing each of the primary and secondary colors in the RYB color palette and also representing NBC's six divisions: News (Yellow), Sports (Orange), Entertainment (Red), Stations (Purple), Network (Blue), and Productions (Green). The peacock's head (implied by the negative space cutting into the side of the purple feather) was now flipped to the right – this was done to suggest as if it was looking forward to the future, not back to the past. The shape of the peacock's body was also simplified, becoming vertically elongated, and removing the tips at the bottom and above the head.

This new design remained unused for several years – NBC was ranked last among the Big Three television networks in ratings at the time, and wanted to hold off on the expense of rebranding until it had returned to the number one spot. It was ultimately unveiled on May 12, 1986, during the finale of the NBC 60th Anniversary Celebration TV special, where past and present NBC stars stood on stage to introduce the new logo. Although NBC had been popularly known as "the peacock network" for some time, it was the first time that "The Bird" had been used as NBC's official symbol all by itself.

After the logo's introduction, many of NBC's affiliates (especially the stations part of NBC's O&O group at the time: WNBC-TV in New York City, KNBC-TV in Los Angeles, WMAQ-TV in Chicago, KCNC-TV in Denver, WRC-TV in Washington, D.C., and WKYC-TV in Cleveland) started adding the new peacock to their station identification. However, a few stations still kept the previous "Proud N" from 1979 at least until the end of the 1987–88 television season, and NBC itself retained the "Proud N" in the title sequence for its movie/mini-series presentations. Because of this, the new logo was not universally adopted until the fall of 1988.

This logo's first appearance as an on-screen bug was in the 1993–94 television season, appearing only during the opening sequences of programs, and then staying on-screen throughout the duration of programs as a separate translucent bug beginning with the 1994–95 season. Until the 2004–05 season, the bottom-of-screen logo bug featured a variety of animated effects that built up the image from its components (such as the six feathers rotating into the form of the logo with the peacock's body being formed when the feathers were in place, or a white flag containing the logo wiping the logo bug onto the screen), usually during a show's opening sequence. Until the 2008–09 season, a screensaver-style sequence featuring these logo effects against a black background was also used as a placeholder graphic during slots within commercial breaks allocated for local stations to insert commercials and station promotions. Some NBC affiliates also ran the sequence through the network feed in the event of technical difficulties with inserting local advertising (a placeholder logo graphic remains in use, although since the 2009–10 season, the animation used has changed to match the network's imaging of the current timeframe).

The network maintains specific guidelines for the logo, including proper colors for reproduction, using either RGB, CMYK, or Pantone colors. The usage guidelines are contained in the NBC Logo Legal Usage Guidelines, which is distributed to NBC employees involved in graphics as well as outside vendors, such as advertising agencies, who may need to use the logo.

Adaptations
On September 17, 1999, NBC revamped its network identity. A new network ID sequence was introduced, with the NBC logo reflecting through very huge glass feathers; this identity was used until the end of the 2001–02 television season.

Flag variation (2001–2002)
In the aftermath of the September 11 attacks in 2001, NBC introduced a special version of the peacock that replaced the colors with a furled American flag waving within the logo (including within the logo bug); this version was used until the 2002 Winter Olympics.

Adaptation for widescreen/high-definition programming
During programs presented in widescreen, the logo bug would be shrunk and placed to fit within the 16:9 video area (specifically, on the right fringe outside of the safe area). During the 2006–07 television season, this smaller widescreen logo was only used during live broadcasts, such as Saturday Night Live, Christmas at Rockefeller Center (the annual special commemorating the Rockefeller Center Christmas tree lighting), Live Earth and the Macy's Fourth of July Fireworks Spectacular. The smaller logo was reintegrated at the start of the 2007–08 season on all widescreen programming, including pre-recorded standard definition broadcasts in order to insert graphical promos during the show. The network used a variation of its logo bug accompanied by "HD" text for High-definition programming in the 2006–07 season. Live broadcasts in high-definition previously used the logo without "HD" text. Until 2016, the NBC bug was placed within the 4:3 safe area, with the logo bug being displayed identically on the standard definition and high definition feeds (the color version of the NBC logo bug began to be placed within the 4:3 safe area during high definition programming in May 2008). Today, the NBC bug is placed within the 16:9 widescreen frame, again being displayed identically on the SD and HD feeds.

This logo bug is also presented opaque in full color during the opening credits of a program, with the bug sometimes accompanied by ".com" text as a promotion for the network's website. Live finale episodes of The Biggest Loser continued to use the version with the NBC name titling below the peacock until its September 2009 conversion to HD, due to that program's standard definition production being based out of Burbank instead of New York City.

This logo is sometimes accompanied with NBC text, usually below the peacock, however, this is not always the case. The network's logo bug incorporated the text starting in August 1995, and it becomes colorized on September 18, 2006, NBC Nightly News finally began using the 2006 on screen bug starting on March 26, 2007, to coincide with the program's first high-definition broadcast, with the web address for MSNBC (and since 2012, NBC News) later added to the right side during the program. Programs broadcast in 4:3 SD continued to use the translucent version of the logo until September 13, 2009. Some NBC Sports programs, such as golf and Olympic sports, use a bug incorporating the Olympic rings below the peacock; this version is also used on entertainment and news programming, starting with the beginning of the fall television season in the lead-up to the Winter Olympics, or at the beginning of a calendar year leading up to the Summer Olympics (in 2012, the rings variant was implemented on April 16, 2012, in accordance with "Green is Universal" week, along with sister network Telemundo). The Olympics version of the network's 1986 logo is also used by NBC affiliates for their logos during the network's coverage of the Games (as well as in promotions for the Olympics that precede the start of the Games), both on-air for some stations or confined to the "Olympic Zone" micro-sites. The Olympic rings is also used below the logo of its sister channels, such as Telemundo and USA for example.

2006–2007
Shortly after the beginning of the 2006–07 television season, almost all NBC programming included graphics for Today, Meet the Press, and Dateline NBC. The left version was less embossed than the one used previously and did not display the NBC acronym beneath it. After the beginning of the 2009–10 season on September 28, 2009, as part of the lead-up to the 2010 Winter Olympics in Vancouver, the Olympics variant of the on-screen logo was used on all network programming, except for news.

Since December 2007, NBC occasionally places a text-based advertisement for an upcoming program above or next to the NBC peacock, which is present on both the SD and HD feeds.

2008
NBC updated its logo once again on January 4, 2008, with all network promos and IDs ending with the peacock feathers blooming out of the peacock's body, forming the logo. The feathers also flashed in tune to the NBC chimes, which were sometimes played using different instruments other than the standard xylophone, or other sounds set to G-E-C (such as a telephone in promos for The Office or the ringing of a cash register in promos for Deal or No Deal). Two versions of the 2008 logo animation were used: a 3D glass version (introduced in the fall of 2008) that was used in most promos, and an occasionally used 2D logo that was also used as a generic ID. The ".com" suffix added to create the URL for promoting the network's website was sometimes featured beside the logo.

2009–2013
On September 14, 2009, with the introduction of the network's "More Colorful" image campaign by design agency Capacity Studios, the network incorporated a flickering effect for a gradient version of the NBC peacock – seen at the end of promos and ID sequences – in which the logo cycles through all six colors before switching to the standard multi-colored logo, usually displayed next to a clip featuring a main character or host of a particular program.

In May 2011, NBC introduced a glossy 3D version of their logo, which was designed by Zoic Studios. Other aspects of the 2009 graphics package remained intact.

2013–2022
In April 2013, NBC altered and modified their 3D logo and changed its wordmark to use Sweet Sans Pro, which officially came out on September 30, 2013.

On September 17, 2018, NBC changed its wordmark to use a new in-house typeface made by Capacity, "NBC Tinker". Named after the former chairman and CEO of NBC from 1981 to 1986, Grant Tinker. The font later optimized by Loyalkaspar as "NBC Tinker Pro", a font that later used for 2022 NBC rebrand.

In July 2020, NBC temporarily added six vertical pips to the right side of the 2018 logo, which radiate out from each color of the peacock to form the vertical row in order to tie into it being used in the same position for the logo of NBCUniversal's Peacock streaming service, to promote its launch, before reverting back to its regular logo in March 2021.

2022–present
In the 2022–23 television season, NBC began to phase in an updated version of the peacock symbol, with its colors made brighter to match the logo of NBCUniversal's streaming service Peacock, the feathers repositioned to make them more "balanced", the peacock's "beak" made larger and more prominent, and white-outlined versions no longer being used. The wordmark typeface was also bolded.

The updated peacock was soft-launched in September 2022 as part of the new logo for Sunday Night Football. A new brand identity by design agency Sibling Rivalry was phased in over the holiday season and officially launched on December 31, 2022. Other NBC divisions (such as NBC News, MSNBC and CNBC) began to deploy the logo in 2023, as well as Comcast in 2024, albeit with a glossy colored gradient.

Other variations
In the early 1950s, the bold upper case NBC letters (later used in the 1953 "Xylophone" logo) were also used as an animated "light-up letters" logo in synchronization with the NBC chimes in front of a gray background. This closing sequence was edited in at the end of a network program. Another variant was later used with a darker gray background and a disclaimer underneath the light-up letters: "This program was reproduced by the Kinephoto process," a reference to a live program put onto black and white film identified as a Kinescope recording. This variant was widely used throughout the 1950s and 1960s. Many programs were originally recorded in this manner before the advent of two-inch videotape. NBC, however, continued to use its Kinephoto recording system to archive many of its videotaped programs so the videotapes can be erased and reused for other programming. This is evident with such 1960s programs as Hullabaloo using both archived Kinescope footage with rare color videotape finds, which was later re-released for home video on VHS and DVD.

For NBC's 1965 fall preview special, the peacock introduction began as normal with announcer Mel Brandt's standard introduction; however, when the peacock faded, Brandt is heard saying "It just starts in black and white!" Used to begin the special, the variant – with the voice-over being featured at the beginning of the ident, instead of during the middle – led into almost the complete pre-title teaser of Get Smart’s pilot episode, which was shot in black-and-white. This variant is also known as the "Pink Peacock" on video-sharing websites such as YouTube due to the faded color of the video.

For the first American television broadcast of The Beatles' black-and-white film, A Hard Day's Night, on October 24, 1967, NBC replaced the peacock with a penguin: a caption showing I Dream of Jeannie and The Jerry Lewis Show (the programs NBC was pre-empting that night) was pushed off-screen by an animated, waddling penguin adorned with a top hat and flapping its flightless wings (imitating the peacock), accompanied by announcer Mel Brandt drolly saying "I Dream of Jeannie and The Jerry Lewis Show will not be seen tonight. Instead... (music cue) The following very, very special program is brought to you in lively black and white, on NBC." At the end of the sequence, the penguin is shown taking off its top hat and unzipping its chest, with The Beatles jumping out and performing, before running away while being chased by fangirls.

In 1968, a variant of the 1965 "in living color" peacock ID was featured at the start of an episode of Rowan & Martin's Laugh-In. At the very end of the sequence, the peacock sneezes, sending its feathers flying off-screen, after which the puzzled peacock is shown looking in each direction in notice that its feathers are missing. This clip was later re-used in 1985 to open an episode of TV's Bloopers & Practical Jokes, and in the 2002 special The Most Outrageous Game Show Moments 2. The sneezing peacock was only an animation added onto the end of the original clip of the 1965 peacock ID, as the peacock's feathers became brighter upon switching to the portion in which it sneezed.

In 1993, NBC commissioned several artists such as Al Hirschfeld, Peter Max, John Kricfalusi, J. J. Sedelmaier, David Daniels, Joan C. Gratz, and Mark Malmberg to devise abstract variations of the peacock for promotional use. However, the Gratz bumper was first used in 1992. Animated versions of the Hirschfeld, Sedelmaier, Gratz, and Kricfalusi peacocks acted as stings, and continued to air on the network until 2002.

The current peacock logo was also used as a part of an occasional sketch on Late Night with Conan O'Brien called "Polly the NBC Peacock,” where a cardboard cut-out of the peacock logo with an added marionette-like mouth known as Polly (with an obvious talking parrot voice) mocked the ratings moves and celebrities of competitor networks, along with NBC's lesser programming.

Chermayeff and Geismar's book Identify includes the original sketches for the current peacock logo.

title: NBC logo


text:
Talk:U.S. Route 119

Proposed merge with Corridor G
Corridor G follows US 119 for its entire length, the information can easily be covered in the US 119 article. Also, state-detail pages should be made for the Kentucky and West Virginia segments at U.S. Route 119 in Kentucky and U.S. Route 119 in West Virginia.  Dough 48  72  17:00, 7 July 2014 (UTC)
 * Oppose. While Corridor G follows US 119, less than 20% of US 119 is Corridor G.  There's enough of a difference that I think the pages should be kept separate. Bitmapped (talk) 18:06, 7 July 2014 (UTC)
 * Normally, when splitting Interstate and U.S. Routes, we split based on states, as in we have state-detail pages as suggested above. Splitting a U.S. Route based on ADHS corridor designations is not the standard split. Also, the ADHS corridor names are likely not as well known to the traveling public as the US 119 designation is. Therefore, I feel that Corridor G should redirect to the US 119 article as that is the common name for the corridor, with US 119 further divided into subpages for the Kentucky and West Virginia segments (Pennsylvania already has a state-detail page). The ADHS list can mention the specific routing of Corridor G with a hatnote to the US 119 article.  Dough 48  72  18:38, 7 July 2014 (UTC)
 * I could be OK with this as long as the state-level articles are developed. For what it is worth, in West Virginia the "Corridor G" name is probably more commonly used than US 119 for the section south of Charleston. Bitmapped (talk) 02:13, 8 July 2014 (UTC)

 * Support per Dough's reply above.  Imzadi 1979  →   00:15, 8 July 2014 (UTC)
 * Support Since US 119 completely overlaps it, I don't see an issue merging the two. --WashuOtaku (talk) 17:57, 11 October 2014 (UTC)

External links modified
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title: Talk:U.S. Route 119


text: Category:Roads in Hong Kong

title: Category:Roads in Hong Kong


text:
Onslow Stearns

Onslow Stearns (August 30, 1810 – December 29, 1878) was an American businessman and politician who served as the 32nd governor of New Hampshire.

Biography
Stearns was born in Billerica, Massachusetts on August 30, 1810. He attended the local schools of his hometown, and moved to Boston, where he clerked in several stores in preparation for a business career.

After moving to Concord, Stearns established himself in business. Starting as a construction contractor in partnership with his brother, Stearns eventually became a manager and executive, and was active in several different railroads, including the Lowell and Nashua, Northern Railroad of New Hampshire, Vermont Central Railway, and Old Colony Railroad.

In 1857 Stearns received the honorary degree of Master of Arts from Dartmouth College.

Stearns became active in politics as a Republican, serving in the New Hampshire State Senate from 1862 to 1864. He served as the Senate's President pro tempore in 1863, and was a Delegate to the 1864 Republican National Convention.

Stearns ran successfully for governor in 1869 and was reelected in 1870. During his time in office the state created a board of agriculture, taxes and deficits necessitated by New Hampshire's participation in the American Civil War were lowered, and the state government continued to promote the development of railroads and manufacturing business.

After leaving office Stearns retired from politics and resumed his business interests. He died in Concord, New Hampshire on December 29, 1878, and was buried in the Blossom Hill Cemetery in Concord.

Stearns' daughter Mary was the wife of General John R. Brooke. His daughter Grace was the mother of General Onslow S. Rolfe.

title: Onslow Stearns


text: Category:Hotels in Kuwait

title: Category:Hotels in Kuwait


text:
Business trust

Business trust may refer to:
 * Trust (business), an American English term for a large business with significant market power
 * Massachusetts business trust
 * Business Trust in India

title: Business trust


text:
Menteng

Menteng is a district (kecamatan) in the administrative city of Central Jakarta, Indonesia. Menteng is surrounded by the districts of Senen and Matraman to the east, Tebet and Setiabudi to the south, Tanah Abang to the west, and Gambir to the north. Menteng is bound by the West Flood Canal to the west, Ciliwung River to the south and east, and Kebon Sirih Road to the north. Menteng is the district seat of the Central Jakarta government.

Menteng started as a neighbourhood project, characterised by a new urban design developed mainly in the 1910s as a residential area for Dutch Indonesians, the upper middle class, and high officials. At that time it was the first garden suburb in colonial Batavia. Today, the area is considered as one of the most expensive neighbourhoods in Jakarta due to its location being within the Golden Triangle – an agglomeration of Jakarta's three main financial districts. Among former residents are William Soeryadjaya, former presidents Suharto, Megawati Soekarnoputri and former US president Barack Obama – where he spent some of his childhood attending the Besuki Public and Saint Francis of Assisi Schools.

Passenger railways host Gondangdia, Sudirman, and Cikini stations are located within, or on the limits of Menteng. Thamrin Road is a major transportation artery in the district, with numerous offices, embassies, shopping centres, and residential apartments. Menteng Park is also located nearby.

Districts
The district of Menteng is divided into five kelurahan or subdistricts:

Menteng residential area
The Menteng residential area is located in the Menteng district. The residential area spreads over the administrative villages of Menteng and Gondangdia. Menteng residential area was the first modern housing estate in Jakarta. It was developed by the private real estate company N.V. de Bouwploeg, established by P.A.J. Moojen who had been active in Batavia since 1930. The plan of Menteng residential area was designed by Moojen and F.J. Kubatz during the course of the 1910s. Moojen was also a member of a development group established by Batavia city government, the Commisie van toesicht op het Geheer van het Land Menteng, which was responsible for planning and developing the larger area of Gondangdia (Nieuw Gondangdia) of which Menteng was the centerpiece.

The Menteng Project was the most ambitious residential planning project between 1910 and 1939. The project was meant to be the southern expansion of the city Batavia. Karsten, in his 1939 memorandum to the colonial government, referring to Menteng Project and several other residential projects in the Indies - pointed out that real estate offices and the building trade have turned their attention to the needs of the upper middle class - particularly those of the Europeans, but moreover those of the small category categories of the other population groups in that class (i.e. natives and foreign orientals, mostly Chinese).

Before Menteng
The land that is now Menteng's residential area was originally privately owned estates located at Menteng and Gondangdia. Between 1755 and 1762, the Menteng estate belonged to a Moor Assan Nina Daut. In 1790, the land was handed over to Pieter J. du Chene de Vienne. In 1815, the land was handed over to Jakob P. Barends. In 1867, the land was handed over to an Arab man from Hadramaut, one of the recorded descendants was the Shahap/Shahab family who were the landlords of the private land in what is now Menteng from 1881 to 1990, as recorded in the 1817 Regerings-Almanak. In 1890, this private land was an estate of 73 hectares inhabited by 3,562 peasants, situated south of Kebon Sirih neighborhood (south of Koningsplein). In 1901 the land recorded was being used for rice paddies, fields and coconut plantation.

When the city of Batavia was confident to absorb new supply of middle-class housing – as well as to prevent further illegal kampung development from encroaching onto this area – the city decided to purchase the Menteng land and created the technical commission to oversee its development. De Bouwploeg was established to acquire a plot of land in Menteng and another 73 hectares of land from the Gondangdia private estate. The land in the Gondangdia private estate was bought by Bouw- en Cultuur Maatschappij Gondangdia from a Dutch widow J.V.D. Bergh in 1892, which at that time was inhabited by 3,052 peasants.

Development of Menteng
Moojen's original plan for Menteng resembles the garden city model of Ebenezer Howard. The plan combined wide cross-cutting boulevards with concentric rings of streets and a central public square. At the northern entrance to the Menteng residential area, he designed civic landmarks: the Art Center, the cultural center of early 20th-century Batavia.

Although planning for Menteng began in 1910, it was not until 1912 that Moojen's revised plan was officially unveiled. Key difference with the original garden city model was that Menteng was not intended to be a freestanding, self-contained place, but to link up with adjacent residential areas. For example, the broad Nassau Boulevard (now Jalan Imam Bonjol) that bisected the Menteng residential area adjacent to the central square (now Taman Suropati) was intended to connect Tanah Abang (an important market place) to the west and Meester Cornelis to the east. The Java Street (Javaweg, now Jalan HOS Cokroaminoto) was to serve as a north–south connector from Kebon Sirih to the southern fringe of Batavia, the boundary was marked at that time by the line of a flood canal.

Moojen's plan was later extensively modified by F.J. Kubatz as part of the city's next development plan. In the Kubatz plan, the street pattern was changed and a small pond (Situ Lembang) was added to the east of the central park area, originally named Bisschooplein after G.J. Bishop, mayor of Batavia (1916-1920). Other architects contributed to the character of Menteng Residential Area through landmarks. Architect Ghijsels designed Indies-styled houses, St. Paul's Church and the adjacent Logegebouw, which was the office of the burgemester, centrally positioned and facing the central park (now the Indonesian national development planning board (BAPPENAS)). Ghijsels's colleagues in the AIA, architect J.F.L. Blankenberg, designed some lavish residences in Menteng between 1926 and 1939 (after Ghijsels had returned to the Netherlands) e.g. the home of the owner of Wellenstein & Krausse Company (1926, now the residence of the US Ambassador to Indonesia), home of the Governor of Jakarta (1939), and several lavish residences for local businessmen along Jalan Imam Bonjol (one of which is now the National Proclamation Museum).

During the 1932-1937 Great Depression, development of Menteng slowed down. During the period, houses in Menteng were built in two levels, partly to expand the building area without having to increase land plot. These two-floors buildings were partly inspired by similar houses designed by Moojen in Kramat V-VII in 1919. These houses in Menteng were located in van Heutszboulevard (Jalan Teuku Umar), van Breen weg (Jalan Latuharhari), Nassau Boulevard (Jalan Imam Bonjol) and Oranje Boulevard (Jalan Diponegoro). After the crisis, development was enacted again, such as the construction of St. Paul's Church.

The Menteng Project provided commissions for growing architect and planning firms that had set up in Batavia, which included M.J. Hulswit, the very prominent A.A. Fermont and Eduard Cuypers, Biezeveld and Moojen, Bakker and Meyboom, AIA. Other firms active in Menteng Project were Semarang-based Karsten, Lutjens, Toussaint, and Henri Maclaine Pont; and Bandung-based C.P. Schoemaker and Associates.

Post-colonial period
In the post-colonial period, the prestige of Menteng was transferred to the indigenous urban elite of Jakarta. Escalating land values in the center of Jakarta exerted pressures on the edges of Menteng to convert to more intensive non-residential uses in later years. A 1975 gubernatorial decree declared Menteng a cultural heritage area, citing its distinctive architecture, which often includes high, slanting roofs and ample gardens. During the 1980s, the west part of Menteng was transformed into a commercial area, such as Sabang Street (now Agus Salim street), Jaksa Street, Teuku Cik Di Tiro Street, and Menteng Raya Street. Most of them changed into shops, hotels, offices, and restaurants. The Jalan Jaksa Festival is held every year in Jaksa Street. Since the 1990s, a community of architects, historians, preservationists, and re-greening advocates tried to the preserve the quality of the Menteng original plan.

Presently, conservation of Menteng residential area has shown many problems. Despite being a cultural heritage area, many houses were renovated into a Neoclassical style by newcomers, a style which has no relation with Menteng residential area's characteristic early 20th-century modern architecture. Authorities may stop the construction of a building which violate the Menteng style, but some projects resume until the houses are finished. Other problem related to the conservation of Menteng residential area are banning of businesses in the area despite the rising land taxes, fraud by architects of the newly renovated buildings, and the general lack of knowledge in conservation.

Urban design and planning
The Menteng project was the first housing project in Jakarta that followed the first law of urban planning in Batavia, known as Bataviasche Bouwverordening. Menteng was influential in the introduction of a new Indies architectural language. New Indies Style, a modern architectural movement in the Dutch Indies, was strongly implemented in Menteng. The new style combines the old Indisch style one-storey villas with modern two-storey structures. Prominent roof form (e.g. mansard roof and pyramid-shaped hip roof) was characteristic of house design in Menteng. Other characteristic element of houses in Menteng were front terraces, wide courtyard, characteristic textures in the wall, tall windows and doors with cross ventilations. Other architectural style popular in Menteng during its development were mostly early 20th-century modern movement e.g. Art Deco, Dutch Nieuwe Zakelijkheid, the original New Indies Stye, and Art Nouveau. Older style e.g. Classicist Empire Style and Old Indies Style sometimes appeared in the architecture of old villas at the fringe of the Menteng project, some were converted into museums, otherwise demolished for new development.

The residences of Menteng was classified into several classes according to a recommendation by the Department of Civil Works (Burgerlijke Openbare Werken): Mid-high class residences The residence was classified as class 1 to 3. The houses of these type were built in the core area of Menteng and were targeted for high officials and high class Dutch or European civilians. The architecture style was known as "Transitional Period" (Overgangs periode), which is the style of architecture between the latest stage of "Oud Indische Huis" style, with its typical wide courtyard and wide terraces, to the more modern style called the New Indies Style or the "European Villa". The area is connected with wide boulevards.

Houses in this class are generally one or two floored free-standing house (vrijstaand huis) with one or two wings/pavilions attached to the main building. Examples are the lavish houses along Jalan Imam Bonjol and surrounding Taman Suropati.

Mid-low class residences The residence was classified as class 4 to 7. These are the most dominant type of houses in Menteng. The architecture style is a fusion between the Dutch Transitional Period houses and local traditional houses. The area is connected with narrower streets, classified in Dutch as Laan, Straat or Weg. There were three types of small villas, the Tosari, the Sumenep, and the Madura, all were designed with garage and house servants facilities kept under 500 sqm, a prototype for houses in modern Indonesia.

Residence class 6 and 7 were targeted for the colonial government officials and was known as Land Woningen Voor Ambtenaren (Dutch "Country Houses for Officials"). Generally, these houses are one-floored and can sometimes be a semi-detached house (Dutch koppel).

Streets, parks, and facilities
Entree Gondangdia ("Gondangdia Entrance") was constructed when Moojen designed and constructed the Bataviasche Kunstkring (1913-1914). The area which was formed by what is now Jalan Cut Meutia - Railtrack - Jalan Gondangdia was the oldest part of Menteng.

The master plan of Menteng included some facilities and infrastructures:
 * N.V. de Bouwploeg Architects office, (now Cut Mutiah Mosque).
 * Bataviasche Kunstkring (now the Kunstkring Art Gallery)
 * Nassaukerk (now St. Paulus Church).
 * Gedung Ditjen Kebudayaan
 * A school building (now in HOS. Cokroaminoto Street)
 * Parks cover about 30 percent of the area in 23 places (e.g. Suropati Park and Situ Lembang).

Transport
Menteng is served by KRL Commuterline, Mass Rapid Transit, and Transjakarta buses.

Commuterline

 * Gondangdia railway station is located north-west of the district.
 * Cikini railway station is located south-west of the district.
 * Sudirman railway station is located south-east of the district.

Mass Rapid Transit

 * Bundaran HI MRT station is located at Thamrin Road, north of Bundaran HI.
 * Dukuh Atas BNI MRT station is located at Thamrin Road, easternmost of the district.

Landmarks

 * Canisius College
 * Dukuh Atas BNI MRT station
 * Cut Meutia Mosque
 * Entertainment X'nter
 * Gedung Joeang 45
 * Gedung Perintis Kemerdekaan
 * Gondangdia Station
 * Grand Hyatt and Plaza Indonesia
 * Hotel Indonesia, the first luxurious hotel in Indonesia and a landmark of Jakarta.
 * Jakarta Theater
 * Kunstkring Art Gallery
 * Mandarin Hotel
 * Megaria Theater (formerly Menteng Theater)
 * Menara Thamrin
 * Menteng Park (the site of the former Menteng Stadium)
 * Selamat Datang Monument, in the middle of Bundaran HI (Hotel Indonesia)
 * Formulation of Proclamation Text Museum (Museum Perumusan Naskah Proklamasi)
 * Nikko Hotel
 * Patung Pahlawan
 * Sarinah (Graha Mataram)
 * Sasmita Loka Ahmad Yani Museum
 * Saint Paul's Church
 * Saint Theresia's Church
 * Sunda Kelapa Mosque
 * Taman Ismail Marzuki
 * The Hermitage Hotel, Menteng (formerly the “Telefoongebouw” and University of Bung Karno)
 * Taman Suropati
 * Taman Proklamasi
 * Taman Situ Lembang

Notable residents

 * Mohammad Hatta, Indonesia's first vice president
 * Sutan Takdir Alisjahbana, poet, writer and intellectual
 * Hamid II, Sultan of Pontianak, Indonesian monarch and politician
 * Loa Sek Hie, colonial politician and landlord
 * Adam Malik, 3rd vice president of Indonesia
 * Barack Obama, 44th president of the United States. Lived in Menteng during his childhood years
 * Sutan Sjahrir, 1st prime minister of Indonesia
 * Achmad Soebardjo, 1st foreign minister of Indonesia
 * Suharto, 2nd president of Indonesia
 * Megawati Soekarnoputri, 5th president of Indonesia
 * William Soeryadjaya, Chinese-Indonesian tycoon

title: Menteng