dufour arpege sailboatdata

Dufour Arpege 30

First impressions The Arpege 30 looks more like an American boat from the IOR era than the Euro-style boats that began flooding the market in the 1980s. Although the bow entry is quite sharp, there is also a sizable overhang. The sheerline is subtle and the counter stern is raised and pinched. The hull has a bit of tumblehome and looks well proportioned in the water. The coachroof has a step with a single dark Plexiglas portlight on each side. The single spreader sloop rig has a working sail area of 516 square feet, comparable to the C&C 30, a boat designed around the same time. Below the water, the Arpege has a fairly shallow forefoot and fin keel with an exaggerated bulb that trails aft, almost as though the designer was adding a signature to the keel. Two keels were offered: a 4-foot, 5-inch standard version and a 5-foot, 4-inch deep version. Most boats in the United States seem to have the standard keel. The rudder is hung on an incredibly narrow but full-length skeg. It seems Dufour was not quite ready to commit to even a partial skeg in the mid-1960s when the boat was designed. The ballast-to-displacement ratio of just under 40 percent helps account for the Arpege's stiffness and seakindliness. Although the boat was moderately successful as a half-tonner, it came to be known as a small but capable bluewater cruiser. Several Arpeges have crossed the Atlantic, and at least one has circumnavigated.

Construction The Arpege has held up very well through the years. In fact, Dufour recently purchased hull No. 1 and is in the process of restoring it for a company display. The Arpege hull is solid fiberglass and the deck may or may not have been cored. Michel Dufour was a pioneer in using molded liners to greatly streamline production. Liners are a mixed blessing, but in small boats, at least those less than 35 feet and under 10,000 pounds, they make a lot of sense, even if they do limit hull access. If the liner is well bonded to the hull, the pan, as it is sometimes called, can be a very sound way of supporting the hull and prefabricating furniture. African mahogany was used for bulkheads that were well tabbed to the hull. The mast was stepped on the keel. The externally fastened keel is cast iron and fitted into a small recessed mold on a stub. The Arpege was really one of the first production boats to be sold in large numbers worldwide, and the overall construction was stout and efficient. What to look for While an owner in Maine reports that his boat has never had osmotic blisters in its 30-plus year life span, another in Florida warns to expect to do an epoxy blister repair job if it hasn't been done already. Older Dufours have had their share of blisters. One thing is certain, grinding or sandblasting the iron keel and treating it with epoxy is a good idea. Naturally any boat of this vintage (the youngest Arpege is at least 27 years old) will need to have all age-related items carefully checked. From standing and running rigging, to deck leaks and electrical wiring, updates may well be in order. Even if a boat was rerigged once, it may be ready again. Interestingly, my brother recently purchased a 1973 Wauquiez Centurion for a very good price and has spent the past year refitting her for ocean sailing. Like the Arpege, the Centurion was built in France and the original construction is impressive. I understand this may be an apples-to-oranges comparison, but an older, good-quality French-built boat may be well worth the cost of a retrofit, especially if the initial purchase price is low. Be aware that the deck nonskid will likely be well worn, and the quality of painted nonskid repairs will vary. Some owners have applied synthetic nonskid like Treadmaster. The boat originally came with gate valves on through-hull fittings, although it is unlikely any of those original valves are still operational.

On deck A rather short but stout tiller was standard, and I have not heard of any boat that has been converted to wheel steering, although surely some must have been. Doing so really doesn't make any sense, because the small cockpit is ideal for a tiller. Quarter berths to port and starboard below mean there are no cockpit lockers, but there is a good-size lazarette astern. The boat I was aboard in France had converted this to a propane locker, with the bottles squeezed in amidst dock lines and fenders. The mainsheet traveler runs across the bridgedeck, restricting access to the companionway when under way but making the main convenient for efficient trimming. The Arpege was considered beamy for its day, and the result is that the side decks are fairly wide, considering this is just a 30-foot boat. Originally the single lifelines tapered to the deck forward instead of connecting to the pulpit. Chances are good that double lifelines running to the pulpit have been retrofitted along the way. Most deck hardware was originally by Goiot and it has likely held up very well. There are opening hatches above the saloon and the head. Chances are the original mast and boom are still standing; it really is impressive how well anodized-aluminum sections have stood up in the harsh marine environment.

Down below Michel Dufour was quite innovative when it came to interior layouts, and the Arpege was no exception. Instead of squeezing in a double berth forward, the small forepeak was dedicated to sail and other storage. A private athwartships head is aft of the forepeak. The saloon features opposite facing settees with pilot berths above. I like this arrangement. When coupled with a lee cloth, pilot berths are excellent sea berths located out of the traffic flow. I always commandeer a pilot berth if it's available. The Arpege has an impressive galley for a 1960s-era 30-footer. Opposite the galley is the nav station, again an unusual feature in an older small boat, and the nav desk is large enough to work comfortably. The galley and the nav station can be closed off from the saloon for added privacy. There are quarter berths port and starboard, and if you can resist filling them up with gear, they make great sea berths. There is adequate storage below the settees and, of course, excellent storage in the forepeak. The table is designed to be stowed away and can also be used as a cockpit table. The finish work is really quite nice, trimmed in mahogany. There's even a built-in wine rack.

Engine Most original Arpeges came with a Volvo diesel, which was very common for many smaller European boats, since Volvo owned the auxiliary market for years. The most common power plant was a two-cylinder 25-horsepower model that if well maintained should still run fine. It may be loud and a bit smoky, but if it's running, I wouldn't hasten to replace it. Repowering, however, seems to have been rather common and of the five boats I located on the secondhand market on the East Coast all had 2GM 20-horsepower Yanmars. Be sure to check this installation carefully. Either engine gives the Arpege adequate performance. The hull is easily driven and you should be able to motor along at more than 5 knots. Access to the engine is decent from behind the companionway steps and through the quarter berths. Reaching the stuffing box is more challenging. The original plastic fuel tank held 11 gallons, although this has likely been replaced.

Under way Two of the owners that I managed to communicate with in France explained that they sailed all over the Bay of Biscay every year and that the Arpege is really at its best in heavy weather. The chap I spoke with in Oakland, who has sailed his Arpege extensively offshore, confirmed this notion. Mike Addelman owns a 1973 model that he sails on Biscayne Bay in Miami. When asked about the boat's performance parameters, Addelman told me via e-mail that he is surprised how well the Arpege points and not surprised that it tracks well too. While it doesn't accelerate like a modern boat, it doesn't slow down easily either. He noted that several years ago, he finished third in class in the Columbus Day Regatta despite a weekend of very light wind. Although he has not sailed his boat beyond the Bahamas, he has experienced some stiff breezes in the Gulf Stream. His only complaint is that the boat tends to develop weather helm. He flies an asymmetrical chute and claims that boat steers very well off the wind, with 7 knots being his top speed on a reach.

Conclusion The Dufour Arpege 30 is one of those old fiberglass boats that seems to have fallen through the cracks on the used boat market. It is a good quality, offshore capable boat that can usually be purchased for less than $15,000. It is an interesting alternative to more familiar American-built boats.

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Legendary sailboats - Dufour Arpège, a mass-produced sailboat that performs well under sail

June 10 2023

Written by Yachting Art Magazine English Edition

Engineer and naval architect Michel Dufour drew up the plans for the Arpège in 1966, with the aim of building a big brother to his first boat, the Dufour Sylphe.

Arpège is a monohull sailboat built by Dufour Yachts in La Rochelle. The Arpège is a sailboat with a fixed keel, rigged as a sloop. The Arpège is one of Dufour's best sellers, enabling the yard to really take off and become a mass production shipyard. 

The story of the Arpège actually began with the creation of the Dufour Sylphe: with the Sylphe, designed in 1964, Michel Dufour had a 6.52 m sailboat that was a real hit. Almost 410 units were sold until it was withdrawn from production in 1974. 

The manufacturer immediately realised that the success of the Dufour Sylphe needed to be consolidated by the development of a larger model, an essential addition to its product range. So it decided to tackle a larger model, the Arpège.

Right from the drawing board, the Arpège was an innovative and ambitious sailboat.

Innovative and ambitious, but also high-performance!

Michel Dufour conceived the Arpège as a racing cruiser, a fast unit with a beautiful hull and a meticulous construction.

To achieve this, he innovated by designing the hull-deck assembly in polyester laminate with full counter-moulding - a sort of ancestor of injection moulding - and by equipping the Arpège with high-quality rigging and deck fittings.

For the interior layout, Michel Dufour opted for a welcoming interior, with an impeccable finish for cruising, but also cleverly designed for racing, with a sail locker and toilets at the bow, a saloon offering four berths that could be used for sleeping , and a navigation area at the companionway with a large chart table, galley and two watch berths under the cockpit benches.

The Arpège became a true benchmark, with 1493 units produced, and established itself as one of the legendary boats in the history of French yachting.

Specifications of the Dufour Arpège :

Naval architect: Michel Dufour - Construction: polyester - Tonnage: 7.46 tx - Year launched: 1967 - Withdrawn from the market: 1977 - Hull length: 9.25 m - Length at waterline: 6.70 m - Beam: 3. 00 m - Air draught: 11.50 m - Standard draught: 1.35 m - Maximum draught: 1.50 m - Light displacement: 3 300 kg - Ballast: 1 500 kg - Cabins: 2 - Berths: 6 max - Water: 90l - Engine: 18hp - Upwind sail area : 48.50 m2 - Mainsail: 17.00 m2 - Headsail: 31.50 m2.

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• Yachting Monthly
• Digital edition

• September 23, 2009

Arpège - perfect for fast offshore cruising

Product Overview

Manufacturer:, price as reviewed:.

The Arpège should appear under ‘D’ for Dufour, but this classic of the 60s is often known by just one name, along with other greats of the decade such as Twiggy and Lulu. Michel Dufour’s innovative design was little short of revolutionary back in 1966, with its intricate interior mouldings and brilliant detailing. Today, though, she appears more idiosyncratic than brilliant, although those who have sailed her say she is perfect for fast offshore cruising. She was a huge success (over 400 a year being built at one time) and set Dufour on the road to becoming one of Europe’s biggest boatbuilders. Her interior pioneered the use of internal mouldings, with slots to locate bulkheads and foam sandwich for the decks. Beamy and shallow bodied with a high-aspect rig, she performed well on the racing circuit. Inside, the layout featured a pair of quarterberths at the foot of the companionway, together with an excellent chart table and rather poor galley (many subsequently modified). These were separated from the saloon by a full-height bulkhead. Forward of this were two settees and two pilot berths, while the forepeak contained the heads, a basin and sail stowage. Although not to everyone’s taste, the interior works well, particularly offshore. There were several variants, the most significant of which were an extended counter and a deeper fin. Both are desirable and can add £1,000 to the price. Although basically robust, Arpèges can now suffer significant deterioration, particularly in the deck coring and around the mast support.

Review of Dufour Arpege

Basic specs..

The boat can enter most marinas as the draft is just about 1.68 - 1.78 meter (5.51 - 5.81 ft) dependent on the load.

The boat is typically equipped with an engine.

Sailing characteristics

This section covers widely used rules of thumb to describe the sailing characteristics. Please note that even though the calculations are correct, the interpretation of the results might not be valid for extreme boats.

What is Theoretical Maximum Hull Speed?

The theoretical maximal speed of a displacement boat of this length is 6.9 knots. The term "Theoretical Maximum Hull Speed" is widely used even though a boat can sail faster. The term shall be interpreted as above the theoretical speed a great additional power is necessary for a small gain in speed.

Sailing statistics

This section is statistical comparison with similar boats of the same category. The basis of the following statistical computations is our unique database with more than 26,000 different boat types and 350,000 data points.

Sorry, we do not have sufficient statistical information available for this boat to provide a significant reliable analysis.

Maintenance

Are your sails worn out? You might find your next sail here: Sails for Sale

If you need to renew parts of your running rig and is not quite sure of the dimensions, you may find the estimates computed below useful.

This section shown boat owner's changes, improvements, etc. Here you might find inspiration for your boat.

Do you have changes/improvements you would like to share? Upload a photo and describe what to look for.

We are always looking for new photos. If you can contribute with photos for Dufour Arpege it would be a great help.

If you have any comments to the review, improvement suggestions, or the like, feel free to contact us . Criticism helps us to improve.

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Arpège - Dufour Yachts / STW000245

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ARPEGE 30 (DUFOUR) Detailed Review

If you are a boat enthusiast looking to get more information on specs, built, make, etc. of different boats, then here is a complete review of ARPEGE 30 (DUFOUR). Built by Dufour Yachts (FRA) and designed by Michel Dufour, the boat was first built in 1966. It has a hull type of Fin with rudder on skeg and LOA is 9.14. Its sail area/displacement ratio 15.72. Its auxiliary power tank, manufactured by Volvo, runs on Diesel.

ARPEGE 30 (DUFOUR) has retained its value as a result of superior building, a solid reputation, and a devoted owner base. Read on to find out more about ARPEGE 30 (DUFOUR) and decide if it is a fit for your boating needs.

Boat Information

Boat specifications, sail boat calculation, rig and sail specs, auxillary power tank, contributions, who designed the arpege 30 (dufour).

ARPEGE 30 (DUFOUR) was designed by Michel Dufour.

Who builds ARPEGE 30 (DUFOUR)?

ARPEGE 30 (DUFOUR) is built by Dufour Yachts (FRA).

When was ARPEGE 30 (DUFOUR) first built?

ARPEGE 30 (DUFOUR) was first built in 1966.

How long is ARPEGE 30 (DUFOUR)?

ARPEGE 30 (DUFOUR) is 6.71 m in length.

What is mast height on ARPEGE 30 (DUFOUR)?

ARPEGE 30 (DUFOUR) has a mast height of 9.51 m.

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• Sailboat Guide

Dufour 29 is a 29 ′ 3 ″ / 8.9 m monohull sailboat designed by Michel Dufour and built by Dufour Yachts between 1975 and 1984.

Rig and Sails

Auxilary power, accomodations, calculations.

The theoretical maximum speed that a displacement hull can move efficiently through the water is determined by it's waterline length and displacement. It may be unable to reach this speed if the boat is underpowered or heavily loaded, though it may exceed this speed given enough power. Read more.

Classic hull speed formula:

Hull Speed = 1.34 x √LWL

Max Speed/Length ratio = 8.26 ÷ Displacement/Length ratio .311 Hull Speed = Max Speed/Length ratio x √LWL

Sail Area / Displacement Ratio

A measure of the power of the sails relative to the weight of the boat. The higher the number, the higher the performance, but the harder the boat will be to handle. This ratio is a "non-dimensional" value that facilitates comparisons between boats of different types and sizes. Read more.

SA/D = SA ÷ (D ÷ 64) 2/3

• SA : Sail area in square feet, derived by adding the mainsail area to 100% of the foretriangle area (the lateral area above the deck between the mast and the forestay).
• D : Displacement in pounds.

Ballast / Displacement Ratio

A measure of the stability of a boat's hull that suggests how well a monohull will stand up to its sails. The ballast displacement ratio indicates how much of the weight of a boat is placed for maximum stability against capsizing and is an indicator of stiffness and resistance to capsize.

Ballast / Displacement * 100

Displacement / Length Ratio

A measure of the weight of the boat relative to it's length at the waterline. The higher a boat’s D/L ratio, the more easily it will carry a load and the more comfortable its motion will be. The lower a boat's ratio is, the less power it takes to drive the boat to its nominal hull speed or beyond. Read more.

D/L = (D ÷ 2240) ÷ (0.01 x LWL)³

• D: Displacement of the boat in pounds.
• LWL: Waterline length in feet

Comfort Ratio

This ratio assess how quickly and abruptly a boat’s hull reacts to waves in a significant seaway, these being the elements of a boat’s motion most likely to cause seasickness. Read more.

Comfort ratio = D ÷ (.65 x (.7 LWL + .3 LOA) x Beam 1.33 )

• D: Displacement of the boat in pounds
• LOA: Length overall in feet
• Beam: Width of boat at the widest point in feet

Capsize Screening Formula

This formula attempts to indicate whether a given boat might be too wide and light to readily right itself after being overturned in extreme conditions. Read more.

CSV = Beam ÷ ³√(D / 64)

Most DUFOUR 29’s were exported to the US.

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• Description

Inextricably linked to all the most important historical and political events in Russia since the 13th century, the Kremlin (built between the 14th and 17th centuries by outstanding Russian and foreign architects) was the residence of the Great Prince and also a religious centre. At the foot of its ramparts, on Red Square, St Basil's Basilica is one of the most beautiful Russian Orthodox monuments.

Description is available under license CC-BY-SA IGO 3.0

Le Kremlin et la place Rouge, Moscou

Indissolublement lié à tous les événements historiques et politiques les plus importants survenus en Russie depuis le XIII e siècle, le Kremlin a été construit entre le XIV e et le XVII e siècle par des architectes russes et étrangers exceptionnels. C'était la résidence du grand-prince ainsi qu'un centre religieux. Au pied de ses remparts, sur la place Rouge, s'élève la basilique Basile-le-Bienheureux, l'un des plus beaux monuments de l'art orthodoxe.

الكرملين والساحة الحمراء، موسكو

يرتبط الكرملين ارتباطاً وثيقاً بجميع الأحداث التاريخيّة والسياسيّة المهمّة التي توالت على روسيا منذ القرن الثالث عشر ولقد جرى تشييده بين القرنين الرابع والسابع عشر على يد مهندسين روس وأجانب استثنائيين. وكان الكرملين مقرّ الأمير الكبير كما كان مركزاً دينيّاً. عند أسفل أسواره في الساحة الحمراء شيدت بازيليك القديس بازيل وهي من أروع تحف الفنّ الأرثوذكسي.

source: UNESCO/CPE Description is available under license CC-BY-SA IGO 3.0

莫斯科克里姆林宫和红场

由俄罗斯和外国建筑家于14世纪至17世纪共同修建的克里姆林宫，作为沙皇的住宅和宗教中心，与13世纪以来俄罗斯所有最重要的历史事件和政治事件密不可分。在红场上防御城墙的脚下坐落的圣瓦西里教堂是俄罗斯传统艺术最漂亮的代表作之一。

El kremlin y la Plaza Roja de Moscú

Indisolublemente vinculado a los más trascendentales acontecimientos históricos y políticos de Rusia desde el siglo XIII, el kremlin de Moscú fue construido entre los siglos XIV y XVII por toda una serie de excelentes arquitectos rusos y extranjeros. Además de ser la residencia del Gran Príncipe, fue un importante centro religioso. Al pie de sus murallas, en la Plaza Roja, se alza la basílica de San Basilio el Bienaventurado, uno de los más hermosos monumentos de arte ortodoxo.

モスクワのクレムリンと赤の広場

source: NFUAJ

Kremlin en Rode Plein, Moskou

Het Kremlin is onlosmakelijk verbonden met alle belangrijke historische en politieke gebeurtenissen in Rusland sinds de 13e eeuw. Het werd door de Grote Prins Yuri van Kiev gesticht als residentie en religieus centrum. De bouw vond plaats tussen de 14e en 17e eeuw en het ontwerp was in handen van uitstekende Russische en buitenlandse architecten. Binnen de muren van het Kremlin vindt men een reeks meesterwerken qua architectuur, maar ook beeldende kunst en religieuze monumenten van uitzonderlijke schoonheid. Aan de voet van de stadsmuren, op het Rode Plein, bevindt zich een van de mooiste Russisch-orthodoxe monumenten, de Pokrovkathedraal ook wel Basiliuskathedraal genoemd.

Source: unesco.nl

Outstanding Universal Value

Brief synthesis

At the geographic and historic centre of Moscow, the Moscow Kremlin is the oldest part of the city. First mentioned in the Hypatian Chronicle in 1147 as a fortification erected on the left bank of the Moskva river by Yuri Dolgoruki, Prince of Suzdal, the Kremlin developed and grew with settlements and suburbs which were further surrounded by new fortifications - Kitaigorodsky Wall, Bely Gorod, Zemlyanoy Gorod and others. This determined a radial and circular plan of the centre of Moscow typical of many other Old Russian cities.

In 13th century the Kremlin was the official residence of supreme power - the center of temporal and spiritual life of the state. The Kremlin of the late 15th – early 16th century is one of the major fortifications of Europe (the stone walls and towers of present day were erected in 1485–1516). It contains an ensemble of monuments of outstanding quality.

The most significant churches of the Moscow Kremlin are situated on the Cathedral Square; they are the Cathedral of the Dormition, Church of the Archangel, Church of the Annunciation and the bell tower of Ivan Veliki. Almost all of them were designed by invited Italian architects which is clearly seen in their architectural style. The five-domed Assumption Cathedral (1475–1479) was built by an Italian architect Aristotele Fiorvanti. Its interior is decorated with frescos and a five-tier iconostasis (15th–17th century). The cathedral became the major Russian Orthodox church; a wedding and coronation place for great princes, tsars and emperors as well as the shrine for metropolitans and patriarchs.

In the same square another Italian architect, Alevisio Novi, erected the five-domed Church of the Archangel in 1505-1508. From the 17th to 19th century, its interior was decorated by wonderful frescos and an iconostasis. In this church many great princes and tsars of Moscow are buried. Among them are Ivan I Kalita, Dmitri Donskoi, Ivan III, Ivan IV the Terrible, Mikhail Fedorovich and Alexei Mikhailovich Romanovs.

The Cathedral of the Dormition was built by Pskov architects in 1484–1489. Inside the cathedral some mural paintings of 16th–19th century have been preserved and the icons of Andrei Rublev and Theophanes the Greek are part of the iconostasis.

In 1505-1508 the bell tower of Ivan Veliki was built. Being 82 metres high it was the highest building in Russia which became the focal point of the Kremlin ensemble.

Among the oldest civil buildings of the Moscow Kremlin, the Palace of the Facets (1487–1491) is the most remarkable. Italian architects Marco Fryazin and Pietro Antonio Solario built it as a great hall for holding state ceremonies, celebrations and for receiving foreign ambassadors. The most noteworthy civil construction of the 17th century built by Russian masters is the Teremnoi Palace.

From the early 18th century, when the capital of Russia moved to St. Petersburg, the Kremlin mainly played a ceremonial role with religious functions. By the end of the century the architectural complex of the Kremlin expanded with the Arsenal reconstructed after the Fire of 1797 by Matvei Kazakov. The Senate was built in 1776–1787 according to the plans of the same architect as the home of the highest agency of State power of the Russian Empire - the Ruling Senate. Today it is the residence of the President of Russia.

From 1839 to 1849 a Russian architect K.A. Thon erected the Great Kremlin Palace as a residence of the imperial family which combined ancient Kremlin buildings such as the Palace of the Facets, the Tsarina’s Golden Chamber, Master Chambers, the Teremnoi Palace and the Teremnoi churches. In the Armory Chamber built by K.A. Thon within the complex of the Great Kremlin Palace, there is a 16th century museum officially established by the order of Alexander I in 1806.

Red Square, closely associated with the Kremlin, lies beneath its east wall. At its south end is the famous Pokrovski Cathedral (Cathedral of St Basil the Blessed), one of the most beautiful monuments of Old Russian church architecture, erected in 1555–1560 to commemorate the victory of Ivan the Terrible over the Kazan Khanate. In the 17th century the cathedral gained its up-to-date appearance thanks to the decorative finishing of the domes and painting both inside and outside the cathedral. The construction of Red Square was finished by the late 19th century together with the erection of the Imperial Historic Museum (today the State Historical Museum), the Upper Trading Rows (GUM) and the Middle Trading Rows. In 1929, , Lenin’s Mausoleum, designed by A.V. Shchusev and an outstanding example of the Soviet monumental architecture, was finished.

Criterion (i) : The Kremlin contains within its walls a unique series of masterpieces of architecture and the plastic arts. There are religious monuments of exceptional beauty such as the Church of the Annunciation, the Cathedral of the Dormition, the Church of the Archangel and the bell tower of Ivan Veliki; there are palaces such as the Great Palace of the Kremlin, which comprises within its walls the Church of the Nativity of the Virgin and the Teremnoi Palace. On Red Square is Saint Basil the Blessed, still a major edifice of Russian Orthodox art.

Criterion (ii) : Throughout its history, Russian architecture has clearly been affected many times by influences emanating from the Kremlin. A particular example was the Italian Renaissance. The influence of the style was clearly felt when Rudolfo Aristotele Fioravanti built the Cathedral of the Dormition (1475-79) and grew stronger with the construction of the Granovitaya Palace (Hall of the Facets, 1487-91) by Marco Fryazin and Pietro Antonio Solario. Italian Renaissance also influenced the towers of the fortified enceinte, built during the same period by Solario, using principles established by Milanese engineers (the Nikolskaya and the Spasskaya Towers both date from 1491). The Renaissance expression was even more present in the classic capitals and shells of the Church of the Archangel, reconstructed from 1505 to 1509 by Alevisio Novi.

Criterion (iv) : With its triangular enceinte pierced by four gates and reinforced with 20 towers, the Moscow Kremlin preserves the memory of the wooden fortifications erected by Yuri Dolgoruki around 1156 on the hill at the confluence of the Moskova and Neglinnaya rivers (the Alexander Garden now covers the latter). By its layout and its history of transformations (in the 14th century Dimitri Donskoi had an enceinte of logs built, then the first stone wall), the Moscow Kremlin is the prototype of a Kremlin - the citadel at the centre of Old Russian towns such as Pskov, Tula, Kazan or Smolensk.

Criterion (vi) : From the 13th century to the founding of St Petersburg, the Moscow Kremlin was directly and tangibly associated with every major event in Russian history. A 200-year period of obscurity ended in 1918 when it became the seat of government again. The Mausoleum of Lenin on Red Square is the Soviet Union’s prime example of symbolic monumental architecture. To proclaim the universal significance of the Russian revolution, the funerary urns of heroes of the revolution were incorporated into the Kremlin’s walls between the Nikolskaya and Spasskaya towers. The site thus combines in an exceptional manner the preserved vestiges of bygone days with present-day signs of one of the greatest events in modern history.

From the date of including the Moscow Kremlin and Red Square on the World Heritage List all the components representing the Outstanding Universal Value of the property are within its boundaries. The territory and the integrity of the World Heritage property have also remained unchanged. Within its boundaries the property still comprises all the elements that it contained at the date of nomination. The biggest threat, however, is unregulated commercial development of the adjacent areas.

Authenticity

The history of the Moscow Kremlin and Red Square is reflected in the archival documents of 12th–19th century, for example in medieval chronicles, cadastral surveys, estimated construction books, painted lists, inventories, foreign notes and in graphic matters such as manuscripts, chronicles, plans, drafts, engravings, lithographs, sketches of foreign travelers, paintings and photographs. These documents are exceptionally valuable information sources. Comparison of the data received from archival documents and those obtained in the process of field study gives the idea of authenticity of  the property and its different elements. This comparison also serves as the basis for project development and for the choice of the appropriate methods of restoration that may preserve the monuments’ authenticity.

On the border of the ensemble a number of monuments destroyed in the 1930s were reconstructed according to measured plans.

Protection and management requirements

The statutory and institutional framework of an effective protection, management and improvement of the World Heritage property “Kremlin and Red Square, Moscow” has been established by laws and regulations of the Russian Federation and the city of Moscow.

According to the decree of the President of RSFSR of 18 December 1991 № 294, the Moscow Kremlin was included among especially protected cultural properties of nations of Russia - the highest conservation status for cultural and historical monuments in Russian legislation.

“Kremlin and Red Square, Moscow” is a Cultural Heritage Site of federal importance. State protection and management of federal sites is provided by Federal Law of 25.06.2002 № 73-FZ “On cultural heritage sites (historical and cultural monuments) of nations of the Russian Federation”. The federal executive body responsible for protection of the cultural property is the Department for Control, Supervision and Licensing in the Cultural Heritage Sphere of the Ministry of Culture of the Russian Federation.It is in charge of all methodological and control functions concerning restoration, usage and support of cultural heritage sites and the territories connected.

The World Heritage property is situated in the urban environment of Moscow. The city policy regarding cultural heritage protection and town-planning regulation is the responsibility of Moscow City Government, represented by the Department of Cultural Heritage, the Department of Urban Development and the Committee for Urban Development and Architecture of Moscow. In 1997 the boundaries of the protective (buffer) zone were approved in order to preserve the property, and to maintain and restore the historical architectural environment as well as the integral visual perception of the property.. There is a need to ensure the creation of an appropriate buffer zone and to develop close liaison between all stakeholders, including the Moscow City authorities, to ensure that constructions around the property do not impact adversely on its Outstanding Universal Value.

The World Heritage property is used by the following organizations: FGBUK (Federal Government Budgetary Institution of Culture), the State Historical and Cultural Museum-preserve “The Moscow Kremlin”, the Administrative Department of the President of the Russian Federation, the Federal Guard Service of the Russian Federation and OJSC “GUM Department Store”.

• Official site of 'The Moscow Kremlin' State Historical and Cultural Museum and Heritage Site
• Moscow Kremlin Museums Telegram Group (in Russian only)
• Moscow Kremlin Museums VKontakte Page (in Russian only)
• Moscow Kremlin Museums Dzen Page (in Russian only)
• State Historical Museum VKontakte Group (in Russian only)
• Msk Guide Page (in Russian only)
• Official site of the State Department Store
• State Historical Museum (in Russian only)

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FEIG ELECTRONIC: Moscow-City Skyscrapers Streamline Parking Access and Control with Secure RFID

Feig electronic partners with isbc group to deploy ucode dna rfid security and parking access control solution in moscow business district.

Weilburg, Germany  — December 3,  2019  —  FEIG ELECTRONIC , a leading global supplier of radio frequency identification (RFID) readers and antennas with fifty years of industry experience, announces deployment of the UCODE DNA RFID security and parking contactless identification solution in the Moscow International Business Center, known as Moscow-City, one of the world’s largest business district projects.

The management of Moscow-City not only selected long-range, passive UHF RFID to implement in its controlled parking areas, it also chose to implement UCODE DNA , the highest form of secure RAIN RFID technology, developed by NXP Semiconductors.

Panoramic view of Moscow city and Moskva River at sunset. New modern futuristic skyscrapers of Moscow-City – International Business Center, toned

“Underscoring NXP’s innovation and leadership in developing advanced RAIN RFID technologies, our UCODE DNA was chosen to be incorporated with the FEIG and ISBC implementation of the contactless identification system in the prestigious Moscow-City,” said Mahdi Mekic, marketing director for RAIN RFID with NXP Semiconductors. “This exciting project represents yet another successful deployment of NXP’s contactless portfolio, and showcases our continued ability to meet the high-security requirements of highly demanding applications without compromising user convenience.”

“UCODE DNA is considered the only identification technology to match the physical protection of a barrier with the cybersecurity necessary to truly protect entrances from unauthorized access,” said Manuel Haertlé, senior product manager for FEIG Electronic. “As a respected contactless payment technology company, FEIG applies security know-how from its payment terminals, which are fully certified according to the latest high-class security standards, into our RFID systems. FEIG vehicle access control RFID readers incorporate advanced secure key storage elements, supporting various methods for secure key injection.”

FEIG’s partner ISBC Group provided the knowledge and support for this successful implementation using  FEIG’s long-range UHF RFID . The resulting system enables authorized vehicle entry into areas reserved for private residential use or corporate tenants, while also allowing availability of temporary, fee-based visitor parking. Thanks to the cryptographic authentication of UCODE DNA, both the tag and reader must go through an authentication procedure before the reader will validate the data from the tag, which is transmitted wirelessly. This level of authentication is typically used in the most secure data communication networks.

“The system’s two-step authentication means that only authorized equipment can handle the secure protocol and the data exchange with the UCODE DNA based tag. Without the required cryptographic secrets, other readers would query the tag in vain, because the tag’s response cannot be interpreted or understood,” said Andrey Krasovskiy, director of the RFID department at ISBC Group. “On top of this, each data exchange in the authentication process is unique, so even if a malicious actor were to intercept the communication, the transmission is only good for a single exchange and the tag’s unique identity is protected from cloning.”

Established in 1992 and still growing, Moscow-City is the revitalization and transformation of an industrial riverfront into a new, modern, vibrant and upscale business and residential district. A mix of residential, hotel, office, retail and entertainment facilities, it is located about four kilometers west of Red Square along the Moscow River. Twelve of the twenty-three planned facilities have already been completed, with seven currently under construction. Six skyscrapers in Moscow-City reach a height of at least 300 meters, including Europe’s tallest building, Federation Tower, which rises more than 100 stories.

Partnering with ISBC and deploying FEIG Electronic RFID solutions, the Moscow International Business Center is delivering security and access control to its city center today, as it grows into the city of tomorrow.

About FEIG ELECTRONIC

FEIG ELECTRONIC GmbH, a leading global supplier of RFID readers and antennas is one of the few suppliers worldwide offering RFID readers and antennas for all standard operating frequencies: LF (125 kHz), HF (13.56 MHz), UHF (860-960 MHz). A trusted pioneer in RFID with more than 50 years of industry experience, FEIG ELECTRONIC delivers unrivaled data collection, authentication, and identification solutions, as well as secure contactless payment systems. Readers from FEIG ELECTRONIC, which are available for plug-in, desktop, and handheld applications, support next-generation contactless credit cards, debit cards, smart cards, NFC and access control credentials to enable fast, accurate, reliable and secure transactions. For more information, visit:  www.feig.de/en

Founded in Moscow in 2002, ISBC Group provides knowledge and support to integrators for their successful implementation of RFID and smart card-based solutions. The company specializes in the distribution of smart card equipment, contact and contactless card manufacturing, smart card and RFID personalization services, and information security.  Its Research and Design Center is focused specifically on RFID, primarily HF and UHF solutions with NXP tags, and software development for the smart card industry. For more information visit:  https://isbc-cards.com/

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A. Piazzolla. Libertango Moscow City Symphony – Russian Philharmonic Moscow City Symphony – Russian Philharmonic

A. Piazzolla. Libertango

So it is probably true that my thoughts do very much influence how I feel and act. I am going to try to reflect about this a bit more. Yes, I think, it is true, I mostly let my thinking determine my feelings and how I act.

I hope I can soon write about this a bit more.

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• MICK GORDON; THEATRE AND THE MIND
• Tango Music

Published by auntyuta

Auntie, Sister. Grandmother, Great-Grandmother, Mother and Wife of German Descent I've lived in Australia since 1959 together with my husband Peter. We have four children, eight grandchildren and two great-grandchildren. I started blogging because I wanted to publish some of my childhood memories. I am blogging now also some of my other memories. I like to publish some photos too as well as a little bit of a diary from the present time. Occasionally I publish a story with a bit of fiction in it. Peter, my husband, is publishing some of his stories under berlioz1935.wordpress.com View all posts by auntyuta

8 thoughts on “ A. Piazzolla. Libertango Moscow City Symphony – Russian Philharmonic Moscow City Symphony – Russian Philharmonic ”

This is another Tango that I think is very beautiful. 🙂

Bravo Bravo Bravo, excellent examples of the Beautiful Tango. Thanks for sharing the links which led me to other Beautiful examples of Argentinian Tango.

For info Uta, the Milongo

Thanks, Ian, for the link. I like watching these videos. Our two little great-grandsons had a lovely Easter-Egg Hunt yesterday. Lucas called our backyard a “forest”. Happy Easter greetings to you and Ana from Uta and Peter. 🙂

Herrlich, ganz fantastisch! Happy Easter! 🙂

Thank you, Dina. Happy Easter to the 4 of you! 🙂

Liebe Gislinde, ich danke dir herzlichst. Ich wünsche dir und deiner Familie auch recht Frohe Ostern! 🙂

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Columbia University in the City of New York

Miriam and ira d. wallach art gallery.

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Moscow: City, Spectacle, Capital of Photography

April 30–june 21, 2003.

Moscow: City, Spectacle, Capital of Photography , an exhibition of 20th-century photographs of Moscow, opens at Columbia University's Miriam and Ira D. Wallach Art Gallery on Wednesday, April 30, 2003 and remains on display through Saturday, June 21, 2003.

Moscow has been a powerful magnet for many Russian photographers of the 20th century. Moscow: City, Spectacle, Capital of Photography presents the work of 31 photographers, whose images have defined the visual experience of Moscow from the 1920s to the present. Diverse in form and strategy, the 90 photographs chosen for the exhibition trace the history of Russian documentary photography and offer insight into individual practices. From Aleksandr Rodchenko's constructivist visions and Evgenii Khaldei's humanist landscapes to Igor Moukhin's scenes of urban spectacle and alienation in the works of Russia's key 20th-century photographers, Moscow ventures beyond the expected image as a site of famous landmarks, architectural treasures and dramatic lifestyles.

Early 20th-century photographers Boris Ignatovich and Arkadii Shaikhet saw themselves in the vanguard of an emerging mass-media culture, defining with their cameras the visual experience of Soviet modernity. For nearly 70 years, Soviet photography was assigned the duty of maintaining the ideological rigidity of the Soviet State. Yet, as examples of the work of Iakov Khalip, Anatolii Egorov, Mikhail Savin, and Mark Markov-Grinberg show, Soviet photographic practices were much more complex than has been previously acknowledged. The works of these photographers remain intensely compelling to a modernist eye.

Contemporary Russian photographers, such as Lev Melikhov, Valerii Stigneev and Sergei Leontiev, engage with the legacy of the Soviet documentary photography. But for them the documentary is a complex and multivalent genre, which incorporates subjectivity, ambiguity and reflexivity and comments on social and cultural issues without losing sight of the position from which that commentary is made. In the recent photographs by Vladimir Kupriyanov, Igor Moukhin, Anna Gorunova and Pakito Infante, the "real" space of Moscow is replaced by an imaginary and optical spaces of virtuality.

The works in the exhibition are on loan from Moscow's Cultural Center Dom, and many are being shown outside Russia for the first time. In conjunction with the exhibition, the Wallach Art Gallery is publishing an illustrated catalogue with a scholarly essay by the exhibition curator, Nadia Michoustina, a Ph.D. candidate in Columbia University's Department of Slavic Languages. The essay presents a nuanced history of Russian photography of the 20th century, and contributes to an interpretation of extraordinary images.