kei marimura Un Official Fan Site Tribute

kei marimura : This Is An Un Official Fan Site Tribute
kei marimura
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Kei Marimura (Japanese: ?????, Hepburn: Marimura Kei) is a Japanese Jazz singer, actress, author, gravure model and AV actress. Contents 1 Life and career 2 Discography 2.1 Album 3 Filmography 3.1 Movies 3.2 V-Cinema 3.3 Gravure Video 3.4 Adult Video 3.5 Web Series 4 Television 5 Radio 6 Bibliography 6.1 Photo Books 7 References 8 External links Life and career Kei Marimura was born on August 29, 1957 in Chiyoda ward, Tokyo. Graduated from the Shoei Joshi Gakuin Junior and Senior High School, she made her debut as jazz singer in 1982 through the Toho College of Music.
She also worked as an actress, appearing in many movies, TV-dramas and V-Cinema releases. In 2009, at 52, she made her debut as AV actress with the label Alice Japan.[3] In 2011 she released her first novel, Intimacy (???????).[4] Discography Album Elegance (1982, Disco-Mate, DSP-4006) Mood Indigo (1982, Disco-Mate, DSP-4007) The man I love (1983, Disco-Mate, DSP-5118) P.S. I Love you (1983, Teichiku / Continental, DSP-5120) Beautiful Dreamer (live, 1984, Disco-Mate, DSP-5121) Tiempo de Amor (1985, Continental, CI-40) La Califusa (1986, Continental, CI-41) Nouveau (1991, Teichiku, TECN-28082) Mucho Mucho (1992,Teichiku, TECN-30194) ??????·??? (Best of, 2010, Teichiku, TECN-30211/2) Filmography Movies Mysterious Country Japan (???????, 1982) Yasha (??, 1985) The most dangerous criminal (??????????, 1989) Death Subeshi beast (??????, 1997)

Moonlight Whispers (?????, 1998) Girl came from the sea – Mermaid (?????~???????, 2001), also written and directed Midday Flowers (????, 2005), singing V-Cinema Only evil (????, 1990) Symphony of the sensual wife Karuizawa (????? ??????, 1996) XX: Beautiful Prey (XX ?????, 1996) Women (id., 1997) Another XX (????XX, 1998) Ecstasy (??????, 2001) Red Spider (???, 2004) Gravure Video Shangai Rapsodhy (Bauhaus, 2002) Aventure (2004) Adult Video Jyoji (September 25, 2009, Alice JAPAN) Jyoji II (March 12, 2010, Alice JAPAN) Lady Stockings (November 12, 2010, Alice JAPAN) Tokyo nightclub – Jyoji Beginning (November 11, 2011, Alice JAPAN) Web Series Easy seeing (I have seen!) (???(????!), 2011, DOUGA/Fuji TV) Television At night the mood (?????, 1982–1983) – Host We're funny family (??????????, 1982–1983) Our first experience of wives (???????, 1986) Metropolitan at 25 (???25?, 1987) Tetsuko Room (?????, 1987) One photograph (?????, 1991) Autumn murderer (?????, 1995) Good Luck (??????, 1996) Witch legend (????, 2003) Stay at the countryside! (???????!, 2008) BS-TBS Imperial Jazz 2009 (2009) Radio Jazz Monthly wide (???????????, TBS Radio) I Love NY Bibliography Intimacy (???????, 2011, Tokuma Shoten The Gothic rib vault was one of the essential elements that made possible the great height and large windows of the Gothic style. Unlike the semi-circular barrel vault vault of Roman and Romanesque buildings, where the weight pressed directly downward, and required thick walls and small windows, the rib vault with pointed arches spread the weight downwards to columns and pillars, and outward to the walls, supported by buttresses. As a result, the massive thick walls of Romanesque buildings were no longer needed; since the weight of the vaults was supported by the pillars and the buttresses, the walls could be thinner and higher, and filled with windows.[63][17][64] Gothic builders made vaults divided into compartments by a diagonal crossing of thin stone ribs (ogives), and completed by two additional arcs perpendicular and parallel to the nave (doubleaux and formerets). They also made innovative use of the broken arch or pointed arch. These ribs divided the early vaults into six compartments, each as wide as two traverses of the nave. [63][17][64] The earlier Gothic rib vaults, used at Sens Cathedral (begun between 1135-40) and Notre-Dame de Paris (begun 1163), were divided by the ribs into six compartments. They were very difficult to build, and could only cross a limited space. Since each vault covered two bays, they needed support on the ground floor from alternating columns and pillars. In later construction, the design was simplified, and the rib vaults had only four compartments. The alternating rows of alternating columns and pillars receiving the weight of the vaults was replaced by simple pillars, each receiving the same weight. A single vault could cross the nave. This method was used at Chartres Cathedral (1194-1220), Amiens Cathedral (begun 1220), and Reims Cathedral. [65] The four-part vaults made it possible for the building to be yet higher. Notre-Dame de Paris, begun in 1163 with six-part vaults, reached a height of 35 meters, remarkable for the time. Amiens Cathedral, begun in 1220 with the newer four-part ribs, reached the height of 42.30 meters (138.8 feet) at the transept.[63][66] Early six-part rib vaults in Sens Cathedral (1135-1164) Stronger four-part rib vaults in nave of Reims Cathedral (1211-1275) Structure of an early six-part Gothic rib vault. (Drawing by Eugene Viollet-le-Duc) Rib vaults of choir of Canterbury Cathedral Flying buttresses Main article: Flying buttress An important feature of Gothic architecture was the flying buttress, a half-arch outside the building which carried the thrust of weight of the roof or vaults inside over a roof or an aisle to a heavy stone column. The buttresses were placed in rows on either side of the building, and were often topped by heavy stone pinnacles, both to give extra weight and for additional decoration. [67] Buttresses had existed since Roman times, usually set directly against the building, but the Gothic vaults were more sophisticated. In later structures, the buttresses often had several arches, each reaching in to a different level of the structure. The buttresses permitted the buildings to be both taller, and to have thinner walls, with greater space for windows.[68] Over time, the buttresses and pinnacles became more elaborate supporting statues and other decoration, as at Beauvais Cathedral and Rheims Cathedral. The arches had an additional practical purpose; they contained lead channels which carried rainwater off the roof; it was expelled from the mouths of stone gargoyles placed in rows on the buttresses.[69] Flying buttresses were used less frequently in England, where the emphasis was more on length than height. One notable example of English buttresses was Canterbury Cathedral, whose choir and buttresses were rebuilt in Gothic style by William of Sens and William the Englishman.[70] However, they were very popular in Germany: in Cologne Cathedral the buttresses were lavishly decorated with statuary and other ornament, and were a prominent feature of the exterior. Canterbury Cathedral with simple wall buttresses and flying buttresses (rebuilt into Gothic 1174-1177) East end of Lincoln Cathedral, with wall buttress, and chapter house with flying buttresses.(1185-1311) Flying buttresses of Notre Dame de Paris (c. 1230) Buttresses of Amiens Cathedral with pinnacles to give them added weight (1220-1266) Section of Reims Cathedral showing the three levels of each buttress (1211-1275) Decorated buttresses of Cologne Cathedral (1248-1573) Laon Cathedral, with early Gothic towers modelled after the Basilica of Saint-Denis Rouen Cathedral from the south west – façade towers 12th-15th century, the flamboyant tower to 15th century, spire rebuilt in 16th century Towers and spires See also: Steeple and Spire Towers and spires were a common feature of Gothic buildings. They presented a dramatic spectacle of great height, could be tallest and most visible buildings in their city, and symbolised the aspirations of their builders toward heaven.[71] They also had a practical purpose; they often served as belfries, whose bells told the time, announced religious services, and celebrated special occasions, such as military victories and coronations. Sometimes the bell tower is build separate from a church; the best-known example of this is the Leaning Tower of Pisa.[71] The towers, following the Romanesque tradition, were usually placed on the west front of the church. In Norman churches, towers were also sometimes placed over the nave, at the meeting point with the transept. Cathedrals and major churches in Normandy, often had multiple towers, built over the centuries; the Abbey of Saint-Étienne, Caen has nine towers and spires. Smaller churches, across Europe usually had a single tower on the west end. The west front of Saint-Denis, with two towers of equal height on the west front, became the model for the early Gothic cathedrals in northern France, including Notre-Dame de Paris, and Laon Cathedral, Rheims Cathedral, and Amiens Cathedral.[72] In addition to the main towers, some churches also had flèches, tall, needle-like towers, sometimes made of wood covered by lead and other metal, often with open frames. These were usually located where the transept crossed the nave. The most famous example was that of Notre-Dame de Paris. The original flèche of Notre-Dame was built on the crossing of the transept in the middle of the 13th century, and housed five bells. It was removed in 1786 during a program to modernise the cathedral, but was put back in an original form designed by Eugène Viollet-le-Duc. The new flèche, of wood covered with lead, was decorated with statues of the Apostles; the figure of St Thomas resembled Viollet-le-Duc.[73] The flèche was destroyed in the 2019 fire, but is being restored as of 2020. Since large churches often were built over the course of several centuries, they illustrate the changing ideals of Gothic architecture. At Chartres Cathedral, the south tower was built in the 12th century, in the simpler Early Gothic, while the north tower is the more highly decorated flamboyant style. Chartres would have been even more exuberant if the second plan had been followed; it called for seven towers around the transept and sanctuary.[74] At Rouen Cathedral, two twelfth century towers flank a high tower in the Norman style tower capped by a very ornate flamboyant Gothic spire.[15] Openwork spires of stone, sometimes of great height, were popular in the Flamboyant style, occurring singly at Strasbourg Cathedral, Burgos Cathedral, Freiburg Minster, Vienna Cathedral; and also at Cologne Cathedral

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