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The Karl G. Jansky Very Large Array (VLA), a component of the National Radio Astronomy Observatory (NRAO), in Socorro County, New Mexico. The VLA was completed in 1980. In 2011, a major upgrade of the 1970s era electronics was completed increasing the capabilities of the VLA. The site was renamed the "Karl G. Jansky Very Large Array" in 2012.
The astronomical radio observatory consists of 27 radio antennas in a Y-shaped array. Each antenna is 82 ft (25 m) in diameter. The massive telescopes can be moved by railroad tracks to one of four configurations for studies.
Picture taken 1983 - digitally captured from paper print
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The orangutans (also spelled orang-utan, orangutang, or orang-utang) are the two exclusively Asian species of extant great apes. Native to Indonesia and Malaysia, orangutans are currently found in only the rainforests of Borneo and Sumatra. Classified in the genus Pongo, orangutans were considered to be one species. Since 1996, they have been divided into two species: the Bornean orangutan (P. pygmaeus) and the Sumatran orangutan (P. abelii). In addition, the Bornean species is divided into three subspecies.
Based on genome sequencing, the two extant orangutan species evidently diverged around 400,000 years ago. The orangutans are also the only surviving species of the subfamily Ponginae, which also included several other species, such as the three extinct species of the genus Gigantopithecus, including the largest known primate Gigantopithecus blacki. The ancestors of the Ponginae subfamily split from the main ape line in Africa 16 to 19 million years ago (mya) and spread into Asia.
Orangutans are the most arboreal of the great apes and spend most of their time in trees. Their hair is typically reddish-brown, instead of the brown or black hair typical of chimpanzees and gorillas. Males and females differ in size and appearance. Dominant adult males have distinctive cheek pads and produce long calls that attract females and intimidate rivals. Younger males do not have these characteristics and resemble adult females. Orangutans are the most solitary of the great apes, with social bonds occurring primarily between mothers and their dependent offspring, who stay together for the first two years. Fruit is the most important component of an orangutan's diet; however, the apes will also eat vegetation, bark, honey, insects and even bird eggs. They can live over 30 years in both the wild and captivity.
Orangutans are among the most intelligent primates; they use a variety of sophisticated tools and construct elaborate sleeping nests each night from branches and foliage. The apes have been extensively studied for their learning abilities. There may even be distinctive cultures within populations. Field studies of the apes were pioneered by primatologist Birutė Galdikas. Both orangutan species are considered to be endangered, with the Sumatran orangutan being critically endangered. Human activities have caused severe declines in the populations and ranges of both species. Threats to wild orangutan populations include poaching, habitat destruction, and the illegal pet trade. Several conservation and rehabilitation organisations are dedicated to the survival of orangutans in the wild.
ETYMOLOGY
The name "orangutan" (also written orang-utan, orang utan, orangutang, and ourang-outang) is derived from the Malay and Indonesian words orang meaning "person" and hutan meaning "forest", thus "person of the forest". Orang Hutan was originally not used to refer to apes, but to forest-dwelling humans.
The Malay words used to refer specifically to the ape are maias and mawas, but it is unclear if those words refer to just orangutans, or to all apes in general. The first attestation of the word to name the Asian ape is in Dutch physician Jacobus Bontius' 1631 Historiae naturalis et medicae Indiae orientalis – he reported that Malays had informed him the ape was able to talk, but preferred not to "lest he be compelled to labour". The word appeared in several German-language descriptions of Indonesian zoology in the 17th century. The likely origin of the word comes specifically from the Banjarese variety of Malay.
Cribb et al. (2014) suggest that Bontius' account referred not to apes (which were not known from Java) but rather to humans suffering some serious medical condition (most likely endemic cretinism) and that his use of the word was misunderstood by Nicolaes Tulp, who was the first to use the term in a publication.
The word was first attested in English in 1691 in the form orang-outang, and variants with -ng instead of -n as in the Malay original are found in many languages. This spelling (and pronunciation) has remained in use in English up to the present, but has come to be regarded as incorrect. The loss of "h" in Utan and the shift from n to -ng has been taken to suggest that the term entered English through Portuguese. In 1869, British naturalist Alfred Russel Wallace, co-creator of modern evolutionary theory, published his account of Malaysia's wildlife: The Malay Archipelago: The Land of the Orang-Utan and the Bird of Paradise.
The name of the genus, Pongo, comes from a 16th-century account by Andrew Battell, an English sailor held prisoner by the Portuguese in Angola, which describes two anthropoid "monsters" named Pongo and Engeco. He is now believed to have been describing gorillas, but in the 18th century, the terms orangutan and pongo were used for all great apes. Lacépède used the term Pongo for the genus following the German botanist Friedrich von Wurmb who sent a skeleton from the Indies to Europe.
TAXONOMY, PHYLOGENY AND GENETICS
The two orangutan species are the only extant members of the subfamily Ponginae. This subfamily also included the extinct genera Lufengpithecus, which lived in southern China and Thailand 2–8 mya, and Sivapithecus, which lived India and Pakistan from 12.5 mya until 8.5 mya. These apes likely lived in drier and cooler environments than orangutans do today. Khoratpithecus piriyai, which lived in Thailand 5–7 mya, is believed to have been the closest known relative of the orangutans. The largest known primate, Gigantopithecus, was also a member of Ponginae and lived in China, India and Vietnam from 5 mya to 100,000 years ago.
Within apes (superfamily Hominoidea), the gibbons diverged during the early Miocene (between 19.7 and 24.1 mya, according to molecular evidence) and the orangutans split from the African great ape lineage between 15.7 and 19.3 mya.
HISTORY OF ORANGUTAN TAXONOMY
The orangutan was first described scientifically in the Systema Naturae of Linnaeus as Simia satyrus. The populations on the two islands were classified as subspecies until 1996, when they were elevated to full species status, and the three distinct populations on Borneo were elevated to subspecies. The population currently listed as P. p. wurmbii may be closer to the Sumatran orangutan than the other Bornean orangutan subspecies. If confirmed, abelii would be a subspecies of P. wurmbii (Tiedeman, 1808).
Regardless, the type locality of P. pygmaeus has not been established beyond doubts, and may be from the population currently listed as P. wurmbii (in which case P. wurmbii would be a junior synonym of P. pygmaeus, while one of the names currently considered a junior synonym of P. pygmaeus would take precedence for the northwest Bornean taxon). To further confuse, the name P. morio, as well as some suggested junior synonyms, may be junior synonyms of the P. pygmaeus subspecies, thus leaving the east Bornean populations unnamed.
In addition, some fossils described under the name P. hooijeri have been found in Vietnam, and multiple fossil subspecies have been described from several parts of southeastern Asia. It is unclear if these belong to P. pygmaeus or
P. abelii or, in fact, represent distinct species.
GENOMICS
The Sumatran orangutan genome was sequenced in January 2011. Following humans and chimpanzees, the Sumatran orangutan has become the third species of hominid to have its genome sequenced. Subsequently, the Bornean species would have its genome sequenced. Genetic diversity was found to be lower in Bornean orangutans (P. pygmaeus) than in Sumatran ones (P. abelii), despite the fact that Borneo is home to six or seven times as many orangutans as Sumatra.
The comparison has shown these two species diverged around 400,000 years ago, more recently than was previously thought. Also, the orangutan genome was found to have evolved much more slowly than chimpanzee and human DNA. Previously, the species was estimated to have diverged 2.9 to 4.9 mya. The researchers hope these data may help conservationists save the endangered ape, and also prove useful in further understanding of human genetic diseases.
Bornean orangutans have 48 diploid chromosomes.
ANATOMY AND PHYSIOLOGY
An orangutan has a large, bulky body, a thick neck, very long, strong arms, short, bowed legs, and no tail. It is mostly covered with long, reddish-brown hair and grey-black skin. Sumatran orangutans have more sparse and lighter-coloured coats. The orangutan has a large head with a prominent mouth area. Though largely hairless, their faces can develop some hair in males, giving them a moustache.
Adult males have large cheek flaps to show their dominance to other males. The cheek flaps are made mostly of fatty tissue and are supported by the musculature of the face. Mature males' throat pouches allow them to make loud calls. The species display significant sexual dimorphism; females typically stand 115 cm tall and weigh around 37 kg, while flanged adult males stand 136 cm tall and weigh 75 kg. A male orangutan has an arm span of about 2 m.
Orangutan hands are similar to human hands; they have four long fingers and an opposable thumb. However, the joint and tendon arrangement in the orangutans' hands produces two adaptations that are significant for arboreal locomotion. The resting configuration of the fingers is curved, creating a suspensory hook grip. Additionally, without the use of the thumb, the fingers and hands can grip tightly around objects with a small diameter by resting the tops of the fingers against the inside of the palm, creating a double-locked grip.
Their feet have four long toes and an opposable big toe. Orangutans can grasp things with both their hands and their feet. Their fingers and toes are curved, allowing them to get a better grip on branches. Since their hip joints have the same flexibility as their shoulder and arm joints, orangutans have less restriction in the movements of their legs than humans have. Unlike gorillas and chimpanzees, orangutans are not true knuckle-walkers, and are instead fist-walkers.
ECOLOGY AND BEHAVIOUR
Orangutans live in primary and old secondary forests, particularly dipterocarp forests and peat swamp forests. Both species can be found in mountainous and lowland swampy areas. Sumatran orangutans live at elevations as high as 1500 m, while Bornean orangutans live no higher than 1000 m. Other habitats used by orangutans include grasslands, cultivated fields, gardens, young secondary forest, and shallow lakes. Orangutans are the most arboreal of the great apes, spending nearly all their time in the trees.Most of the day is spent feeding, resting, and travelling. They start the day feeding for 2–3 hours in the morning. They rest during midday then travel in the late afternoon. When evening arrives, they begin to prepare their nests for the night. Orangutans do not swim, although they have been recorded wading in water. The main predators of orangutans are tigers. Other predators include clouded leopards, wild dogs and crocodiles. The absence of tigers on Borneo may explain why Bornean orangutans can be found on the ground more often than their Sumatran relatives.
DIET
Orangutans are opportunistic foragers, and their diets vary markedly from month to month. Fruit makes up 65–90% of the orangutan diet, and those with sugary or fatty pulp are favoured. Ficus fruits are commonly eaten and are easy to harvest and digest. Lowland dipterocarp forests are preferred by orangutans because of their plentiful fruit. Bornean orangutans consume at least 317 different food items that include young leaves, shoots, bark, insects, honey and bird eggs.
A decade-long study of urine and faecal samples at the Gunung Palung Orangutan Conservation Project in West Kalimantan has shown that orangutans give birth during and after the high fruit season (though not every year), during which they consume various abundant fruits, totalling up to 11,000 calories per day. In the low-fruit season, they eat whatever fruit is available in addition to tree bark and leaves, with daily intake at only 2,000 calories. Together with a long lactation period, orangutans also have a long birth interval.
Orangutans are thought to be the sole fruit disperser for some plant species including the climber species Strychnos ignatii which contains the toxic alkaloid strychnine. It does not appear to have any effect on orangutans except for excessive saliva production.
Geophagy, the practice of eating soil or rock, has been observed in orangutans. There are three main reasons for this dietary behaviour: for the addition of mineral nutrients to their diet; for the ingestion of clay minerals that can absorb toxic substances; or to treat a disorder such as diarrhoea. Orangutans also use plants of the genus Commelina as an anti-inflammatory balm.
SOCIAL LIFE
Orangutans live a more solitary lifestyle than the other great apes. Most social bonds occur between adult females and their dependent and weaned offspring. Adult males and independent adolescents of both sexes tend to live alone. Orangutan societies are made up of resident and transient individuals of both sexes. Resident females live with their offspring in defined home ranges that overlap with those of other adult females, which may be their immediate relatives. One to several resident female home ranges are encompassed within the home range of a resident male, who is their main mating partner.
Transient males and females move widely. Orangutans usually travel alone, but they may travel in small groups in their subadult years. However, this behaviour ends at adulthood. The social structure of the orangutan can be best described as solitary but social. Interactions between adult females range from friendly to avoidance to antagonistic. Resident males may have overlapping ranges and interactions between them tend to be hostile.
During dispersal, females tend to settle in home ranges that overlap with their mothers. However, they do not seem to have any special social bonds with them. Males disperse much farther from their mothers and enter into a transient phase. This phase lasts until a male can challenge and displace a dominant, resident male from his home range. Adult males dominate sub-adult males.
Both resident and transient orangutans aggregate on large fruiting trees to feed. The fruits tend to be abundant, so competition is low and individuals may engage in social interactions. Orangutans will also form travelling groups with members moving between different food sources. These groups tend to be made of only a few individuals. They also tend to be consortships between an adult male and female.
COMMUNICATION
Orangutans communicate with various sounds. Males will make long calls, both to attract females and advertise themselves to other males. Both sexes will try to intimidate conspecifics with a series of low guttural noises known collectively as the "rolling call". When annoyed, an orangutan will suck in air through pursed lips, making a kissing sound that is hence known as the "kiss squeak". Infants make soft hoots when distressed. Orangutans are also known to blow raspberries.
NESTING
Orangutans build nests specialized for both day or night use. These are carefully constructed; young orangutans learn from observing their mother's nest-building behaviour. In fact, nest-building is a leading cause in young orangutans leaving their mother for the first time. From six months of age onwards, orangutans practice nest-building and gain proficiency by the time they are three years old.
Construction of a night nest is done by following a sequence of steps. Initially, a suitable tree is located, orangutans being selective about sites though many tree species are used. The nest is then built by pulling together branches under them and joining them at a point. After the foundation has been built, the orangutan bends smaller, leafy branches onto the foundation; this serves the purpose of and is termed the "mattress". After this, orangutans stand and braid the tips of branches into the mattress. Doing this increases the stability of the nest and forms the final act of nest-building. In addition, orangutans may add additional features, such as "pillows", "blankets", "roofs" and "bunk-beds" to their nests.
REPRODUCTION AND PARENTING
Males mature at around 15 years of age, by which time they have fully descended testicles and can reproduce. However, they exhibit arrested development by not developing the distinctive cheek pads, pronounced throat pouches, long fur, or long-calls until they are between 15 and 20 years old. The development of these characteristics depends largely on the absence of a resident male.
Males without them are known as unflanged males in contrast to the more developed flanged males. The transformation from unflanged to flanged can occur very quickly. Unflanged and flanged males have two different mating strategies. Flanged males attract oestrous females with their characteristic long calls. Those calls may also suppress development in younger males. Unflanged males wander widely in search of oestrous females and upon finding one, will force copulation on her. While both strategies are successful, females prefer to mate with flanged males and seek their company for protection against unflanged males. Resident males may form consortships with females that can last days, weeks or months after copulation.
Female orangutans experience their first ovulatory cycle around 5.8–11.1 years. These occur earlier in females with more body fat. Like other great apes, female orangutans enter a period of infertility during adolescence which may last for 1–4 years. Female orangutans also have a 22– to 30-day menstrual cycle. Gestation lasts for 9 months, with females giving birth to their first offspring between the ages of 14 and 15 years.
Female orangutans have eight-year intervals between births, the longest interbirth intervals among the great apes. Unlike many other primates, male orangutans do not seem to practice infanticide. This may be because they cannot ensure they will sire a female's next offspring because she does not immediately begin ovulating again after her infant dies.
Male orangutans play almost no role in raising the young. Females do most of the caring and socializing of the young. A female often has an older offspring with her to help in socializing the infant. Infant orangutans are completely dependent on their mothers for the first two years of their lives. The mother will carry the infant during travelling, as well as feed it and sleep with it in the same night nest. For the first four months, the infant is carried on its belly and never relieves physical contact. In the following months, the time an infant spends with its mother decreases.
When an orangutan reaches the age of two, its climbing skills improve and it will travel through the canopy holding hands with other orangutans, a behaviour known as "buddy travel". Orangutans are juveniles from about two to five years of age and will start to temporarily move away from their mothers. Juveniles are usually weaned at about four years of age. Adolescent orangutans will socialize with their peers while still having contact with their mothers. Typically, orangutans live over 30 years in both the wild and captivity.
INTELLIGENCE
Orangutans are among the most intelligent primates. Experiments suggest they can figure out some invisible displacement problems with a representational strategy. In addition, Zoo Atlanta has a touch-screen computer where their two Sumatran orangutans play games. Scientists hope the data they collect will help researchers learn about socialising patterns, such as whether the apes learn behaviours through trial and error or by mimicry, and point to new conservation strategies.
A 2008 study of two orangutans at the Leipzig Zoo showed orangutans can use "calculated reciprocity", which involves weighing the costs and benefits of gift exchanges and keeping track of these over time. Orangutans are the first nonhuman species documented to do so. Orangutans are very technically adept nest builders, making a new nest each evening in only in 5 to 6 minutes and choosing branches which they know can support their body weight.
TOOL USE AND CULTURE
Tool use in orangutans was observed by primatologist Birutė Galdikas in ex-captive populations. In addition, evidence of sophisticated tool manufacture and use in the wild was reported from a population of orangutans in Suaq Balimbing (Pongo abelii) in 1996. These orangutans developed a tool kit for use in foraging that consisted of both insect-extraction tools for use in the hollows of trees and seed-extraction tools for harvesting seeds from hard-husked fruit. The orangutans adjusted their tools according to the nature of the task at hand, and preference was given to oral tool use. This preference was also found in an experimental study of captive orangutans (P. pygmaeus).
Primatologist Carel P. van Schaik and biological anthropologist Cheryl D. Knott further investigated tool use in different wild orangutan populations. They compared geographic variations in tool use related to the processing of Neesia fruit. The orangutans of Suaq Balimbing (P. abelii) were found to be avid users of insect and seed-extraction tools when compared to other wild orangutans. The scientists suggested these differences are cultural. The orangutans at Suaq Balimbing live in dense groups and are socially tolerant; this creates good conditions for social transmission. Further evidence that highly social orangutans are more likely to exhibit cultural behaviours came from a study of leaf-carrying behaviours of ex-captive orangutans that were being rehabilitated on the island of Kaja in Borneo.
Wild orangutans (P. pygmaeus wurmbii) in Tuanan, Borneo, were reported to use tools in acoustic communication. They use leaves to amplify the kiss squeak sounds they produce. The apes may employ this method of amplification to deceive the listener into believing they are larger animals.
In 2003, researchers from six different orangutan field sites who used the same behavioural coding scheme compared the behaviours of the animals from the different sites. They found the different orangutan populations behaved differently. The evidence suggested the differences were cultural: first, the extent of the differences increased with distance, suggesting cultural diffusion was occurring, and second, the size of the orangutans' cultural repertoire increased according to the amount of social contact present within the group. Social contact facilitates cultural transmission.
POSSIBLE LINGUISTIC CAPABILITIES
A study of orangutan symbolic capability was conducted from 1973 to 1975 by zoologist Gary L. Shapiro with Aazk, a juvenile female orangutan at the Fresno City Zoo (now Chaffee Zoo) in Fresno, California. The study employed the techniques of psychologist David Premack, who used plastic tokens to teach linguistic skills to the chimpanzee, Sarah. Shapiro continued to examine the linguistic and learning abilities of ex-captive orangutans in Tanjung Puting National Park, in Indonesian Borneo, between 1978 and 1980.
During that time, Shapiro instructed ex-captive orangutans in the acquisition and use of signs following the techniques of psychologists R. Allen Gardner and Beatrix Gardner, who taught the chimpanzee, Washoe, in the late 1960s. In the only signing study ever conducted in a great ape's natural environment, Shapiro home-reared Princess, a juvenile female, which learned nearly 40 signs (according to the criteria of sign acquisition used by psychologist Francine Patterson with Koko, the gorilla) and trained Rinnie, a free-ranging adult female orangutan, which learned nearly 30 signs over a two-year period. For his dissertation study, Shapiro examined the factors influencing sign learning by four juvenile orangutans over a 15-month period.
ORANGUTANS AND HUMANS
Orangutans were known to the native people of Sumatra and Borneo for millennia. While some communities hunted them for food and decoration, others placed taboos on such practices. In central Borneo, some traditional folk beliefs consider it bad luck to look in the face of an orangutan. Some folk tales involve orangutans mating with and kidnapping humans. There are even stories of hunters being seduced by female orangutans.
Europeans became aware of the existence of the orangutan possibly as early as the 17th century. European explorers in Borneo hunted them extensively during the 19th century. The first accurate description of orangutans was given by Dutch anatomist Petrus Camper, who observed the animals and dissected some specimens.
Little was known about their behaviour until the field studies of Birutė Galdikas, who became a leading authority on the apes. When she arrived in Borneo, Galdikas settled into a primitive bark and thatch hut, at a site she dubbed Camp Leakey, near the edge of the Java Sea. Despite numerous hardships, she remained there for over 30 years and became an outspoken advocate for orangutans and the preservation of their rainforest habitat, which is rapidly being devastated by loggers, palm oil plantations, gold miners, and unnatural forest fires.
Galdikas's conservation efforts have extended well beyond advocacy, largely focusing on rehabilitation of the many orphaned orangutans turned over to her for care. Galdikas is considered to be one of Leakey's Angels, along with Jane Goodall and Dian Fossey. According to the World Wildlife Fund, half of the habitat of the Bornean orangutan has been lost since 1994.
A persistent folktale on Sumatra and Borneo and in popular culture, is that male orangutans display sexual attraction to human women, and may even forcibly copulate with them. The only serious, but anecdotal, report of such an incident taking place, is primatologist Birutė Galdikas' report that her cook was sexually assaulted by a male orangutan. This orangutan, though, was raised in captivity and may have suffered from a skewed species identity, and forced copulation is a standard mating strategy for low-ranking male orangutans.
A female orangutan was rescued from a village brothel in Kareng Pangi village, Central Kalimantan, in 2003. The orangutan was shaved and chained for sexual purposes. Since being freed, the orangutan, named Pony, has been living with the Borneo Orangutan Survival Foundation. She has been re-socialised to live with other orang-utans.
LEGAL STATUS
In December 2014, Argentina became the first country to recognize a non-human primate as having legal rights when it ruled that an orangutan named Sandra at the Buenos Aires Zoo must be moved to a sanctuary in Brazil in order to provide her "partial or controlled freedom". Although animal rights groups interpreted the ruling as applicable to all species in captivity, legal specialists considered the ruling only applicable to hominid apes due to their genetic similarities to humans.
CONSERVATION
CONSERVATION STATUS
The Sumatran and Bornean species are both critically endangered according to the IUCN Red List of mammals, and both are listed on Appendix I of CITES.
The Bornean orangutan population declined by 60% in the past 60 years and is projected to decline by 82% over 75 years. Its range has become patchy throughout Borneo, being largely extirpated from various parts of the island, including the southeast. The largest remaining population is found in the forest around the Sabangau River, but this environment is at risk.
Sumatran orangutan populations declined by 80% in 75 years. This species is now found only in the northern part of Sumatra, with most of the population inhabiting the Leuser Ecosystem. In late March 2012, some of the last Sumatran orangutans in northern Sumatra were reported to be threatened with approaching forest fires and might be wiped out entirely within a matter of weeks.
Estimates between 2000 and 2003 found 7,300 Sumatran orangutans and between 45,000 and 69,000 Bornean orangutans remain in the wild. A 2007 study by the Government of Indonesia noted a total wild population of 61,234 orangutans, 54,567 of which were found on the island of Borneo in 2004.
During the early 2000s, orangutan habitat has decreased rapidly due to logging and forest fires, as well as fragmentation by roads. A major factor in that period of time has been the conversion of vast areas of tropical forest to palm oil plantations in response to international demand. Palm oil is used for cooking, cosmetics, mechanics, and biodiesel. Hunting is also a major problem as is the illegal pet trade.
Orangutans may be killed for the bushmeat trade, crop protection, or for use for traditional medicine. Orangutan bones are secretly traded in souvenir shops in several cities in Kalimantan, Indonesia. Mother orangutans are killed so their infants can be sold as pets, and many of these infants die without the help of their mother. Since 2004, several pet orangutans were confiscated by local authorities and sent to rehabilitation centres.
CONSERVATION CENTRES AND ORGANISATIONS
A number of organisations are working for the rescue, rehabilitation and reintroduction of orangutans. The largest of these is the Borneo Orangutan Survival Foundation, founded by conservationist Willie Smits. It is audited by a multinational auditor company and operates a number of large projects, such as the Nyaru Menteng Rehabilitation Program founded by conservationist Lone Drøscher Nielsen.
Other major conservation centres in Indonesia include those at Tanjung Puting National Park and Sebangau National Park in Central Kalimantan, Kutai in East Kalimantan, Gunung Palung National Park in West Kalimantan, and Bukit Lawang in the Gunung Leuser National Park on the border of Aceh and North Sumatra. In Malaysia, conservation areas include Semenggoh Wildlife Centre in Sarawak and Matang Wildlife Centre also in Sarawak, and the Sepilok Orang Utan Sanctuary near Sandakan in Sabah. Major conservation centres that are headquartered outside of the orangutan's home countries; include Frankfurt Zoological Society, Orangutan Foundation International, which was founded by Birutė Galdikas, and the Australian Orangutan Project.
Conservation organisations such as Orangutan Land Trust work with the palm oil industry to improve sustainability and encourages the industry to establish conservation areas for orangutans. It works to bring different stakeholders together to achieve conservation of the species and its habitat.
WIKIPEDIA
San Francisco Belt Railroad Engine #25, San Francisco, California. The San Francisco Belt Railroad was a short-line railroad along the Embarcadero in San Francisco, California. It began as the State Belt Railroad in 1889, and was renamed when the city bought the Port of San Francisco in 1969. The railroad ceased operation in 1993. The railroad connected the Port of San Francisco to many waterfront docks and to industries and warehouses which were adjacent to the waterfront.
In the photo is Engine #25. This 1,000 horsepower workhorse was built for the State Belt Railroad of California. The State Belt Railroad at one time operated a fleet of six of these diesels, numbered 20-25, purchased new between 1943 and 1945. The #25 was delivered new in July 1945 along with her sister 24. The American Locomotive Company's Schenectady, NY plant built both units. General Electric manufactured the unit's electrical components.
Each of the units produces 69,000 pounds of tractive effort and weighs approximately 230,000 pounds. When built and delivered to the State Belt Railroad, these 6 diesels replaced 12 oil-fired steam locomotives.
The new State Belt diesels were a big help in World War II. The war generated a large amount of trans-Pacific traffic, and the State Belt contributed greatly to the movement of materials. The State Belt also delivered trainloads of fresh troops to debarkation points, and picked up hospital trains and returning troops. The railroad moved 156 troop trains and 265 hospital trains in 1945 alone.
Operations continued during the 50's and 60's but slowly wound down as shipping moved across the Bay to Oakland. In 1969, with the State wanting to get out of the port business, San Francisco voters approved a bond issue to buy the Port of San Francisco. The State Belt R.R. thus became the San Francisco Belt Railroad. Later in 1973, the City offered to sell the railroad to any operator for $1. Total trackage had fallen from 67 miles in 1950 to 58 miles in 1973.
The end of the railroad came in 1993. By then, most trackage north of the Ferry building was gone or inactive. The only activity took place at Pier 96, a newly built container facility near Hunter's Point. ALCO S-2 #25 was intended as a backup to the #49 (ex #23), and so was used very little during this time.
Image source: Queensland State Archives Item ID ITM1102501 Expo 88 opening day crowds outside the Australia Pavilion, Brisbane.
World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.
The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).
The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.
Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.
The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.
Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.
During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.
Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.
The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.
Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.
While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.
Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.
At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.
The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.
The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.
The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.
Despite late entrants into the Exposition due to domestic political measures, World Expo 88 attracted some 100 pavilions, from 52 governments, of which 36 were from international-level, and numerous corporate participants. Major western and European nations were represented such as the United States, the Soviet Union (last representation at a World Exposition), France, West Germany (also last representation at a World Exposition), the United Kingdom, Canada, Spain and Greece, as well as major Asian countries such as Singapore, Thailand, Nepal, Pakistan, China, Japan, Sri Lanka, South Korea, Indonesia, and the Philippines, and amongst others. Close neighbouring countries, New Zealand and Papua New Guinea were also represented.
State-level and multi-lateral organisations included the six Australian states, the United Nations, the European Union, Vatican City, three American states (Hawaii, California and Alaska), one Japanese prefecture (sister state of Queensland, Saitama Prefecture), and one Japanese city (Brisbane's sister city Kobe City).
Corporate pavilions included IBM, Ford, Fujitsu, Queensland Newspapers, Australia Post, Cadbury Chocolate, Suncorp, and the Queensland Teachers Credit Union. NASA and Universal Studios hosted outdoor exhibits, with models of the space shuttle and Apollo program, as well as the car KITT from the TV series Knight Rider. Also having its own pavilion was the official Australian TV partner of the Expo, Network Ten, via its Queensland station TVQ, whose news studios were located there for public tours and during the Expo also switched channel frequencies in September (from channel 0 to channel 10) in line with the other state channels.
The most expensive pavilion was Japan (A$26 million), followed by the Queensland Pavilion (A$20 million) and the Australia Pavilion (A$18 million). The largest Pavilions were also Queensland,[6] followed by Australia then Japan.
High Definition TV received its Australian premiere at the Japan Pavilion, and the text-based Internet at the Swiss Pavilion. At the University pavilion the world's longest lab experiment was on display. The pitch drop experiment, which features tar pitch slowly dripping through a funnel at a rate of nine drops in 81 years, actually made an unseen drop while on display.
These precision ballscrew nut housings, which are used on a wide range of Haas machines, are machined in large batches on Haas EC-400PP pallet pool HMCs. In-house machining and extensive use of common components help Haas Automation keep machine prices affordable, and provide customers with more value.
Putting together all the component for this pretty necklace. There will be more hanging and dangling later on.
In conjunction with CyberClimb and Legado Video, we produced a business legacy video for Component Manufacturing and Reaves Creating Systems. The video aids …
www.arrivalelectronics.co.uk/manufacturing Arrival Electronics delivers a full variety of Managed Electronic...
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(Posted by a Precision Machining China Manufacturer)
St. Kitts Marriott Resort and Royal St. Kitts Casino, 858 Frigate Bay Road, St. Kitts
Canadian Vic De Zen turned a small Woodbridge, Ontario plastics company into a worldwide empire in the 1990's known as Royal Group Technologies Ltd. He built it up over the course of 30 years into a publicly traded company with about $2 billion in annual sales and 9,000 employees around the world. While growing the plastics company Vic De Zen met another Toronto developer, Mr. Archie Zuliani, who owned a small hotel on the island of St. Kitts. Zuliani needed a source for building supplies on St. Kitts and on De Zen's first trip to St Kitts the two hit it off and immediately started plans for a resort project featuring Royal Group's products and also a retirement villa for De Zen and his family. According to Zuliani, De Zen wanted the project to be built entirely of plastics! In 1996 a joint venture agreement was signed between Vic De Zen and Archie Zuliani for a $50 million development including hotel, conference center, golf course, casino and an internet gambling operation. In short order the project costs rose to $120 million. Within a year Zuliana became uncomfortable with De Zen's ambitious project and he was happy to accept a $4 million buyout from De Zen in 1998. Mr. De Zen and his brother in law, Fortunato Bordin, who used to work at Royal Group, borrowed $114-million from Scotiabank between 1996 and 2004 to fund construction of the Caribbean resort which when built out cost upwards of $330 million.
On November 3, 2000 a signing ceremony was held involving St Kitts Prime Minister Denzil Douglas, Mr. Vincent Morton, Chairman of the Frigate Bay Development Corporation and Mr. Vic De Zen. The announcement stated that the world class resort was being built by Technologies Limited of Canada. Denzil Douglas was the longest-serving Prime Minister of the Federation of St. Kitts & Nevis, having held the position between 1995 and 2015. He led the Saint Kitts and Nevis Labour Party. Douglas transformed his country’s formerly sugar-based economy into a service-oriented one driven by tourism, offshore medical education, small farm agriculture and the manufacture of electronic components. Prime Minister Douglas succeeded in establishing St. Kitts and Nevis as a tourist destination, giving as evidence his promoting of De Zen's 600-room Marriott hotel project.
Royal Group Technologies growth allowed De Zen vast liberties in pursuing side-bar projects and the doling out bonuses to family and friends. The line between Royal Group Business and De Zen's personal business became a complete blur. De Zen owned over 80% of the shareholders votes. With Zuliana bought out De Zen took the St Kitts project to new heights. He brought in his brother, Angelo De Zen, to head up the construction and Joey Cecchini was in charge of the design build of the Royal St. Kitts Beach Resort & Casino. The architect was Claudio Rabaglino from Toronto. According to the Toronto Mail and Globe "the resort became so important to De Zen that he turned over one of Royal Group's Boardroom - dubbed the war room - to the project. As construction progressed, 16 contractors were involved and about 3,000 shipments of products were made from Toronto. By 2000, roughly 700 workers were on site, some of them connected to Royal Group."
Marriott International announced a soft opening of their 471-room resort, St. Kitts Marriott Royal Beach Resort & Spa, on February 22, 2003. It is the tenth property in Marriott and Renaissance Offshore Resorts’ portfolio. John Toti was the resort's opening General Manager. Marriott said the resort is owned by Royal St. Kitts Beach Resort Ltd. Marriott's opening announcement said the resort’s five-story main building has 237 guestrooms. Between the main building and the beach, a series of three-story garden houses, surround the swimming pools, house an additional 234 rooms. Guestrooms are oversized and well-appointed with most including large, private balconies. Each bathroom of the houses will have a whirlpool bath.
For dining and entertainment, the St. Kitts Marriott Royal Beach Resort has six restaurants, two bars and a disco: La Cucina, an Italian restaurant; Royal Grill Steakhouse, offering outdoor seating; BLU, a seafood restaurant; Bohemia Beach Bar & Grill; Calypso, a family style restaurant, Golf Club House Restaurant; Lobby Bar; Keys, a cigar and rum bar; and Tigers, a disco. Recreational amenities include a 15,000 square foot spa, three swimming pools, tennis courts, retail shopping, Kids Club and a 35,000 square foot casino. A newly-designed 18-hole golf course, operated by Marriott Golf. For conferences and social events, the St. Kitts Marriott Royal Beach Resort & Spa has 12,000 square feet of flexible meeting space, including a 7,100 square foot ballroom that is divisible into three sections; meeting rooms offering 5,000 square feet of space; and a board room and terraces for pre-function receptions and events.
In hindsight Vic De Zen gained a Caribbean luxury resort but lost his billion dollar company. In February 2004 the St Kitts development became the subject of an extensive Ontario Securities Commission and Royal Canadian Mounted Police criminal probe into whether Mr. De Zen used Royal Group money or assets on a private development project. It seems the Royal Group shareholders new virtually nothing about the massive resort project on St Kitts! Vic De Zen was ousted as board chairperson of Royal Group in 2004 after an internal investigation. Two years later, the company was sold to United States-based Georgia Gulf Corp. for $1.7 billion. The RCMP (Royal Canadian Mounted Police) charged De Zen and other former executives with defrauding the company of more than $29 million.
The trial respecting the allegations made against Mr. De Zen and others commenced in April 2010. On December 10, 2010, at the conclusion of the five-month trial, the trial judge acquitted the defendants of the two charges they faced. The trial judge found overwhelming evidence supporting the defense that no fraud, no deceit, no dishonesty and no concealment had taken place. Indeed, the judge indicated that it would be a "travesty of justice" to wait even one day before pronouncing the verdict of not guilty.
Mr. De Zen formed a new company, ZZen Group, which includes the Marriott beach resort that has become the Caribbean island’s largest employer. When Mr. De Zen travels to ZZen’s resort in St. Kitts – his favorite way to relax is to work on small repairs. Joseph Sgro, an assistant to De Zen says he actually has a tool belt when he is at the resort … walking around the resort grounds and he fixes things and talks to the landscapers.
Georgia Gulf Corporation, a large PVC raw-material manufacturer, completed its acquisition of Royal Group on October 3, 2006 for $1.6 billion.
***********
Vic De Zen and his partners Fortunato Bordin and Domenic D’Amico have supported the people of St Kitts and Nevis since their first agreement in 1997 to build the Marriott Resort. This first initiative produced strong economic and social growth within the Federation of St. Kitts & Nevis. Vic De Zen's group continues with investments that have created the following St. Kitts businesses and organizations which collectively employ more than 1,000 persons in the Federation:
*St. Kitts Marriott Resort;
*Marriott Vacation Club;
*Marriott Residences;
*Royal Beach Development Group;
*Royal Beach Casino;
*Royal St. Kitts Golf Club;
*Royal Utilities Limited
***********
The St. Kitts Marriott has had 4 General Managers.
Jacques Hamou, General Manager, ( 2012 - ) St. Kitts Marriott Resort & Royal Beach Casino appointed Jacques Hamou as General Manager in February, 2012. Hamou’s career in the hospitality industry spans 30 years. He joins the property from Montreal where he served as general manager for the Montreal Marriott Chateau Champlain for thirteen years. Previously, Hamou was at Fortis Hospitality Corporation in Sydney, Nova Scotia, where he held the position of director of operations for Delta Sydney, Holiday Inn Sydney and the Sydney Inn.
Flor Van Der Vaart, General Manager (2008 - 2011) - Flor van der Vaart was appointed General Manager of St. Kitts Marriott Beach Resort on July 6, 2008. Flor began his career with Marriott in 2004 as the Resident Manager of the Aruba Marriott Resort & Stellaris Casino. Prior to joining the Aruba Marriott Resort, Flor was the Operations Manager at the Hyatt Dorado Beach Resort & Country Club in Puerto Rico. Van der Vaart received his Master’s Degree in Business Administration from The University of Phoenix. He received his Bachelor’s Degree from The University of The Hague – Haagshe Hogeschool in Holland.
George Landa, General Manager (2006 - 2008) - St Kitts Marriott Resort & the Royal Beach Casino appointed Cuban-born George Landa as General Manager in April 2006. Most recently he was general manager at the Curacao Marriott Beach Resort & Emerald Casino from 2003-2006. Previously he also served as General Manager of the Intercontinental Hotel in Valencia, Venezuela.
John Toti, Opening General Manager ( 2002 - 2006 ) John Toti was named general manager, responsible for overseeing all aspects of operations at the new St. Kitts Marriott Resort. Most recently, Mr. Toti was the general manager at the Guatemala City Marriott. During his 25-year career with Marriott, Mr. Toti held positions in various aspects of hotel operations. In the food and beverage departments, he served as executive chef for Marriott Hotels in the Orlando World Center, Panama City and Puerto Vallarta, and was director of food and beverage at the Marriott Plaza Hotel, Buenos Aires, Argentina. Mr. Toti later went on to work in the operations segment, becoming area director of operations for Marriott's Caribbean region and assisting on short and long-term projects for resorts in St. Thomas, Jamaica, Caracas & Costa Rica. He served as director of operations at the Guatemala and Lima Marriott Hotels as well. Mr. Toti was also director of groups and conventions at the Marriott in Puerto Vallarta. Toti is now retired and lives in Naples, Florida.
Wayne Michaelson is the current Executive Chef, (2015 - ) - Executive Chef Wayne Michaelson, previously from the Macon (Georgia) Marriott City Center, is in charge of overseeing daily operations of the resort’s eight onsite restaurants as well as catering for special events. Before his previous job in Macon, where he supervised seven kitchens, a catering facility for 2,500 people, Chef Michaelson owned and operated his own restaurant for a decade. After graduating from the Culinary Institute of America, Chef Michaelson began his career in hospitality at Omni Hotels & Resorts in 1984 in Alabama as an Executive Chef. He then moved to Puerto Rico in 1986 where he worked for prominent hotels such as the Caribe Hilton Hotel & Casino, the Hyatt Regency Cerromar Resort, the Hyatt Dorado Beach Resort & Golf Club, and the El San Juan Hotel & Casino, a Waldorf Astoria Collection hotel.
Arun Maharajh is the Vice President Operations at the resort's Royal Beach Casino. Maharajh started at the casino in 2005 as the Financial Controller. Previously he was a business analyst at the Ontario (Canada) Lottery and Gaming Corporation.
Compiled by Dick Johnson
February, 2016
✹ To see a view of the complete box - including the lid - click here.
This box is one of 20 different boxes for sale by auction on eBay in support of survivors of the 2011 Tohoku earthquake and tsunami disaster in Japan. Click here to visit / to return to the eBay listing [Item number: 120728871808]. The auction for this item closes on Friday the 3rd of June 2011 at 00:32 a.m. British Summer Time (UTC + 1).
✹ Click here to see a thumbnail overview of all the boxes, or watch a Slideshow of all the boxes.
Proceeds of the auction - after eBay and PayPal fees have been deducted - will be donated to the Japanese Red Cross Society.
✹ To see a larger, more detailed, view of this picture click on the small magnifying glass icon at the top right of the picture, then click on "View all sizes", then click on "Original" - which displays the largest and best quality image.
About the Japanese Red Cross Society
The Japanese Red Cross are one of three major fundraising organisaitions based in Japan (the other two being the Japanese broadcaster NHK and the Red Feather Central Community Chest of Japan - originally a post World War II re-building organisation). You can download two english language reports relating to the disaster from the Japanese Red Cross website:
Operations Update No.1 - 13th April 2011 [.pdf file, retrieved 17th May 2011]
Operations Update No.2 - 6th May 2011 [.pdf file, retrieved 17th May 2011]
Over two months on, the needs of many of the survivors remain desperately basic. There has been an increased incidence of pneumonia and associated fatalities. As well as helping with practical and medical requirements, the Japanese Red Cross Society are helping people deal with "Shell Shock" / Post Traumatic Stress Disorder and further developing services to address these issues.
Perhaps most impressively, they helped quickly set up a management structure to co-ordinate help from all the major fundraisers, a committee including academics and representatives from the 15 most badly affected prefectures [local governments]. The pre-existing local Red Cross chapters [branches] are helping with governance.
Although Japan has a large economy, and domestically the japanese have been hugely generous towards aid efforts, like everywhere else, many people of course are not personally rich. There is still epic upheaval. Much of welfare is normally provided by family and community, a system that breaks down when whole barrios are fragmented and diminished. Services like adoption and fostering, for example - normally always done by relatives - are having to be developed. A planning policy of building schools on higher ground saved many children, but even after encouraging teachers back out of retirement, there is still a shortage of experienced teachers. Japan is mostly mountains and sea, with very little spare land suitable for building, so - while rebuilding takes place - temporary accommodation has had to be built on land normally reserved for other activities, for example on school playgrounds.
If you enjoy shopping in support of the Japanese Red Cross Society, you might also like Tomodachi Calling, a cafepress web store / shop (recommend by a fellow flickrer schmid91, who helped document the aftermath of the tsunami in Ishinomaki Myagi prefecture).
Japan based english language online newspapers
About the decorative hexagonal origami gift box
The box is made up from 12 square origami papers - 6 for the lid and 6 for the base. No cutting, glue or adhesive tape is used.
Although Japan has a long tradition of paper folding, the design of the box is modern, by Tomoko Fuse 布施 知子, who is a renown unit origami designer and artist. Unit origami is a method of building up models using pre-folded components or units.
If you are an accurate and consistent paper folder, but are new to unit origami, and you would like to make your own box, I would recommend her book "Origami Boxes: Moribana Style" [# ISBN-10: 0870408216 - # ISBN-13: 978-0870408212] as an excellent introduction. Connecting the units together can be a bit fiddly at first, and the book also includes designs for more simple square and triangular boxes, which give the opportunity to practice and develop the skills needed for doing the final assembly.
(Until Asimo gets a bit more nimble fingered, the box is unlikely to flood the market anytime soon...)
If you get the bug, she has also created and written about very much more complex models. "Unit Origami: Multidimensional Transformations" [ISBN-10: 0870408526 - ISBN-13: 978-0870408526] is considered a classic text on the subject.
Paper making was a traditional supplemental business of farmers in Japan during the winter. The very cold water during that season enabled the fibres in the pulp to be soaked without becoming subject to decay, and some also argue that cold shrinks the fibres, creating a finer, crisper paper.
The insides of an 803 transmitting vacuum tube. The number n the center column is 96393. One of the leads is wrapped in what appears to be asbestos.
034/365 polyptych
Some shots from an abandoned refinery in CA. There are technically 4 photos in this image including the texture which was shot in the same location.
Prints available from lexmachine.etsy.com
I unearthed a bundle of old cycling magazines in the attic the other
day and came across this brilliant advert for Campagnolo's 50th
Anniversary groupset. The magazine was the May 1983 issue of
'Cyclist Monthly'. Best seen on large size. I'm not sure I'm too fond
of the gold-plated parts mind you. There wasn't any price given in
the advert but one went on ebay last week for more than £2000.
Are we driving technology, or are we being driven by it? This question and others are addressed in the Analytical Corner - The Components of a Winning National Digital Strategy led by Jennifer Beckman, Debbie Chungu and Emre Alper at the IMF Headquarters during the 2019 IMF/World Bank Annual Meetings, October 16, 2019 in Washington, DC. IMF Photograph/Stefani Reynolds
Title: Symmetrical Components Seminar
Digital Publisher: Digital: Cushing Memorial Library and Archives, Texas A&M University, College Station, Texas
Physical Publisher: Physical: Graphic Services, Texas A&M University
Date Issued: 2011-08-17
Date Created: 1968
Dimensions: 4 x 5 inches
Format Medium: Photographic negative
Type: image
Identifier: Photograph Location: Graphic Services Photos, Box 21, File 21-155
Rights: It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information
CBP components, Office of Field Operations, Office of Border Patrol and Office of Air and Marine compete in an Honor Guard Competition during the annual commemoration of Police Week in Washington D.C. Photos by James Tourtellotte.
Bronze Persian horse statuette
About 2" high and long--rumored to be a portrait of Alexander the Great's horse Bucephalus.
Faux bronze with gilt highlights. all hand sculpted.
Ever seen this before...:?
Miner's guide P11 - Recycling the parts
All photos should be credited to Fairphone.
Creative Commons license: creativecommons.org/licenses/by-nc-sa/4.0/
This license lets others remix, tweak, and build upon our work non-commercially, as long as you credit us and license our new creations under the identical terms.
PictionID:44025874 - Title:Atlas Component - Catalog:14_009129 - Filename:14_009129.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Take an old 28-50 zoom. Take it completely apart. Discard the mount, all the various outer rings, and most of the zoom mechanism. Slice off a section of the remaining zoom mechanism and reinstall it backwards. Temporarily reassemble it to do a freelens-style test. Use screws salvaged from a previous project to lock down the zoom mechanism at a distance that allows for infinity focus without risk of the rear element crashing the mirror. Plug up the light leaks resulting from the missing components. Drill out a body cap. Cut a section of rubber from a bicycle tire inner tube. Stretch the rubber over the lens and the body cap, and add back the original knobby rubber ring. ... There, that wasn't so bad.
What do you get?
THE BATLENS -- a DIY 33 mm f/ 4 tilt lens. This is probably the best "general purpose tilt lens" I've built to date.
The one is sold. But I have more. if anyone would like to buy a ready-made tilt lens rather than build one, please visit www.johnnyoptic.com/tilt-lenses.
Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.
HISTORY
- Dravidian architecture - Badami Chalukyas
- Hindu temple architecture - Badami Chalukya architecture
- Political history of medieval Karnataka - Badami Chalukyas
- Architecture of Karnataka - Badami Chalukya architecture
- Chalukyas of Badami
PRE-HISTORIC
Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.
BADAMI CHALUKYAS AND OTHER DYNASTIES
MYTHOLOGY
The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.
BADAMI CHALUKYAS
It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.
The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.
The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.
Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.
INSCRIPTIONS
Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.
VATAPI GANAPATI
In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.
In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.
TOURISM
Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.
- A Buddhist cave in a natural setting that can be entered only by crawling on knees.
- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.
- Badami Fort situated on top of the hill.
- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.
- The Dattatreya temple.
- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.
- a Dargah, a dome of an Islamic place of worship on the south fort side.
- Vista points on top of the North Fort for the view of the ancient town below.
- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.
- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.
BADAMI CAVE TEMPLES
The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.
The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.
GEOGRAPHY
The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.
HISTORY OF CAVE TEMPLES
The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.
TEMPLE CAVES
The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.
The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.
CAVE 1
The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.
The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.
The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.
Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.
CAVE 2
Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.
The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.
The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.
The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.
CAVE 3
The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.
Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.
The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.
CAVE 4
The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.
CAVE 5
It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.
The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.
The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.
The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.
OTHER CAVES
In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.
OTHER TEMPLES AT BADAMI
On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.
Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.
The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.
BADAMI FORT
Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.
ETYMOLOGY
The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.
It is also believed that name Badami has come from colour of its stone (badam - Almond).
CULTURE
The main language is Kannada. The local population wears traditional Indian cotton wear.
GEOGRAPHY
Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.
It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.
WIKIPEDIA
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Although the performance increases of jet-powered aircraft introduced towards the end of World War II over their piston-powered ancestors were breathtaking, there were those at the time who believed that much more was possible. As far back as 1943, the British Ministry of Aircraft Production had issued a specification designated "E.24/43" for a supersonic experimental jet aircraft that would be able to achieve 1,600 KPH (1,000 MPH).
Beginning in 1946, a design team at English Electric (EE) under W.E.W. "Teddy" Petter began design studies for a supersonic fighter, leading to award of a Ministry of Supply (MoS) contract in 1947 under specification "ER.103" for a design study on an experimental aircraft that could achieve Mach 1.2.
The MoS liked the EE concepts, and in early 1949 awarded the company a contract under specification "F.23/49" for two flying prototypes and one ground-test prototype of the "P.1".
The P.1 was defined as a supersonic research aircraft, though the design had provisions for armament and a radar gunsight. It incorporate advanced and unusual design features, such as twin turbojet engines mounted one above the other to reduce aircraft frontal area; and strongly swept wings, with the wingtip edges at a right angle to the fuselage, giving a wing configuration like that of a delta wing with the rear inner corners cut out. The aircraft featured an elliptical intake in the nose.
The P.1's performance was so outstanding that the decision was quickly made to proceed on an operational version that would be capable of Mach 2. In fact, the second P.1 prototype featured items such as a bulged belly tank and fit of twin Aden Mark 4 30 millimeter revolver-type cannon, bringing it closer to operational specification.
Orders were placed for three "P.1B" prototypes for a production interceptor and the original P.1 was retroactively designated "P.1A". The P.1B featured twin Rolls-Royce Avon afterburning engines and a larger tailfin. An airborne intercept (AI) radar was carried in the air intake shock cone, which was changed from elliptical to circular. The cockpit was raised for a better field of view and the P.1B was armed with two Aden cannon in the upper nose, plus a pack under the cockpit that could either support two De Havilland Blue Jay (later Firestreak) heat-seeking AAMs or 44 Microcell 5 centimeter (2 inch) unguided rockets.
The initial P.1B prototype performed its first flight on 4 April 1957 and the type entered RAF service as EE Lightning F.1. RAF Number 74 Squadron at Coltishall was the first full service unit, with the pilots acquiring familiarization with the type during late 1960 and the squadron declared operational in 1961.
However, while the Lightning was developed further into more and more advanced versions. Its concept was also the basis for another research aircraft that would also be developed into a high performance interceptor: the P.6/1, which later became the “Levin” fighter.
P.6 encompassed a total of four different layouts for a Mach 2+ research aircraft, tendering to ER.134T from 1952. P.6/1 was the most conservative design and it relied heavily on existing (and already proven) P.1 Lightning components, primarily the aerodynamic surfaces. The most obvious difference was a new fuselage of circular diameter, housing a single Rolls Royce RB.106 engine.
The RB.106 was a two-shaft design with two axial flow compressors each driven by its own single stage turbine and reheat. It was of similar size to the Rolls-Royce Avon, but it produced about twice the thrust at 21,750 lbf (96.7 kN) in the initial version. The two-shaft layout was relatively advanced for the era; the single-shaft de Havilland Gyron matched it in power terms, while the two-spool Bristol Olympus was much less powerful at the then-current state of development. Apart from being expected to power other British aircraft such as those competing for Operational Requirement F.155, it was also selected to be the powerplant for the Avro Canada CF-105 Arrow and led to the Orenda Iroquois engine, which even reach 30.000 lbf (130 kN).
The P.6/1 was eventually chosen by the MoS for further development because it was regarded as the least risky and costly alternative. Beyond its test bed role for the RB.106 the P.6/1 was also seen as a potential basis for a supersonic strategic air-to-ground missile (similar to the massive Soviet AS-3 ‘Kangaroo’ cruise missile) and the starting point for an operational interceptor that would be less complex than the Lightning, but with a comparable if not improved performance but a better range.
In 1955 English Electric received a go ahead for two P.6/1 research aircraft prototypes. Despite a superficial similarity to the Lightning, the P.6/1’s internal structure was very different. The air duct, for instance, was bifurcated and led around on both sides of the cockpit tub and the front wheel well instead of below it. Further down, the duct ran below the wing main spar and directly fed the RB.106.
The rear fuselage was area-ruled, the main landing gear retracted, just like the Lightning’s, outwards into the wings, while the front wheel retracted backwards into a well that was placed further aft than on the Lightning. The upper fuselage behind the main wings spar carried fuel tanks, more fuel was carried in wing tanks.
Both research machines were ready in 1958 and immediately started with aerodynamic and material tests for the MoS, reaching top speeds of Mach 2.5 and altitudes of 60.000 ft. and more.
In parallel, work on the fighter version, now called “Levin”, had started. The airframe was basically the same as the P.6/1’s. Biggest visible changes were a wider air intake with a bigger central shock cone (primarily for a radar dish), a shorter afterburner section and an enlarged fin with area increased by 15% that had become necessary in order to compensate instability through the new nose layout and the potential carriage of external ordnance, esp. under the fuselage. This bigger fin was taken over to the Lightning F.3 that also initially suffered from longitudal instability due to the new Red Top missiles.
The Levin carried armament and avionics similar to the Lightning, including the Ferranti-developed AI.23 monopulse radar. The aircraft was to be fully integrated into a new automatic intercept system developed by Ferranti, Elliot, and BAC. It would have turned the fighters into something like a "manned missile" and greatly simplified intercepts.
Anyway, the Levin’s weapon arrangement was slightly different from the Lightning: the Levin’s armament comprised theoretically a mix of up to four 30mm Aden cannons and/or up to four of the new Red Top AAMs, or alternatively the older Firestreak. The guns were mounted in the upper nose flanks (similar to the early Lightning arrangement, but set further back), right under the cockpit hatch, while a pair of AAMs was carried on wing tip launch rails. Two more AAMs could be carried on pylons under the lower front fuselage, similar to the Lightning’s standard configuration, even though there was no interchangeable module. Since this four-missile arrangement would not allow any cannon to be carried anymore and caused excessive drag, the typical payload was limited to two Aden cannons and the single pair of wing-tip missiles.
Despite its proven Lightning ancestry, the development of the Levin went through various troubles. While the RB.106 worked fine in the research P.6/1, it took until 1962 that a fully reliable variant for the interceptor could be cleared for service. Meanwhile the Lightning had already evolved into the F.3 variant and political discussions circled around the end of manned military aircraft. To make matters even worse, the RAF refused to buy the completely automatic intercept system, despite the fact that it had been fully engineered at a cost of 1.4 million pounds and trialed in one of the P.1Bs.
Eventually, the Levin F.1 finally entered service in 1964, together with the Lightning F.3. While the Lightning was rather seen as a point defense interceptor, due to the type’s limited range: If a Lightning F.3 missed its target on its first pass, it almost never had enough fuel to make a second attempt without topping off from a tanker, which would give an intruder plenty of time to get to its target and then depart… The Lightning’s flight endurance was less than 2 hours (in the F.2A, other variants even less), and it was hoped that the Levin had more potential through a longer range. Anyway, in service, the Levin’s range in clean configuration was only about 8% better than the Lightning’s. The Levin F.1’s flight endurance was about 2 ½ hours – an improvement, but not as substantial as expected.
In order to improve the range on both fighters, English Electric developed a new, stiffened wing for the carriage of a pair of jettisonable overwing ferry tanks with a capacity of 1,182 liters (312 US gallons / 260 Imperial gallons, so-called “Overburgers”). The new wing also featured a kinked leading edge, providing better low-speed handling. From mid 1965 onwards, all Levins were directly produced in this F.2 standard, and during regular overhauls the simpler F.1 machines were successively updated. The Lightning introduced the kinked wing with the F.3A variant and it was later introduced with the F.2A and F.6A variants.
Levin production comprised 21 original F.1 airframes, plus 34 F.2 fighters, and production was stopped in 1967. A trainer version was not produced, the Lightning trainers were deemed sufficient for conversion since the Levin and the Lightning shared similar handling characteristics.
The Levin served only with RAF 29 and 65 Squadron, the latter re-instated in 1970 as a dedicated fighter squadron. When in November 1984 the Tornado squadrons began to form, the Levin was gradually phased out and replaced until April 1987 by the Tornado F.3.
General characteristics:
Crew: 1
Length w/o pitot: 51 ft 5 in (15,70 m), 55 ft 8 in (16.99 m) overall
Wingspan incl. wingtip launch rails: 34 ft 9 in (10.54 m)
Height: 19 ft 7 in (5.97 m)
Wing area: 474.5 ft² (44.08 m²)
Empty weight: 8937 kg (lb)
Loaded weight: 13,570 kg (29,915)
Max. takeoff weight: 15,210 kg (33,530 lb)
Powerplant:
1× Rolls-Royce RB.106-10S afterburning turbojet,
rated at 20,000 lbf (89 kN) dry and 26,000 lbf (116 kN) with afterburning
Performance:
Maximum speed:
- 1,150 km/h (620 kn, 715 mph, Mach 0.94) at sea level
- 2,230 km/h (1.202 kn, 1,386 mph, Mach 2.1;), clean with 2× Red Top AAMs at high altitude
- Mach 2.4 absolute top speed in clean configuration at 50.000 ft.
Range: 1,650 km (890 nmi, 1,025 mi) on internal fuel
Combat radius: 500 km (312 mi); clean, with a pair of wing tip Red Top AAMs
Ferry range: 1,270 mi (1.100 NM/ 2.040 km) with overwing tanks
Service ceiling: 16,760 m (55,000 ft)
Rate of climb: 136.7 m/s (27,000 ft/min)
Wing loading: 76 lb/ft² (370 kg/m²)
Thrust/weight: 0.78
Takeoff roll: 950 m (3,120 ft)
Landing roll: 700 m (2,300 ft)
Armament:
2× 30 mm (1.18 in) ADEN cannons with 120 RPG in the upper front fuselage
2× wing tip hardpoints for mounting air-to-air missiles (2 Red Top of Firestreak AAMs)
2× overwing pylon stations for 260 gal ferry tanks
Optional, but rarely used: 2× hardpoints under the front fuselage for mounting air-to-air missiles
(2 Red Top of Firestreak AAMs)
The kit and its assembly:
Another contribution to the Cold War GB at whatifmodelers.com, and the realization of a project I had on the agenda for long. The EE P.6/1 was a real project for a Mach 2+ research aircraft, as described above, but it never went off the drawing board. Its engine, the RB.106, also never saw the light of day, even though its later career as the Canadian Orenda Iroquois for the stillborn CF-105.
Building this aircraft as a model appears simple, because it’s a classic Lightning (actually a F.1 with the un-kinked wing and the small fin), just with a single engine and a rather tubular fuselage. But creating this is not easy at all…
I did not want to replicate the original P.6/1, but rather a service aircraft based on the research aircraft. Therefore I used parts from a Lightning F.6 (a vintage NOVO/Frog kit). For the fuselage I settled for a Su-17, from a MasterCraft kit. The kit’s selling point was its small price tag and the fuselage construction: the VG mechanism is hidden under a separate spine piece, and I wanted to transplant the Lightning’s spine and cockpit frame, so I thought that this would make things easier.
Nope.
Putting the parts from the VERY different kits/aircraft together was a major surgery feat, with several multiple PSR sessions on the fuselage, the air intake section (opened and fitted with both an internal splitter and a bulkhead to the cockpit section), the wings, the stabilizers, the fin… This model deserves the title “kitbash” like no other, because no major sections had ever been intended to be glued together, and in the intended position!
The landing gear was more or less taken OOB, but the main struts had to be elongated by 2mm – somehow the model turned out to be a low-riding tail sitter! The cockpit interior was improvised, too, consisting of a Su-17 cockpit tub, a scratched dashboard and a Martin Baker ejection seat from an Italeri Bae Hawk trainer.
Since most of the fuselage surface consists of various materials (styrene and two kinds of putty), I did not dare to engrave panel lines – after all the PSR work almost any surface detail was gone. I rather went for a graphic solution (see below). Some antennae and air scoops were added, though.
The overwing tanks come OOB from the NOVO kit, as well as the Red Top missiles, which ended up on improvised wing tip launch rails, based on design sketches for Lightning derivatives with this layout.
Colors and markings:
There are several “classic” RAF options, but I settled for a low-viz Eighties livery taken from BAC Lightnings. There’s a surprising variety of styles, and my version is a mix of several real world aircraft.
I settled for Dark Sea Grey upper surfaces (Modelmaster Authentic) with a high waterline, a fuselage completely in Medium Sea Grey (Humbrol 165 – had to be applied twice because the first tin I used was obviously old and the paint ended up in a tone not unlike PRU Blue!) and Light aircraft Grey underwing surfaces (Humbrol 166). The leading edges under the wings are Dark Sea Grey, too.
The cockpit interior was painted in dark grey (Humbrol 32 with some dry-brushing), while the landing gear is Aluminum (Humbrol 56).
Once the basic painting was done I had to deal with the missing panel lines on the fuselage and those raised lines that were sanded away during the building process. I decided to simulate these with a soft pencil, after the whole kit was buffed with a soft cotton cloth and some grinded graphite. This way, the remaining raised panel lines were emphasized, and from these the rest was drawn up. A ruler and masking tape were used as guidance for straight lines, and this worked better than expected, with good results.
As a next step, the newly created panels were highlighted with dry-brushed lighter tones of the basic paints (FS 36492 and WWII Italian Blue Grey from Modelmaster, and Humbrol 126), more for a dramatic than a weathered effect. The gun ports and the exhaust section were painted with Modelmaster Metallizer (Titanium and Magnesium).
The decals come from several Xtradecal aftermarket sheets, including a dedicated Lightning stencils sheet, another Lightning sheet with various squadron markings and a sheet for RAF Tornado ADVs.
The code number “XS970” was earmarked to a TSR.2, AFAIK, but since it was never used on a service aircraft it would be a good option for the Levin.
The kit received a coat of matt acrylic varnish from the rattle can – jn this case the finish was intended to bear a slight shine.
This was a project with LOTS of effort, but you hardly recognize it – it’s a single engine Lightning, so what? But welding the Lightning and Su-17 parts together for something that comes close to the P.6/1 necessitated LOTS of body work and improvisation, carving it from wood would probably have been the next complicated option. Except for the surprisingly long tail I am very happy with the result, despite the model’s shaggy origins, and the low-viz livery suits the sleek aircraft IMHO very well.
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
mischer'traxler studio (Katharina Mischer, Thomas Traxler)
Sitzbank "The idea of a Tree"
Wien, 2013
Ausführung: mischer'traxler studio
Baumwollfaden, Glasfaser
Bench "The idea of a Tree"
Vienna, 2013
Execution: mischer'traxler studio
Cotton yarn, fiberglass
Leihgabe Loan from mischer'traxler studio
mischer'traxler studio (Katharina Mischer, Thomas Traxler)
"The idea of a Tree - Recorder One"
Solarbetriebene Produktionsanlage für Kleinmöbel
Wien, 2008/09
Ausführung: mischer'traxler studio
Holz, Metall, Baumwollfaden, elektronische Bauteile
"The idea of a Tree - Recorder One"
Solar-powered Production Plant for Small Furniture
Vienna, 2008/09
Execution: mischer'traxler studio
Wood, metal, cotton yarn, electronic components
Leihgabe Loan from mischer'traxler studio
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
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The primary economy of Baguio City is its educational centers of which it has in excess of seven colleges and universities as well as a plethora of trade and technical schools. Estimates are that these schools compose in excess of one hundred thousand students.
The secondary source of income for the residents is its character as the commercial hub in the province of Benguet. Many of the agricultural and mining goods produced in Benguet goes to Baguio City for central distribution.
The city is also a major retail center for the Cordilleras and the Ilocos provinces, with shoppers from the provinces coming to the city to take advantage of the diversity of competitively priced commercial products on sale, most of which are only available in Manila. Despite the city's small size, there are numerous shopping centers and malls in the business district catering to the growing commercial activity in Baguio. These are the SM City Baguio mall, Baguio Centermall, Cooyeesan Hotel Plaza, Abanao Square, Maharlika Livelihood Center, and Porta Vaga mall.
The areas of Session Road, Harrison Road, Magsaysay Avenue and Abanao Street comprise the trade center of the city. It is in these areas where commercial and business structures abound. First class movie houses, hotels, restaurants, department stores, and shopping centers are found in this downtown area. Shopping at the famous city market offers one a wide array of locally sourced goods and products, from colorful woven fabrics and strung beads to primitive wood carvings, cut flowers, strawberries and vegetables. (Strawberries and string beans - known as 'Baguio beans' across the Philippines - are shipped to major urban markets.)
Baguio is also home to one of the country's most profitable Philippine Economic Zone Authority areas (PEZA), called the Baguio City Economic Zone (BCEZ), located in the southern part of the city between the Camp John Hay leisure resort and the Philippine Military Academy. Firms located in the BCEZ mostly produce and export knitted clothing, transistors, small components for vehicles, electronics and other computer parts. Notable firms include Texas Instruments Philippines, MOOG, and Client Logic. Recently, there has been an influx of call centers in the city with American companies outsourcing their technical support facilities in the country.
Tourism is one of Baguio's main industries. Commonly, overseas visitors pass through Baguio, while Filipinos make it a destination.
This picture shows the seat bracket. I was going to anodize it, but decided it would be better with a powder coat.
Was unidentified house #1
Date: [197-?]
Photographer: [Staff of Dartmouth Planning and Development Department]
Format: 1 photograph : colour negative ; 35mm
Retrieval Code: Dartmouth Planning and Development photograph, 101-80C-6-16.6