Fossil of the day 12 December COP25

 

1st 🇺🇸 US (again!) for blocking money for victims of severe climate impacts for 6 years now!

 

2nd - Developed Countries especially 🇪🇺🇨🇦🇦🇺 for lack of ambition in #lossanddamage for vulnerable countries

 

🇦🇺 Australia for using carbon market loopholes

 

#RayoftheDay 🌅

 

For the people rolling up their sleeves to take on the fossil fuel industry

 

🇵🇭 Philippines - climate activists petitioning #CarbonMajors for human rights

🇳🇴Norway-fighting extraction in the Arctic

Indigenous heroes from the 🇧🇷Amazon to 🇦🇺Australia

 

Today we have in first place for the fossil of the day award the United States of America (USA) (again and again)!

 

The main reason is for generally really standing in the way of any money going to the people suffering from climate change. This has been going on for at least six years. This should really raise eyebrows about the country´s lack of empathy. Are there real people in office in the US People with actual hearts? Or have they replaced their humanity with a lump of coal?

 

First inhumanity, and now they put on full display their paranoia! They are afraid of being held accountable for causing droughts in Africa. They are afraid of being held accountable for the drowning of the Pacific; the destruction of entire civilisations. Actually, they should be held accountable but this is not what the Paris Agreement is about. It is about international cooperation, no developing country talked about liability. Yet the US insists on language on liability and compensation in the draft COP Decision text on the Review of the Warsaw International Mechanism on Loss & Damage (WIM).

 

Hey US you are on your way out, you are not giving a single dollar to the Green Climate Fund and now you don’t want any help to get to the people bearing the brunt of the mess you created! And still, you want to be part of the WIM’s Executive Committee! Pay up or step out, let others move forward already.

 

The Second Fossil of the Day award goes to developed countries with special mention to the European Union, Canada and Australia for showing lack of ambition in responding to vulnerable peoples’needs on loss and damage.

 

The WIM Review unofficially began on December 1st, and the overwhelming message was that finance to address loss and damage must be an outcome of COP25.

 

Two weeks later, poor and vulnerable countries and civil society are wondering if developed countries attended a different meeting on December 1st.

 

While we acknowledge they have been less problematic than the US, developed countries, including Australia, Canada and the European Union have done very little very late to advance discussions on loss and damage finance age. It’s especially confusing when all three have agreed that existing climate finance is insufficient. Anyhow, aren’t they the rich people in the room? And part of the club that caused the problem in the first place? Why is it so difficult for them to pay for the damages they are still causing. Also…hey Canada… isn’t high time you differentiate yourself from cronies like Australia and the US?

 

It is beyond us to understand how developed countries can sit by and continue to twiddle their thumbs whilst vulnerable communities in developing countries experience severe losses and damages. You have one day left to show you want to be on the right side of history!

 

The third fossil award goes to Australia - for using carbon market loopholes to meet its climate targets

 

We award this fossil to Australia for planning to cheat the atmosphere by carrying over its credits from the Kyoto protocol. Instead of cutting greenhouse gas pollution, Australia is using creative accounting. Please bear with us now: Australia plans to count surplus carbon credits from exceeding previous targets against future targets. Regrettably, this was allowed under the old Kyoto protocol, but it is not even mentioned in the Paris agreement. No country in though about such trickery.

 

To make things worse, since the Paris Agreement is a new and separate treaty, this is not even legal stuff!

Hey Australia: Article 6 deserves some more love here instead of your distractions. When you rig your climate target you shouldn't showcase this as "overachievement". You must do more in the future, not less. Please stop cooking up the books, stop shifting carbon pollution around. Grow up, be a responsible adult and get over Kyoto, it´s long gone now!

 

The Ray of the Day goes to the people rolling up their sleeves to take on the fossil fuel industry

 

We would like to especially mention:

The activists from the Philippines who petitioned the Philippines Commission for Human Rights to denounce the responsibility of the Carbon Majors for climate-induced human rights violations

The amazing Norwegians campaigning to denounce fossil fuel extraction in the Arctic and who will be facing the government in court tomorrow - hoping that the judge will realize how incompatible large scale fossil fuel extraction is with the right to a healthy environment for present and future generations

The indigenous heroes, from the Amazon to Australia risking their already vulnerable lives to fight fossil fuel development on traditional land and to preserve cultural and environmental integrity

 

These heroes are leading the charge in bringing down the real elephant occupying the UNFCCC hallways and backing the deniers and the blockers. Hur-Ray to the people! They are the hope and they will prevail!

 

About the fossils:

Every day at 18:00 local time you can watch the Fossil ceremony in Hall 4 during COP25.

 

The Fossil of the Day awards were first presented at the climate talks in 1999, in Bonn, initiated by the German NGO Forum. During United Nations climate change negotiations (www.unfccc.int), members of the Climate Action Network (CAN), vote for countries judged to have done their 'best' to block progress in the negotiations in the last days of talks.

 

About CAN: The Climate Action Network (CAN) is a global network of over 1,300 Non-Governmental Organizations (NGOs) in more than 120 countries working to promote government and individual action to limit human induced climate change to ecologically sustainable levels.

 

Watch the Facebook livestream video

 

Attribution: John Englart/Climate Action Network

To develop the park began in 1976, the 200th anniversary year of American independence, to celebrate the relationship between the two freedom-loving countries, Israel and the US. The forest developed and extended an existing woodland planted in the region in the 1950s by new immigrants from the surrounding area and nearby Beit Shemesh, who had arrived soon after the founding of the State of Israel.

A combination of straight lines, circle arcs and s-curves on a circle divided in 10.

 

I know that morning glories are five-sided, but they have a pronounced crease in the middle of each side.

Developed using darktable 3.0.0

The badge of Queensland developed from the need to include a seal or badge in the design of the state flag.

 

The badge was adopted as part of the state flag on 29 November 1976. It is officially described as "On a Roundel Argent a Maltese Cross Azure surmounted with a Royal Crown".

 

It was designed by William Hemmant, the then Queensland Colonial Secretary and Treasurer. It is not known why this was chosen as a suitable badge.

 

However, it is interesting to note that a Maltese Cross is the final stop on the legend band around the Great Seal of Queensland (1859). The Royal Crown also appears on this seal.

 

It was last altered in 1963, after Queen Elizabeth II decided to reproduce the Crown during her reign.

 

Description source:

Queensland Government

 

View the original record at the Queensland State Archives:

Item ID 1055857

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developed raw

In the meantime - six and a half weeks old - Joschi and Juri have developed their own personality. Of course both are very kittenish, have new ideas to explore their little world every day more and more but you can see that they have different characters already.

Joschi is a little dreamer. I always have to remind him when it's time for breakfast, lunch and dinner or a little snack. Juri never would miss a meal! Who wonders that Juri weights more than 100 gram more? He is very smart and clever and seems to be some steps before his brother in his developement from the very first. Both love to sit on my lap but Joschi enjoy it so much to be cuddled, Juri always want to "fight" with my hand or fingers and fall asleep in purrs after a while.

For all Joschi lovers. It was an April Fool that I keep Joschi! He is sold already and will become a wonderful home with two other cats. One of them is Funny's sister, Feona, some of you will remind this lovely girl which is grown up to a pretty woman now. Juri shall make some new babies in my breeder friend's home. So I will not lose sight of them.

The Alenia Aermacchi M-346 Master is a military transonic trainer aircraft. The design of the plane is based on the Yak-130, developed by Yakovlev and Aermacchi as a joint venture.

 

In 1993, Aermacchi signed an agreement to partner with Yakovlev on the new trainer the firm had been developing since 1991 for the Russian Air Force. The resulting aircraft first flew in 1996 and was brought to Italy the following year to substitute the aging MB-339. At the time, the aircraft was marketed as the Yak/AEM-130, however, by 2000, differences in priorities between the two firms brought about an end to the partnership, with each developing the aircraft independently, with Aermacchi retaining worldwide marketing rights except for Russia and the other CIS nations. A Russian version is also being pursued by Yakovlev and Sokol, under a different time schedule.

 

The M-346 is a highly modified version of the aircraft the joint venture was producing, and uses equipment exclusively from Western manufacturers. The first prototype rolled out on 7 June 2003 and flew for the first time on 15 July 2004.

 

In January 2005, the Greek Ministry of Defence signed a Memorandum of Understanding (MOU) to become a partner in the programme and, in 2006, Aermacchi signed an industrial cooperation agreement with Hellenic Aerospace Industry.

 

In July 2007, the M-346 flew to the United Arab Emirates for hot weather tests and operational evaluation by the UAE Air Force.

 

In March 2008 the Chilean ENAER signed a Memorandum of Understanding (MOU) with Alenia Aermacchi at the FIDAE air show.

 

On 10 April 2008 one further prototype in the final configuration (new landing gear and air brake, more composite parts) was rolled out: first flight of this "Industrial Baseline Configuration" was expected in June. On 18 December 2008, the M-346 reached a maximum speed of Mach 1.15 (1,255 km/h, 678 knots, 780 mph).

 

In May 2008 Boeing signed a Memorandum of Understanding to cooperate on the marketing, sales, training and support of two Aermacchi trainers, the M-346 and the M-311.

 

The development of a full-mission simulator for the M-346 has been awarded to CAE and is under development.

 

Leica III Leitz Summar 5cm F2 Kodak Tri-X400 self developed in D76

Developing thunderstorm, photographed near Ardmore, South Dakota, on May 28, 2016.

Developed in Diafine

KMZ Zorki-3

KMZ JUPITER-9 85mm F2

ILFORD HP5+ 400

Self_developed FX-5_Dev

Developed in Adox Adonal

Tea service with Ogasawara's way. Rose garden, Iwamizawa park, Iwamizawa, Hokkkaido.

Canon AV-1, FD 135mm F2.5, S.C, negative for cinema ISO 64 ( F64D ), expired, exposed as ISO 50, developed with P1R ( color paper developer ) for 4min 45sec at 28Deg.C.

The Grumman EA-6B Prowler was developed primarily to replace older electronic warfare aircraft in US Navy service, namely the EKA-3B Skywarrior, as well as a response to the growing lethality of Eastern Bloc electronic threats. Initially, the ALQ-99 electronics suite was installed in a standard A-6 Intruder airframe as the EA-6A, but the aircraft was somewhat limited and workload was heavier for a two-man crew, especially in combat. EA-6As did see combat in Vietnam with the US Marine Corps, but something better was clearly needed. The result was the lengthened EA-6B Prowler, which upgraded the electronics suite considerably and also added two more crewmembers to reduce workload and increase effectiveness. The EA-6B first flew in May 1968, and entered US Navy and Marine service in 1971.

 

The ALQ-99 system is divided between several antennae on the aircraft, including the distinctive “football” antenna at the top of the tail. Most of the noise jammers are in the three or five underwing pods the Prowler almost always carries, though in the case of a three-pod arrangement, often antiradar missiles such as the AGM-88 HARM. It can also be used as an electronics intelligence (Elint) aircraft.

 

Continually updated over its life, the EA-6B has also seen action in both Gulf Wars, Afghanistan, Bosnia, and Kosovo; in service over the Middle East, the Prowler has proven effective in jamming IED detonation signals. With the retirement of the USAF’s EF-111 Ravens, the EA-6B was the sole ECM aircraft in US service, further contributing to the overwork of the aircraft, and has often been the only ECM aircraft available in NATO operations as well. The last of the A-6 family in service, the Prowler has almost been completely replaced by the EF-18G Growler, beginning in 2009.

 

Known as the "Frankenprowler," this EA-6B is 158542--most of it, anyway. 158542 was originally built in 1972 and served with several Pacific Fleet ECM squadrons at NAS Whidbey Island. In 1989, it was one of three testbeds for testing the Advanced Capability (ADVCAP) upgrade; this would add new flaps, slats and ailerons for better handling at higher gross weights, two more wing hardpoints, improved engines, and a completely new "glass" cockpit. Though ADVCAP showed great promise, it was cancelled in 1995 due to budget cuts. All three ADVCAP aircraft were placed in storage.

 

In need of attrition replacements in 1998, the three ADVCAP aircraft were dismantled, and parts from all three were reassembled into a single EA-6B. Now dubbed "Frankenprowler," 158542 returned to service with VAQ-141 ("Shadowhawks") in 2005 and saw service over Iraq. It would end its career with Marine VMAQ-3 ("Moon Dogs") in 2015, and was donated for display to the Pima Air and Space Museum, to preserve the most unique of a unique aircraft.

 

"Frankenprowler" is looking a bit faded; unfortunately, I wasn't aware of its status when I took the picture, or I might have gotten its nose art into the picture (a small painting of Frankenstein is on the nose, unseen from this angle). What looks to be a faded American flag is actually the names of everyone in VMAQ-3 at the time the aircraft was retired.

Here's my first attempt at unfolding the sphere and an homage to this work of Seb Przd's, "Cut and fold..." I think I'm finally beginning to get this. This, too, can be printed out and folded together with no distortion (i.e., it's developable). Images output exclusively with Hugin and laid out with Photoshop (to add the pretty stroke and drop shadow).

 

For some reason, the final 3D object struck me as resembling a Pringles potato chip snack packs, hence the name.

 

[FYI: the shot is the lobby of my office. I haven't posted this pano yet. It's a 360°x180° view].

 

©2008 David C. Pearson, M.D.

Film: Cinestill 800T film, developed from Kodak Eastman 5219 movie film (Kodak Vision 3).

Camera: Olympus Trip35

Lens: 40mm f/2.8 Olympus D. Zuiko lens.

Exposures: all at f2.8 1/40th second.

Developing: Machine developed in C41 with a 1 stop push, by www.snapsphotoservices.com

 

This combination of using my point and shoot Olympus Trip35 compact with it's Zuiko 40mm, and Cinestill film is quickly becoming a firm favorite.

 

All shots were at f2.8 and 1/40th of a second, possible by taking the Trip off automatic exposure and using the index ring, usually used for a flash gun.

 

My local independent photo lab developed the film, with a one stop push, this really was my judgement call based on the setting of the shots.......

 

Universal Music presented the International ABBA 40th Celebration Birthday at London's Tate Modern in the Turbine Hall on Monday 7th of April 2014, marking exactly 40 years since ABBA won the 1974 Eurovision Song Contest with their entry for Sweden with Waterloo in Brighton. Ironically the United Kingdom gave the song Nil Point.

 

Although it was not advertised as anything other than an Abba book launch and disco, both Anni-Frid Lyngstad and Björn Ulvaeus flew in to London and attended the event, along with the choir from the Abba Museum in Stolkholm.

 

The Cinestill film has captured the light and mood of the event perfectly, and the external shots of the Thames well both at dusk and night.

 

Cinestill is available in the UK from Firstcall Photographic. www.firstcall-photographic.co.uk/

Metcheck said 67 % cloud cover for sunrise , it also said rain would stop 30 minutes before sunrise BANG ON ME WEATHER MAN

  

View On Black

Watercolor dreamscape on paper

 

Visit Kent's Studio Blog here:

artifactsgallery.blogspot.com/

Thanks for your comments.

It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.

 

PDF of the crease pattern.

 

Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)

Developed with Gimp 2.10. This is a negative scan of 4x5 sheet film. I scanned it using this process youtu.be/oOKmjXIz2Uw

A squall developing over the Konmaru La.

Church of St Bartholomew, Coffinswell Devon

The village seems to have developed as a settlement beside the springs (one perhaps a sacred well) where the lands of 2 agricultural Manors of that time met. - Tavistock Manor to the north east owned from Saxon times by the Abbey of Tavistock who leased the land to a succession of tenant gentry. The other on the north and west known as the Lay Manor as it never belonged to the Church. In 1086 Lay Manor was held by Radulph Paganel and the Exeter doomsday survey of this year places both Manors in "Willa / Wille".

c1155 with the advent of the third manor of Daccombe to the south east, a site for a church was chosen where all 3 manorial boundaries came together and in 1191 the name of the area is givenas Wille et Daccumbe. (Later Church records of 1193 name it Willa et Daggecumba and a deed of 1225 mentions de Welle de Dacum).

c 1230 the Coffyn family acquired Lay Manor and by 1282 the Manor was called Welle Coffyn.

 

A visitation of 1301 reported that the chapel had a good missal with musical notes, an old gradale, a good troparium and ordinale, a legenda and psalter, an old monastic antiphonale, a manuale and hymnale. A fairly good chalice, gilt inside. Two complete sets of vestments and two alb, nine altar cloths. a thurible, wooden chrismatory and a wooden pyx for the eucharist without a lock. Also 2 surplices and a rochet, a lenten veil. a processional cross, two cruets & 2 bells for the dead..

By 1326 it was clearly differentiated from the Tavistock Manor by is name of Coffinswille, and consisted of the village of Coffinswell and the hamlet of Daccombe.

 

The Norman font www.flickr.com/gp/52219527@N00/7iNSyHF4ZM survives from the original building of c 1159 which was an oblong thatched structure of stone or cob with a small south chapel to the east, with narrow unglazed Norman windows .

It now consists of a continuous nave & chancel (the waggon roof extending from the east end to the west), a north aisle divided from the nave by 4 arches supported on columns with carved capitals, a small transept, north porch, and west tower

 

The earliest part now is the 70ft red sandstone two stage tower, now dark roughcast, dating to c1220, its walls 2.0 metres thick and not quite square with the nave It has 6 bells; (two being of pre-Reformation date (Henry Vll) inscribed in Old English lettering:" Protege Virgo Pia quos Sancta Maria" (Protect us, Virgin Pious, Holy Mary;) ; two date from 1626 and 1637, and have the inscription: "Soli Deo detur gloria" (Glory is given to God alone;) ; the latter was recast in 1894 when a fifth bell was added with the inscription: Sit Deo gloria" (To God be the glory) .; the sixth bell was added in 1904.

 

Glass windows in the decorated style were inserted mid-14c when a small south transept was built . A three-light granite window in the south-west corner near the tower was added in the 15c

The north aisle erected late 15c with 14c style windows was also thatched and a broad trench around it caught the rain dropping off the thatch. The most westerly column dividing it from the nave has several coats of arms which refer to the Holbeame family and their connections (Scobahull, Leyton, and Gambon). This suggests that the aisle was erected by John Holbeame, a local gentleman who died in 1473.

 

The chancel altar was at St Mary church before 1855, one of the several copies made in wood of the high altar in Cologne cathedral. An older oak table altar with carved sides stood in the vestry but was removed in 1925 to the chapel of the retreat house at West Ogwell. The altar rails of oak are carved in the Gothic style. www.flickr.com/gp/52219527@N00/9t90prBH82

 

The vestry was built in 1820, blocking the west window of the north aisle. inside are preserved the old stocks, remarkable for the fact that the board with the holes for the feet is flat instead of upright, so that the prisoners would either have to stand in them, or sit in a very cramped position. The old parish chest with slits for coins and two iron clasps for double locking. is also kept here, and some pieces of lead with foot and hand marks on them. ( It is said at one time visitors to the roof used to amuse themselves by tracing the shape of their hands and feet on the lead covering, and when the rood was re-leaded these shapes were preserved). devonhistoricgraffiti.org.uk/coffinswell-st-bartholomew/

 

The vestry has recently been refurbished with the facilities of kitchenette and WC, allowing for concerts and communal events to take place here

 

A fine granite cross in the churchyard was found supporting a cattle shed in the village. www.flickr.com/gp/52219527@N00/7Upg0S0o53

 

The registers date: baptisms, 1560; marriages, 1560; burials, 1561.

 

Near the church is Court Barton, a manor house of partly 16c date; the southern part of which was used as a court house by Torre Abbey. There are many traditional cob and thatch cottages of which 29 are listed.

 

Picture with thanks - copyright historicengland.org.uk/listing/the-list/list-entry/1164557

Out in Manchester on Friday with some friends, taking pictures.

Developed using darktable 3.6.0

Develop: D-23_(200ml+800ml H2O)_20C-22min

Rollfilm: Rollei Retro-100

Developing cirrus sky at Waterhead

developed with DxO Optics Pro 6.52

 

Block Arcade Melbourne

 

VHR citation

BLOCK ARCADE

Location

280 - 286 COLLINS STREET 96 - 102 ELIZABETH STREET MELBOURNE, Melbourne City

 

Google Maps and Google Streetview

Victorian Heritage Register (VHR) Number

H0032

 

Heritage Overlay Number

HO596

 

a Level of Significance

Registered

  

Extent of Registration 1. All the building known as the Block Arcade marked B1 on Diagram 32 held by the Executive Director.

 

2. All the land marked L1 on Diagram 32 held by the Executive Director, being the land described in Certificate of Titles Vol. 4645 Fol. 875, part of Vol. 9409 Fol. 669, Vol. 9924 Fol. 206, Vol. 9409 Fol. 669 and Vol. 4645 Fol. 874.

 

Statement of Significance

What is significant?

The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.

 

How is it significant?

The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.

 

Why is it significant?

The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.

 

The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.

Year Construction Started 1891

Architectural Style Victorian Period (1851-1901) Mannerist

Heritage Act Categories Heritage place

Municipality MELBOURNE CITY; MELBOURNE CITY

 

VHR H0032 Statement of signficance

 

What is significant?

 

The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.

  

How is it significant?

 

The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.

  

Why is it significant?

 

The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.

 

The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.

  

Source Victorian heritage database: vhd.heritage.vic.gov.au/places/result_detail/730?print=true & vhd.heritage.vic.gov.au/vhd/heritagevic_new#detail_places...

  

The 12 February event in the Democratic People’s Republic of Korea provided ample illustrative material.

 

For more on the course see the highlight: www.ctbto.org/press-centre/highlights/2013/capacity-build...

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Elk Island Park

05/05/2023. London, United Kingdom. Anne-Marie Trevelyan, Minister of State for Foreign Affairs greets Suriname Honorary Consul Amwidhker Jethu-Ramkrishan at the Small Island and Developing Nations Coronation Event at Lancaster House. Picture by Lauren Hurley / DHSC

UN Women Executive Director Phumzile Mlambo-Ngcuka at Samoa Victim Support Group during a site visit at the UN 3rd Small Island Developing States Conference, Samoa 2014.

 

Photo: UN Women/ Olivia Owen

 

See more at: www.unwomen.org/en/news/in-focus/sids

developed in Xtol (stock)

Some photos from the very first roll of black and white film I developed on my own in my bathroom.

developed with DxO Optics Pro 6.52, FilmPack 2 Astia 100F

 

SIGMA fp + 45mm F2.8 DG DN C019

 

Developed by SIGMA Photo Pro 6.7.0

Canonet QL17, Ilford HP5 Plus, self developed at カメラのアマノ. These are the store scans, which are low resolution. I do not know what I am gonna get out of this roll when I scan it at hope, as I am used to working with chromogenic XP2 Super.

The Rise

Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.

The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.

Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.

The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.

By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.

Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.

Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.

Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.

All the while, business continued to boom at Regency Square, perhaps more so than ever.

The Fall

There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”

In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.

At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.

Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.

A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.

Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.

The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.

It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.

Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.

In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.

Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.

By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.

The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.

By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.

When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.

What does the future hold. For these, hopefully some juicy grapes that will be picked and eaten. The growth of plants is not unlike the growth of our students and children and grandchildren. Incremental. For those us who are now principals at the elementary level (as I was, though not now) these days see the start of school and the arrival of the kindergarten students, many of whom will will watch move through the classes for many years until they head to middle or high school. For the classroom teacher, in a small district like ours, some of the students they enroll as school starts this year will be children they have watched grow for as many as three years. For those of us who are parents and still provide help, assistance, guidelines to our adult children, the time has flown as we have watched them grow and develop. It is not only about simply watching the growth though, there is a lot about nurturing and caring. As I look forward to my work with teachers and students and my own staff over the next number of months, I hope to see wonderful changes occur.

The walls of this really are straight up and down. Kind of like a tin can with propeller vanes.