Long straight stretches of red road characterise travel through the Australian outback and this 260km stretch along the Kennedy Development Road between Hughenden and Lynd in outback Queensland is pretty typical. The road includes sections covered in fine red dust called “Bull Dust” and these sections are particularly hazardous when vehicles meet and the dust obscures vision … just another reason to be vigilant when driving in the outback of Australia!!

The UK's International Development Minister Alan Duncan meets with the Head of the United Nations' humanitarian agency OCHA, Baroness Valerie Amos (London, 16 May 2013)

The two met following Britain's pledge of emergency food, drinking water and shelter to help people in Rakhine State in western Burma, who have been displaced by ethnic violence and now face additional threats of approaching tropical storms.

Mr Duncan welcomed the United Nations' role in helping the country's government and partners to prepare for the storm season, and called on the UN to continue to work with the Burmese authorities to ensure effective humanitarian support for the Rohingya people in the area.

Minister of State for International Development Alan Duncan said:

“Thousands of people displaced by violence in Rakhine State are currently extremely vulnerable. With the first tropical storm of the cyclone season due to hit the area this week, it is imperative that we respond to the unfolding humanitarian crisis.

“British support will not only meet the immediate food, water and medical needs of the displaced, but give people protection from the elements for the future. The plight of the people of Rakhine State must not be ignored.”

Britain’s £4.4m package of emergency assistance for Rakhine State will provide:

• nearly 80,000 people with access to safe drinking water and improved sanitation facilities

• malnourished children aged 0-59 months with treatment for acute malnutrition in rural camps

• and hygiene kits to nearly 40,000 people.

Find out more about the UK's support at: www.gov.uk/government/news/support-for-burmas-displaced-a...

Terms of use

This image is posted under a Creative Commons - Attribution Licence, in accordance with the Open Government Licence. You are free to embed, download or otherwise re-use it, as long as you credit the source as Simon Davis/Department for International Development'.

Director General of Revenue of Somalia Jafar Mohamed Ahmed, Director General of Somalia National Bureau of Statistics Sharmarke Farah, Senior Economist Vincent de Paul Koukpaizan, and Deputy Division Chief of the IMF Statistics Department Zaijin Zhan participate in a Capacity Development Talk titled Building Capacity in Fragile States moderated by Noha El-Gebaly at the International Monetary Fund.

IMF Photo/Cory Hancock

12 April 2022

Washington, DC, United States

Photo ref: CH220412064.arw

April 18, 2015 - Washington DC., 2015 World Bank Group / IMF Spring Meetings.

Photo: Simone D. McCourtie / World Bank

Photo ID: 041815-DevelopmentCommitte071f

September 24, 2011- Washington DC., 2011 World Bank Annual Meetings. Realizing the Demographic Dividend: Challenges and Opportunities for Ministers of Finance and Development. Panelists:David Bloom , Clarence James Gamble Professor of Economics and Demography, Harvard University, United States; Melinda Gates , Co-Chair, Bill & Melinda Gates Foundation, United States; Maria Kiwanuka , Minister of Finance, Uganda; Andrew Mitchell , Secretary of State for International Development, United Kingdom (shown); Thirachai Phuvanatnaranubala , Minister of Finance, Thailand; Rajiv Shah , Administrator, US Agency for International Development, United States. Photo: Simone D. McCourite / World Bank

Photo ID:092411-DemographicDividend_032F

Rwanda

September 24, 2011- Washington DC., 2011 World Bank Annual Meetings. Realizing the Demographic Dividend: Challenges and Opportunities for Ministers of Finance and Development. Panelists:David Bloom , Clarence James Gamble Professor of Economics and Demography, Harvard University, United States (shown); Melinda Gates , Co-Chair, Bill & Melinda Gates Foundation, United States; Maria Kiwanuka , Minister of Finance, Uganda; Andrew Mitchell , Secretary of State for International Development, United Kingdom; Thirachai Phuvanatnaranubala , Minister of Finance, Thailand; Rajiv Shah , Administrator, US Agency for International Development, United States.

Photo: Simone D. McCourite / World Bank

Photo ID: 092411-DemographicDividend_082F

April 18, 2015 - Washington DC., 2015 World Bank Group / IMF Spring Meetings.

Photo: Simone D. McCourtie / World Bank

Photo ID: 041815-DevelopmentCommitte127f

On our web development servers, we have any number of websites and applications set up for beta testing at any given time. The last thing we want to do is make you (and by "you" we mean "us" too) look bad by releasing a website or application that isn't functioning as it should.

www.trifectaky.com/web-development.php

Scenes from Al Nnuhoud Livestock Market, North Kordofan where livestock is brought and traded from places nearby. Photo: Salahaldeen Nadir / World Bank

Posted via web from b-rad's posterous

I struggled with where to place these next couple of projects in our chronology, as they have long development cycles that span some significant developments in Aalto's language. This project has its origins in a 1949 competition win (contemporary with Säynätsalo), but apparently didn't really get into design gear until '53 (after Säynätsalo and the Experimental House were basically in the can). Construction didn't begin until the mid-60s, wrapping in '67. In fact, I've decided to slough off the library building, as it seems to date entirely from the period '64-'70 - we'll come back around to that one later on.

So this is another one where it'd really be helpful to do some more reading, and see how much of what we see now is present in the '49 and '53 schemes. My assumption is "most of it," but at the level of material realization some of the moves here (particularly the marble on the architecture department) seem much more in line with '60s Aalto than '50s Aalto.

Some things, however, seem quite '50s indeed: the warm, polychromatic brick, of course, which we recognize from Säynätsalo. And the overal plan - best seen at the museum's info page or Google Maps - is distinctly of the period.

It's tempting to buy so deeply into Aalto as the "Finnish modernist" that you forget that he was also an interested, internationally-engaged, gigging architect. That's not to say he'd be a pushover for any random idea that came down the pipe, but it would be strange if he never once saw something in a foreign magazine and said "ooh - I've got to try that out!" Not to put too fine a point on it, it looks like a lot of institutional buildings from this era. By this date (whichever one you pick), the mat building was in circulation - Jacobsen's Munkegårdsskole is also 1949 - and looking at Aalto's gridded web of straight, double-loaded corridors, borrowing light from a regular series of courtyards, it would appear he was not unaware of these developments. (Such strategies are not entirely unknown in pre-war buildings, by the way; what distinguishes the mat building is the marriage of a grid-and-courtyard scheme to a low-rise building that enables the project to retain modernism's attachment to a continuity between nature and building, etc.)

But this isn't a mat building proper - at best, it's a fragment of one, cut off just before the system's repetition could kick in enough to make it obvious, and with a paradoxical interest in establishing a hierarchy through the visible expression of monumental pieces of program. This last move would have made the hardcore mat people shriek, but probably would have garnered approval from others working along similar lines: for example the Gropius-led TAC, or Eero Saarinen in his institutional work. (One wonders what the Smithsons might have thought.) So all this is less about the evolution of the mat building, and more about modernists coming to terms with the sheer scale of big institutional programs. If you were on the "pro-monument" side of the debate, you would have to scratch your head at the prospect of tackling a whole university in one go, or a corporate office complex or a hospital: the repetition of elements certainly lends itself to modernist building practices, so that's no problem, but beyond a certain scale, how do you give coherence? How do you give meaning? How do you tell where the entrance is, or where the important things are in general? Not addressing these could turn the building into a nightmarish institutional maze, perversely undermining the very liberation it was supposed to produce. The mat-building people either didn't recognize this risk, or considered it worth taking, in the battle to banish hierarchy for good...but I've already discussed this at length. Suffice to say that for someone like Aalto, the goals were different and the risks were not worth taking. You can't change the world, but you can set it an example.

So, does Aalto succeed here? The chief monumental exception, the auditorium whose roof doubles as an outdoor theater, is a knockout: a landmark from across campus, a valuable piece of civic program for the students, and a distinctive, individual architectural expression that honors the institution by insisting through its sheer oddness that, no, the architect did not phone this one in or send it down off the assembly line. As well, I admire the treatment of the pseudo-mat, with some differentiation of its surface; due to construction, we didn't get to see all of it, but the architecture courtyard, for example, is clad in warpy white marble with some interesting in-and-out bumps for sideways lighting, all of which give it a unique identity and keep it from being just another identical piece of an endless web. I really wish we'd gotten inside, since these projects live and die by their corridors, and Dan Hill's photos demonstrate that, unsurprisingly, Aalto beats the pants off the municipal schmoes who designed every American public school in which I ever had cause to step as a child.

However, as a larger urban presence, the Otaniemi campus succumbs to some of modernism's poorer habits. Intended as an automobile-commuter campus - as Ken points out, it even has an Alvar Aalto strip mall, which we walked right past - it sits weirdly in its landscape. The fidgety, in-and-out edge means a lot of perimeter and a lot of somewhat ill-defined exterior space. The courtyards are fine, classic "C" and "L" spaces - but the big lawn falls flat with nothing to define its edges as you move away from the Aalto buildings. Indeed, with the addition of the library, the Aalto set seems to be deliberately cranking open to release space out into the wild. I would buy that as some sort of Jeffersonian idea, or a giant-scale version of an Aalto house, hinging between city and country. But by the time he added the library, the Dipoli Center across the way was already happening, and anyway the strip mall is over there too - too puny to define the space, but too conspicuous to allow for the Jeffersonian reading.

If I overstate the flaws, it's because I'm trying to set up a contrarian case against Aalto (solely in terms of his urban-planning experiments). So I've devoted a disproportionate amount of verbiage to a minor quibble with a good building. I just can't help but wonder how much more distinctive, and closer to Aalto's "Roman forum" ideals, it would be if the library cranked in rather than out, or if there was something at the other end. As it is, the building sets up an intriguing series of diagonal hand-offs, then lets them go, like a game of pinball cut off when the ball gets jammed behind a malfunctioning mechanical doodad.

Based on a satellite image of a tiny sample from Florida's sea of houses. I made many changes to the picture after cropping it, including removing some parts and adding much more color and some paint effect. I find it attractive as a colorful, painting-like doodle, but the houses look too tightly packed in for my taste, though of course people here have much more space than in many apartment buidlings.

After wandering through lots of satellite pictures of developed land in the U.S. I wondered if planners often chose neighborhood designs more because of how the layout looked on their prospective maps and less in consideration of how it would fit in with surrounding development and environment. Also, I've read the comment that some building designs and architectural styles may look fabulous, yet might not be very comfortable or useful to live in and ccould be hard to maintain (like the leaky roofs on many Frank Lloyd Wright houses). Some quite interesting looking development patterns (as seen from aircraft or satellite) are of roads and housing on flood plains and river deltas and beaches that probably get flooded repeatedly, places I've been happy not to live. Many obviously strongly disagree with me -- I've met several Floridians who say they love their beach house settings so much that they regard hurricanes as just a nuisance to be put up with.

Istanbul (Turkey)

The APFSD is the most inclusive regional platform on sustainable development in Asia and the Pacific.

The sixth Forum, as in previous years, served as a preparatory event for the 2019 high-level political forum on sustainable development (HLPF) and engaged member States, United Nations bodies and other institutions, major groups and other stakeholders in highlighting regional and subregional perspectives on the 2019 theme of the HLPF, “Empowering people and ensuring inclusiveness and equality”.

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.

R199

The Zoute Sale - Bonhams

Estimated : € 600.000 - 800.000

Sold for € 897.000

Zoute Grand Prix 2023

Knokke - Zoute

België - Belgium

October 2023

Manufactured between 2003 and 2010, their new supercar allowed Mercedes-Benz and its then Formula 1 partner, McLaren, to showcase their collective experience in the development, construction, and production of high-performance sports cars and, just like its legendary 300 SLR predecessor of 1955, it incorporated technological developments that were ahead of their time. Yet the term 'supercar' does not do full justice to the SLR, which, its peerless performance notwithstanding, is a luxurious and finely engineered Gran Turismo in the best traditions of Mercedes-Benz.

The heart of any car is its engine, and that of the SLR McLaren is truly outstanding. Produced at Mercedes-Benz's AMG performance division, it is a 5.5-litre, 24-valve, supercharged V8 producing 617bhp, making it one of the most powerful engines ever found in a series-produced road-going sports car. Impressive though this peak horsepower figure is, it is the torque produced by this state-of-the-art 'blown' motor that is its most remarkable feature. The torque curve is almost flat: there is already 440lb/ft by 1,500 rpm and well over 500lb/ft between 3,000 and 5,000 revs.

Needless to say, the SLR McLaren delivers performance figures that are still among the best in its class. Taking just 3.8 seconds to sprint from 0-100km/h, it passes the 200km/h mark after 10.6 seconds and from a standing start takes just 28.8 seconds to reach 300km/h (186mph). The two-seater has a top speed of 334km/h. The five-speed automatic transmission was specially optimised for very high torque and also offered the driver the option of choosing between different shift characteristics using the Speedshift system.

Reflecting the long-term technological collaboration that Mercedes-Benz and McLaren enjoyed in Formula 1, the SLR's carbon fibre composite monocoque body/chassis structure was produced in the latter's then all-new facility in Woking, England. Topping off this technological tour de force is the electronically controlled rear spoiler.

In 2006 Mercedes-Benz introduced a new version of the SLR McLaren: the 722 Edition. The '722' refers to the victory in the 1955 Mille Miglia of Stirling Moss and his co-driver Denis Jenkinson, whose Mercedes-Benz 300 SLR had the starting number '722' (indicating a start time of 7:22 a.m.). The engine was upgraded for the 722 and now produced a maximum of 641bhp. In addition, the suspension was stiffened and the ride height reduced, while externally the newcomer boasted a revised front air dam and rear diffuser together with 19" wheels accommodating 390mm brakes. Other exterior changes include red '722 badging, referencing the original 722 racer, plus black-tinted headlamps and tail lights, while the interior was trimmed in a combination of carbon fibre, black leather and Alcantara. Faster than the regular SLR McLaren, the 722 can accelerate from 0-100km/h in 3.6 seconds on its way to a top speed of 337km/h. Production of the 722 Edition was limited to 150 units.

The roadster variant of the 722 Edition was unveiled at the 2007 Frankfurt Motor Show as the 722 S. The latter used the same engine and running gear as the 722 coupé together with the standard SLR roadster's folding roof mechanism. Its performance was on a par with that of the closed coupé. The model went on sale in January 2009 and once again production was limited to 150 examples, instantly making the 722 S one of the rarer and more collectible Mercedes models of recent times.

First registered in May 2011, this rare 722 S version of the SLR McLaren Roadster was delivered new in Germany and has had only one owner from new, covering a trifling 617 kilometres since it left the factory 12 years ago. The enthusiastic owner was unfortunately not able to drive the car himself and would therefore once a year call the Head of Service of his Mercedes dealership to drive the car together to the dealership for servicing or to simply take the car out for a short drive together. In that way the owner was able to enjoy his exceptional supercar. This 722 S Roadster is finished in a lovely shade of dark grey and is presented in effectively 'as new' condition, just as one would expect from such limited usage. Freshly serviced, in June 2023, and ready to be enjoyed. The accompanying documentation consists of German registration papers, manufacturer's Certificate of Conformity, all books and original pouch. Retaining all gadgets from new such as the indoor car cover, battery charger, etc., this highly desirable European-delivery SLR McLaren 722 S is exceptional and still in 'factory fresh' condition.

April 18, 2015 - Washington DC., 2015 World Bank Group / IMF Spring Meetings.

Photo: Simone D. McCourtie / World Bank

Photo ID: 041815-DevelopmentCommitte005f

The Athens Lunatic Asylum, now a mixed-use development known as The Ridges, was a Kirkbride Plan mental hospital operated in Athens, Ohio, from 1874 until 1993. During its operation, the hospital provided services to a variety of patients including Civil War veterans, children, and those declared mentally unwell. After a period of disuse the property was redeveloped by the state of Ohio. Today, The Ridges are a part of Ohio University and house the Kennedy Museum of Art as well as an auditorium and many offices, classrooms, and storage facilities.

The former hospital is perhaps best known as a site of the infamous lobotomy procedure, as well as various supposed paranormal sightings. After the hospital's original structure closed, the state of Ohio acquired the property and renamed the complex and its surrounding grounds The Ridges. According to The Guide of Repository Holdings,[2] the term "The Ridges" was derived from a naming contest in 1984 to re-describe the area and its purpose.

History

Design and architectural features

The architect for the original building was Levi T. Scofield of Cleveland. The hospital grounds were designed by Herman Haerlin of Cincinnati. Some of Haerlin's other landscape designs are seen in Cincinnati's Spring Grove Cemetery and the Oval on the campus of Ohio State University in Columbus.

The design of the buildings and grounds were influenced by Dr. Thomas Story Kirkbride, a 19th-century physician who authored an influential treatise on hospital design called On the Construction, Organization and General Arrangements of Hospitals for the Insane. Kirkbride Plan asylums are most recognizably characterized by the staggered "bat-wing" floor plan of their wards, High Victorian Gothic architecture, and their sprawling grounds.

In accordance with the Kirkbride Plan, the main building was to include a central administration building with a wing for men on one side and a wing for women on the other, each with their own separate dining halls. There was room to house 572 patients in the main building, almost double Kirkbride's recommendation. The main building itself was 853 feet long and 60 feet in width.

Construction

The land where the hospital was built originally belonged to the Arthur Coates and Eliakim H. Moore farms. Ground was broken on November 5, 1868. The first iteration of the asylum consisted of only 141 acres (57 ha) and over the years, grew to occupy over 1,000 acres (400 ha) of land and 78 buildings.

Operating years (1874-1993)

Athens Lunatic Asylum began operation on January 9, 1874. Within two years of its opening, the hospital was renamed The Athens Hospital for the Insane. Later, the hospital would be called the Athens Asylum for the Insane, the Athens State Hospital, the Southeastern Ohio Mental Health Center, the Athens Mental Health Center, the Athens Mental Health and Mental Retardation Center, the Athens Mental Health and Developmental Center, and then (again) the Athens Mental Health Center.

The original hospital was in operation from 1874 to 1993. Although not a wholly self-sustaining facility, many Kirkbride Plan asylums functioned as cloistered communities, and for decades the hospital had livestock, farm fields and gardens, an orchard, greenhouses, a dairy, a physical plant to generate steam heat, and even a carriage shop. A large percentage of the work it took to maintain the facility was originally carried out by patients. Labor, especially skilled labor, was seen by the Kirkbride Plan as a form of therapy and was economically advantageous for the state.

The asylum expanded to include specialized and ancillary buildings such as the Dairy Barn (now an arts center), Beacon School, Athens Receiving Hospital, Center Hospital and the Tubercular Ward ("Cottage B"). Also built onto the main building were a laundry room and a boiler house. Seven cottages, including Cottage B, were constructed to house even more patients. While they had a smaller capacity than the main wards, they allowed for constructive grouping of patients in dormitory-like rooms.

By the 1950s the hospital was the town's largest employer, with 1,800 patients on a 1,019-acre, 78-building campus. At its peak the Athens Lunatic Asylum served Adams, Athens, Gallia, Highland, Hocking, Jackson, Lawrence, Meigs, Morgan, Perry, Pike, Ross, Scioto, Vinton and Washington counties.

Decline and closure

The mental healthcare industry in the United States underwent a sea change in the 1950s. Research began to show that the mentally ill did not pose an inherent danger to their communities. The public became increasingly aware of procedures like electroshock therapy and the lobotomy, which would come to be seen as cruel, unnecessary, and inhumane. The availability of psychoactive drugs for the treatment of mental illnesses, as well as the increasing prevalence of psychological therapy, allowed for most patients to be treated without the need for internment in a prison-like institution. The asylum, among many others, declined throughout the latter half of the 20th century and eventually closed in 1993. However, the state hospital continued to function in Athens, with some patients and staff relocating to a newly constructed facility which, at the time of the transition in 1993, was called the Southeast Psychiatric Hospital. The psychiatric hospital in Athens - visible from the asylum - is now named Appalachian Behavioral Healthcare.

Modern history and present day

1990s

By the early 1990s, many of the original buildings had fallen into disrepair, following a similar pattern of decline and neglect among Kirkbride Plan asylums. As the mental healthcare industry transitioned away from large, centralized institutions, the will to support sprawling hospital complexes diminished. Large asylums were slowly phased out, with most operations shifting to small outpatient centers scattered throughout the community. Because the asylums were typically located on a hill outside of the nearest municipal center, their degradation was able to occur out of sight and out of mind. Under private ownership, abandoned Kirkbrides often languished unmaintained and unsecured, slowly being reclaimed by nature, as with Hudson River State Hospital in New York. Since abandoned structures represent a serious insurance liability, there is incentive for the property owner to secure them, and abandoned property owned by colleges and universities may be especially easy targets for urban exploration, squatting, or vandalism by members of the student body or the general public.

In 1993 the Athens Lunatic Asylum's property was deeded over to Ohio University in a land swap with the state's Department of Mental Health. Under the ownership of Ohio University, the property was kept in relatively good shape and was maintained for reuse.

2000s and 2010s

With urban exploration and modern ruins occupying a growing niche of public consciousness through entertainment and media, Kirkbride Plan asylums have enjoyed renewed public attention in the 2000s and 2010s. Two historically significant Kirkbrides, Danvers State Hospital in Massachusetts and the aforementioned Hudson River State Hospital in New York, fell into dangerous disrepair in the 1990s and 2000s and eventually underwent partial demolition to make way for new development.

At Athens, the ownership of a stable funding authority (Ohio University) has ensured restoration of much of the original grounds, as envisioned by the original planners, in a mixed-use university development called The Ridges.

Most buildings have been renovated and turned into classrooms and office buildings. The administration building is now the home of Kennedy Museum of Art , showcasing paintings and artwork of all different types of artists. The Dairy Barn Southeastern Ohio Cultural Arts Center, a nonprofit arts organization, is located in the old hospital's remodeled dairy barn; it is privately owned and operated. The Dairy Barn operates a calendar for sculpting and exhibits. The George V. Voinovich School of Leadership and Public Affairs is also located at The Ridges, in a set of three separate buildings across the area.

The old tubercular ward, "Cottage B", which sat on a hill separated from the other buildings, was demolished by Ohio University in 2013 due to the large number of college students exploring the dangerous structure. Cottage B was designed to early 1900s fireproofing standards and incorporated copious asbestos lining inside the walls, making it difficult to remediate.

Members of the Athens, Ohio, chapter of NAMI, the National Alliance on Mental Illness, have worked to restore the three graveyards located on the grounds of The Ridges. School organizations provide tours of the facility around Halloween time each year. The preserve is also regularly used by the school's Army ROTC battalion.

Treatment and quality of care

The first patient of the Asylum was a 14-year-old girl with epilepsy, thought to be possessed by a demon. Epilepsy was considered a major cause of "insanity" and reason for admission to the hospital in the early years. The first annual report lists thirty-one men and nineteen women as having their insanity caused by epilepsy. General "ill health" accounted for the admission of thirty-nine men and forty-four women in the first three years of the hospital's operation.

Ailments such as menopause, alcohol addiction, and tuberculosis were cause for enrollment in the hospital. For the female patients hospitalized during these first three years of the asylum's operation, the three leading causes of insanity are recorded as "puerperal condition" (51 women), "change of life" (32 women), and "menstrual derangements" (29 women). Women with postpartum depression or "hysteria" were labeled insane and sent to recover in the institution. Women were often institutionalized for unnecessary or outright fallacious reasons.

The second-most common cause of insanity, as recorded in the first annual report, was "intemperance and dissipation". In the hospital's first three years of operation, according to the annual report of 1876, eighty-one men and one woman were diagnosed as having their insanity caused by masturbation. Fifty-six men and one woman were diagnosed as having their insanity caused by "intemperance and dissipation" during this same period of time.

Records from the asylum document some of the now-discredited theories of the causes of mental illness, as well as the practice of harmful treatments, such as lobotomy. The Ohio University archives collection information regarding employees' background training, which ranged from full training and qualification to a complete lack thereof. Most disturbing is the documentation of hydrotherapy, electroshock, lobotomy, and early psychotropic drugs, many of which have been discredited today as extremely inhumane ways of treating a patient.

Cemeteries

Myths and mystery surround a well-known site in southern Ohio, The Athens Lunatic Asylum. The mystery is fueled, perhaps, because the public cannot access a majority of the information about patients who were treated and lived at the asylum. With special permission and filling out paperwork that is required by the state of Ohio, some of the information can be accessed, however, those interested in finding out about the patients that walked through the doors of the Asylum can satisfy their curiosity by looking to the cemeteries.

"There are 1,930 people buried at the three cemeteries located at the Ridges. Of those, 700 women and 959 men lay under the headstones marked only with a number." There were some patients who had died that were reunited with their families and buried in cemeteries around their homes. By 1943, the State of Ohio began putting names, births, and deaths, on the markers of the patients who died. (Friends of Asylum, McCabe)It is unknown as to why the state switched from using only numbers to using names in order to verify who the deceased were, but this practice remained constant through the remainder of time that patients were buried up at the asylum. Although the newer stones had names, births, and deaths, the older stones that remained had not been replaced until recently.

By the 1980s the state no longer took care of the cemeteries which made it easy for outsiders to vandalize them. Natural occurrences also caused damage. The stones marking where patients were buried were in desperate need of repair. They were left to the elements and "hundreds of stones were left uprooted and broken." Beginning in 2000, the Athens, Ohio, chapter of the National Alliance on Mental Illness (NAMI) started the reclamation for the cemeteries, taking on the work that was once the responsibility of the Ohio Department of Mental Health." NAMI, Athens worked to help restore the cemeteries at the Asylum to its original state. The organization got "involved with other groups and organizations in a major effort to restore, beautify and demystify the three mental health grave yards located on the grounds of the old psychiatric hospital complex on The Ridges." "Since nearly the time of the opening of the cemeteries the State of Ohio has allowed families to erect private markers at the graves of their loved ones, There are very few graves marked in such a way, most likely because descendants are unaware of the opportunity."

Since the take over, more information has been found out about the patients that are buried in the three cemeteries. A large portion of the information that has been recovered is about the veterans that had spent the remaining days of their lives at the Asylum. Many of these veterans did not receive honors and only 19 have had any recognition. There are 80 veterans that are buried at the Ridges. Of these veterans two fought in the Mexican War, sixty-eight fought in the Civil War, one was a member in the Confederate Army and another two veterans served with the United States Colored infantry. There are three veterans who served in the Spanish–American War, and seven fought in World War I. Some of the other veterans that are buried here were active duty in the late 19th century and the early 20th century.

NAMI has also done other things to honor those who have served our country as well as the other patients who are buried in the cemeteries at the Ridges. Besides helping replace grave stones and keeping the grounds in proper condition, in 2005, the Ridges Cemeteries Committee has been organizing Memorial Day Ceremonies for the many veterans buried at the asylum. "Prior to 2005, the veterans had never received such honors. Indeed, neither they nor the others in those cemeteries had received more than a very austere burial - no personalized service whatsoever." NAMI started the Memorial Day Ceremonies to help restore dignity to the patients on the Ridges and to help recognize the sacrifice of the veterans, many who had probably suffered through post traumatic stress disorder as well as other post war symptoms.

"To find these "lost" veterans, they were found "through a special search within a broader research project to find background information on the over 1,900 patients buried in the Asylum's three cemeteries. With the Help of the Athens County Veterans Service Office and a special appropriation from the Athens county Commissioners flag stands and flags have been placed at the graves of all the veterans in the three cemeteries. [attribution needed]

In culture

Kirkbride Plan asylums occupy a unique niche in the culture. As more than 70 were built across the nation (with 25 surviving as of 2019) they are a uniquely accessible and idyllic representation of the allures of urban exploration. Kirkbride Plan asylums have appeared in films and television, been the subjects of notable photographers, and inspired fictional locations such as Arkham Asylum in Batman and Parsons State Insane Asylum in Fallout 4.

This is the Ohio Pass Road from Gunnison Colorado. I hadn't been on this road for 30 years or so. Such a beautiful drive.

I hope the houses in this development are in better shape than these

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The 21 cm Kanone 39 (K 39) was a Czech-designed heavy gun used by the Germans in the Second World War. It was original designed by Škoda as a dual-purpose heavy field and coast defence gun in the late 1930s for Turkey with the designation of ‘K52’. Only two had been delivered before the rest of the production run was appropriated by the Heer upon the occupation of Czechoslovakia in March 1939.

Initially, the K 39 only saw limited use as a field cannon in Operation Barbarossa, the Siege of Odessa, Siege of Leningrad and the Siege of Sevastopol. During the war, nine of these guns were sold to Sweden, too.

Towards the end of hostilities, the survivors were integrated into infantry groups and used for long-range fire support at both Western and Eastern front. No vehicle survived, since most Sd.Kfz. 190 were destroyed by their crews after breakdowns or when the heavy vehicle got stuck in difficult terrain – its weight made the KüBa 39 hard to recover.

Specifications:

Crew: Six - seven (commander, gunner, 2 -3× loader, radio operator, driver)

Weight: 64 tonnes (71 short tons)

Length: 7.27 metres (23 ft 8 in) (hull only)

9.72 metres (31 ft 10 in) overall in marching configuration

Width: 3.88 metres (12 ft 9 in)

Height 3.81 metres (12 1/2 ft)

Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)

Suspension: Torsion bar

Fuel capacity: 720 litres (160 imp gal; 190 US gal)

Armor:

25 – 150 mm (1 – 5.9 in)

Performance:

Speed

- Maximum, road: 38 km/h (23.6 mph)

- Sustained, road: 32 km/h (20 mph)

- Cross country: 15 to 20 km/h (9.3 to 12.4 mph)

Operational range: 120 km (75 mi) on road

80 km (50 mi) off road

Power/weight: 10,93 PS/tonne (9,86 hp/ton)

Engine:

V-12 Maybach HL HL230 P30 TRM gasoline engine with 700 PS

Transmission:

ZF AK 7-200 with 7 forward 1 reverse gears

Armament:

1× 21 cm K 39/41 L45 heavy siege gun with 4 rounds and 15 separate charges

1× 7.92 mm Maschinengewehr 34 or 42 with 800 rounds in the front glacis plate

The kit and its assembly:

The project to put the massive (real) Czech 21 cm K39 gun on a German chassis had been on my agenda for a long time, but I have never been certain about the vehicle donor for this stunt. I initially favored a Modelcollect E-50/75 since it is available as an SPG version with a reversed engine/casemate layout. But this kit has two serious issues: it would IMHO be too late to be adapted for the pre-war weapon, and – worse - the kit has the flaw that the mould designers simply ignored the driver/radio operator in the hull’s front – the glacis plate immediately migrates into the engine deck and bay, so that there’s no internal space for the driver! Even if you’d assume that the driver would sit with the rest of the crew in the casemate behind the engine, there are no hatches, sights slits or mirrors? Well, it’s a fictional tank, but IMHO it has been poorly designed.

Correcting this might be possible, but then I could also convert something else, probably easier. This alternative became a serious option when I recently built my fictional Sd.Kfz. 187, a Jagdtiger with a reversed layout. This stunt turned out to be easier than expected, with good results, and since I had a second Jagdtiger kit left over from the Sd.Kfz. 187 project I simply used it for the KüBa 39 – also having the benefit of being rooted in an earlier time frame than the E-50/75, and therefore much more plausible.

The Trumpeter 1:72 Jagdtiger first lost its mid-positioned casemate. Internal stiffeners were glued into the hull and the engine deck was cut out and glued into the former casemate’s place, directly behind the driver section. The casemate for the 21 cm gun (a Revell field gun model of this weapon, highly detailed) was scratched, though, and designing it was a gradual step-by-step process. To offer more internal space, the engine deck was slightly shortened, what also changed the vehicle’s profile. From the Jagdtiger’s superstructure I just retained the roof. Things started with another donor piece, though, the massive gun mantlet from a Trumpeter 1:72 KV-2 tank. It was mated with the21 cm gun and the movable KV-2 mantlet mounted with styrene sheet spacer onto a scratched casemate front plate. More styrene sheet was used to create covers around the mantlet, and inside I glued an “arm” to the gun with lead bead ballast, so that the gun could be easier posed in raised position. The finished gun element was glued onto the hull, and the Tiger II roof positioned as far back as possible, what revealed a 3mm gap to the front plate – bridged by another styrene sheet filler, which was also used to raise the roof and add a kink to the roofline that would make the casemate look less boxy.

With the roofline defined I decided to extend the casemate backwards – after all, the original rear engine was gone and the vehicle would certainly need a spacious back door to enter and load it. Therefore, a back wall section was cut out and a casemate extension scratched from styrene sheet. When this was in place, the vertical casemate rear wall was added, and with the profile now fully defined the casemate side walls were created from 1.5 and 0.5 mm styrene sheet. The kink under the roofline was a self-imposed challenge, but I think that this extra effort was worthwhile because the casemate looks more organic than just a simple box design like the Ferdinand/Elefant’s superstructure?

Once the casemate was closed, surface details were added, including the doble door at the rear, the small crane on the roof, and the retractable supports (which came, IIRC, from a Modelcollect 1:72 T-72 kit). The rest of the original Jagdtiger kit was simply taken over OOB.

Painting and markings:

As a vehicle operated in the open field, I gave the KüBa 39 a classic, contemporary “Hinterhalt” paint scheme, in the sophisticated original style that was only applied to a few vehicles on factory level until the camouflage job was soon delegated to the frontline units. Painting started with a base coat of RAL 8000 (Grünbraun) as an overall primer, then 7028 Dunkelgelb (Tamiya TS-3) was sprayed onto the upper surfaces from a rattle can for a light shading effect. At this stage the markings/decals were already applied, so that the additional camouflage could be applied round them. They were puzzled together from the scrap box.

Then clusters/fields in Olivgrün (RAL 6003; Humbrol 86) and Rotbraun (RAL 8012, Humbrol 160) were added onto the sand tone base with circular templates/stencils made from densely foamed styrene that were glued onto the tip of toothpicks – the large casemate with its even surfaces lent itself for this elaborate “factory finish” scheme variant. The stamp method worked better than expected, and the result is very convincing. I just tried to concentrate the dark areas to the upper surfaces, so that the contrast against the ground when seen from above would be smaller than from a side view, which became more fragmented. The running gear remained uniform Dunkelgelb, as a counter-shading measure and to avoid wobbling patterns on camouflaged wheels that could attract attention while the vehicle would move.

After protecting the decals with a thin coat of varnish the model and the still separate wheels received a dark-brown washing with highly thinned acrylic paint and an overall dry-brushing treatment with light grey and beige. Additionally, water colors were used to simulate dust and light mud, and to set some rust traces on exposed areas.

Artist mineral pigments were dusted into the running gear and onto the tracks after their final assembly, and some mud crusts on the tail supports were created with a bit of matt acrylic varnish and more pigments.

A thorough conversion project, and the result is a really massive vehicle - its bulk is hard to convey, the Jagdtiger basis is already a massive vehicle, but this is "super-size", close to an E-100! However, you have to place something next to it to fathom the size of the 21 cm mortar and the huge casemate that covers it. But the conversion looks IMHO rather natural, esp. for a scratched work, and the Hinterhalt suits the bulky vehicle well, it really helps to break the outlines up.

U.S. Rep. Henry Cuellar, D-Texas, and U.S. Department of Agriculture USDA Rural Development RD Under Secretary Xochitl Torres Small meet before she announces the USDA investment of $102 million to expand access to housing and water infrastructure for socially disadvantaged rural people who live and work in 45 states and American Samoa, during a visit to Siesta Shores and Falcon Lake in Zapata Co., TX, on Dec 16, 2022. The 263 projects in which USDA invests will create economic opportunities and improve the lives of hundreds of thousands of people in rural America.

The investments are part of the Biden-Harris Administration’s commitment to ensure that people living in rural America have equitable access to the infrastructure and economic opportunities they deserve.

“USDA invests in rural America because we know a strong community is rooted in its people,” Torres Small said. “Thanks to the leadership of President Biden, Vice President Harris, and Agriculture Secretary Vilsack, USDA can help invest in opportunity and prosperity for all people, regardless of background or financial status, who make up the character and personality of our great country’s rural lands.”

The Siesta Shores Water Control and Improvement District in Zapata County, Texas, is receiving a $1 million Emergency Community Water Assistance Grant to purchase a filter upgrade along with new raw water pumps and electrical wiring. It also will install six-inch raw water piping and fittings to reach the deeper parts of the community’s water source, Falcon Lake.

These investments are in addition to the recent expansion of the Rural Partners Network (RPN), which is central to President Biden’s commitment to ensure all rural people can benefit from federal resources. Led by USDA with support from more than 20 federal agencies and commissions, RPN is part of an all-of-government strategy to champion rural people and places, including Native American communities.

These programs are Water and Waste Disposal Grants to Alleviate Health Risks on Tribal Lands and Colonias, Appalachian Regional Commission Grants, Delta Health Care Grants, Socially Disadvantaged Groups Grants, Housing Preservation Grants, Rural Community Development Initiative Grants, Tribal College Initiative Grants, Emergency Community Water Assistance Grants, Rural and Native Alaskan Village Grants, Water and Waste Disposal Loans and Grants and Community Facilities Disaster Grant Program.

USDA Media by Lance Cheung.

Arrested Development @ Club 50 West, SLC UT 12-17-15

Today I visited the Laughanstown Area of Dublin and used my new Voigtlander 40mm lens to photograph a number of historic sites nearby.

I am willing to bet than most Dubliners do not know of this place or that if they see the name they will assume that it is a misspelling of Loughlinstown [which is nearby]. To add to the confusion the tram stop is Laughanstown but the laneway leading to Tully Church is Lehaunstown.

For a number of years the area has been in the process of being re-developed on a massive scale but the development has stalled a number of times.

Tully Park, a major element of the current redevelopment programme, is located at the centre of the Cherrywood development, and the park itself is centred on the ruins of the Tully Church and Graveyard. When completed, Tully Park will be 22 acres in size, roughly the same as Dublin’s St. Stephen’s Green Park.

Being the flagship park of Cherrywood, Tully Park will serve as a facility for the entire development, containing everyday walking and cycling routes and providing environmentally-positive connections.

According to the original plans Lehaunstown Lane and the existing hedgerows and tree lines will divide Tully Park naturally into four zones:

A Heritage Zone with Tully Church & Graveyard, High Crosses and their environs, with paths to explore the monuments.

A Biodiversity Zone with lots of native wildflowers, shrubs, trees and informal paths to wander.

A Play Zone which includes a large play area for kids, a skate park and an amphitheater area for open-air plays or performances.

A Passive Zone with lawns, meadows and wooded areas make up the majority here, with winding paths and seating areas.

My understanding is that there will be two other parks as described below:

Ticknick Park - Intended to provide more formal recreational amenities, Ticknick Park will have 5 pitches for field sports , with paths and walking routes around the perimeter for jogging and training. Existing mature trees and hedgerows will be protected and retained, with discreet car parking adjacent to the playing areas.

This is a substantial park area, offering the potential for an urban farm, allotments, orchards, woodland areas, cycle tracks and much more, given Ticknick Park will be comparable in scale to Dublin’s Marlay Park.

Views from the park will take in the Dublin Mountains, Ballycorus Lead Mines, Dublin Bay and Killiney Bay, from Poolbeg to Bray Head and as far as Howth.

Ticknick Park will include:

5 multi-use grass playing pitches

Pavilion building

‘Greenway’ route continuation into the park to provide prioritised pedestrian and cyclist access

Jogging & Walking Paths

Connecting paths to The Dublin Mountain Way hiking routes

Car & Bicycle Parking

Beckett Park - Beckett Park is envisioned to be a multi-use space, mixing formal and informal recreation. The wealth of amenities will be complimented by pathways, benches and landscaped biodiversity.

Beckett Park will be enclosed and secure, with the potential for shared use of the sports resources with Cherrywood’s schools, 2 of which are adjacent to the park.

Beckett Park will have an abundance of amenities including:

All Weather Sports Pitch

Tennis Courts

Plaza Spaces

Paths & Jogging Tracks

Sports Pavilion with Green Roof and café and terrace

Boules Courts

Outdoor Gym

Playground

Multi-Use Games Area

The park will provide a visually and spatially exciting place and an intensive and active space, which will enhance the quality of life for future residents.

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Nine Elms royal mail site for development

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

Söndagens öppningsceremoni.

Anna König Jerlmyr, Vice Mayor, Social Affairs Division, City Hall

Foto: Lena Dahlström

Future beneficiaries of the Songinohairkhan district hospital being built under the Fourth Health Sector Development Project.

The Fourth and Fifth Health Sector Development Project will upgrade hospital services in Ulaanbaatar, improve human resource development, and strengthen the country's drug safety regime.

Read more on:

Mongolia

Health

Fourth Health Sector Development Project

Fifth Health Sector Development Project

IMF economists Tao Sun, Parma Bains, and and Akihiko Yoshida, Deputy Director General for International Bureau, Ministry of Finance of Japan, participate in a Capacity Development Talk moderated by Eva-Maria Graf titled Digital Money: Building Capacity for a Virtuous Circle at the International Monetary Fund.

IMF Photo/Cory Hancock

11 April 2022

Washington, DC, United States

Photo ref: CH220411012.arw

New and beginning farmers are able to receive education, experience and support from the Agricultural Land Based Training Association (ALBA), whose graduates of their Farmer Education Course (PEPA) can then move on to agricultural related careers or continue a farming association for up to five incubator years where they can rent farm land, at their 100-acre facility in Salinas, Ca., on Nov. 14, 2018.

The Agricultural Land Based Training Association (ALBA) is a training program that helps low income farmworkers and others learn how to become farmers. New farmers begin with a series of classroom courses and on-hands training, and graduate to farming their own piece of land on the farm. Eventually these new graduates hope to become successful farmers.

ALBAâs Farmer Education and Enterprise Development (FEED) Program educates and trains new farmer-entrepreneurs to plan, launch, and establish viable organic farm businesses or advance their careers. To accomplish this, ALBA has 100 acres of organic land, an experienced team with diverse expertise, and a hands-on, 5-year farmer development program. FEED is comprised of three main components:

1.The Farmer Education Course (PEPA) is a one year, bilingual, 300-hour curriculum featuring classroom instruction and field-based training, readying participants to launch an organic farm business.

2.The Organic Farm Incubator allows course graduates to launch their farm on ALBAâs land. Starting at ½ acre, farmers gradually scale up to 5 acres over 4 years under ALBAâs supervision before transitioning to fully independent farming.

3.ALBA Organics, aggregates, markets and ships participantsâ products to growing markets around California. Doing so gives farmers access to clients that would otherwise be out of reach and allows them to focus on growing and business management in their initial years.

For more information about PEPA please see www.albafarmers.org/programs/

U.S. Department of Agriculture (USDA)

Farm Production and Conservation (FPAC) is the USDAâs focal point for the nationâs farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs and technical assistance, and commodity, lending, and disaster programs. The FPAC team includes, Farm Service Agency (FSA) (www.fsa.usda.gov/), Natural Resources Conservation Service (NRCS) (www.nrcs.usda.gov/wps/portal/nrcs/site/national/home/), and Risk Management Agency (RMA) (www.rma.usda.gov/).

USDA FPAC Farm Service Agency (FSA) is equitably serving all farmers, ranchers, and agricultural partners through the delivery of effective, efficient agricultural programs for all Americans. FSA is a customer-driven agency with a diverse and multi-talented work force, dedicated to achieving an economically and environmentally sound future for American Agriculture. The vision is to be a market-oriented, economically and environmentally sound American agriculture delivering an abundant, safe, and affordable food and fiber supply while sustaining quality agricultural communities.

Here, FSA works with non-profit organizations such as ALBA to provide program information and outreach to beginning farmers, socially disadvantaged farmers and limited income farmers. ALBA works with a unique farmer base of nontraditional, diverse and beginning farmers.

FSA staff has worked with ALBA for many years in the following ways:

1. Provide classroom training to new ALBA students at the ALBA farm during their regular coursework. FSA provides training on:

a. How to apply for a farm loan and prepare a cash flow statement.

b. How to apply for FSA programs that help with risk management on the farm, such as the Noninsured Crop Disaster Assistance Program (NAP) or other regional crop insurance options.

c. How to apply for Disaster Assistance through FSA in case of an adverse weather event or other emergency.

2. FSA has provided micro loans, operating loans and ownership loans to help ALBA farmers become independent and successful in their operations. FSA has provided Emergency Conservation Program (ECP) and Noninsured Disaster Assistance Program (NAP) payments to these farmers.

3. FSA has provided bookkeeping training courses to ALBA students, on farm tours, and has helped students apply for USDA scholarships to attend agricultural conferences and other trainings.

4. FSA has referred ALBA farmers to NRCS for help with resource management issues.

âThese farmers are the future face of American Agriculture. It is so important for FSA to help them get a strong start in ensuring the success of their operations, said FSA County Executive Director Vivian Soffa. Carlos will need support when he graduates from ALBA and hopefully FSA will be able to assist him with his capital needs when he is farming on his own in this very competitive agriculture market. Familiarity with FSAâs programs at the beginning of a new farmerâs endeavor may be the difference between success and failure.â

For more information please see www.usda.gov.

USDA Photo by Lance Cheung.

Video remarks by Christine Lagarde, Managing Director, International Monetary Fund.

interior of probably Kifo during a development session. download the hires to see all the details

Arrested Development play HMV Institute in Birmingham, 14 October 2010.

www.arresteddevelopmentmusic.com

www.birminghampromoters.com

venues.meanfiddler.com/hmv-institute/home

Photos for Gig Junkies with review by Daron of The Hearing Aid.

www.gigjunkies.com

www.thehearingaid.blogspot.com

© 2010 www.flickr.com/wayne_john_fox, please email me for the original images.

wayne [UNDERSCORE] john [UNDERSCORE] fox [AT] hotmail [DOT] com

Downloading, reproducing, blogging, copying or using my images in any way without my prior permission is illegal.

Thank you.

From Preliminary Report No 1.: Background, San Francisco Department of City Planning, March, 1969.

During first to three months of birth, baby’s development is in full swing. During third month baby’s identify a smiling face and respond to a smile.

First pieces of development art from my long overdue comic book (due to arrive in 2010).

Rather obviously, it's a spaceman and a space-beetle. And a sketch of a splash page/possible cover

www.matttaylor.co.uk

The low level counter used in the solar neutrino experiment is being

placed in the shield. In this experiment neutrinos which result from

nuclear reactions in the sun's core are detected by measuring the

radioactive argon nuclides that they produce in a target.

For more information or additional images, please contact 202-586-5251.

Accelerating Climate Action through Philanthropic-Public-Private-Collaboration

Gim Huay Neo, Managing Director, Centre for Nature and Climate, World Economic Forum; Ray Dalio, Founder, Co-Chairman and Co-Chief Investment Officer, Bridgewater Associates, USA; Frans Timmermans, Executive Vice-President for the European Green Deal, European Commission; Klaus Schwab, Founder and Executive Chairman, World Economic Forum

Copyright: World Economic Forum/Jeffery Jones

Sustainable Development Impact Meetings, New York, USA 19 - 23 September

IMF economists Lesley Fisher and Amanda Sayegh from FAD join Principal Secretary of Finance of the Government of Odisha, India, Vishal Kumar Dev, and Eria Hamandishe, Director, Department of Economic Affairs, Zimbabwe Ministry of Finance & Economic Development, at a Capacity Development Talk titled Building Capacity on Managing Fiscal Risks: A New Fiscal Risk Toolkit at the International Monetary Fund.

IMF Photo/Cory Hancock

12 April 2022

Washington, DC, United States

Photo ref: CH220412030.arw

Alison McGovern MP spoke for 'Remain'.

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IMF economists Tao Sun, Parma Bains, and and Akihiko Yoshida, Deputy Director General for International Bureau, Ministry of Finance of Japan, participate in a Capacity Development Talk moderated by Eva-Maria Graf titled Digital Money: Building Capacity for a Virtuous Circle at the International Monetary Fund.

IMF Photo/Cory Hancock

11 April 2022

Washington, DC, United States

Photo ref: CH220411008.arw

Development Impact and the PhD scholarship - Road Map training, December 2013

Cumberland Lodge, Windsor

Some developer decided to turn what was a fabulous oasis on Upper Barton Creek into this, a near wasteland. Soon siltation and the nitrate fertilizer runoff from dozens of "luxury" homes will be flowing into our prized possession, Barton Springs Pool and our aquifer.

Large