More from the series from Perth Central Station. The lighting along the platforms is so crisp and the minimalist fitout makes for some austere and sometimes "lonely" shots.

More from the series from Perth Central Station. The lighting along the platforms is so crisp and the minimalist fitout makes for some austere and sometimes "lonely" shots.

More from the series from Perth Central Station. The lighting along the platforms is so crisp and the minimalist fitout makes for some austere and sometimes "lonely" shots.

AIDAnova is a cruise ship built by Meyer Werft GmbH in Papenburg, Germany under contract from Carnival Corporation for AIDA Cruises. The first of the new Excellence-class ships, she was launched on 21 August 2018 and was undergoing final fitout and sea trials during November 2018.

The ship is the first cruise ship in the world that can operate completely using liquefied natural gas (LNG).

Here is the AIDAnova in the port of Las Palmas (also called La Luz Port) in Gran Canaria and sails the Canary Islands and Madeira.

☛ This is what we saw during our stay at Gran Canaria, Spain.

© www.tomjutte.tk

.

The Carreau Wendel Museum is the museum of the Wendel-Vuillemin coal pit, in Petite-Rosselle on the Saarland, Lorraine border. Though often in Germany, since 1945 it has been in Moselle department France.

The museum is an Anchor point on the European Route of Industrial Heritage.

The Wendel 1 pit was closed in 1989, Wendel 2 in 1992 and Wendel 3 in 2001. The first piece of coal was mined in Petite-Rosselle in June 1856, at the Saint-Charles pit. These pits are in France but surrounded on three sides by the national border with Germany. Several pits were dug between 1862 and 1889: Wendel 1, Wendel 2, Vuillemin 1 and Vuillemin 2. Emile Vuillemin was the consulting engineer for Charles de Wendel and Georges Hainguerlot's company- Compagnie Anonyme des Mines de Stiring. The coal produced was primarily used to fire the Wendel steelworks. The company became - Les Petits-fils de François de Wendel et Cie in 1889.

After the Second World War, the government required the industry to triple the Lorraine coal production within ten years. In the 1946 nationalising, the Wendel assets were assigned to public company Houillères du bassin de Lorraine. The Wendel 3 pit was dug in 1952, and in 1958 was equipped with the new wash house 3. The Wendel 1 and 2 pits were modernised and equipped with new headframes. After 1960, the coal recession hit: the company modernised wash house 1-2 in 1962 by creating a new module on top of the former wash house, adapted to the existing equipment. Operations and investment continued up until 1986 when central activities ceased. Some infrastructure continued to be used up until 1989 serving other pits in the Wendel franchise.

The museum is presented in several section. The simple tour shows the life of the miner and the hazardous working conditions. There is then an opportunity to take a guide tour down the workings seeing the machinery current when the last deep mine in France closed in 2004. There is an AM 100 heading machine, G210 electro-hydraulic loader, Electra 2000 shearer and ANF winning machine, roof supports etc.

Australian Magpie

≠=====================≠

Here is a closer view of Persephone and her work so far as she makes final adjustments to the top.

I cannot begin to imagine, taking orders to climb those masts to man the sails or take a place in one of the look-out spots.

Rope ladders go right to the very top. The crow's nest lookouts are at varying heights.

It was an amazing experience to view and witness this absolutely gorgeous sailing vessel, that was moored this weekend at the Burrard Dock Pier, North Vancouver, BC Canada

It is my absolute pleasure to be able to feature this incredible Tall Ship from various angles, and under the changing evening light.

I was in my glory having the opportunity to photograph this fabulous vessel.

I hope you enjoy viewing this ship as much as I enjoyed capturing it.

I even had the honour and privilege to tour onboard this Navy Ship. :)

Please stay tuned for many images to follow.

The B.A.P. Unión, a Peruvian ship, arrived To Vancouver, BC Canada, Thursday to commemorate 75 years of diplomatic relations between Canada and Peru.

The tall ship — a traditional sailing vessel — serves as a training ship for Peruvian naval cadets. That country's government says it is the second largest training ship in the world.

The ship has 34 sails, and has a total sail area of more than 3,400 square metres. It houses 243 crew members.

BAP Unión is a training ship of the Peruvian Navy, built between 2012–2015 by Shipyard Marine Industrial Services of Peru, known as SIMA. It is a four-masted, steel-hulled, class "A" barque, composed of 38 steel modules. It has a total length (including bowsprit) of 115.50 m (378 ft 11 in);a beam of 13.50 m (44 ft 3 in); a draft of 6.50 m (21 ft 4 in); an air draft of 53.50 m (175 ft 6 in); a displacement of 3,200 metric tonnes; a speed of 12 knots (22 km/h) and a crew of 250 officers and trainees. The ship's name honors a Peruvian corvette that took part in the first stage of the 1879–1883 War of the Pacific as part of a naval squadron under the command of Miguel Grau, a hero of the Peruvian Navy.

Like other similar ships, Unión has been conceived not only for training purposes, but also to be a sailing ambassador for its home country. Due to its features and dimensions, it has been considered (as of the date it was commissioned) the largest sail vessel in Latin America. Wikipedia

Additional info.

For a long time, the Peruvian Navy desired a training ship for instruction of its cadets. Accordingly, the Peruvian government enacted 1985 Law N° 24094, which declared as a public necessity the navy having this kind of ship. However, due to the economic crisis of debt and hyper-inflation Peru suffered at the end of the 1980s, and later for public spending restraints, the project was postponed.

Eventually, in 2010 the project was approved and the construction was authorized. In 2012 the Peruvian government announced its decision to order the ship's construction to the Shipyard Marine Industrial Services of Peru, known as SIMA; in cooperation with the Government of Spain, through the contractors Cypsa Ingenieros Navales and Navantia, which were responsible for the ship´s structural design. The governmente named the ship as Union to honors a Peruvian corvette that took part in the first stage of the 1879–1883 War of the Pacific as part of a naval squadron under the command of Miguel Grau, a hero of the Peruvian Navy. On December 8, 2012 Unión's construction began with a keel laying ceremony in the presence of Peruvian president Ollanta Humala. The hull was finished two years later and the ship was launched on December 22, 2014.

In June 2015, the ship received its masts and propeller; and the interior fitout began in charge of contractors Acopafi and MO Contract. Also, according to an agreement between SIMA and Navantia, the ship was provided with an "Integrated Control System Platform, Navigation and Communications".

While the ship was under construction, the Peruvian government arranged training for the future Unión's crew with the help of an instructor from the Spanish Navy and by sending personnel to serve on training ships of other countries, such as the Mexican sailing ship ARM Cuauhtémoc. Also, a Peruvian delegation was sent to take part in maintenance and repair works on Colombian sailing ship ARC Gloria. Wikipedia

**Best experienced in full screen.

Each and every view, comment and fave are so very much appreciated. Thanks for visiting.......

~Christie

Überführung AIDAnova

Wann: Montag, 8. Oktober 2018, ab etwa 19 Uhr

EmsZeitung

Die AIDAnova ist ein für AIDA Cruises vorgesehenes Kreuzfahrtschiff der neuen Helios-Klasse von Carnival Corporation & plc. Aktuell wird das Schiff auf der Meyer-Werft in Papenburg gebaut.

(Wikipedia)

AIDAnova wurde am Dienstag, den 21. August 2018 ausgedock und am Freitag, den 31. August 2018 auf der Meyer Werft in Papenburg getauft.

Die Überführung ist für Mitte bis Ende September 2018 geplant

.

NEU.

Überführung voraussichtlich Anfang Oktober 2018

Sie soll Ende 2018 in Dienst gestellt werden.

AIDAnova is an upcoming cruise ship under construction by Meyer Werft of Germany for AIDA Cruises. The first of the new Excellence-class ships, she was launched on 31 August 2018 and is due to undergo final fitout and sea trials in September 2018.

wikipedia

Due to the success of the operator's first ship, Sea Cloud, but also for economic reasons, the operator decided to put another sailing ship into service.

Unlike the Sea Cloud, the Sea Cloud II is a newbuilding. The contract for her construction was awarded to the Spanish shipbuilder Astilleros Gondán, SA. The keel laying was held there on 24 June 1998.

The rigging was planned and produced by Navicom in Wolgast. The 23 sails were made in Poland.

Sea Cloud II was launched on 18 March 1999. However, the owner's exacting demands in relation to interior fitout caused delivery problems and personnel problems. This led to a roughly one-year delay. The ship was eventually handed over to Sea Cloud Cruises on 29 December 2000, in a not yet completely finished state.

On 22 January 2001, the final work was completed. The Sea Cloud II was christened on 6 February 2001 in Las Palmas, Canary Islands. The sponsor was Sabine Christiansen.

The Carreau Wendel Museum is the museum of the Wendel-Vuillemin coal pit, in Petite-Rosselle on the Saarland, Lorraine border. Though often in Germany, since 1945 it has been in Moselle department France.

The museum is an Anchor point on the European Route of Industrial Heritage.

The Wendel 1 pit was closed in 1989, Wendel 2 in 1992 and Wendel 3 in 2001. The first piece of coal was mined in Petite-Rosselle in June 1856, at the Saint-Charles pit. These pits are in France but surrounded on three sides by the national border with Germany. Several pits were dug between 1862 and 1889: Wendel 1, Wendel 2, Vuillemin 1 and Vuillemin 2. Emile Vuillemin was the consulting engineer for Charles de Wendel and Georges Hainguerlot's company- Compagnie Anonyme des Mines de Stiring. The coal produced was primarily used to fire the Wendel steelworks. The company became - Les Petits-fils de François de Wendel et Cie in 1889.

After the Second World War, the government required the industry to triple the Lorraine coal production within ten years. In the 1946 nationalising, the Wendel assets were assigned to public company Houillères du bassin de Lorraine. The Wendel 3 pit was dug in 1952, and in 1958 was equipped with the new wash house 3. The Wendel 1 and 2 pits were modernised and equipped with new headframes. After 1960, the coal recession hit: the company modernised wash house 1-2 in 1962 by creating a new module on top of the former wash house, adapted to the existing equipment. Operations and investment continued up until 1986 when central activities ceased. Some infrastructure continued to be used up until 1989 serving other pits in the Wendel franchise.

The museum is presented in several section. The simple tour shows the life of the miner and the hazardous working conditions. There is then an opportunity to take a guide tour down the workings seeing the machinery current when the last deep mine in France closed in 2004. There is an AM 100 heading machine, G210 electro-hydraulic loader, Electra 2000 shearer and ANF winning machine, roof supports etc.

The Carreau Wendel Museum is the museum of the Wendel-Vuillemin coal pit, in Petite-Rosselle on the Saarland, Lorraine border. Though often in Germany, since 1945 it has been in Moselle department France.

The museum is an Anchor point on the European Route of Industrial Heritage.

The Wendel 1 pit was closed in 1989, Wendel 2 in 1992 and Wendel 3 in 2001. The first piece of coal was mined in Petite-Rosselle in June 1856, at the Saint-Charles pit. These pits are in France but surrounded on three sides by the national border with Germany. Several pits were dug between 1862 and 1889: Wendel 1, Wendel 2, Vuillemin 1 and Vuillemin 2. Emile Vuillemin was the consulting engineer for Charles de Wendel and Georges Hainguerlot's company- Compagnie Anonyme des Mines de Stiring. The coal produced was primarily used to fire the Wendel steelworks. The company became - Les Petits-fils de François de Wendel et Cie in 1889.

After the Second World War, the government required the industry to triple the Lorraine coal production within ten years. In the 1946 nationalising, the Wendel assets were assigned to public company Houillères du bassin de Lorraine. The Wendel 3 pit was dug in 1952, and in 1958 was equipped with the new wash house 3. The Wendel 1 and 2 pits were modernised and equipped with new headframes. After 1960, the coal recession hit: the company modernised wash house 1-2 in 1962 by creating a new module on top of the former wash house, adapted to the existing equipment. Operations and investment continued up until 1986 when central activities ceased. Some infrastructure continued to be used up until 1989 serving other pits in the Wendel franchise.

The museum is presented in several section. The simple tour shows the life of the miner and the hazardous working conditions. There is then an opportunity to take a guide tour down the workings seeing the machinery current when the last deep mine in France closed in 2004. There is an AM 100 heading machine, G210 electro-hydraulic loader, Electra 2000 shearer and ANF winning machine, roof supports etc.

Replacing an earlier scanned photo with a better version, plus DeNoise AI 04-Dec-22.

First flown at Hamburg-Finkenwerder in Dec-96 with the Airbus test registration F-WWJA, this aircraft was used for flight testing at Toulouse, France. It was re-registered F-WWIJ in Jan-97. It was returned, as D-AVZC, to Airbus Germany at the end of Feb-97 for customer completion and fitout.

The aircraft was delivered to ILFC International Lease Finance Corporation as D-ASSE (on paper!) in Apr-97 and leased to Monarch Airlines as G-OZBC the same day. It was returned to the lessor in Apr-00 and leased to Dragonair (Hong Kong) as B-HTF in May-00.

Dragonair was renamed Cathay Dragon Airways in Nov-16. The aircraft was stored at Hong Kong at the start of the COVID-19 Pandemic in Mar-20. Cathay Pacific Airways (The Swire Group) closed the company down in Oct-20 and the aircraft was returned to the lessor in Nov-20 and stored at Marana, AZ, USA.

The aircraft is now 26 years old and it's unlikely to return to passenger service. Most probably it'll be permanently retired, but you never know. It's possible that it might be given a P2F conversion, but my guess is 'permanent retirement'. Updated 04-Dec-22.

Replacing an earlier digital photo with a better version 05-Jul-23.

First flown with the Airbus test registration F-WWST in Jan-16, the aircraft was ferried to the Airbus factory at Hamburg-Finkenwerder for interior fitout and painting. It was delivered to Babcock & Brown Aircraft Management and leased to Emirates as A6-EOZ in May-16.

The aircraft was stored at Dubai World Central in Mar-20 due to the COVID-19 Pandemic. It returned to Dubai International in Nov-20 for further storage and returned to service in Sep-21. Current, updated 31-Oct-23.

Leon Fraser, now the Alpena and Irving S. Olds of U.S. Steel's Great Lakes Fleet at Jones Island Milwaukee during fitout in March, 1976. Taken by my Dad from the William H. Donner.

HPC402 is one of four FPH400 Class Power Railcars built by and for NSW Government Railways in 1938. Recoded to HPC in 1972 when interior fitout altered.

Eight 500 Class trailer cars constructed for use with the four Power Cars

Operated in country areas of the State from 1938 to 1983.

FPH404 destroyed along with 503 by fire in 1944.

FPH401 & 403 preserved Dorrigo Railway Museum.

More HERITAGE TRAINS @

Heritage DIESELS

www.flickr.com/photos/133795069@N05/albums/72157667639624635

Heritage STEAM

www.flickr.com/photos/133795069@N05/albums/72157655945073436

Heritage RAILCARS

www.flickr.com/photos/133795069@N05/albums/72157661174491481

HMS Prince of Wales (R09) under construction and fitout at Rosyth Dockyard, Rosyth, Fife, Scotland, UK.

The aircraft used the full length of 23R on landing and then had to backtrack along the runway due to work on the taxiway.

First flown in Dec-13 at Toulouse, France with the Airbus test registration F-WWSA, the aircraft was ferried to the Airbus factory airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Emirates Airline as A6-EEV in May-14. It was withdrawn from service in Jul-20 and stored at Dubai - World Central due to the COVID-19 Pandemic and returned to service in Jun-21. Current, updated 18-May-23.

'Airborne'... 2 wheels at a time...

First flown in Dec-19 with the Airbus test registration F-WWSZ, the aircraft was ferried to Hamburg-Finkenwerder for interior fitout and painting. It was then stored at Finkenwerder until Emirates were ready to accept it. The aircraft was delivered to Emirates Airlines as A6-EVM in Dec-20. Current 19-May-21.

Operated a delayed Toronto / Manchester the previous day and ferrying back to Toronto.

Old 'toothpaste' livery.

Fleet No: "845".

This aircraft was deliverd to Air Canada as C-FRSE in Jan-17. It was delivered to Kansas City, MO, USA for wi-fi system fitout before ferrying to Toronto for service entry. Current.

My custom designed and built 250 class railcars 260 and 255 - both modelled, to represent the cars in their final years of revenue service in the late 1980's (they were retired in 1991), posed for a photo at Tailem Bend. They still require DCC fitout to be operational. March 2025

It was an amazing experience to view and witness this absolutely gorgeous sailing vessel, that moored this weekend at the Burrard Dock Pier, North Vancouver, BC Canada

It is my absolute pleasure to be able to feature this incredible Tall Ship from various angles, and under the changing evening light.

I was in my glory having the opportunity to photograph this fabulous vessel.

I hope you enjoy viewing this ship as much as I enjoyed capturing it.

I even had the honour and privilege to tour onboard this Navy Ship. :)

Please stay tuned for many images to follow.

The B.A.P. Unión, a Peruvian ship, arrived To Vancouver, BC Canada, Thursday to commemorate 75 years of diplomatic relations between Canada and Peru.

The tall ship — a traditional sailing vessel — serves as a training ship for Peruvian naval cadets. That country's government says it is the second largest training ship in the world.

The ship has 34 sails, and has a total sail area of more than 3,400 square metres. It houses 243 crew members.

BAP Unión is a training ship of the Peruvian Navy, built between 2012–2015 by Shipyard Marine Industrial Services of Peru, known as SIMA. It is a four-masted, steel-hulled, class "A" barque, composed of 38 steel modules. It has a total length (including bowsprit) of 115.50 m (378 ft 11 in);a beam of 13.50 m (44 ft 3 in); a draft of 6.50 m (21 ft 4 in); an air draft of 53.50 m (175 ft 6 in); a displacement of 3,200 metric tonnes; a speed of 12 knots (22 km/h) and a crew of 250 officers and trainees. The ship's name honors a Peruvian corvette that took part in the first stage of the 1879–1883 War of the Pacific as part of a naval squadron under the command of Miguel Grau, a hero of the Peruvian Navy.

Like other similar ships, Unión has been conceived not only for training purposes, but also to be a sailing ambassador for its home country. Due to its features and dimensions, it has been considered (as of the date it was commissioned) the largest sail vessel in Latin America. Wikipedia

Additional info.

For a long time, the Peruvian Navy desired a training ship for instruction of its cadets. Accordingly, the Peruvian government enacted 1985 Law N° 24094, which declared as a public necessity the navy having this kind of ship. However, due to the economic crisis of debt and hyper-inflation Peru suffered at the end of the 1980s, and later for public spending restraints, the project was postponed.

Eventually, in 2010 the project was approved and the construction was authorized. In 2012 the Peruvian government announced its decision to order the ship's construction to the Shipyard Marine Industrial Services of Peru, known as SIMA; in cooperation with the Government of Spain, through the contractors Cypsa Ingenieros Navales and Navantia, which were responsible for the ship´s structural design. The governmente named the ship as Union to honors a Peruvian corvette that took part in the first stage of the 1879–1883 War of the Pacific as part of a naval squadron under the command of Miguel Grau, a hero of the Peruvian Navy. On December 8, 2012 Unión's construction began with a keel laying ceremony in the presence of Peruvian president Ollanta Humala. The hull was finished two years later and the ship was launched on December 22, 2014.

In June 2015, the ship received its masts and propeller; and the interior fitout began in charge of contractors Acopafi and MO Contract. Also, according to an agreement between SIMA and Navantia, the ship was provided with an "Integrated Control System Platform, Navigation and Communications".

While the ship was under construction, the Peruvian government arranged training for the future Unión's crew with the help of an instructor from the Spanish Navy and by sending personnel to serve on training ships of other countries, such as the Mexican sailing ship ARM Cuauhtémoc. Also, a Peruvian delegation was sent to take part in maintenance and repair works on Colombian sailing ship ARC Gloria. Wikipedia

**Best experienced in full screen...enlarge to see all the different world flags.

Each and every view, comment and fave are so very much appreciated. Thanks for visiting.......

Have a wonderful weekend. Happy Mother's Day

~Christie

Operated a delayed Toronto / Manchester the previous day and ferrying back to Toronto.

Old 'toothpaste' livery.

Fleet No: "845".

This aircraft was deliverd to Air Canada as C-FRSE in Jan-17. It was delivered to Kansas City, MO, USA for wi-fi system fitout before ferrying to Toronto for service entry. Current.

Replacing a more grainy digital photo with a better version 10-Aug-22 (DeNoise AI).

The personal transport of His Highness The Sultan of Johor, making it's first visit to Manchester. The metallic gold livery might have looked better if the sun had been shining...

First flown in Oct-14 with the Boeing test registration N1795B, the aircraft was re-registered N504BJ for Boeing Business Jets the following day. After interior VIP fitout and painting it was delivered to His Highness the Sultan of Johor as 9M-III in Mar-16. Current (Aug-18).

This aircraft is the last of the Emirates GE/PW Alliance GP7270 engined A380-861's, from A6-EUM onwards they are Rolls Royce Trent 900 powered A380-842's.

First flown as F-WWSP in Jul-16 this aircraft was ferried to the Airbus factory airfield at Hamburg-Finkenwerder for interior fitout and painting before being delivered to Emirates Airline as A6-EUL in Dec-16. Current, 24-Mar-22.

Almaza Bay Villa

Interior Design: LOAK Design

Fitout: Finish Line Contracting

Website | Facebook | Twitter | 500px | Instagram | Behance | Deviantart

Replacing an earlier scanned 6"x4" print with a better version 22-Mar-22 (DeNoise AI).

Named: "Garmisch-Partenkirchen".

This was the 3rd prototype A321 and although it was built at Hamburg-Finkenwerder it was first flown with the Airbus test registration F-WWIC in Jun-93 and took part in the A321 test programme.

It was re-registered D-AVZA in May-94 and returned to Airbus Germany for mods and interior fitout. The aircraft was delivered to Lufthansa as D-AIRH in Jul-94.

In Mar-20 the aircraft was withdrawn from service and stored at Berlin-Schoenfeld due to the COVID-19 Pandemic. It was ferried to Budapest (Hungary) in Jun-20 for long-term storage.

It was ferried to Amman (Jordan) in Dec-21 for maintenance before ferrying via Frankfurt to Berlin in Jan-22 for further storage. The aircraft returned to service on 26-Mar-22 from Munich / Frankfurt. It's now 29 years old. Updated 04-Apr-22.

A nice BizJet movement.

First flown in Mar-11 with the Airbus test registration D-AUAG, this aircraft was re-registered F-WHUI in Apr-11 for Airbus flight tests. It became D-AUAG again in May-11 and was ferried to Tulsa, UK, USA in Jun-11 for VIP interior fitout. It returned to Airbus in Feb-12 and became F-WHUI again the following month before being delivered to Kutus Ltd as M-HHHH in Apr-12. Current (Apr-19).

Landing after a heavy shower. Note: The A380 only has reverse thrust on Engines 2 & 3. Engines 1 & 4 quite often overhang the surrounding grass area and would be likely to throw up a lot of grass, stones and soil with a risk of ingestion and engine damage.

First flown at Toulouse in Apr-11 with the Airbus test registration F-WWSV. After fitout and painting at Hamburg-Finkenwerder, the aircraft was delivered to Emirates Airline as A6-EDQ in Oct-11.

It was withdrawn from service and stored at Dubai World Central in Feb-20 as a consequence of the COVID-19 Pandemic. The aircraft was moved to Dubai International in Feb-22 and returned to service in May-22 after post storage maintenance.

In Jan-24 the aircraft was stored at Dubai International again and returned to service in Jun-24. Current, updated 17-Nov-24.

Finally departing Manchester after diverting in the previous day (28-Mar-16) because of storm force winds at London-Heathrow. It was ferrying back to Kuala Lumpur empty.

With additional '100th A380' titles.

First flown with the Airbus test registration F-WWSG in Oct-12, the aircraft was ferried to the Airbus airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Malaysia Airlines as 9M-MNF in Mar-13. It was wet-leased to NAS National Air Services (Saudi Arabia) between Jul/Sep-19 on Haj Pilgrimage services.

The aircraft was contracted by the UK CAA for two weeks between Sep/Oct-19 to operate repatriation flights after Thomas Cook Airlines UK ceased operations. It was based at Manchester and operated twice daily, returning Thomas Cook passengers from Palma, Majorca, Spain.

At the start of the worldwide COVID-19 Pandemic, in Apr-20, the aircraft was withdrawn from service and stored at Kuala Lumpur, Malaysia. It didn't returned to service. It was ferried to Lourdes, France in mid Dec-22 and permanently retired.

Operating twice daily Manchester / Palma services until around 07-Oct-19, on behalf of the UK CAA's Thomas Cook Airlines UK passenger repatriation contract.

With additional '100th A380' titles.

First flown with the Airbus test registration F-WWSG in Oct-12, the aircraft was ferried to the Airbus airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Malaysia Airlines as 9M-MNF in Mar-13. It was wet-leased to NAS National Air Services (Saudi Arabia) between Jul/Sep-19 on Haj Pilgrimage services.

The aircraft was contracted by the UK CAA for two weeks between Sep/Oct-19 to operate repatriation flights after Thomas Cook Airlines UK ceased operations. It was based at Manchester and operated twice daily, returning Thomas Cook passengers from Palma, Majorca, Spain.

At the start of the worldwide COVID-19 Pandemic, in Apr-20, the aircraft was withdrawn from service and stored at Kuala Lumpur, Malaysia. It never returned to service.

The aircraft was eventually ferried to Lourdes, France in Nov-22 and permanently retired. It was re-registered EI-HKF in Mar-23 to Airbus Financial Services and they re-registered it 2-JAYN in Mar-24. It was only in service for 7 years!

Emirates 50th Airbus A380.

First flown in Feb-14 with the Airbus test registration F-WWAN, this aircraft was ferried to the Airbus factory airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Emirates Airline as A6-EEX in Jul-14. The aircraft was withdrawn from service in Jul-20 and stored at Dubai-World Central due to the COVID-19 Pandemic.

It was ferried back to Dubai-International in Jun-21 and remained stored until it returned to service in Nov-21, now repainted in 'Year of the 50th' special livery celebrating 50 years of the UAE. It was painted back into standard livery in Jan-23. Current, updated 10-Jun-23.

Emirates 50th Airbus A380.

First flown in Feb-14 with the Airbus test registration F-WWAN, this aircraft was ferried to the Airbus factory airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Emirates Airline as A6-EEX in Jul-14. The aircraft was withdrawn from service in Jul-20 and stored at Dubai-World Central due to the COVID-19 Pandemic.

It was ferried back to Dubai-International in Jun-21 and remained stored until it returned to service in Nov-21, now repainted in 'Year of the 50th' special livery celebrating 50 years of the UAE. It was painted back into standard livery in Jan-23. Current, updated 10-Jun-23.

It looks as as though the upper door 1R has had the emergency slide cover plate replaced (the white panel just below the door). All it needs now in a man with a paint brush to fill in the missing part of the letter 'A'...

First flown with the Airbus test registration F-WWSB in Jul-06. This is line No:5 and took part in the Airbus development programme. After interior fitout and painting at Airbus Hamburg-Finkenwerder the aircraft was delivered to Singapore Airlines as 9V-SKB in Jan-08. Current (May-17).

In green 'Expo 2020 Dubai' special livery.

First flown with the Airbus test registration F-WWSF in Feb-15, the aircraft was ferried to the Aircraft airfield at Hamburg-Finkenwerder for interior fitout and painting. It was delivered to Emirates Airline as A6-EOJ in Jun-15. Current (Feb-19).

First flown in Oct-14 with the Airbus test registration F-WWSH, this aircraft was ferried to the Airbus airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Emirates Airline as A6-EOH in Apr-15. The aircraft was withdrawn from service in Mar-20 and stored at Dubai-World Central due to the COVID-19 Pandemic. It ferried to Dubai International in Mar-22 and returned to service in Jun-22. Current, 20-Oct-22.

First flown with the Airbus test registration F-WWAK, this aircraft was ferried to Hamburg-Finkenwerder in Feb-12 for cabin fitout and painting. It was delivered to Doric Aviation and leased to Emirates Airline as A6-EDX in Sep-12.

It was withdrawn from service in Mar-20 and stored at Dubai-International at the start of the COVID-19 Pandemic. In Jul-20 the aircraft was ferried across to Dubai-World Central for long-term storage.

In Oct-24 it was was sold to Emirates and moved back to Dubai-International and into storage again. Nearly six months on and it hasn't returned to service which makes me wonder if it's being used for spares. Updated 31-Mar-25.

First flown in Apr-15 with the Airbus test registration F-WWAR, the aircraft was ferried to the Airbus airfield at Hamburg-Finkenwerder for interior fitout and painting. It was delivered to Emirates Airline as A6-EOO in Sep-15.

The aircraft was withdrawn from service and stored at Dubai-World Central in Mar-20 due to the COVID-19 Pandemic. It returned to Dubai-International in May-22 and returned to service in Sep-22. Current, updated 31-Oct-22.

First flown Jun-14 with the Airbus test registration F-WWSJ. The aircraft was ferried to the Airbus factory airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Emirates Airline as A6-EOC in Nov-14. The aircraft was withdrawn from service and stored at Dubai-World Central in Jul-20 due to the COVID-19 Pandemic. It was moved back to Dubai-International in May-21 for further storage and returned to service on 01-Sep-21. Current, updated 09-Sep-24.

The Queen Victoria Building was designed by City Architect George McRae as Sydney's central market, and constructed between 1893 and 1898. It was named in honour of Queen Victoria in celebration of Diamond Jubilee in 1897. The site, an entire city block, had previously been occupied by a produce market and the Central Police Court. These uses ceased in 1891 and the land was purchased by Sydney City Council. McRae submitted four proposals for the building. The Australasian Builder and Contractors' News described the designs in July 1893 as "scholarly Renaissance", "picturesque Queen Anne", "classic Gothic" and "American Romanesque". The style chosen was the latter and the foundation stone was laid in December 1893 by the Mayor, Sir William Manning. This foundation stone was a five-tonne block of granite, levered and lowered into position at the corner of George and Druitt Streets. The ceremony was the first of a series in which successive mayors laid stones and plaques to mark the progress of construction. The building was notable for its employment in the expansive barrel-form roof of engineering systems which were very advanced at the time of construction. McRae is considered by architectural historians to have been one of the leading protagonists of the new construction methods and materials which were then beginning to break down the conservatism of building techniques. In achieving the strength and space of the building McRae used steel, iron, concrete, reinforcing, machine-made bricks, glass, imported tiles, fire-proofing, riveting and hydraulics on an unprecedented scale. The huge building was finally completed and opened with great ceremony on Mayor Matthew Harris on 21 July 1898. In a lavish ceremony, Alderman Harris said that the building was intended to be more than a municipal market. With judicious management, he said "a marvellous centre of trade will be established here." (SCC)

The original concept was for an internal shopping street 611 feet long with two levels of shops on either side. In 1917 and 1935 alterations converted the interior to office space with shops to the external street frontages. (NT)

In the first few decades the QVB had the atmosphere of an oriental bazaar, and the earliest tenants conducted a mixture of commerce, crafts and skills. There were shops, studios, offices and workrooms for some two hundred traders, dealers and artisans. Housed within the upper galleries were more studious and scholarly tenancies, such as bookshops, sheet music shops, piano-sellers and piano-tuners, as well as the salons of private teachers of music, dancing, singing, elocution, painting, sculpting, drawing and dressmaking. There were also more decorous sports including a billiards saloon, a gymnasium for ladies and a table tennis hall.

The building was heavily criticised in the early years of its operation due to its poor financial return. Original real estate advice indicated the building could pay for itself from rents received, within thirty years. The first few years were slow. In 1898 only 47 out of about 200 available spaces were tenanted. This improved by the following year with another 20 tenants joining the list. By 1905, there were 150 tenants, but it was not until 1917 that the building was reaching its maxim tenancy rate. Up until that time there was a continual shortfall between the costs to Council and the rents received and Council was constantly looking at ways of improving its return.

A remodelling scheme was finally adopted by Council in May 1917. McLeod Brothers were awarded the contract for the work in June 1917 at a cost of (Pounds)40,944.

These alterations in the name of economy and increased floor space destroyed much of the magnificent interior spaces and character of the building. The ground floor arcade was obliterated, the light quality in the basement reduced, the southern entry devalued and the internal voids and galleries reduced and devalued. The alterations were undertaken to remove what Council saw as, 'inherent flaws', in what its Victorian creators considered, an architectural triumph. One of the disturbing aspects of these radical alterations was that now that the building's internal character had been violated and devalued, there was little resistance to further alterations.

The building continued to incur losses and by 1933 the accumulated debt was announced as (Pounds)500,000. No major alterations occurred between 1918 and 1934, but many small alterations to the individual shops such as new partitions, fitouts, and mezzanines were continually taking place.

By the mid 1930s the depression was receding, employment growing, building and business reviving. Time had come to rework the building to further reduce the debt and hopefully return a profit. The Council decided to move the rapidly expanding Electricity Department out of the Town Hall and relocate it in the QVB.

In December 1933, Council voted to approve a major proposal to alter the Queen Victoria Building to suit the requirements of the Electricity Department. Approval was also given to invite tenders for the work. The majority of the work was confined to the central and northern section of the building. Essentially this scheme was to convert the interior to a general office space and install floors in what remained of the Grand Victorian internal spaces. The work costing (Pounds)125,000 was completed by 1935.

Many of the shops at ground floor level in the southern part of the building were retained although they received new shopfronts in line with the updated Art Deco image. The library in the northern area was retained with no new major alterations. The basement was subject to various alterations such as new concrete stairs, timber framed mezzanines and some new plant equipment, but the long term tenants remained in the basement ensuring little need for alterations.

These extensive alterations attracted little public comment at the time. They were accepted within the name of progress as a necessary solution. It is fortunate that the majority of the facade fabric was not altered above the awning line. Perhaps the strength of the architectural image was too strong even for the most practical minded official. An enduring quality the building has always retained is in its ability to change without loosing its external imagery and architectural strength as an element in the city. Up until the early 1970s the building became the home of the SCC and much of its identity in the city was based on this use even though the external envelope had not changed.

The occupancy by the SCC did however provide some security for the building by providing a constant income base. The SCC undertook continual changes to the building, some being significant alterations but the majority were minor such as new partitions, showrooms and fitouts. For example in the thirty years between 1936 and 1966 a total of 79 separate building applications were lodged with the City Council by the SCC. There is little evidence that any of this work, which was basically related to functional uses and the needs of occupants, proceeded with any concern for the architectural strengths of the building.

Proposals for demolition of the building gained strength by the late 1950s in a city eager to modernise and grow rapidly. The post war boom was in full swing and business confidence high. In 1959, Lord Mayor Jensen suggested a scheme demolishing the QVB and replacing it with a public square. Revenue from a badly needed underground carpark would pay for the demolition of the QVB and construction of the square. This scheme gained much support both from the public and the design professions in general. Jensen further suggested an international design competition similar to the competition for the Opera House site and won much support for the idea.

Demolition proposals at the time were largely postponed by the continued presence of the SCC in the building. The SCC required another long lease which was granted by the City Council in 1961. The SCC was planning a new large building opposite town hall and required the existing facilities in the QVB to be retained until its completion. The City Council was in no position to refuse the SCC and thus the demolition proposals were temporarily thwarted, although opinion was always behind demolition and a reuse of the site at the time.

A form of demolition actually started in 1963 with removal of the cupolas on the roof. Concern about their stability was given as the reason for their removal. The contractor paid for their removal, in fact made a larger profit out of the sale of the salvaged cupolas as souvenirs and garden decorations, than for the contract to remove them.

As the new SCC building was nearing completion the question of the QVB's ultimate fate was approaching again. The debates in the late 1950s and early 1960s were largely deflated by the continued occupation of the SCC and other long term tenants, but, as this was not an issue any more, the debate was to enter another stage.

By 1967 calls for its preservation were being made by the National Trust declaring it should be saved because of its historical importance. Calls were also made not only for its preservation but also for its restoration by stripping away the numerous disfigurements, restoring the glass vaulted roof, ground floor arcades, tiled floors, and stone stairs. Many schemes were promoted such as linking the building by underground tunnels to the Town Hall and other city buildings, schemes involving constructing nightclubs or planetariums under the dome, with shops on the lower levels, art galleries, hotel rooms etc on the upper levels. Although these plans would have to wait, the Council actually spent considerable funds on renovating the City Library.

Demolition was still the favoured option by many in the Council. Even as late as 1969 the Labour Party candidate running for mayor in the City Council elections stated that, if elected he would propose demolition of the QVB, which he said was 'a firetrap to make way for a new civic square'. Shortly after and perhaps as a threat to possible demolition, the National Trust upgraded its classification to category 'A', which defined it as 'urgently in need of acquisition and preservation'. By 1971 the Royal Australian Institute of Architects entered the debate advocating preservation, on the grounds of the QVB's historical importance.

In 1971 the new Lord Mayor, Alderman Emmet McDermott, leader of the Civic Reform Group, announced that the QVB would be 'preserved and restored to its original state'. There was no suggestion of how that was going to take place, but such a statement became very much the turning point in the buildings history and eventual fate.

The building was to be saved, but there was no plan or suggestions about where the funds were to come from. In 1979 the Town Clerk, Mr Leon Carter stated; 'The Council is determined that the high cost of rebirth of the QVB will not fall on the blistered shoulders of the weary ratepayer'.

Restoration proposals were held up by a combination of lack of funds and continuing disagreements between Council, potential operators and stakeholders such as the National Trust and the Royal Australian Institute of Architects

Finally in 1979 a team was established between Architects Stephenson & Turner and Rice & Daubney, Engineers Meinhardt and Partners, Kuttner Collins & Partners for administration, with financial backing by IPOH Garden Berhad. Key conservation groups backed the plan. Negotiations about plans and leases continued for almost three years, but eventually on 1 August 1983 the Lord Mayor and IPOH Garden, signed a ninety-nine year profit-sharing lease.

The building reopened at the end of 1986 in time to catch the busy Christmas trading season. The work took almost four years to complete and included a new underground carpark, linking tunnels and a restored interior. As almost nothing of the original interior fabric was left intact the work largely involved reconstructing the details and atmosphere of the place. The completed project can be considered a sound commercial scheme, but not a true reconstruction. A museum approach to conserving the building was recognised by all authorities as being unworkable as the building would be empty and devoid of the life the restoration brief considered essential.

By 2006, after successfully trading for twenty years, comprehensive plans were being prepared to conserve the exterior and refurbish the interior of the building to ensure the place was commercially viable as an ongoing retail complex. The major upgrade of the building's interiors were designed by the architectural firm Ancher Mortlock and Woolley in association with interior design firm Freeman Rembel.

The recent conservation and refurbishment approach has aimed to clarify the legibility between historic fabric and the new fabric which must be continually updated to ensure the building is viable as an ongoing commercial complex. After its successful refurbishment, the QVB was officially reopened by the Lord Mayor of Sydney Clover Moore on 25th August 2009.

Source: New South Wales Heritage Register.

'FIFA World Cup Brasil 2014' logojet - right side.

First flown in Oct-13 with the Airbus test registration F-WWAG, the aircraft was ferried to the Airbus factory airfield at Hamburg-Finkenwerder, Germany for interior fitout and painting. It was delivered to Emirates Airline as A6-EEQ in May-14.

It also carried the 'United for Wildlife' special livery in 2016. Due to the start of the COVID-19 Pandemic the aircraft was withdrawn from service and stored at Dubai-World Central in Mar-20. It returned to Dubai International in Sep-22 for post-storage maintenance and returned to service on 21-Nov-22. Current, updated 15-Jul-25.

Lucky catch as I was walking past this shop on Gouger Street. It had been a clothes shop that always seemed closed. The 2 guys in the foreground were a little embarrassed but were good sports.The renovation is now proceeding behind closed doors but I'll be watching out for more photo oppotunities.

Taken with iPhone 4S.

First flown with the Airbus test registration F-WWSO in Jun-14. It was ferried to the Airbus factory airfield at Hamburg-Finkenwerder for painting and interior fitout.

It was delivered to Emirates as A6-EOB in Nov-14. It was sold on delivery to Amedeo Leasing and leased back to Emirates. The aircraft was stored at Dubai-World Central due to the COVID-19 Pandemic in Mar-20.

It was moved to Dubai-International in Oct-20 for continued storage and returned to service on 29-Jan-22. Current, updated 08-Jun-23.

where else but black

Operating twice daily Manchester / Palma services until around 07-Oct-19, on behalf of the UK CAA's Thomas Cook Airlines UK passenger repatriation contract.

With additional '100th A380' titles.

First flown with the Airbus test registration F-WWSG in Oct-12, the aircraft was ferried to the Airbus airfield at Hamburg-Finkenwerder for interior fitout and painting.

It was delivered to Malaysia Airlines as 9M-MNF in Mar-13. It was wet-leased to NAS National Air Services (Saudi Arabia) between Jul/Sep-19 on Haj Pilgrimage services.

The aircraft was contracted by the UK CAA for two weeks between Sep/Oct-19 to operate repatriation flights after Thomas Cook Airlines UK ceased operations. It was based at Manchester and operated twice daily, returning Thomas Cook passengers from Palma, Majorca, Spain.

At the start of the worldwide COVID-19 Pandemic, in Apr-20, the aircraft was withdrawn from service and stored at Kuala Lumpur, Malaysia. It didn't returned to service. It was ferried to Lourdes, France in mid Dec-22 and permanently retired.

HMS Prince of Wales (R09) under construction and fitout at Rosyth Dockyard, Rosyth, Fife, Scotland, UK.

Fitted with Emirates 'High Density' interior in a J85/Y557 passenger configuration.

First flown with the Airbus test registration F-WWSV in May-15, it was ferried to Hamburg-Finkenwerder for interior fitout and painting. The aircraft was delivered to Emirates Airlines as A6-EOP in Nov-15. Current (May-18)

'Arsenal FC' logojet.

First flown in Jul-13 with the Airbus test registration F-WWAD, this aircraft was ferried to the Airbus Factory airfield at Hamburg-Finkenwerder for cabin fitout and painting. it was delivered to Emirates Airline as A6-EES in Dec-13.

The aircraft was withdrawn from service in Mar-20 and stored at Dubai-World Central due to the COVID-19 Pandemic. It was moved back to Dubai-International in Oct-21 and returned to service in late Nov-21 after repainting in the 'DUBAI EXPO' special livery. Current, updated 05-Jan-22.

The Queen Victoria Building was designed by City Architect George McRae as Sydney's central market, and constructed between 1893 and 1898. It was named in honour of Queen Victoria in celebration of Diamond Jubilee in 1897. The site, an entire city block, had previously been occupied by a produce market and the Central Police Court. These uses ceased in 1891 and the land was purchased by Sydney City Council. McRae submitted four proposals for the building. The Australasian Builder and Contractors' News described the designs in July 1893 as "scholarly Renaissance", "picturesque Queen Anne", "classic Gothic" and "American Romanesque". The style chosen was the latter and the foundation stone was laid in December 1893 by the Mayor, Sir William Manning. This foundation stone was a five-tonne block of granite, levered and lowered into position at the corner of George and Druitt Streets. The ceremony was the first of a series in which successive mayors laid stones and plaques to mark the progress of construction. The building was notable for its employment in the expansive barrel-form roof of engineering systems which were very advanced at the time of construction. McRae is considered by architectural historians to have been one of the leading protagonists of the new construction methods and materials which were then beginning to break down the conservatism of building techniques. In achieving the strength and space of the building McRae used steel, iron, concrete, reinforcing, machine-made bricks, glass, imported tiles, fire-proofing, riveting and hydraulics on an unprecedented scale. The huge building was finally completed and opened with great ceremony on Mayor Matthew Harris on 21 July 1898. In a lavish ceremony, Alderman Harris said that the building was intended to be more than a municipal market. With judicious management, he said "a marvellous centre of trade will be established here." (SCC)

The original concept was for an internal shopping street 611 feet long with two levels of shops on either side. In 1917 and 1935 alterations converted the interior to office space with shops to the external street frontages. (NT)

In the first few decades the QVB had the atmosphere of an oriental bazaar, and the earliest tenants conducted a mixture of commerce, crafts and skills. There were shops, studios, offices and workrooms for some two hundred traders, dealers and artisans. Housed within the upper galleries were more studious and scholarly tenancies, such as bookshops, sheet music shops, piano-sellers and piano-tuners, as well as the salons of private teachers of music, dancing, singing, elocution, painting, sculpting, drawing and dressmaking. There were also more decorous sports including a billiards saloon, a gymnasium for ladies and a table tennis hall.

The building was heavily criticised in the early years of its operation due to its poor financial return. Original real estate advice indicated the building could pay for itself from rents received, within thirty years. The first few years were slow. In 1898 only 47 out of about 200 available spaces were tenanted. This improved by the following year with another 20 tenants joining the list. By 1905, there were 150 tenants, but it was not until 1917 that the building was reaching its maxim tenancy rate. Up until that time there was a continual shortfall between the costs to Council and the rents received and Council was constantly looking at ways of improving its return.

A remodelling scheme was finally adopted by Council in May 1917. McLeod Brothers were awarded the contract for the work in June 1917 at a cost of (Pounds)40,944.

These alterations in the name of economy and increased floor space destroyed much of the magnificent interior spaces and character of the building. The ground floor arcade was obliterated, the light quality in the basement reduced, the southern entry devalued and the internal voids and galleries reduced and devalued. The alterations were undertaken to remove what Council saw as, 'inherent flaws', in what its Victorian creators considered, an architectural triumph. One of the disturbing aspects of these radical alterations was that now that the building's internal character had been violated and devalued, there was little resistance to further alterations.

The building continued to incur losses and by 1933 the accumulated debt was announced as (Pounds)500,000. No major alterations occurred between 1918 and 1934, but many small alterations to the individual shops such as new partitions, fitouts, and mezzanines were continually taking place.

By the mid 1930s the depression was receding, employment growing, building and business reviving. Time had come to rework the building to further reduce the debt and hopefully return a profit. The Council decided to move the rapidly expanding Electricity Department out of the Town Hall and relocate it in the QVB.

In December 1933, Council voted to approve a major proposal to alter the Queen Victoria Building to suit the requirements of the Electricity Department. Approval was also given to invite tenders for the work. The majority of the work was confined to the central and northern section of the building. Essentially this scheme was to convert the interior to a general office space and install floors in what remained of the Grand Victorian internal spaces. The work costing (Pounds)125,000 was completed by 1935.

Many of the shops at ground floor level in the southern part of the building were retained although they received new shopfronts in line with the updated Art Deco image. The library in the northern area was retained with no new major alterations. The basement was subject to various alterations such as new concrete stairs, timber framed mezzanines and some new plant equipment, but the long term tenants remained in the basement ensuring little need for alterations.

These extensive alterations attracted little public comment at the time. They were accepted within the name of progress as a necessary solution. It is fortunate that the majority of the facade fabric was not altered above the awning line. Perhaps the strength of the architectural image was too strong even for the most practical minded official. An enduring quality the building has always retained is in its ability to change without loosing its external imagery and architectural strength as an element in the city. Up until the early 1970s the building became the home of the SCC and much of its identity in the city was based on this use even though the external envelope had not changed.

The occupancy by the SCC did however provide some security for the building by providing a constant income base. The SCC undertook continual changes to the building, some being significant alterations but the majority were minor such as new partitions, showrooms and fitouts. For example in the thirty years between 1936 and 1966 a total of 79 separate building applications were lodged with the City Council by the SCC. There is little evidence that any of this work, which was basically related to functional uses and the needs of occupants, proceeded with any concern for the architectural strengths of the building.

Proposals for demolition of the building gained strength by the late 1950s in a city eager to modernise and grow rapidly. The post war boom was in full swing and business confidence high. In 1959, Lord Mayor Jensen suggested a scheme demolishing the QVB and replacing it with a public square. Revenue from a badly needed underground carpark would pay for the demolition of the QVB and construction of the square. This scheme gained much support both from the public and the design professions in general. Jensen further suggested an international design competition similar to the competition for the Opera House site and won much support for the idea.

Demolition proposals at the time were largely postponed by the continued presence of the SCC in the building. The SCC required another long lease which was granted by the City Council in 1961. The SCC was planning a new large building opposite town hall and required the existing facilities in the QVB to be retained until its completion. The City Council was in no position to refuse the SCC and thus the demolition proposals were temporarily thwarted, although opinion was always behind demolition and a reuse of the site at the time.

A form of demolition actually started in 1963 with removal of the cupolas on the roof. Concern about their stability was given as the reason for their removal. The contractor paid for their removal, in fact made a larger profit out of the sale of the salvaged cupolas as souvenirs and garden decorations, than for the contract to remove them.

As the new SCC building was nearing completion the question of the QVB's ultimate fate was approaching again. The debates in the late 1950s and early 1960s were largely deflated by the continued occupation of the SCC and other long term tenants, but, as this was not an issue any more, the debate was to enter another stage.

By 1967 calls for its preservation were being made by the National Trust declaring it should be saved because of its historical importance. Calls were also made not only for its preservation but also for its restoration by stripping away the numerous disfigurements, restoring the glass vaulted roof, ground floor arcades, tiled floors, and stone stairs. Many schemes were promoted such as linking the building by underground tunnels to the Town Hall and other city buildings, schemes involving constructing nightclubs or planetariums under the dome, with shops on the lower levels, art galleries, hotel rooms etc on the upper levels. Although these plans would have to wait, the Council actually spent considerable funds on renovating the City Library.

Demolition was still the favoured option by many in the Council. Even as late as 1969 the Labour Party candidate running for mayor in the City Council elections stated that, if elected he would propose demolition of the QVB, which he said was 'a firetrap to make way for a new civic square'. Shortly after and perhaps as a threat to possible demolition, the National Trust upgraded its classification to category 'A', which defined it as 'urgently in need of acquisition and preservation'. By 1971 the Royal Australian Institute of Architects entered the debate advocating preservation, on the grounds of the QVB's historical importance.

In 1971 the new Lord Mayor, Alderman Emmet McDermott, leader of the Civic Reform Group, announced that the QVB would be 'preserved and restored to its original state'. There was no suggestion of how that was going to take place, but such a statement became very much the turning point in the buildings history and eventual fate.

The building was to be saved, but there was no plan or suggestions about where the funds were to come from. In 1979 the Town Clerk, Mr Leon Carter stated; 'The Council is determined that the high cost of rebirth of the QVB will not fall on the blistered shoulders of the weary ratepayer'.

Restoration proposals were held up by a combination of lack of funds and continuing disagreements between Council, potential operators and stakeholders such as the National Trust and the Royal Australian Institute of Architects

Finally in 1979 a team was established between Architects Stephenson & Turner and Rice & Daubney, Engineers Meinhardt and Partners, Kuttner Collins & Partners for administration, with financial backing by IPOH Garden Berhad. Key conservation groups backed the plan. Negotiations about plans and leases continued for almost three years, but eventually on 1 August 1983 the Lord Mayor and IPOH Garden, signed a ninety-nine year profit-sharing lease.

The building reopened at the end of 1986 in time to catch the busy Christmas trading season. The work took almost four years to complete and included a new underground carpark, linking tunnels and a restored interior. As almost nothing of the original interior fabric was left intact the work largely involved reconstructing the details and atmosphere of the place. The completed project can be considered a sound commercial scheme, but not a true reconstruction. A museum approach to conserving the building was recognised by all authorities as being unworkable as the building would be empty and devoid of the life the restoration brief considered essential.

By 2006, after successfully trading for twenty years, comprehensive plans were being prepared to conserve the exterior and refurbish the interior of the building to ensure the place was commercially viable as an ongoing retail complex. The major upgrade of the building's interiors were designed by the architectural firm Ancher Mortlock and Woolley in association with interior design firm Freeman Rembel.

The recent conservation and refurbishment approach has aimed to clarify the legibility between historic fabric and the new fabric which must be continually updated to ensure the building is viable as an ongoing commercial complex. After its successful refurbishment, the QVB was officially reopened by the Lord Mayor of Sydney Clover Moore on 25th August 2009.

Source: New South Wales Heritage Register.

Jumping aways back in the memory - I went down to Detroit on the 12th of March in 1993 to get a picture of the 1927 built steamer S.T. Crapo a cement carrier as I had heard her spring fitout had began as she was one of the few remaining coal burning Lakers. It was a cold 14 degree morning right after sunrise and yes she had steam up and a little whisp of coal smoke and steam rising from her stack. Suddenly a voice called down from the deck . . . "if you want better pictures, come on up on deck " . . . "sure thank you" . . . I answered . . . . . and climbed the ladder up to the deck. It was slippery with a fine coat of snow and deckhands were working everywhere prepping for her first trip of the season to Alpena for a return load of cement for Detroit in a couple days.

It was a stark contrast looking aft at the stern with that tall stack topped with twin steam whistles, the coal bunker pile with traces of snow and the Detroit Rennaissance Center rising behind her. Looking toward the bow with the rising sun above the still ice covered Detroit river, the Crapo was usually the first boat to head up in the spring, breaking her way north thru remaining winter ice most years. A number of days later in the morning I heard the traffic chopper on the radio, remark of the wonderful view of a lake boat smoking it up working her way across Lake St. Clair in the ice.