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Cochin Port is a major port on the Arabian Sea – Indian Ocean sea-route and is one of the largest ports in India. The port lies on two islands in the Lake of Kochi: Willingdon Island and Vallarpadam, towards the Fort Kochi river mouth opening onto the Arabian Sea. The International Container Transshipment Terminal (ICTT), part of the Cochin Port, is the largest container transshipment facility in India.
The port is governed by the Cochin Port Trust (CPT), a government of India establishment. The modern port was established in 1926 and has completed 86 years of active service.
The Kochi Port is one of a line of maritime-related facilities based in the port-city of Kochi. The others are the Cochin Shipyard, the largest shipbuilding as well as maintenance facility in India; the SPM (single point mooring) facility of the Kochi Refineries, an offshore crude carrier mooring facility; and the Kochi Marina.
HISTORY
The Cochin port was formed naturally due to the great floods of Periyar in 1341 AD, which choked the Muziris port (near present-day Kodungallur), one of the greatest ports in ancient world. Ever since, Kochi became one of the major ports with extensive trading relations Romans, Greeks and Arabs, all lured by the traditional spice wealth of the state. The port further attracted European colonialists like Portuguese, Dutch and finally British who extended their supremacy over the Kingdom of Cochin and the port city of Fort Kochi. The traditional port was near Mattancherry (which still continues as Mattancherry Wharf).
COCHIN-PORT-TRUST-ON1948
The need of a modern port was first felt by Lord Willingdon during his governorship of Madras Province of British India. The opening of the Suez Canal made several ships pass near the west coast and he felt the necessity of modern port in the southern part. He selected the newly joined Sir Robert Bristow who was a leading British harbor engineer with extensive experience with maintenance of the Suez Canal. Bristow took the charge of chief engineer of Kochi Kingdom's Port Department in 1920. Ever since then, he and his team were actively involved in making a greenfield port. After studying the sea currents, observing tidal conditions and conducting experiments, he was convinced about the feasibility of developing Kochi. He believed that Kochi could become the safest harbour if the ships entered the inner channel.
The challenge before the engineers was a rock-like sandbar that stood across the opening of the Kochi backwaters into the sea. It was a formidable ridge of heavy and densely packed sand that prevented the entry of all ships requiring more than eight or nine feet of water. It was thought that the removal of the sandbar was a technical impossibility. The potential consequence on the environment was beyond estimation. The harm could be anything like the destruction of the Vypeen foreshore or the destruction of the Vembanad lake.
Bristow, after a detailed study, concluded that such data was history. He addressed the immediate problem of erosion of the Vypeen foreshore by building of rubble granite groynes nearly parallel with the shores and overlapping each other. The groynes first produced an automatic reclamation which naturally protected the shore from the monsoon seas. Confident at the initial success, Bristow planned out a detailed proposal of reclaiming part of the backwaters at a cost of ₹25 million (US$370,000). An ad-hoc committee appointed by the Madras government examined and approved the plans submitted by Bristow.
The construction of the dredger 'Lord Willingdon' was completed in 1925. It arrived at Kochi in May 1926. It was estimated that the dredger had to be put to use for at least 20 hours a day for the next two years. The dredged sand was used to create a new island to house Cochin Port and other trade-related establishments. Around 3.2 km² of land was reclaimed in the dredging. The strong determination of Sir Bristow and his team was successful when the large steamship SS Padma, sailed into the newly constructed inner harbour of Kochi. Speaking to the BBC on that day, Bristow proudly proclaimed his achievements with the following words: "I live on a large Island made from the bottom of the sea. It is called Willingdon Island, after the present Viceroy of India. From the upper floor of my house, I look down on the finest harbour in the East." The Willingdon Island was artificially created with the mud sledged out for the harbour construction.
In 1932, the Maritime Board of British India declared the Port of Cochin as a major port. The port was opened to all vessels up to 30 feet draught. During the World War II, the port was taken over by the Royal Navy to accommodate military cruisers and war ships. It was returned to civil authorities on 19 May 1945. After Independence, the port was taken over by the government of India. In 1964, the administration of the port got vested in a Board of Trustees under the Major Port Trusts Act. The port was listed as one of the 12 major ports of India. The strategic importance of Cochin during the World Wars was an immediate reason for the construction of the harbour. This has helped especially to resist the Japanese threat during the Second World War. The harbour building during the inter-War period was crucial in the shaping of Cochin as a modern urban space that reorganised the local caste and labour relations. According to a recent study, "the 20-year long project appropriated, modified, or undermined existing social institutions of labour recruitment, work processes, skills and local technologies. The large-scale appropriation and modification of local skills and labour recruitment and work process in this colonial project produced a space of disparity by reinforcing the pre-capitalist caste-based corecive labour relations. The project also involved a massive destruction and appropriation of the social spaces of the urban poor."
ORGANIZATIONAL STRUCTURE
Cochin Port Trust is an autonomous body under the government of India and is managed by Board of Trustees constituted by the government. The board is headed by the chairman who acts as the chief executive officer. The government may from time to time nominate the trustees in the Board representing various interests. The chairman is assisted by the deputy chairman who in turn is assisted by department heads and officials of the following port departments:
General Administration
Traffic
Accounts
Marine
Civil Engineering
Mechanical Engineering
Medical
NAVIGATIONAL CHANNL
The entrance to the Port of Cochin is through the Cochin Gut between the peninsular headland Vypeen and Fort Kochi. The port limits extend up to the entire backwaters and the connecting creeks and channels. The approach channel to the Cochin Gut is about 1000-metre long with a designed width of 200 meters and maintained dredged depth of 13.8 meters (now dredging for 18 meters for ICTT).
From the gut, the channel divides into Mattancherry and Ernakulam channels, leading west and east of Willingdon Island respectively. Berthing facilities for ships have been provided in the form of wharves, berths, jetties and stream moorings alongside these channels.
INFRASTRUCTURE FACILITIES
A draft of 38 ft is maintained in the Ernakulam channel along with berthing facilities, which enables the port to bring in larger vessels. In the Mattancherry channel a draft of 30 ft is maintained. The port provides round-the-clock pilotage to ships subject to certain restrictions on the size and draft. There is an efficient network of railways, roads, waterways and airways, connecting the Cochin Port with the hinterland centers spread over the states of Kerala, Tamil Nadu and Karnataka. Facilities for supply of water and bunkering to vessels are available.
NEW INITIATIVES
The CPT launched E-Thuramukham, a comprehensive enterprise resource planning implementation programme, becoming the first Indian port to do so. The project is based on SAP platform and will be customized by Tata Consultancy Services.
Maritime Heritage Museum-The Cochin Port Trust has set up a Maritime Heritage Museum in Willingdon Island where a good collection of unique and rare navigational equipments and photographs connected with the saga of construction of Cochin Port during 1920-40 period are on display. The exhibits reveal the hardships faced by Sir Robert Bristow and his workforce, who developed the port amidst financial constraints and without technology support.
WIKIPEDIA
An update to the 2012 LEGO set 9393 that started out small, then I added a bunch of implements.
Shown here in the front mounting point.
Much more at Thirdwigg.com. Find the Youtube video here.
Mapa mental explica como implementar iso 9001
www.pymesycalidad20.com/guia-libro-implementar-sistema-ca...
Antique Farm Implement,
Penn Farm Agricultural Heritage Center.
Cedar Hill State Park. Cedar Hill, Texas.
Dallas County. 24 December 2018.
Olympus E-P5. Panasonic Lumix G Vario 45-200mm f/4-5.6 II.
(56mm) f/8 @ 1/125 sec. ISO 1000.
Implementing the 2020 sulphur limit
The 0.50% limit on sulphur in fuel oil on board ships (outside designated emission control areas) will come into effect on 1 January 2020. Ensuring consistent implementation of the 0.50% requirement is a key item on the agenda of IMO’s Sub-committee on Pollution Prevention and Response (PPR) which meets this week (5-9 February) at IMO headquarters, London. The meeting will also continue to look at how to measure black carbon emissions from shipping.
Other matters on the agenda include the development of further guidance to support the implementation of the Ballast Water Management Convention, including ballast water sampling and analysis. Revised guidelines for the use of dispersants for combating oil pollution at sea, which take into account experience from the Deepwater Horizon incident are expected to be finalised.
The ongoing revision of the product lists in international code for carriage of chemicals in bulk will continue, as well as specific consideration of requirements to address the discharge of high-viscosity solidifying and persistent floating products (such as certain vegetable oils).
The meeting will also consider including new controls on the biocide cybutryne in the convention for the Control of Harmful Anti-fouling Systems on Ships (AFS Convention).
The meeting was opened by IMO Secretary-General Kitack Lim and is being chaired by Mr Sveinung Oftedal (Norway).
AU Chair President Alpha Conde hosts President Idriss Deby, President Kagame and AU Commission Chair Moussa Faki in Conakry to discuss the implementation of AU reforms.
Paranapiacaba: Origem: Wikipédia, a enciclopédia livre.
Por concessão, um grupo inglês explorou o sistema ferroviário na Serra do Mar. E o primeiro sistema implementado foi o sistema funicular: com cabos e máquinas fixas. A primeira linha, com onze quilômetros de extensão, foi inaugurada em 1867 pelo grupo São Paulo Railway. Ela começou a ser construída em 1862 e teve como um dos maiores acionistas e idealizadores o lendário Barão de Mauá. Em 1859, ele chamou o engenheiro ferroviário britânico James Brunlees, que veio ao Brasil e deu viabilidade ao projeto. A execução de tal projeto foi de responsabilidade de outro engenheiro inglês, Daniel Makinson Fox. Um ponto curioso é que pela instabilidade do terreno, a construção da estrada de ferro foi quase artesanal. Não se utilizou explosivos por medo de desmoronamento. As rochas foram cortadas com talhadeiras e pequenas ferramentas manuais. Paredões de até 3 metros e 20 centímetros de altura foram construídos ao logo do traçado da estrada de ferro. A segunda linha começou a funcionar em 1900. Além de dar mais força ao sistema, os cabos e as máquinas fixas economizam energia para a operação dos trens. No entanto, vários acidentes eram registrados, principalmente pelo rompimento dos cabos. Havia uma espécie de freio, a tenaz, que agarrava os cabos para evitar a saída dos trens dos trilhos. Nem sempre o sistema, no entanto, funcionava de maneira satisfatória. Em 1956, um grande acidente foi evitado pelo maquinista na época, Romão Justo Filho, nascido em Paranapiacaba no mês de março de 1911, filho de maquinista também. Se a composição descarrilasse, cerca de 150 pessoas poderiam perder a vida. Através da utilização correta do sistema da tenaz, Romão foi “agarrando” aos poucos o cabo até que o trem parasse.
Os cabos do locobreque levavam desenvolvimento e riqueza para a região do ABC Paulista e de Santos. Tanto é que a companhia inglesa criou em 1896 uma vila essencialmente de ferroviários, com construções de madeira no estilo inglês. Em 1907, a Vila foi chamada de Paranapiacapa, mas até 1945 a estação continuou a ser chamada de Alto da Serra. A Vila possuía todos os recursos da época para os maquinistas, fiscais e “foguistas” – responsáveis pela alimentação da fornalha da máquina fixa e da máquina dos trens. Além de um mercado, de um posto de saúde, de um vagão-ambulância e até um vagão funerário, onde o velório era feito dentro da composição entre Santos e Paranapiacaba, os funcionários possuíam um centro de recreação, o União Lira Serrano, e um Campo de Futebol. No União Lira Serrano eram exibidos filmes, shows musicais e realizados bailes temáticos. A concessão da linha da Serra do Mar não foi apenas glórias e desenvolvimento. Fatos até hoje não explicados satisfatoriamente marcaram a história dos trilhos por onde circularam os Locobreques. Exemplos são os incêndios da Estação da Luz, dois dias antes da primeira etapa da concessão dos ingleses terminar, em 1946, e na velha estação de Paranapiacaba, em 1981. Antes mesmo do incêndio, a estação já havia sido desativada em 1977 e substituída pelo prédio atual. O relógio estilo inglês foi poupado no incêndio e deslocado para uma torre mais alta que a anterior. Nos dois incêndios, tanto na Estação da Luz quanto em Paranapiacaba, a suspeita principal é de motivação criminosa. Milhões de reais foram gastos para a reconstrução da Estação da Luz, que passou por décadas ainda sentido os efeitos do incêndio. Tanto é que ela teve de ser restaurada. A obra de restauração completa foi entregue somente em 2004, data dos 450 anos da cidade de São Paulo. A Estação da Luz teve três etapas fundamentais: Ela foi inaugurada em 1867, num pequeno prédio na região central da capital paulista. A demanda de passageiros foi aumentando aos poucos, e cerca de 15 anos depois o pequeno prédio foi demolido e um outro maior foi construído. A cidade crescia muito rapidamente e a estação teve de aumentar ainda mais. Em 1890 começaram as obras da estação na configuração atual. Em 1900, o segundo prédio antigo foi demolido e em 1901, a nova estação foi inaugurada. Obras constantes de modificações e ampliações foram realizadas ao longo das décadas na Estação da Luz, já que além da demanda de passageiros ser maior, o número de linhas férreas urbanas também cresceu. Antes mesmo do Locobreque, na Serra do Mar, uma primitiva máquina de madeira, também tracionada por cabos fazia o transporte entre os cinco patamares. Era a Serrabreque. Durante a operação da Serrabreque, Barão de Mauá era um dos administradores. Posteriormente, na vila de Paranapiacaba, os ingleses, no alto de uma subida, construíram uma mansão, que servia de centro de controle operacional. Apelidada pelos ferroviários de "Castelinho", a posição do local proporcionava uma privilegiada visão do sistema e de toda a estrutura da vila de Paranapiacaba. O sistema ferroviário da Serra do Mar era composto por diversos túneis, que eram alvos de lendas e histórias assombradas disseminadas pelos próprios ferroviários. Algumas dessas lendas tiveram origem no fato de muitos operários terem morrido na construção desses túneis.
Pátio ferroviário, estações e relógio:
A São Paulo Railway inaugurou sua linha férrea em 16 de fevereiro de 1867. Servia como transporte de passageiros e meio de localizada na então freguesia de São Bernardo. No ano de 1898, foi erguida uma nova estação com madeira, ferro e telhas francesas trazidos da Inglaterra. Esta estação tinha, como característica principal, o grande relógio fabricado pela Johnny Walker Benson, de Londres, que se destacava no meio da neblina muito comum naquela região. Com o aumento do volume e peso da carga transportada, foi iniciada em 1896 a duplicação da linha férrea, paralela à primeira, a fim de atender à crescente demanda. Essa nova linha, também denominada de Serra Nova, era formada por 5 planos inclinados e 5 patamares, criando um novo sistema funicular. Os assim chamados novos planos inclinados atravessavam 11 túneis em plena rocha, enfrentando o desnível de 796 metros que se iniciava no sopé da serra, em Piaçagüera, no município de Cubatão. O traçado da ferrovia foi retificado e suavizado e ampliaram-se os edifícios operacionais. A inauguração deu-se em 28 de dezembro de 1901. A primeira estação foi desativada e reutilizada, posteriormente, como cooperativa dos planos inclinados. A 15 de julho de 1945, a "Estação do Alto da Serra" passa a se denominar "Estação de Paranapiacaba". A 13 de outubro de 1946, a São Paulo Railway foi encampada pela União, criando-se a "Estrada de Ferro Santos-Jundiaí". Somente em 1950 a rede passa a unir-se à Rede Ferroviária Federal. Em 1974, é inaugurada o sistema de cremalheira aderência. No ano de 1977, a segunda estação foi desativada, dando lugar à atual estação. O relógio foi transferido do alto da estação anterior para a base de tijolo de barro atual. A 14 de janeiro de 1981, ocorreu um incêndio na antiga estação, destruindo-a completamente. O sistema funicular foi desativado em 1982. Em 2010, o Correio fez lançamento de selo postal ostentando o patrimônio ferroviário de Paranapiacaba.
Museu do funicular:
Trata-se da exibição das máquinas fixas do quinto patamar da segunda linha e a do quarto patamar da primeira linha, que transportavam o trem por meio do sistema funicular.
No museu, há, também, a exposição de diversos objetos de uso ferroviário, fotos e fichas funcionais de muitos ex-funcionários da ferrovia.
O locobreque:
O "locobreque" tinha a função de frear a composição na descida da serra e simultaneamente empurrava outra composição que subia. O cabo entre as duas máquinas passava por uma grande roda volante, chamada de "máquina-fixa" que ficava em cada um dos cinco patamares. Do nome inglês original, loco-brake, a máquina funcionava pela queima de carvão ou madeira numa fornalha, abastecida pelo foguista, que trabalhava ao lado do maquinista. As máquinas "locobreque" foram construídas em 1901 por Robert Stephenson & Co. Ltd. O sistema funicular proporcionava maior economia de energia gasta pelo "locobreque" e possibilitava o desempenho do trem nos aclives e declives. Havia uma inclinação de 8 graus entre cada um dos cinco patamares. Quando subia a Serra do Mar, o "locobreque" empurrava os vagões, que ficavam na frente da máquina. Quando descia, ele segurava os vagões, que ficavam atrás da máquina. Como o trem não tinha marcha-ré, havia um sistema chamado popularmente de "viradouro", através do qual os funcionários invertiam o sentido da locomotiva, girando a máquina em torno de si mesma. Antes do "locobreque" havia uma primitiva máquina de madeira, também tracionada por cabos, que fazia o transporte entre os cinco patamares. Era o "serrabreque". Durante a operação do "serrabreque", o Barão de Mauá ainda era um dos financistas da companhia. Até a metade do século XX, o transporte ferroviário era sinônimo de luxo. E um dos marcos foi o trem Cometa, que fazia a linha Santos – São Paulo. O trem possuía serviço de bordo e poltronas leito, como as de ônibus. Além dele, também havia os trens Estrela, Planeta e Litorina (Semi-luxo).
Museu do castelo:
Essa residência, também denominada de "Castelinho", situa-se entre a Vila Velha e a Vila Martin Smith. Localizada no alto de uma colina, com uma excelente vista privilegiada para toda a vila ferroviária, foi construída por volta de 1897 para ser a residência do engenheiro-chefe, que gerenciava o tráfego de trens na subida e descida da Serra do Mar, o pátio de manobras, as oficinas e os funcionários residentes na vila. Sua imponência simbolizava a liderança e a hierarquia que os ingleses impuseram a toda a vila; ela é avistada de qualquer ponto de Paranapiacaba. Dizia-se que de suas janelas voltadas para todos os lados de Paranapiacaba, o engenheiro-chefe fiscalizava a vida de seus subordinados, não hesitando em demitir qualquer solteiro que estivesse nas imediações das casas dos funcionários casados. No decorrer de mais de um século de uso, foram feitas várias reformas e tentativas de recuperação de seu aspecto original; as maiores reformulações foram realizadas nas décadas de 1950 e 1960. Foi restaurado pela prefeitura de Santo André em parceria com a World Monuments Fund.
Casas dos engenheiros:
Característica da arquitetura hierarquizada de Paranapiacaba, as casas habitadas pelos engenheiros e suas famílias eram de alto padrão. Grandes e avarandadas, foram construídas em madeira nos tempos da São Paulo Railway, com plantas baixas individualizadas; depois, em alvenaria nos tempos da Rede Ferroviária Federal, com mesmo padrão de plantas. Muitas sofreram reformas em vários momentos, principalmente com a chegada da RFFSA. Uma das caracteríticas que chama a atenção é a cobertura do imóvel, pois somente com estudos elaborados pelos conselhos de reconhecimento, concluiu-se que o material das telhas não era ardósia, e sim fibrocimento, introduzidos provavelmente a partir da década de 50 entre alguma das reformas que sofreram.
Casas de solteiros:
Características da arquitetura hierarquizada de Paranapiacaba, as casas de solteiros eram conhecidas como barracos. Foram construídas em madeira, exceto duas em alvenaria. Essa tipologia foi criada pela São Paulo Railway, e a Rede Ferroviária Federal deu continuidade, construindo-as em alvenaria. A planta dessas casas possui
dormitórios, sanitários e cozinha para pequenas refeições, serviam para alojar o grande fluxo de homens solteiros, que preenchiam as vagas de ferroviários. Havia poucos sanitários e chuveiros, já que os trabalhadores se revezavam em turnos.
Antique Farm Implement.
Penn Farm Agricultural Heritage Center.
Cedar Hill State Park. Cedar Hill, Texas.
Dallas County. September 10, 2020.
Nikon D750. AF-S Nikkor 70-200mm f/4 G ED VR.
(70mm) f/5.6 @ 1/200 sec. ISO 1400.
(for more information please contact the link at the end of page!)
Study and Gold Cabinet
In the writing room, the Habsburg Staterooms present themselves in its entire splendor. Elegant décor and exquisite materials are reflecting authentically the magnificent appearance of the chambers after the transformations by Archduke Charles in the years from 1822 to 1825.
Writing room © AnnA BlaU; Furniture: On permanent loan from the MAK-Austrian Museum of Applied Arts/Contemporary Art
Writing room
The neighboring "Gold Cabinet" testifies the high quality and the extraordinary richness of the equipment under Duke Albert of Saxe-Teschen. The special alloy (23 K(arat) Gold, 1/2 K Silver and 1/2 K copper) still bears the registered brand name "Albertina Gold".
www.albertina.at/das_palais/prunkraeume/schreibzimmer_und...
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
www.wien-vienna.at/albertinabaugeschichte.php
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
These are a pair of "Vibrabarefoot" sandals I bought recently. While the concept is cool, the implementation is flawed, at least for many people's feet.
First, they came with a strap to go over your foot and behind the heel. Except it was way too short. Now I know I bought these small, but even if I had bought these full sized, it would have been too short, numerous complaints on their webpage confirmed that.
But not to worry about that, they stay on my feet fine without the strap. I removed it.
However, the hard plastic of the upper rubs on your toes, particularly between the big toe and the "index" toe very uncomfortably. When I first put them on, the pain became unbearable even after a couple of minutes.
I tried to take a short walk despite the pain, and they rubbed the skin raw between the toes in a few minutes. Now the pain was there even when I wasn't wearing them. A week or so later, after my toe had healed I tried again. No more raw skin, but they still cut into my toes, leaving red marks when I took them off.
Since I am persistent, I've now gotten to the point where I can actually wear them for quite a while. they still cut into my toes, particularly when climbing or descending stairs, but the pain is transitory. Not the comfort I wanted.
Now, some people seem to be able to wear these easily. I was at a trade show shortly after the raw skin episode, and there is this guy wearing these walking around. I saw him several times during the day. I wanted to ask him how he got them to be comfortable, I'm sure he wouldn't have worn them when he was on his feet all day if they hurt. I never caught up to him, he always disappeared before I got to where he was.
He had removed the strap also.
I'll keep trying, they eventually may become OK, but they should have used a softer material for the uppers.
Global smart healthcare market is expected to reach USD 225.54 Billion by 2022, according to a new study by Grand View Research, Inc. Rapid technological advancements in healthcare IT is expected to remain a key driving factor of the global smart healthcare market over the forecast period. Growing implementation of inventory management systems such as RFID KanBan and RFID smart cabinets aimed at curbing inventory costs and ensure appropriate logistics management is expected to boost the growth of the smart healthcare market. Development of smart syringes, smart pills and smart bandages which enable remote monitoring of patients, help in diagnosing gastrointestinal diseases and infection spread minimization and remote monitoring of healing processes is expected to strengthen the platform for future market growth. On the other hand, high capital investments and poor awareness levels among consumers are some challenges faced by manufacturers.
mHealth is expected to register the fastest growth of over 40.0% over the forecast period. Key factors likely to drive segment growth include rapidly increasing incidence rates of chronic diseases, increasing smart phone penetration rates and heightening need to ensure improved healthcare outcomes.
Read Complete Report with TOC @
www.grandviewresearch.com/industry-analysis/smart-healthc...
Further key findings from the study suggest:
Electronic health record (EHR) emerged as the largest product segment in terms of revenue and was estimated at over USD 19.50 billion in 2014. Implementation of the American Recovery and Reinvestment Act (ARRA) and HITECH Act is expected to make significant contributions towards segment growth. Key feature of HITECH Act includes the provision of USD 64,000 per year to healthcare practitioners adopting EHR systems.
North America was the largest smart healthcare regional market in 2014. Presence of favorable government initiatives in the form of HITECH Act providing allowances to healthcare practitioners is one of the major factors expected to drive regional market growth. Presence of sophisticated IT infrastructure enabling easy implementation of advanced healthcare facilities is also expected to boost market growth over the forecast period.
Asia Pacific is expected to grow at a considerable pace over the forecast period owing to growing penetration of advanced healthcare facilities and rapidly evolving mobile & IT infrastructure. Increasing awareness among consumers pertaining to novel healthcare technologies such as telemedicine, mHealth and EHR is expected to further complement regional market growth.
Key players operating in the smart healthcare market include Cisco, IBM, Olympus Corp., GE Healthcare, AT&T Inc., Apple Inc., Samsung Electronics, Logi-Tag, Wurth Group, AirStrip Technologies Inc., Allscripts Healthcare Solutions Inc., Pepperl+Fuchs and Given Imaging Inc.
For the purpose of this study, Grand View Research has segmented the smart healthcare market on the basis of product, and region:
Global Smart Healthcare Product Outlook (Revenue, USD Million, 2014 – 2022)
RFID KanBan systems
RFID smart cabinets
Electronic Health Records (EHR)
Client-server based
Web-based
Telemedicine
Hardware
Connectivity and network
Others
mHealth
Monitoring services
Diagnosis services
Healthcare systems
Others
Smart pills
Smart syringes
Smart Healthcare Regional Outlook (Revenue, USD Million, 2014 – 2022)
North America
U.S.
Canada
Europe
Germany
UK
Asia Pacific
China
Japan
India
MEA
South Africa
Latin America
Brazil
Mexico
About Grand View Research
Grand View Research, Inc. is a U.S. based market research and consulting company, registered in the State of California and headquartered in San Francisco. The company provides syndicated research reports, customized research reports, and consulting services. To help clients make informed business decisions, the company offers market intelligence studies ensuring relevant and fact-based research across a range of industries including technology, chemicals, materials, healthcare and energy.
For More Information, Visit www.grandviewresearch.com/
Contact:
Sherry James
Corporate Sales Specialist, U.S.A.
Grand View Research, Inc.
United States
Phone: 1-415-349-0058
Toll Free: 1-888-202-9519
Email: sales@grandviewresearch.com
Greenfield-Central Madison Wise(3) batttles for a rebound with a couple East Chicago Central defender late in the championship game of the 2016 Laker Farm Implement Sevices Inc. Women’s Basketball Tournament at Greenfield-Central on December 23,2016.
These are some pictures I took earlier in 2022 around Berlin, with a Reto Camera and my first time using a Kodak TRI-X400 film. It’s a tremendous black-and-white film, and I want to try it again on another camera.
This was shot on a farm near Sirhind, Punjab, India.
The cart is known as a gadda in Punjabi (Punjab's official language).
Rainy day shots of implements for a macro challenge. Old tyre pressure gauge - took me a while to realise what it was :)
Two Saudi Arabian education ministries describe the successful implementation of some of their projects related to the WSIS outcomes: the Ministry of Education (MOE); and the Ministry of Higher Education (MOHE).
Day 4
16 May 2013
ITU/ Claudio Montesano Casillas
On my mother's desk. I like this shot, although the close-up filter makes this a little soft (unless that's just my focussing).
Shot with a Bronica SQ-Ai, Zenzanon PS 80mm, B&W close-up filter, on Kodak Portra 160.
Opening of the Standing Advisory Group on Safeguards Implementation (SAGSI), held at the Agency headquarters in Vienna, Austria. 12 June 2023
Photo Credit: Hannah Shaffer / IAEA
Antique Farm Implement,
Penn Farm Agricultural Heritage Center.
Cedar Hill State Park. Cedar Hill, Texas.
Dallas County. 24 December 2018.
Olympus E-P5. Panasonic Lumix G Vario 45-200mm f/4-5.6 II.
(45mm) f/8 @ 1/100 sec. ISO 640.
New Holland Rolabar 256 hay rake in foreground, and a New Holland 479 haybine mower / harvester in the background. This was one of the old farm fields my grandparents had about 35 years ago. Photo taken with permission of current landowner. Flickr says the location is Clinton but it is actually on White Road in White, Saltlick Township.
Deputy Secretary Neal Wolin delivered remarks on the implementation of Wall Street reform legislation at the Pew Charitable Trusts. In his remarks, Wolin discussed the importance of moving forward quickly, carefully and responsibly to implement the critical protections in the Dodd-Frank Wall Street Reform and Consumer Protection Act. Following his remarks, Deputy Secretary Wolin participated in a question and answer session with the audience. [Photo credit: Jocelyn Augustino©2011]
These implements were hanging above the baker's work table at the Benson Bakery when I was there on assignment this wee
Mekelle– Ethiopia, 24th January 2016: Members of African Union (AU) Executive Council converged in the Tigray region of Mekelle, on 24 January 2016, within the framework of their third Ministerial Retreat, holding under the theme: “Implementation of Agenda 2063”. The Ministerial Retreat was chaired by Hon. Simbarashe S. Mumbengegwi, Ministers of Foreign Affairs of the Republic of Zimbabwe and Chairperson of the Executive Council, in the presence of H.E. Dr Nkosazana Dlamini Zuma, Chairperson of the African Union Commissioners, H.E Mr. Erastus Mwencha, Deputy Chairperson of the AUC. Hon. Dr Tedros Adhenon Ghebreyesus, Ministers of Foreign Affairs of the Federal Democratic Republic of Ethiopia, H.E Abay Weldu, President of the Regional Authority of Tigray, representatives from AU Organs, the UNECA, NEPAD, RECs AfDB, AU Commissioners , the AUC Secretary General, and the Legal Counsel of the AUC, and invited guests.
President Weldu welcomed the participants in the city of Mekelle and presented the historical background of the region which he qualified as courageous and privileged population who inherited the most archeological objects and sites of humanity. He said the agenda of this retreat has a significant meaning to the Tigray tribe/people of Ethiopia. He appreciated the vision of the Union aimed at creatiing an integrated, prosperous and peaceful Africa”.
In her opening remarks, Dr. Nkosazana Dlamini Zuma, AUC Chairperson, recalled the first retreat in the city of Ethiopia Bahir Dar in 2014, where she introduced the Dream of the African People in “the e-mail from the future”, among others. “Two years ago, as we concluded the 50th anniversary of the OAU/AU, we met as in retreat in the city of Bahir Dar, to discuss the core responsibilities of this important organ, the Executive Council. It was then when I spoke about our dream of the Africa we want, in the e-mail from the future.
Two years later, as we gather here in Mekelle, Tigray region we can report that we have made some headway. As discussed at this retreat, we now have Agenda 2063 as our clarion call for action, supported by all sections of the African society”, stated the AUC Chairperson. She explained that, “we are now clear on the priorities of Agenda 2063, investing in our people, especially youth and women; in agricultural modernization and agro-businesses; in manufacturing and industrialization; the development of our infrastructure; democracy and developmental governance, as well as the need of silencing the guns by 2020.”
“Our Agenda 2063 flagship projects - such as the free movement of people, the Commodities strategy, the Pan African Integrated High speed Rail network - is taking off, and should help towards our vision of an integrated, peaceful and prosperous Africa, driven by its own people and taking its rightful place in the world”, underscored Dr. Dlamini Zuma.
Referring to the song on Agenda 2063 composed by a group of artists from Zimbabwe, played during the opening ceremony of the retreat, the AUC Chairperson called on other artists within the continent to emulate the good example. “ I would like to thank the Zimbabwean artists who came up with that song on Agenda 2063, and I challenge all of us to encourage our artists to compose as many songs as possible. Of course as the Chair of the Union, Zimbabwe led from the front”. She thanks the Mekelle authorities for hosting the AU Ministerial retreat and wished the Ministers fruitful deliberation. (See complete speech of the AUC Chairperson on the website: www.au.int ).
The Chairperson of the Executive Council on his part, recalled the high moments and priorities on Agenda 2063 saying “our Agenda is centred in the review of implementation of decisions taken during the 2nd Ministerial retreat and update on the implementation of the 1st ten year plan of Agenda 2063, the free movement of goods and persons, the issue of Immigration and tourism and wild life preservation”. Minister Mumbengegwi stressed that “as we continue streamlining and improving the working methods of our Union, we also need to consider how best we can align our bi-annual Summits in order to improve the effectiveness of our organisation and to give ourselves ample time to implement our decisions”. He expressed satisfaction to the fact that notable success has already been achieved in this vein, hence the need to proffering new and innovative ideas that will take the organisation to greater heights. (See complete speech of the Executive Chairperson on the AU Website: www.au.int) .
Speaking earlier, Hon. Dr. Tedros Ghebreyesus, stressed on the importance of holding the ministerial retreat which he said will enhance friendly and convivial relationship between the ministers. The Minister of Foreign Affairs of the Federal Democratic Republic of Ethiopia said such gathering will enable the participants to express themselves freely while socialising with one another. He called on his pars saying, “We have a number of important issues to deliver including exchanging views and best practices on how to domesticate and enhance the implementation of agenda 2063 and its flagship projects.
Organized by the African Union Commission (AUC), the third Ministerial Retreat aims at brainstorming and exchanging ideas on critical issues related to the implementation of the Africa Agenda 2063 so as to give clear direction and guidelines on devising best ways and means for its domestication to help improve the living conditions of the African citizens.
The Ministers will among other things consider AU Commission Restructuring Project, the free movement of people, African tourism, wild life conservation, and state of the African tourism sector and its opportunities and challenges.
At the end of its deliberations, the Ministerial Retreat will adopt the Mekelle Ministerial Retreat draft Outcomes document to be tabled during the Executive Council meeting scheduled to hold on 27 and 27 January 2016 for adoption. The AU Ministerial Retreat ends on Tuesday 26th January 2016.
AMT/ EAT
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---- looking for Lady Florence .... ----
the bronze bust of Lady Florence, located in the public garden of Taormina: for its implementation had to be used as a mold the bust currently is in the mausoleum of the district "Francisi" of Taormina, where lies mortal remains of Florence. Ms. Maria owner and caretaker of the mausoleum, told me that to realize the bronze bust, the founders held their bust of mausoleum for three months, during which time Ms. Maria felt an incredible sadness for the lack of Florence.
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il busto in bronzo di Lady Florence, che si trova nel giardino pubblico di Taormina: per la sua realizzazione dovettero utilizzare come calco, il busto presente attualmente nel mausoleo della contrada "Francisi" di Castelmola, dove riposano le spoglie mortali di Florence. La signora Maria proprietaria e custode del mausoleo, mi raccontava che per realizzare il busto in bronzo, i fonditori trattennero il busto del mausoleo per tre mesi, periodo durante il quale la signora Maria sentiva una incredibile malinconia per l'assenza di Florence.
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Lady Florence, with her husband, Professor Cacciola, bought 87 lots of land to build the Public Garden, the Lady had on its payroll master builders, cabinet makers, farmers to whom he had taught the art of the English garden, she planted flowers, rare and exotic plants, the inevitable cypresses; she built the characteristic oriental style-Burmese buildings, (Florence, before coming and stop forever in Taormina, had traveled a lot, certainly drawing inspiration from his travels, in this case by his visitations in the Far East). Florence built large aviaries, with parrots and birds of various species coming from all parts of world . Even the features oriental buildings, served to welcome and accommodate the birds to get them to nest, as well as to serve as a shelter during the rain, when the Lady went in the garden to painting. Among the most challenging is what she herself called "The Beehives" as it reminded her a hive for the realization of many chambers, ". (In the years before the kids there were playing hide and seek, going up and down like an endless maze, while the couples of lovers there were hidden from prying eyes, but now you can no longer access the inside).
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Lady Florence, assieme a suo marito, il professor Cacciola, acquistò 87 lotti di terreno per realizzare il Giardino Pubblico, la Lady aveva nel suo libro paga capimastri, ebanisti, contadini ai quali aveva insegnato l'arte del giardino all'Inglese, vi fece fece crescere fiori, piante rare ed esotiche, gli immancabili cipressi; vi costruì le caratteristiche costruzioni, su sua proggettazione, in stile orientale - Birmano (Florence, prima di giungere e fermarsi per sempre a Taormina, aveva viaggiato tantissimo, traendo certamente ispirazione dai suoi viaggi, in questo caso dalle sue visitazioni in estremo oriente). Florence fece costruire grandi uccelliere, facendo giungere da ogni parte del mondo pappagalli ed uccelli di varie specie. Anche le caratteristiche costruzioni orientaleggianti, servivano ad accogliere e ad ospitare gli uccelli affinchè vi nidificassero all'interno, nonchè a fungere da riparo durante la pioggia, quando la Lady si recava nel giardino ad esempio per dipingere. Tra le realizzazioni più impegnative c'è quella che ella stessa chiamò "The Beehives" poichè le rammentava un alveare per la realizzazione di numerose concamerazioni". (negli anni addietro i bimbi vi giocavano a rimpiattino, salendo e scendendo come in un interminabile dedalo, mentre le coppiette di innamorati vi trovavano riparo da sguardi indiscreti; ora non si può più accedere all'interno).
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This is a short and long collection of photographs, almost all made in Taormina (Sicily), and is divided into two parts: the first part I have included a few pictures, I put a few moments I catched in the alleys of the small Sicilian town, in the second part (the first to appear on Flickr) in which I tried to rebuild and at the same time to remember the singular feminine figure of Lady Florence Trevelyan, an English noblewoman, lover of art, botany, ornithology, travels, the arts magical and esoteric; she loved animals, but actively helped a lot of people; Taormina is to her that owes much of its luck; this Lady, hosting famous people of the time, contributed not a little to make known the beauty of this village Siculo to the whole world (and she improved and embellished much Taormina).
Lady Florence was born in Hallington On February 7, 1852, but soon became an orphan at the age of two years (his father committed suicide in 1854); his mother Catherine Anne was the maid of honor of Queen Victoria: the Queen which became attached enormously to Florence, and the Queen loved her like a true daughter. Florence at age 27, in 1879 was forced to leave everything to face a long journey lasting more than two years (Lady Florence fell prey to the notorius charms of the future Edward VII, who was already married; this sort of thing never went over well with Victoria, so Florence was asked to leave England). Lady Florence returned to his homeland for a short period, to be again driven out for an exiled perennial: She never returned to England (though, a generous monthly annuity was given hers on the orders of the Queen Victoria). Florence traveled widely, reached India, went to Burma, arrived in Australia she performed as a singer, and then finally arrive in February 1884 in Taormina: here you will stay until the end of his life (she died October 4, 1907 ). At Taormina she met the then mayor, the rich prof. Salvatore Cacciola, doctor, passionate student and Grand Master of Freemasonry: it is said that Lady Florence fell in love when she sought his help to cure "Sun", one of his dogs; from here to their wedding was a short step.
Lady florence bought several lots of land, created the current Public Garden of Taormina, planted olive trees, cypresses, exotic trees, and built those features buildings in oriental style; She bought by the former mayor the "Isola Bella" (She built an house and She planted trees and exotic plants, Mediterranean pines, as well as the inevitable cypress); She bought many arid and barren lands around Taormina (Mount Venus, Monte Croce, Monte Porretta) and they become rich in vegetation, with many farmers she had taught the art of the English garden. Many people went knocking to her door, in financial difficulties, usually farmers and fishermen (also Oscar Wilde, disgraced by charges of homosexuality, received financial aid from Lady Florence), She made a major sewing school for young girls of Taormina, and instituted for their 87 wedding dowries. Fate was once again mocking her: the only child she had named Edward, died in childbirth. It was in use at the time, bathing in bathtubs filled with cold water of the sea (even the photographer Von Gloeden was addicted to this habit), but this proved fatal, Lady Florence died of pneumonia at the age of 55. For her express wish, She was buried in a district of Castelmola (accompanied by large numbers of Sicilian people, it tells of an endless line, to the sound of "ciaramelle", which reminded her bagpipes of her distant Scotland), district called "Francisi" in her memory (this term according to a medieval custom). In her will, Lady Florence forced heirs not to hunt in his vast possessions, not to build, and to accept and to help dogs and birds. Lady Florence was the first woman (not only in Sicily) to be allowed to be part of Freemasonry.
The writer Guido Gozzano, was inspired by Lady Florence, when he wrote the novel "Alcina".
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Questa è una raccolta di fotografie breve e lunga, quasi tutte realizzate a Taormina (Sicilia), raccolta che ho diviso in due parti: nella prima parte ho inserito alcuni ritratti, ho messo alcuni momenti colti nei vicoli del piccolo paese Siciliano, nella seconda parte (la prima ad apparire su Flickr) ho tentato di ricostruire, ed al contempo ricordare, la singolarissima figura di Lady Florence Trevelyan, una nobildonna Inglese amante dell'arte, della botanica, della ornitologia, dei viaggi, delle arti magiche ed esoteriche; lei, che fu una convinta animalista ante litteram, non si limitò ad amare solo gli animali, ma aiutò fattivamente persone di ogni ceto sociale, ebbe ricchezze ma al tempo stesso pagò prezzi altissimi in sofferenza e dolore: Taormina deve a lei molta della sua fortuna, poichè questa Lady, ospitando nei suoi possedimenti illustri e famosi personaggi dell'epoca, contribuì non poco a far conoscere al mondo intero le bellezze di questo paesino Siculo (ella stessa migliorò ed abbellì ancor più Taormina).
Lady Florence nacque in quel di Hallington il 7 febbraio del 1852, divenne ben presto orfana all'età di due anni ( il padre morì suicida nel 1854); sua mamma Catherine Anne era la dama di compagnia della regina Vittoria, la quale regina si affezionò enormemente a Florence, sì da amarla come una vera figlia. All'età di 27 anni, nel 1879 venne imposto a Florence di lasciare l'Inghilterra per affrontare un lungo viaggio, che sarà della durata di più di due anni (si ipotizza per farle dimenticare una relazione che non sarebbe mai dovuta accadere, col figlio della regina Vittoria, il futuro re Edoardo VII, che a quel tempo era già sposato; sembra che non sia stata affatto la gelosia della moglie di Edoardo, bensì la rigidità della madre Vittoria a decretarne l'esilio). Lady Florence dopo questo primo viaggio ritornò nella sua Inghilterra, ma vi restò ben poco, infatti dopo un brevissimo periodo Lady Florence venne nuovamente allontanata in esilio, e questa volta lo sarà per sempre: Florence non ritornerà mai più nella sua Inghilterra (un generoso vitalizio mensile le fu dato comunque su ordine della stessa Regina Vittoria, ovvio che ciò le fu indispensabile, essendo così lontana da casa). Florence viaggiò molto, raggiunse l'India, andò in Birmania, giunta in Australia si esibì come cantante, per poi infine giungere nel febbraio del 1884 a Taormina: qui vi resterà fino all'ultimo dei suoi giorni (lei morirà il 4 ottobre 1907). A Taormina ebbe modo di conoscere l'allora sindaco, il ricco prof. Salvatore Cacciola, medico, appassionato studioso e Gran Maestro della Massoneria: si racconta che Lady Florence se ne innamorò quando lei cercò l'aiuto del medico per curare "Sole", uno dei suoi cani; da qui al loro matrimonio, il passo fu breve.
Lady florence acquistò numerosi lotti di terreno, realizzò l'attuale Giardino Pubblico, vi piantò ulivi, cipressi, alberi esotici, costruì quelle caratteristiche costruzioni in stile birmano-orientale; acquistò dall'ex sindaco L'Isola Bella (vi costruì una casetta, e l'Isola, che altro non era che un ammasso brullo di scogli, divenne rigogliosa come la vediamo oggi, vi piantò alberi e piante esotiche, pini mediterranei, nonchè gli immancabili cipressi, così presenti in quasi tutta la cittadina); acquistò numerosi terreni intorno a Taormina (Monte Venere, Monte Croce, Monte Porretta) sicchè da aridi e brulli che erano, li fece diventare ricchi di vegetazione (infatti aveva al soldo numerosi contadini ai quali aveva insegnato l'arte del giardino all'Inglese). Alla sua porta andarono a bussare numerose persone in difficoltà economiche, in genere contadini e pescatori, mai fu chiusa loro la porta... (anche Oscar Wilde, caduto in disgrazia per l'accusa di omosessualità, ricevette un aiuto finanziario dalla Lady); realizzò una importante scuola di cucito per le giovanette di Taormina, dando loro la possibilità di potersi mantenere da sole; istituì 87 doti di matrimonio per le ragazze Taorminesi (all'epoca una ragazza senza dote non aveva molte possibilità di formarsi una famiglia). Il destino infine fu ancora una volta beffardo con lei: l'unico figlio che lei ebbe, di nome Edoardo, morì durante il parto, il padre era un medico, tentò di rianimarlo, ma non ci fu nulla da fare. Era in uso all'epoca, fare bagni nelle vasche da bagno ricolme di acqua gelata di mare (anche il fotografo Von Gloeden era dedito a tale usanza, ma lui usava immergersi in acqua di mare calda, riuscendo a trovare in questa forma di talassoterapia una cura per la tisi, della quale era affetto): questa usanza fu fatale a Lady Florence, che morì di broncopolmonite a 55 anni di età. Per suo esplicito desiderio, la Trevelyan fu seppellita in una contrada di Castelmola (accompagnata da tantissima gente del luogo, si racconta di una fila interminabile di persone, al suono delle zampogne, che le ricordavano le cornamuse della sua lontana Scozia); la contrada dove fu seppellita (in quella la Lady aveva un'altra dimora), fu chiamata "Francisi" in sua memoria (tale termine indicava, secondo una usanza medioevale, una generica provenienza straniera, qualinque essa fosse). Nel suo testamento Lady Florence obbligò gli eredi a non cacciare nei suoi vasti possedimenti, a non costruire, ad accogliere e curare cani ed uccellini. Lady Florence fu la prima donna ad essere ammessa a fare parte della massoneria. Importò in Sicilia les tableaux vivants (i quadri viventi) e anche le sfilate dei carri in fiori a Palermo. Lo scrittore Guido Gozzano scrisse il romanzo "Alcina" ispirandosi a Lei.
Herramienta con un filo metálico que está fijado de forma segura a un mango, generalmente de madera, cuya finalidad es el corte mediante golpes.
El origen del hacha debe situarse en la prehistoria
An exquisite Taino curved manatee bone purging (vomit) stick. Used in the Cohoba Ritual. Attenuated and tapering at the tips. Boldly carved with the highly stylized alligator and coffee bean-shaped eyes. Incised symbolic motifs along the carved spatula. Measures 12.5 in Length (31.75 cm.) Extraordinary size. Dominican Republic 1000-1500 AD.
Este año, la Casa del Deporte implementará un total de 19 escuelas gratuitas en Viña del Mar, con once disciplinas entre las que se encuentran como novedades el balonmano y la halterofilia.
Entre las postales que dejaron los X Juegos Suramericanos ODESUR Santiago 2014, además de la histórica cosecha de medallas que completaron un total de 129 preseas para nuestro país, se cuentan recintos repletos de público vitoreando a deportistas como si se tratasen de eliminatorias mundialistas de futbol, evidenciando el gran interés y pasión que sienten los chilenos por deportes muy distintos al balompié.
Consciente de esta atención por variadas disciplinas, es que la Ilustre Municipalidad de Viña del Mar, a través de la Casa del Deporte, hace ya casi una década, ha implementado de forma gratuita en toda la ciudad, un programa compuesto por Escuelas Deportivas, y que este año junto a las ya clásicas Tenis, taekwondo, Karate, Natación, Basquetbol, Hockey Patín, Gimnasia Rítmica, Voleibol y Rugby, trae importantes novedades, como la inclusión de dos nuevas especialidades deportivas.
El programa de Escuelas Deportivas, este 2014, da la bienvenida a su oferta al cada día más popular Balonmano o Handball, y que después de la brillante participación de las selecciones chilenas masculinas y femeninas de la disciplina, premiadas con bronce en ODESUR 2014, y que justamente jugaron en Viña del Mar, es que niños, jóvenes y adultos, pusieron sus ojos sobre esta entretenida rama deportiva.
Junto con el balonmano, la Halterofilia o Levantamiento Olímpico de Pesas, también se suma al programa Escuelas Deportivas, y consiste en el levantamiento de la mayor cantidad de peso posible en una barra en cuyos extremos se fijan varios discos, los cuales determinan el peso final que se levanta, y que reciben el nombre de “haltera”.
Orientadas a niños entre 7 y 14 años, las Escuelas Deportivas 2014, suman un total de diecinueve, y para la inscripción en cualquiera de las once disciplinas de este año, sólo hay que asistir al lugar, el día y la hora fijada para la clase, y llenar una matrícula gratuita con los datos personales del alumno, y la firma de un apoderado mayor de edad autorizando la participación del menor en el taller. Te esperamos!
16 December 2013. El Fasher: The seventh meeting of the Implementation Follow–up Commission (IFC), established by the Doha Document for Peace in Darfur (DDPD), that took place at UNAMID Headquarters in El Fasher, North Darfur.
Photo by Albert González Farran, UNAMID