View allAll Photos Tagged Implementation
Designer: Yan Jun (嚴濬)
1954, October
Implement collectivization, share prosperity. Love the PLA, defend peace
Shixing hezuo hua, gongtong fuyu. Re'ai Jiefangjun, baowei heping (實行合作化，共同富裕. 熱愛解放軍，保衛和平)
Call nr.: PC-1954-022 (Private collection)
Published in Yunnan (云南).
More? See: chineseposters.net
I went walking in Downtown Napa early this morning and came upon this building on Main Street that I had heard about on the radio just this week. Here is more info than you wanted:
Named after its original owners, the Williams building was the first commercial block constructed north of the Napa creek. The hand-hewn native stone structure cost $26,000 to build in 1886 and its designers were San Francisco architects Wright and Saunders.
Mr. D. S. Kaiser was an early tenant, operating a combination funeral and furniture business. The Williams Building became the site of both civic pride and notoriety in 1897 when the Napa County Courthouse was the scene of the last public execution held in California. That day Billy Roe was hanged for murdering Lucina Greenwood of Napa in 1891. Kyser attended the execution in an official capacity as the Napa County Coroner and Roe’s remains were delivered to Kyser’s Main Street undertaking business.
Since the early 1900s a long list of businesses have occupied the historic Williams-Kyser Building, including Napa Beauty College, E.G. Lohman’s agricultural implements-tractors, Napa County Superintendent of Schools office, Valley Vacuum, Copy Corner, the Oberon Gallery, the Feminist Connection, and the Duck Pin Bowling Alley. Amidst the rich historical ambiance of the Williams-Kyser Building, there is now Cole’s Chop House, a Michelin Guide recommended restaurant.
Excerpts from a piece by: Rebecca A. Yerger
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.
In the north of the Netherlands Park Hoge Veluwe stands Jachthuis Sint Hubertus, on a beautiful pond in a popular rambling area. It was built by architect H.P. Berlage from 1915 – 1920. The legend of Saint Hubertus served as a guideline for the design. It was built for Anton Kröller (who liked to hunt) and Helene Kröller – Müller (who was interested in the mystical aspect of the Hubertus legend). This legend tells the story of the conversion of Hubertus who in his youth had been a keen hunter. He repented, especially following a vision of a Red Deer with a luminous cross between its antlers and a voice that told him to better his life if he wanted to avoid hell. After having taken on the cross from the deer’s antlers - figuratively speaking - Hubertus retired to a monastery. Hubertus finally died in 727 as the bishop of Liege and Maastricht, and the Catholic Church later named him patron saint of the hunters. Architect Berlage and the artists who worked with him have expressed the legend in the Jachthuis using a lot of symbolic, which was quite normal for art styles of around 1900.
As the plan shows, the building is shaped like antlers. The tower with the cross incorporated in the masonry symbolizes the luminous cross between the antlers. Berlage was an architect who designed in the style of the New Objectivity. This style allowed artists to show the individual beauty of constructive elements. As Berlage designed most of the interior as well as many implements, the whole thing was perfectly geared to each other. This is enhanced by the repeated use of certain materials and shapes. In his time, Berlage was a modern architect. The building is full of technical tours de force, such as central heating, a central clock system, a central vacuum system, an electric lift and Pullmann sliding windows.
Farm implement near Glasgow in rural Saline County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark IV camera with a Canon EF24-105mm f/4L IS USM lens at ƒ/4.0 with a 147 second exposure at ISO 100. Processed with Adobe Lightroom CC.
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©Notley Hawkins
Well, this title proves I must be unhinged but I didn't even forget it since last night when I thought it up so it stuck. Unfortunately two of the clunky signs showed in this shot and I will probably clone them out when I collapse the layers back together. Way too much work otherwise. The crowd was a bit much for a Friday weekday and even highway #66 seemed overloaded with travelers and RVs probably on their way up to Estes Park and Rocky Mountain National Park (area right of the wind mill). Highway #66 does not appear in this shot and thank goodness I had little cloning on the cars! I appreciated the way the sky was beginning to display in a spray on the widest angle shots. I moved in for consecutively tighter shots on the red barn after I captured "The old spread" and tried to crop out problems as was possible. I fiddled with the horizon but it has to be on a slant. The terrain slopes down and left to McIntosh Lake that is over in northwest Longmont. On the right hand side of the frame is the new stock shed where they are housing the ponies and pigs while the slow elk, left, have to feed themselves. There are several exhibits inside the red barn for the mommas to explain to the kiddies. All the kiddies want is a cool soda pop as long as they have to walk. Careful, the chickens and bunnies are under foot; a delight to the kiddies no doubt. I went out again on Sunday and shot more photos including some of the signs so I'd have a record. We can't agree which was the McIntosh barn and which was moved in from the FAA property. A strange day it is because the place was empty but Highway #66 was a real pain with folks apparently heading for Rocky Mountain National Park. We just got out of there last Tuesday and I figure it will be a wild one for the summer. You couldn't pay me to go now, except for a cooler day.
This is the McIntosh-Lohr Farm Agricultural Museum on Highway #66, (not the same as Route #66). I had by now dropped everything else. Though the clouding has been absent recently, they really popped the structures today but I still had to wait for the chickens to cross the road before they allowed me passage. Today, though, served up a sprinkle and they promise 92 tomorrow. Keep editing in the cool, I guess. I am spending extra time on the best of the captures considering these abundant skies. I was just in time for the sky. I looked out of my window and jumped up, gathered my camera and split. I scored shots out here some years ago but the sky was a dud and I was using my old D70. The farm/museum is part way between Largemont and Hygiene, Colorado. Today, I can afford the time to stop and look (it was my "race on debt" for being there) over the old shots I ought to have spotted before. I bet though I'd better manage it in an hour or two. They have added new venues and I am in a wandering mood. Here is one of my results. The day would later collapse to overcast, allowing time to start editing. There COULD be some time involved in editing. After I boiled the layers down to a TIFF, I edited objects I could then.
This build presents Don Quixote as a knight, his recruits, Sancho Panza, and Don Quixote's lady love Dulcinea del Toboso.
Custom built horse and donkey, for a better humorous implementation. The windmill is a classic Spain mill from the La Mancha region.
Features of the mill:
- Openable walls for playing inside the mill
- Working mechanism
- Real parts of a windmill (millstone, windshaft, great spurwheel, sack hoist)
The set is playable, educational, functional, and tells a story about the one of the greatest literary work.
If you like it, please support it at Ideas
Thank you!
Advertisement postcard for the Pender Manufacturing and Supply Company, showing different
types of sowers. The card also reads, "Fertilizer and Lime Sowers," "So-Rite Fertilizer
Sower," "Hand Operated Horse Drawn Tractor Drawn Sizes up to 13 ft. wide BUY TODAY."
Digital Collection:
North Carolina Postcards
Location:
Raleigh (N.C.); Wake County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
Maankwartier / Moon Quarter Heerlen NL
New construction of 90,000m2 homes, shops, commercial units, hotel and public parking garage. Towards the design of artist Michel Huisman, a new district is being built as a connecting element across the railway yard. Wauben Architects is responsible for the translation of the spatial concept into an architecturally and technically feasible plan. The unique inner-city location on top of the rail infrastructure is very complex and has high performance requirements for logistics, safety and sound insulation. The gigantic complex has many user functions, many of which are delivered as a hull. An accurate integration of escape routes and installations ensures maximum flexibility and adaptability.
Attempts by the Dutch Railways NS around 1995, in close cooperation with the municipality to redevelop the station and expand it with shops and offices, ran aground, even in times when commercial property in the Netherlands was still doing well. When everyone in Heerlen had resigned themselves to the inevitable, a local artist - Michel Huisman - came up with a plan through the media. Huisman was and is not an architect, but with his passionate drawings and ditto stories he managed to get a majority of local politics on a par with the project, renamed it Maankwartier / Moon Quarter. The Maankwartier must connect the center of Heerlen to the north side of the city via rail. The implementation consists of large-scale retail trade (12,000 m2), shops (2,000 m2), hotel / catering industry (7,500 m2), offices (13,900 m2), owner-occupied and rented housing (99 units) and two underground parking garages with 1,175 parking spaces at north and south side and a bicycle parking for 800 bicycles. Weller Property Development develops the offices, the large and small-scale retail trade, the parking facilities and rental apartments. The municipality of Heerlen is responsible for the physical overhang of the railway and all public infrastructure. The municipality has also realized a new bus station. Furthermore, the municipality has issued a guarantee for the purchase of 4000 m2 of office space. NS Stations is the developer of the new train station and associated shops. Building development Jongen participates with a parking garage, 6200 m2 of space for a supermarket, 4000 m2 of office space and a number of owner-occupied apartments. The concrete slab that comes over the railway is the basis for a hotel and some shops, because legislation does not permit living above the railway.
A view of participants at the dais during a break in a meeting of the United Nations Conference on the Midterm Comprehensive Review of the Implementation of the Objectives of the International Decade for Action “Water for Sustainable Development”, 2018–2028.
Standing in centre is Movses Abelian, Under-Secretary-General for General Assembly and Conference Management.
UN Photo/Rick Bajornas
24 March 2023
New York, United States of America
Photo # UN7978858
Spotted on our travels through Mid Wales. This old implement would have had a seat on the support between the two wheels and judging by the set up at the front would have been pulled by a large horse. Any ideas what it may have been used for.
View On Black Then select Large for the bigger picture.
Antiqued version here. www.flickr.com/photos/wdig/4702143163/
In order to address the problem of water scarcity in Swabi District of Khyber Pakhtunkhwa province, #Alkhidmat Foundation Pakistan Khyber Pakhtunkhwa chapter has implemented another water project in Village Topy. This water project is expected to provide clean water for drinking and domestic usage to almost 23 families living in this village.
Este santuário está
implementado numa vasta
área consagrada ao culto
Mariano e constitui um pólo
de dinamização de
numerosas actividades de
espiritualidade, recolhimento
e apoio social. Na sua
génese, está a resposta das
populações do nordeste
transmontano à mensagem
de Fátima, através de uma
acção liderada por um
sacerdote natural da região: o
P. Manuel Joaquim Ochôa.
Começou a ser edificado em
1961. Para a sua construção
foi necessária a colaboração
de todo o povo de Cerejais,
homens e mulheres; eles com
quatrocentos carros de bois
de pedra e elas com o transporte de toda a água necessária à construção,
muita da qual foi transportada em cântaros, à cabeça.
Além da capela principal, fazem parte do conjunto do santuário:
l O Calvário (fig.1.1) com uma capelinha onde se encontra um conjunto
escultórico, em tamanho natural, que representa o encontro da Mãe
Dolorosa com o seu Divino Filho.
l Uma Via-sacra que percorre o caminho entre a Capela e o Calvário e
cujas cruzes foram esculpidas em granito da aldeia de Romeu.
Dois anos mais tarde, em 28 de Maio de 1967, celebrou-se a “festa dos
Bispos” como ficou conhecida a inauguração dos quinze Mistérios do
Rosário, que estão representados por outras tantas figuras esculpidas que
se distribuem à beira do caminho entre a capela e a Loca do Cabeço. Com
efeito, nas cerimónias desta inauguração, estiveram presentes os bispos
de Bragança-Miranda, Leiria, Lamego e Dili.
Em 1976 foi edificado o primeiro pavilhão da Casa dos Pastorinhos e foi
ampliada a torre sineira.
1977 foi o ano da comemoração do 60º aniversário das aparições em
Fátima e o Santuário dos Cerejais foi o ponto central das comemorações
na diocese de Bragança-Miranda.
seu desejo ao rei que logo pensou juntar o útil ao agradável: fez a vontade
à esposa e aproveitou o pretexto para construir uma fortificação militar nas
proximidades, dado que se tratava de um local estratégico para a
segurança do reino.
A administração da capela e dos seus folgados proventos determinados
por D. Dinis foi entregue aos frades beneditinos do mosteiro do Castro da
Avelãs, que se localiza a cerca de 30 km de distância, próximo a Bragança.
No reinado de D. João III, foi construída a catedral de Miranda, que passou
a ser a sede da diocese para quem passou a administração do santuário.
Durante todos estes anos, as actividades de culto foram promovidas pela
confraria que contava sempre com um mordomo castelhano, o que
confirma a grande influência que o santuário exerce do outro lado da
fronteira. Do lado espanhol o Santuário é designado por “La Ribeiriña”.
Apesar da grande quantidade de romeiros e da celebração anual das
grandes romarias, o templo chegou ao final do século XIX num estado de
apreciável degradação. Providencialmente surgiu um benemérito, próspero
emigrante no Brasil, natural de Castrelos, de seu nome António do Carmo
Pires.
5l-henrique.blogspot.pt/2013/06/alfandega-da-fe-cerejais-...
Este santuário está
implementado numa vasta
área consagrada ao culto
Mariano e constitui um pólo
de dinamização de
numerosas actividades de
espiritualidade, recolhimento
e apoio social. Na sua
génese, está a resposta das
populações do nordeste
transmontano à mensagem
de Fátima, através de uma
acção liderada por um
sacerdote natural da região: o
P. Manuel Joaquim Ochôa.
Começou a ser edificado em
1961. Para a sua construção
foi necessária a colaboração
de todo o povo de Cerejais,
homens e mulheres; eles com
quatrocentos carros de bois
de pedra e elas com o transporte de toda a água necessária à construção,
muita da qual foi transportada em cântaros, à cabeça.
Além da capela principal, fazem parte do conjunto do santuário:
l O Calvário (fig.1.1) com uma capelinha onde se encontra um conjunto
escultórico, em tamanho natural, que representa o encontro da Mãe
Dolorosa com o seu Divino Filho.
l Uma Via-sacra que percorre o caminho entre a Capela e o Calvário e
cujas cruzes foram esculpidas em granito da aldeia de Romeu.
Dois anos mais tarde, em 28 de Maio de 1967, celebrou-se a “festa dos
Bispos” como ficou conhecida a inauguração dos quinze Mistérios do
Rosário, que estão representados por outras tantas figuras esculpidas que
se distribuem à beira do caminho entre a capela e a Loca do Cabeço. Com
efeito, nas cerimónias desta inauguração, estiveram presentes os bispos
de Bragança-Miranda, Leiria, Lamego e Dili.
Em 1976 foi edificado o primeiro pavilhão da Casa dos Pastorinhos e foi
ampliada a torre sineira.
1977 foi o ano da comemoração do 60º aniversário das aparições em
Fátima e o Santuário dos Cerejais foi o ponto central das comemorações
na diocese de Bragança-Miranda.
seu desejo ao rei que logo pensou juntar o útil ao agradável: fez a vontade
à esposa e aproveitou o pretexto para construir uma fortificação militar nas
proximidades, dado que se tratava de um local estratégico para a
segurança do reino.
A administração da capela e dos seus folgados proventos determinados
por D. Dinis foi entregue aos frades beneditinos do mosteiro do Castro da
Avelãs, que se localiza a cerca de 30 km de distância, próximo a Bragança.
No reinado de D. João III, foi construída a catedral de Miranda, que passou
a ser a sede da diocese para quem passou a administração do santuário.
Durante todos estes anos, as actividades de culto foram promovidas pela
confraria que contava sempre com um mordomo castelhano, o que
confirma a grande influência que o santuário exerce do outro lado da
fronteira. Do lado espanhol o Santuário é designado por “La Ribeiriña”.
Apesar da grande quantidade de romeiros e da celebração anual das
grandes romarias, o templo chegou ao final do século XIX num estado de
apreciável degradação. Providencialmente surgiu um benemérito, próspero
emigrante no Brasil, natural de Castrelos, de seu nome António do Carmo
Pires.
5l-henrique.blogspot.pt/2013/06/alfandega-da-fe-cerejais-...
Retired school principal Yvonne Knight-Carter's family land qualifies for implementation and maintenance of the U.S. Department of Agriculture (USDA) Natural Resources Conservation Service (NRCS) Conservation Practice Firebreak (Code 394) on the forested land behind her childhood home and other neighboring family homes, near Moncks Corners, SC, on November 19, 2020. The firebreak line marks the stop of a lightning strike fire that threatened the homes and surrounding area. Today, a bulldozer refreshes and widens the firebreak to the full specification of a forester’s conservation firebreak plan.
She works with NRCS Soil Conservationist Jabril Wright worked with Ms. Knight-Carter during her application and conducts site visits to ensure state and local coordination and work is happening as planned. For more information about NRCS Firebreaks and associated practices, please go to nrcs.usda.gov/wps/portal/nrcs/detail/national/technical/nra/?cid=nrcs144p2_027147. USDA Media by Lance Cheung.
[en] Gonzalo Vecina Neto, a Brazilian citizen, has implemented an innovative model of public-private partnerships between the Hospital Sírio-Libanês and municipal governments in Brazil to manage public health units, provide services, train staff, and increase the quality of care provided at the municipal level. Photo: Léo de Azevedo
[es] Gonzalo Vecina Neto, ciudadano brasileño, ha puesto en práctica un novedoso modelo de asociación público-privada, entre el Hospital Sírio-Libanês y los gobiernos municipales del Brasil, para la administración de unidades de salud pública, la provisión de servicios, la capacitación de personal y el incremento de la calidad de la atención brindada a nivel municipal. Foto: Léo de Azevedo
[pt] Gonzalo Vecina Neto, cidadão brasileiro, implantou um modelo inovador de parcerias públicoprivadas entre o Hospital Sírio-Libanês e governos municipais no Brasil para administrar unidades de saúde pública, prestar serviços, capacitar funcionários e aumentar a qualidade do atendimento de saúde proporcionado pelos municípios. Foto: Léo de Azevedo
The leaves are pretty much on the ground for the next 6 months or more but the color that is left still pops in the sun. A not quite ancient haybine does it's best to blend in with pine and aspen at Saginaw Minnesota
the garden stands ready but it isn't time to plant. olympus e-300 with meyer-optik gorlitz lydith 30mm f/3.5
Seen at Melbourne, East Yorkshire 08-05-16. Any suggestions as to what it is would be gratefully appreciated. Old disc harrow maybe?
I don't know what this is, though it's been leaning against the fence there for a long time. I find it sculptural. I especially like the rocks embedded in it.
Here's what you need to mix concrete by hand: Wheelbarrow with a bag of Quick-crete; a mortar hoe (blue handle) and scraper for mixing and scooping; rubber gloves and a dust mask to keep the concrete off your skin and out of your lungs; a jug of water and a watering can to add more water and keep down the dust.
Looking east from the Jay County Fairgrounds.
I squeeze a lot from this view.
Please check out the fun image next door. >>>>
Feel free to extend this into your own implement!
www.brickshelf.com/gallery/TheScooterGuy/LDD/MOCs/Technic...
Implements lie in wait for call to action.
The ignorant next door put out poison traps 3 days ago and I've lost all my raptors and a coyote. I told them I put the dead out on the road for them to see. They screamed and whined and sounded like the wicked witch. They then had the Hispanic farm workers place more traps.
Handheld
I had to follow this tractor for several miles yesterday as he drove along at a snail's pace. I can't remember what that implement he's pulling is for, but it looks lethal!
Implementing best practices for a given piece of land and chosen crop are important to a successful year. Decisions such as row spacing and tillage practices bring with them trade offs, but are geared towards environmental and economic sustainability.
Designer: Ma Shuntian (马舜田), Li Ting (力汀), Shen Junke (沈君可), Labor Safety Department of the All-China Federation of Trade Unions (中华全国总工会劳动保护部)
1954, April
Please use implements when cleaning up iron shavings to avoid wounding people
Qing chu tiexie shi yao shi yong gongju yi mian shang ren (请除铁屑时要使用工具以免伤人)
Call nr. : BG D25/314 (Landsberger collection)
More? See: chineseposters.net
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.
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-20-129
INFORMATION TECHNOLOGY: Agencies Need to Fully Implement Key Workforce Planning Activities