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Vincent van Gogh 1853 - 1890
Het gele huis ('De straat'), 1888
The yellow house ('The street')
olieverf op doek / oil on canvas
Van Gogh Museum, Amsterdam
(Vincent van Gogh Stichting)
In mei 1888 huurde Van Gogh vier kamers in het rechter deel van het huis aan de Place Lamartine in Arles. Zijn woning is herkenbaar aan de groene luiken, daar achter lag zijn slaapkamer. Eindelijk had Van Gogh een plaats gevonden waar hij niet alleen kon schilderen maar ook vrienden kon laten logeren. Uiteindelijk wilde hij graag een ‘atelier van het zuiden’ stichten, waar een groep eensgezinden samen kon werken.
Zoals hij dat eerder al had gedaan in Nuenen en Parijs, geeft Van Gogh in dit schilderij zijn naaste omgeving weer. Links is het restaurant te zien waar hij vaak ging eten. Rechts achter de eerste spoorbrug woonde zijn vriend, de postbode Joseph Roulin.
Dit stadsgezicht is daarnaast een compositie in contrasterende kleuren. ‘Want het is machtig, die gele huizen in de zon en dan de onvergelijkelijke helderheid van het blauw’, schreef hij aan Theo, in de brief waarin hij hem ook een tekening naar het schilderij stuurde.
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In May 1888, Van Gogh rented four rooms on the right-hand side of a house on the Place Lamartine in Arles. His living quarters were the ones with the green shutters. His bedroom lay beyond. Vincent had finally found a place where he could not only paint but also welcome his friends. His goal was to establish a “Studio of the South,” where he and like-minded artists could work together.
Just as he did in Nuenen and Paris, Van Gogh here depicts his own surroundings. To the left we see the restaurant where he usually took his meals. His friend, the postman Joseph Roulin, lived to the right, behind the first railroad bridge.
The view is also an exploration of color contrast: “What a powerful sight, those yellow houses in the sun and then the unforgettable clarity of the blue [sky],” he wrote to Theo in the letter that accompanied a drawing he had made after the painting.
This photo was taken on 23 june 2009 during a one-time exclusive photo session at the Van Gogh Museum in Amsterdam for the Wiki Loves Art /NL project.
I have my own explanation for why I took this shot and I think about what it means to me. Random as this may be I'm interested in what others see here.
This pattern is made from a single photo, shot and edited entirely on the iPhone. The photo was cropped and saved in 3 color variations using Camera+, then composed with Diptic.
There's a lovely bank of multicolored lockers at Stockholm’s Fotografiska (Photography) Museum. I took a half-hearted angle shot of the room and thought nothing more of it until later at the cafe when we were messing around on our phones. I cropped the photo to hide everything but the color of the lockers and rotated it. That crop represents each of the ⅓ columns in this image.
from the deck of Catamaran Yemaya: Salt Whistle bay
A reduced priced 1 week Caribbean sailing holiday in which you wil discover peaceful beaches, uninhabited islands and you can swim with turtles and stingrays in clear turquoise waters. This sailing holiday wil start at St. Lucia on the 30th of ...
www.catamaransailing.holiday/event/reduced-priced-1-week-...
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
A monitor is a class of relatively small warship that is lightly armoured, often provided with disproportionately large guns, and originally designed for coastal warfare. The term "monitor" grew to include breastwork monitors, the largest class of riverine warcraft known as river monitors and was sometimes used as a generic term for any turreted ship. In the early 20th century, the term "monitor" included shallow-draft armoured shore bombardment vessels, particularly those of the Royal Navy: the Lord Clive-class monitors carried guns that fired the heaviest shells ever used at sea and saw action against German targets during World War I.
Two small Royal Navy monitors from the First World War, Erebus and Terror survived to fight in the Second World War. When the requirement for shore support and strong shallow-water coastal defence returned, new monitors and variants such as coastal defence ships were built. Allied monitors saw service in the Mediterranean in support of the British Eighth Army's desert and Italian campaigns, and they were part of the offshore bombardment for the Invasion of Normandy in 1944.
During the First World War, the Royal Navy developed several classes of ships which were designed to give close support to troops ashore through the use of naval bombardment. The size of the various monitor classes of the Royal Navy and their armaments varied greatly. The Marshal Ney class was the United Kingdom's first attempt at a monitor carrying 15 in (381 mm) guns, two of these ships were eventually built and showed a disappointing performance. The Admiralty immediately began the design of a replacement class, which incorporated lessons learned from all of the previous monitor classes commissioned during the war. Some of the main modifications were an increase in the power supply to guarantee a speed of 12 knots (22 km/h; 14 mph) and a change to the angles and lines of the hull to improve steering. Another significant change was to raise the top of the anti-torpedo bulge above the waterline and reduce its width; both changes would improve the stability and maneuverability of the ship at sea. The new design would later be named the Erebus-class, the first ship being launched in June 1916. Two ships were built and took part in WWI, but the Admiralty was not fully convinced with these ships, which also had shown major operational flaws, and requested in early 1918 three ship from another monitor class with higher firepower and better performance at sea, which led to the Trebuchet-class – even though it came too late to take part in any hostilities.
The class’ ships were to be the name-giving HMS Trebuchet, HMS Mangonel and HMS Ludgar. The latter would be the first and eventually become the class' only ship, because Trebuchet and Mangonel were quickly cancelled. HMS Ludgar was named after the famous, probably largest trebuchet ever made, also known as “Warwolf”, which had been created in Scotland by order of King Edward I of England, during the siege of Stirling Castle, as part of the Scottish Wars of Independence. Still seeing a need for this specialized ship for local conflicts in the British Empire around the world, Ludgar was proceeded with and laid down at Harland and Wolff's shipyard in Govan on 12 October 1918.
Due to the lack of wartime pressure, though, Ludgar took three years to complete and was launched on 19 June 1920. The new design was a thorough re-modelling of the earlier Royal Navy Monitors, even though most basic features and the general layout were retained - with all its benefits and flaws. Overall the ship was slightly larger than its direct predecessors, the Erebus-class monitors. Ludgar had a crew of 224, 9,090 long tons (9,185 t) loaded displacement, was 436 ft (133.1 m) long, 97 ft (29.6 m) wide with a draught of just 11 ft 8 in (3.6 m, less than a destroyer) for operations close to the coastline. Power was provided by four Babcock & Wilcox water-tube boilers, which would generate a combined 6,000 ihp (4,500 kW) that were produced by triple-expansion steam engines with two shafts. The monitor had an operational range of 2,480 nmi (4,590 km; 2,850 mi) at a speed of 12 knots.
HMS Ludgar’s deck armor would range from 1 in (25 mm) on the forecastle, through 2 in (51 mm) on the upper deck and 4 in (102 mm) over the magazine and belt. Unlike former British monitors, the Trebuchet Class featured two main turrets, which were each armed with two 15 in guns, what considerably improved the ship’s rate of fire. With the main 15 in guns being originally intended for use on a battleship, the armor for the turrets was substantially thicker than elsewhere in the design; with 13 in (330 mm) on the front, 11 in (279 mm) on the other sides and 5 in (127 mm) on the roof. The main guns' barbettes would be protected by 8 in (203 mm) of armor. Learning from the earlier experience with Ney, the turrets were adjusted to increase elevation to 30 degrees, which would add greater firing range. The 15 in guns had a muzzle velocity of 2,450 feet per second (750 m/s) – 2,640 feet per second (800 m/s), with supercharge. Maximum firing range was 33,550 yards (30,680 m) with a Mk XVIIB or Mk XXII streamlined shell @30° – 37,870 yards (34,630 m) @ 30°, with supercharges.
Just like on former British monitor ship designs, the turrets had to be raised high above the deck to allow the small draught, what raised the ship’s center of gravity and required a relatively wide hull to ensure stability.
The tall conning tower was protected by 6 in (152 mm) of armor on the sides and 2.5 in (64 mm) on the roof. The former monitors retrofitted anti-torpedo bulges were integrated into the Trebuchet-class’ hull, extending the deck’s width and giving the ship a more efficient shape, even though the short and wide hull still did not support a good performance at sea. The outer air-filled compartments under the waterline were 13 ft (4 m) wide with a 9 ft (2.7 m) wide outer section and an inner compartment 4 ft (1.2 m) wide containing an array of protective, air-filled steel tubes which would take the blast from an eventual broadside torpedo hit.
Ludgar conducted sea trials on 1 September 1921, during which the ship was faster than her predecessors at 16.5 knots (30 km/h; 19 mph) compared to 13 knots (24.3 km/h; 15.1 mph) for the Erebus-class monitors. However, like her ancestors, the wide and shallow hull of Ludgar made the ride rather unstable, and under practical conditions the ship’s top speed rarely exceeded 14 knots, making Ludgar only marginally faster than older monitor ships. The inherent flaws of the ship class’ design could not easily be overcome. However, Ludgar was officially commissioned on 2 September.
Upon entering service Ludgar was immediately deployed to the eastern Mediterranean as part of the 1st Battle Squadron of the Atlantic Fleet to mediate conflicts between Greece and the crumbling Ottoman Empire. While in the Ottoman capital Constantinople, Ludgar and the other British warships took on White émigrés fleeing the Communist Red Army.
The 1922 Washington Naval Treaty cut the battleship strength of the Royal Navy from forty ships to fifteen. The remaining active battleships were divided between the Atlantic and Mediterranean Fleets and conducted joint operations annually. Ludgar remained with the Mediterranean through 1926. On 4 October 1927, the ship was placed in reserve to effect a major refit, in which new rangefinders and searchlights were installed and the ship's original secondary armament, eight 4 inch naval guns against enemy destroyers and torpedo boats, was replaced be anti-aircraft guns of the same caliber.
On 15 May 1929 the refit was finished, and the ship was assigned to the 1st Battle Squadron of the Mediterranean Fleet. The squadron also consisted of Royal Sovereign, her sisters Resolution and Revenge, and Queen Elizabeth, and based in Malta. The only changes made during the Thirties were augmentations to Ludgar’s anti-aircraft batteries.
Fleet exercises in 1934 were carried out in the Bay of Biscay, followed by a fleet regatta in Navarino Bay off Greece. In 1935, the ship returned to Britain for the Jubilee Fleet Review for King George V. In August 1935, Ludgar was transferred to the 2nd Battle Squadron of the Atlantic Fleet, where she served as a training vessel until 2 June 1937, when she was again placed in reserve for a major overhaul. This lasted until 18 February 1938, after which she returned to the 2nd Battle Squadron.
In early 1939, the Admiralty considered plans to send Ludgar to Asia to counter Japanese expansionism. They reasoned that the then established "Singapore strategy", which called for a fleet to be formed in Britain to be dispatched to confront a Japanese attack was inherently risky due to the long delay. They argued that a dedicated battle fleet would allow for faster reaction. The plan was abandoned, however. In the last weeks of August 1939, the Royal Navy began to concentrate in wartime bases as tensions with Germany rose.
At the outset of war in September 1939, Ludgar was assigned to the 2nd Battle Squadron of the Home Fleet but remained at Plymouth for a short refit. In May 1940, painted in an overall light grey livery, she moved to the Mediterranean Fleet. There she was based in Alexandria, together with the battleships Warspite, Malaya, and Valiant, under the command of Admiral Andrew Cunningham.
In mid-August 1940, while steaming in the Red Sea, Royal Sovereign was attacked by the Italian submarine Galileo Ferraris and lightly damaged. Later that month, she returned to Alexandria for repairs and she received false white wakes at front and stern to simulate speed and confuse enemies. At the same time the conning tower was painted in a very light grey to make it less conspicuous when the ship was lurking behind the horizon. These were combined with periodic maintenance and the stay at dock lasted until November 1940.
Ludgar then moved to North Africa where she supported Operation Compass, the British assault against the Italian Tenth Army in Libya. The monitor shelled Italian positions at Maktila in Egypt on the night of 8 December, as part of the Battle of Sidi Barrani, before coming under the command of Captain Hector Waller's Inshore Squadron off Libya on 13 December. During the successful advance by the Western Desert Force Terror bombarded Italian land forces and fortifications, amongst others the fortified port of Bardia in eastern Libya on 16 December. After the Bardia bombardment concern was raised about the condition of the 15 in gun barrels which had been fitted, having been previously used, in 1939. The barrels were inspected by Vice Admiral Sir Andrew Cunningham and the order was given for Ludgar to reduce the amount of cordite used when firing the main guns, in an attempt to extend the weapons' useful life. In a further attempt to conserve the monitor's main guns, her duties were changed to concentrate on providing anti-aircraft cover for the rest of the squadron and to ferry supplies from Alexandria. The ship also served as a water carrier for the advancing British and Commonwealth army.
Along with the flotilla leader Stuart, the gunboat Gnat and the destroyers Vampire and Voyager, Ludgar supported the assault on Tobruk on 21 January 1941 by the 6th Australian Division with the port being secured on 22nd. By this point the monitor's main gun barrels had each fired over 600 rounds of ammunition and the rifling had been worn away. While the main guns could still be fired, the shots would rarely land accurately and frequently exploded in mid-air. Ludgar was now relegated solely to the role of a mobile anti-aircraft platform and her light anti-aircraft armament was supplemented by two triple two-pounder anti-aircraft guns, mounted in armored turrets in front of the bridge and on a small platform at stern. To make room for the latter the original locations of the ship's lifeboats was moved from stern to the main deck behind the funnel, and a large crane was added there to put them afloat. The crane was also able to deploy a light reconnaissance float plane - and for a short period in early 1941 Ludgar carried a Fairey Seafox biplane, despite having neither catapult nor hangar. However, since the aircraft was exposed to the elements all the time and quite vulnerable, it soon disappeared.
At this phase the ship started sporting an unofficial additional camouflage which consisted of irregular small patches in sand, brown and khaki over her basic grey livery, apparently applied in situ with whatever suitable paint the crew could get their hands on, probably both British Army and even captured Italian paints. The objective was to better hide the ship against the African coastline when supporting land troops.
In March 1941, Ludgar was involved in Operation Lustre, the Allied reinforcement of Greece. The turn of fortune against the Allies in April required the evacuation of most of these forces, Operation Demon. On 21 April Ludgar was in Nafplio and accounted for the evacuation of 301 people, including 160 nurses. Following this, the ship became involved with the Tobruk Ferry Service, and made 11 runs to the besieged city of Tobruk before engine problems forced her withdrawal in July. Ludgar sailed again to Alexandria for repairs, which lasted from September 1941 to March 1942.
Ludgar – now re-fitted with new main gun barrels and two more Oerlikon AA machine cannon to the original complement of eight – was then assigned to Force H in the Mediterranean. Operation Torch saw British and American forces landed in Morocco and Algeria under the British First Army. Force H was reinforced to cover these landings and Ludgar provided heavy artillery support for the land-based ground troops. The end of the campaign in North Africa saw an interdiction effort on a vast scale, the aim was to cut Tunisia completely off from Axis support. It succeeded and 250,000 men surrendered to the 18th Army Group; a number equal to those who surrendered at Stalingrad. Force H again provided heavy cover for this operation.
Two further sets of landings were covered by Force H against interference from the Italian fleet. Operation Husky in July 1943 saw the invasion and conquest of Sicily, and Operation Avalanche saw an attack on the Italian mainland at Salerno. Following the Allied landings on Italy itself, the Italian government surrendered. The Italian fleet mostly escaped German capture and much of it formed the Italian Co-Belligerent Navy. With the surrender of the Italian fleet, the need for heavy units in the Mediterranean disappeared. The battleships and aircraft carriers of Force H dispersed to the Home and Eastern Fleets and the command was disbanded. Naval operations in the Mediterranean from now on would be conducted by lighter units, and Ludgar was commanded back to Great Britain, where she was put into reserve at Devonport, enhancing the station’s anti-aircraft defense.
At Devonport Ludgar was repainted in a dark grey-green Admiralty scheme and on 2 June 1944 she left Devonport again, joining Bombardment Force D of the Eastern Task Force of the Normandy invasion fleet off Plymouth two days later. At 0500 on 6 June 1944 Ludgar was the first ship to open fire, bombarding the German battery at Villerville from a position 26,000 yards offshore, to support landings by the British 3rd Division on Sword Beach. She continued bombardment duties on 7 June, but after firing over 300 shells she had to rearm and crossed the Channel to Portsmouth. She returned to Normandy on 9 June to support American forces at Utah Beach and then, on 11 June, she took up position off Gold Beach to support the British 69th Infantry Brigade near Cristot.
On 12 June she returned to Portsmouth to rearm, but her guns were worn out again, so she was ordered to sail to Rosyth via the Straits of Dover. She evaded German coastal batteries, partly due to effective radar jamming, but hit a mine 28 miles off Harwich early on 13 June. The explosion ripped her bow apart, leaving a gaping leak, and she sank within just a couple of minutes. Only 57 men of Ludgar’s crew survived.
General characteristics:
Displacement: 9,090 long tons (9,185 t)
Length: 436 ft (133.1 m) overall
Beam: 97 ft (29.6 m)
Draught: 11 ft 8 in (3.6 m)
Complement: 224
Propulsion:
4× Babcock & Wilcox water-tube boilers, generating a combined 6,000 ihp (4,500 kW) via
triple-expansion steam engines with two shafts
Performance:
Top speed: 16.5 knots (30 km/h; 19 mph)
Range: 2,480 nmi (4,590 km; 2,850 mi)
Armament:
2× twin BL 15-inch L42 Mk I naval guns
8 × single QF 4-inch Mk V naval guns
2 × triple two-pounder (40 mm) anti-aircraft guns
10x single Oerlikon 20mm (0.787 in) anti-aircraft machine cannon
The kit and its assembly:
This was another submission for the "Gunships" group build at whatifmodellers.com in late 2021 - and what would such a competition be without a literal "gunship" in the form of a monitor ship? I had wanted to scratch such a vehicle for a while, and the GB was a good motivation to tackle this messy project.
The idea was to build a post-WWI monitor for the Royal Navy. From WWI, several such ships had survived and they were kept in reserve and service into WWII, some even survived this war after extensive use. However, the layout of a typical monitor ship, with low draft, a relatively wide hull and heavy armament for land bombardments, is rather special and finding a suitable basis for this project was not easy - and I also did not want to spend a fortune just in donor parts.
Then I recently came across Hobby Boss 1:700 kit of the USS Arizona (in its 1941 guise, w/o the hull barbettes), and after some comparison with real British monitors I found my starting point - and it was dirty cheap. Righteously, though, because the model is rather primitive, comparable with the simple Matchbox 1:700 waterline ships. There are also some dubious if not cringeworthy solutions. For instance, in order to provide the superstructures with open windows, the seams between the single levels run right through the windows! WTF? These seams can hardly be hidden, it's really an awkward solution. Another freak detail: the portholes on the lower hull protrude like pockmarks, in real life they'd the 1 1/2 ft (50 cm) deep?! Some details like the cranes on the upper deck are also very "robust", it is, in the end, IMHO not a good model. But it was just the starting for me for "something else"...
Modifications started with shortening the hull. Effectively, I cut out more then 3 1/2 in from the body, which is an integral part with side walls and main deck, basically any straight hull section disappeared, leaving only the bow and stern section. My hope was that these could be simple glued together for a new, wide hull - but this did not work without problems, because the rear section turned out to be a bit wider than the front. What to do...? I eventually solved this problem through wedge-shaped cuts inside of the integral railings. With some force, lots of glue and a stiffening structure inside the new hull could be completed.
Next the original turret bases had to disappear. as well as two of the four anchors and their respective chains on the foredeck. I retained as much of the original superstructure as possible, as it looked quite plausible even for a shorter ship, but since the complete hull basis for it had been gone, some adaptations had to be made. The main level was shortened a little and I had to scratch the substruction from styrene sheet, so that it would match with the stepped new hull.
At the same time I had to defined where the main turret(s) would be placed - and I settled for two, because the deck space was sufficient and the ship's size would make them appear plausible. A huge problem were the turret mounts, though - since a monitor has only little draught, the hull is not very deep. Major gun turrets are quite tall things, on battleships only the turret itself with the guns can be normally seen. But on a monitor they stand really tall above the waterline, and their foundation needs a cover. I eventually found a very nice solution in the form of 1:72 jet engine exhausts from Intech F-16s - I has a pair of these featureless parts in the spares box, and with some trimming and the transplantation of the original turtret mounts the result looks really good.
In the meantime the hull-mounted gun barbettes of USS Arizona had to disappear, together with the pockmarks on the hull. A messy affair with several PSR rounds. Furthermore, I added a bottom to the waterline hull, cut from 0.5 mm styrene sheet, and added plaster and lead beads as ballast.
Most of the superstructure, up to the conning tower, were mostly taken OOB. I just gave the ship a more delicate crane and re-arranged the lifeboats, and added two small superstructures to the rear deck as AA-stations, behind the rear tower - the space had been empty, because USS Arizona carried aircraft catapults there.
For the armament I used the OOB main turrets, but only used two of the three barrels (blanking of the opening in the middle). The 4 in guns were taken OOB to their original positions, the lighter 20 mm AA guns were partly placed in the original positions, too, and four of them went to a small platform at stern. For even more firepower I added two small turrets with three two-pounder AA guns, one on the rear deck and another right in front of the bridge.
Painting and markings:
The ship might look odd in its fragmented multi-colored camouflage - but this scheme was inspired by the real HMS Terror, an monitor that operated in early 1941 on the coast of North Africa and carried a similar makeshift camouflage. This consisted of a multitude of sand and brown tones, applied over an overall light grey base. I mimicked this design, initially giving the ship at first a uniform livery in 507b (Humbrol 64), together with an unpainted but weathered wooden deck (Humbrol 187 plus a washing with sepia ink) and horizontal metal surfaces either in a dark grey (507a, Humbrol 106) or covered with a red-brown coat of Corticene (Humbrol 62). As a personal detail I gave the ship false bow and stern waves on the hull in white. Another personal mod is the light grey (507c, Humbrol 147) conning tower - as mentioned in the background, I found that this light grey would be most useful when the ship itself was hidden behind the horizon from view, and only the conning tower would be directly visible in front of a hazy naval background.
On top of the grey hull I added several other paints, including khaki drab (FS 34087 from Modelmaster), red brown (FS 30118, Humbrol 118), khaki drill (Humbrol 72), mid stone (Humbrol 225) and light stone (Humbrol 121).
The model received an overall washing with dark grey and some rust stains with various brown and red shades of simple watercolors. The waterline was created with long and thin black 1.5 mm decal stripes, a very convenient and tidy solution. Finally, all parts were sealed with matt acrylic varnish, and after the final assembly I also added some rigging to the main mast with heated black sprue material.
Phew, this was quite a challenge, the result looks good overall, but I am not happy with the finish. Ships are not my strength and you see the Hobby Boss kit's flaws and weaknesses everywhere. Then add massive bodywork, and thing look even more shaggy (*sigh*). Nevertheless, the model looks like a typical monitor ship, and when I take the rather crappy USS Arizona kit as basis/benchmark, the "new" HMS Ludgar is not a bad achievement. It's surely not a crisp model, but the impression is good and this is what counts most to me.
This course was special and the way it was served was special. This is Hudson Valley Foie Gras with three different types of wild mushrooms in a reduced port. The plate was designed by local artist Paolo Soleri and the course was served covered by a Paolo Soleri bronze bell "cloche" that chimed beautifully when the server lifted it off the plate.
www.hudsonvalleyfoiegras.com/?msclkid=97097290e6d717842a1...
CHEF CENTRIC FARMING
"We are founded by chefs for chefs. What makes Hudson Valley unique is the connection of the farm to chefs, foodies, and the culinary world. Hudson Valley’s founders - Michael Ginor and Izzy Yanay - are inductees into the James Beard Foundation’s Who’s Who of Food and Beverage and are a core part of the culinary community in the US and worldwide. They felt that to get the perfect product, they needed to control the entire process – from raising the animals to processing and cooking. By doing so, we can maximize quality and freshness, and increase the connection of people to their food. We also built an artisanal kitchen at the farm where we produce our ready to eat charcuterie products. We are continually innovating and creating new products that push the boundaries of gourmet food production. We encourage visitors to give us a call and arrange a visit."
We celebrated my birthday with a special night at Christopher's. Christopher has long been recognized as one of the best chefs. It is celebratory, elegant, and therefore expensive. Even to get in, you have to belong to the Wrigley Club. I have eaten at Michelin starred restaurants. Christopher's is every bit as good. If Michelin gets around to rating Arizona restaurants, I have no doubt Christopher's will be recognized.
www.wrigleymansion.com/christophers/
"Juxtaposed against its historic setting, Christopher’s is a modern glass-and-steel gem showcasing an ever-changing tasting menu by James Beard Award-winning Chef Christopher Gross. Nestled beneath a towering Eucalyptus grove, enjoy Phoenix’s premier dining experience, with glass walls that cantilever open, a retractable roof to reveal the starry desert skies, and an open kitchen built around a flickering wood-fired grill. Featuring an intimate dining room accented with local art, a lively chef’s counter, and open-air patio, Chef Christopher and his culinary team not only cook, but also serve. The fresh and ever-changing menus deliver a truly unique, unforgettable hospitality experience.
"Based in Phoenix, AZ, Christopher Gross is a James Beard Foundation Award-winning chef who has been recognized among the best in the United States, including Best French Restaurant, Best 10 Restaurant Wine Lists, Best 10 Restaurants with a View, and Best Romantic Restaurants. Recently, he was honored by DiRona (Distinguished Restaurants of North America) and the Ment'or Culinary Council.
"Famed for his modern twists on classic French fare, Chef Christopher’s newest creation, Christopher’s at Wrigley Mansion earned a 2022 James Beard Outstanding Chef nomination, and has been recognized as Phoenix’s most innovative, enticing dining experience for its exclusively tasting-menu experience where the chefs also serve each dish. Named to the Scottsdale Culinary Hall of Fame in 2016, Chef Christopher has also been honored by Food & Wine magazine’s “America’s 10 Best New Chefs”, was the first chef in Arizona to be honored with the Robert Mondavi Culinary Award of Excellence and also created the now-nationwide "Flavors" fundraiser for the American Liver Association."
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Fiat G.91Y was an Italian ground attack and reconnaissance aircraft that first flew in 1966. Resembling its predecessor, the Fiat G.91, the aircraft was a complete redesign, a major difference being its twin-turbojet engines for a considerably increased performance.
Funded by the Italian government, the G.91Y prototype was based on the G.91T two-seat trainer variant with a single Bristol Orpheus turbojet engine. This was replaced with two afterburning General Electric J85 turbojets which increased thrust by 60%. Structural modifications to reduce airframe weight increased performance further and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading edge slats.
The avionics equipment of the G.91Y was considerably upgraded with many of the American, British and Canadian systems being license-manufactured in Italy.
Flight testing of three pre-production aircraft was successful with one aircraft reaching a maximum speed of Mach 0.98. Airframe buffeting was noted and was rectified in production aircraft by raising the position of the tailplane slightly.
An initial order of 55 aircraft for the Italian Air Force was completed by Fiat in March 1971, by which time the company had changed its name to Aeritalia (from 1969, when Fiat aviazione joined the Aerfer). The order was increased to 75 aircraft with 67 eventually being delivered. In fact, the development of the new G.91Y was quite long, and the first order was for about 20 pre-series examples that followed the two prototypes.
Like the G.91 before, the G.91Y attained much interest as it was a versatile light fighter bomber. One of the countries that ahd an eye on the upgraded Gina was Switzerland, looking for a dedicated support or even replacement for the Hawker Hunters, which were primarily used in the interceptor role, as well as the outdated D. H. Venom fighter bombers.
Fiat's answer was the G.91YS, a version tailored to Swiss needs. A first prototype with enhanced avionics, a strengthened structure for higher external loads as well as for typical operations on short runways with steep climbs and extra hardpoints to carry AIM-9 Sidewinder missiles for evaluation by Switzerland.
The first G.91YS flew on 16 October 1970, but at that time it was already clear that the machine was to carry smart weapons, primarily the AGM-65 'Maverick', which was also earmarked as new, additional Hawker Hunter ordnance.
In order to get things moving the Swiss Air Force ordered in 1972 an initial batch of 22 G.91YS, knowing that an upgrade would become necessary soon. It was a kind of stopgap purchase, though, because the original types for that role, Vought A-7 or the Mirage III derivative Milan S, were rejected after long negotiations. The G.91YS was a more simple and cost effective option, and also as a better option than a short-notice offer for second hand A-4Bs in late 1972.
The new machines were delivered until summer 1974 and allocated to Fliegerstaffel 22 which exclusively operated the fighter bomber. This came just in time because by 1975 plans were laid to replace the Hunter in the air-to-air role with a more modern fighter aircraft, the Northrop F-5E Tiger II (which became operational in 1978). The Hunter remained in a key role within the Swiss Air Force, though. Like the RAF's Hunter fleet, the type transitioned to become the country's primary ground attack platform, completely replacing the Venom, while the G.91YS was regarded as more sophisticated attack aircraft against small, single targets, including tanks (with Soviet mobile tactical missile launch platforms in mind), relying on the AGM-65 as its main armament. Four of these missiles could be carried under the wings, plus a pair of AIM-9 for self-defense. Alternative loads included unguided missiles of various sizes (incl. podded launchers), iron bombs or napalm tanks of up to 1.000 lb caliber, or drop tanks on the inner pylons.
The G.91YS’s primary mission as precision strike aircraft was further emphasized through a massive upgrade program in 1982, including improved sensors, a modernized radio system, a nose-mounted laser tracker/range finder (replacing the former Vinten cameras and greatly improving single pass attack capability and accuracy) and the integration of electronic countermeasure (ECM) systems. The upgraded machines were easily recognizable through their more rounded nose shape with a pitot tube mounted on top, a characteristic spine fairing and a radar warning system housing at the top of the fin.
In this form the G.91YS was kept in operational service until 1994, when it was retired together with the Swiss Hunter fleet. Six aircraft had been lost through accidents during the type’s career. Author Fiona Lombardi stated of the retirement of the Hunter and the G.91YS, the Swiss Air Force "definitively lost the capability to carry out air-to-ground operations". With the retirement of the G.91YS fleet Fliegerstaffel 22 was disbanded, too.
General characteristics:
Crew: 1
Length (incl. pitot): 12.29 m (40 ft 11 in)
Wingspan: 9.01 m (29 ft 6.5 in)
Height: 4.43 m (14 ft 6.3 in)
Wing area: 18.13 m² (195.149 ft²)
Empty weight: 4.000 kg (8.810 lb)
Loaded weight: 8.000 kg (17.621 lb)
Max. take-off weight: 9.000 kg (19.825 lb)
Powerplant:
2× General Electric J85-GE-13A turbojets with afterburners, 18.15 kN (4,080 lbf) each
Performance:
Maximum speed: 1.110 km/h (600 kn, 690 mph,
Mach 0.95 at 10,000 m (33,000 ft)
Range: 3,400 km (ferry range with droptanks) (2,110 mls)
Service ceiling: 12,500 m (41,000 ft)
Rate of climb: 86.36 m/s (17,000 ft/min)
Wing loading: 480 kg/m² (98.3 lb/ft² (maximum)
Thrust/weight: 0.47 at maximum loading
Armament:
2× 30 mm (1.18 in) DEFA cannons
6× under-wing pylon stations holding up to maximum of 2.270 kg (5.000 lb) of payload.
The kit and its assembly:
A classic whif – the G.91YS for the Swiss Air Force actually existed, and I just spun the idea further. The compact fighter would have been a suitable addition to the small nation’s air force, and I interpreted it as an addition to the big Hawker Hunter fleet with a dedicated role and with suitable special equipment.
The basis is the Matchbox G.91Y kit with some minor changes:
• A new nose from a Fujimi Harrier GR.3
• The jet exhausts were opened and some interior added
• Flaps were lowered
• Some added detail to the ejection seat
• The spine extension, a simple piece of sprue
• The radar warning fairing is a square piece of styrene sheet
• Replacement of the cast-on guns with hollow steel needles
• The Sidewinder hardpoints come from a Revell F-16A
• The AGM-65s and their launch rails come from a Hasegawa weapon set
Painting and markings:
The bigger challenge, because I did not want to use the typical “Hunter livery” in Extra Dark Sea Grey/SlateGrey/Aluminum – even if it would have been the natural choice for a Swiss aircraft. Choice for alternative yet authentic schemes is narrow, though – late Mirage III or the F-5Es carry a two-tone grey air superiority scheme, and I found this rather unsuitable for an attack aircraft.
So I developed my own design: a mix of the original Italian grey/green scheme and a two-tone pattern that late Turkish RF-4E/TMs carried - but with different colors and all mashed up into a modern, disruptive scheme. Experimental schemes of the German Luftwaffe in the late 70ies for their Alpha Jets and the F-4F fleet (leading to the complex Norm ’81 patterns) also had an influence.
As basic tones I used RAL 6007 (Grüngrau, Revell 67) and Dark Gull Grey (FS36231, Modelmaster, turned out to be a bit too pale for what I wanted to achieve), with added fields of RAL 7000 (Fehgrau, Revell 57) on the upper surfaces and on the mid-waterline flanks – lighter and softer than the original NATO tones and with disruptive lighter blotches that break up the silhouette.
The underside was simply painted in uniform FS36375 (Humbrol 127), which was also carried onto the fin. After a thin black ink wash panels were lightened through dry-brushing.
Cockpit interior was painted with Humbrol 140, the landing gear with a mix of White and Aluminum, trying to emulate look of real aircraft. In order not to make them stand out too much I painted the AGM-65s in olive drab, even though I think all Swiss missiles of that type were white. Artistic freedom…
Decals were puzzled together, e. g. from a Mirage III Carpena sheet and an Italieri Bae Hawk sheet, most stencils come from the OOB sheet (despite being slightly yellowed...).
A simple whif, done in a week, and based on an obscure real-life project. And the G.91 bears more whiffing potential, at least one more is to come!
Here's my widest attempt at the Rosette nebula. Love this field.
Colour data to come ... this year, I might go all narrowband (Ha / SII / OIII). Will check in again in a few weeks with more data.
Details:
Telescope = Takahashi FSQ-85 with reducer @ f3.9 (328mm focal length)
Camera = SBIG STL-11000M and Baader 7nm hydrogen-alpha filter
Exposure = 100 minutes (5x20 minutes each)
Mount = SkyWatcher EQ6 Pro
Beverage = Black Grouse scotch whiskey
Location = the polluted urban skies of Toronto, Canada on January 19, 2012
I now went to reduce the exposure in the sky to bring out more detail and reduce its presence. I accomplish this by moving the hightlight slider to -79. Note that senors have much less dynamic range than the human visual system and these last two steps have made the image more realistic, not less, by more closely mimicking what the human visual system perceives.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Gotha 146 was a fast reconnaissance aircraft that was used throughout WWII by the German Luftwaffe, and one of the results of a mutual technology exchange program with Japan. The Go 146 was actually a license-built, but modified variant of the excellent Mitsubishi Ki-46. The latter type's career started in late 1937, when the Imperial Japanese Army Air Force issued a specification to Mitsubishi for a long-range strategic reconnaissance aircraft to replace the Mitsubishi Ki-15. The specification demanded an endurance of six hours and sufficient speed to evade interception by any fighter in existence or development at that time, but otherwise did not constrain the design by a team led by Tomio Kubo.
The resulting design was a twin-engine, low-winged monoplane with a retractable tailwheel undercarriage. It had a small diameter oval fuselage with the pilot and observer situated in individual cockpits separated by a large fuel tank. The engines, two Mitsubishi Ha-26 radials, were housed in close-fitting cowlings to reduce drag and improve pilot view.
The first prototype aircraft, flew in November 1939 from the Mitsubishi factory at Kakamigahara, Gifu. Tests showed that the Ki-46 was underpowered and slower than required, only reaching 540 km/h (336 mph) rather than the specified 600 km/h (373 mph), but, otherwise, the aircraft tests were successful. As the type was still faster than the Army's latest fighter, the Nakajima Ki-43, as well as the Navy's new A6M2, an initial production batch was ordered. To solve the performance problems, Mitsubishi switched to Ha-102 engines, which were Ha-26s fitted with a two-stage supercharger, while increasing fuel capacity and reducing empty weight. This became the Ki-46-II, and this type was also demonstrated to German officials who immediately noticed its potential.
Knowing that the German Luftwaffe lacked this specialized, fast type of aircraft (German reconnaissance aircraft of that time were either slow artillery observation types, or variants of bombers or heavy fighters), the RLM immediately asked for a batch of airframe kits to adapt it to the European theatre and test its capabilities. Seven engine-less airframe kits were delivered to Germany in early 1940. In the meantime, with the help of blueprints and other documentations, an alternative engine installation had been devised: the “Germanized” aircraft was to be powered by liquid-cooled DB 601 engines, which delivered more power than the Ha-102 and offered improved aerodynamics, despite the necessity to add radiators under the outer wings. Many stock parts from the contemporary Messerschmitt Bf 110 heavy fighter were incorporated, so that the development time was very short, and the commonality of mechanical parts eased logistics and maintenance.
In May 1940 the first batch of the Gotha 146 A-0 pre-production aircraft (which had officially been described as a further development of a four seat, twin-engine transport aircraft from the 1930s to cloud its origins and mission) was ready. They were immediately transferred to the Western Front for field tests, and the specialized Go 146 became quickly popular among its crews. It was fast, agile and easy to fly – almost on par with state-of-the-art fighters like the Bf 109. During the test phase in summer 1940 the Go 146 proved to be slightly faster than its Japanese Ki-46 ancestor, and with a top speed of more than 375 mph (600 km/h) it was hard to intercept by any British or French fighter of the time. The results were so convincing that the type was ordered into serial production, and from October 1940 on the Go 146 A-1 was produced in limited numbers at the Gothaer Waggonfabrik in Thuringia. Even though production only ran at small scale, it was continuous, and the Go 146 was steadily developed further, including the change of the nose section that came with the Ki-46-III, stronger engines and an improved defensive armament.
This evolution led to the Go 146 B, which had the traditional stepped windshield replaced with a smooth, curved, glazed panel extended over the pilot's seat. It not only gave a more aerodynamic nose profile, the re-shaped nose also offered room for an extra fuel tank. The space between the two crewmen, connected with a crawl tunnel, held another fuel tank, the radio equipment (a Sprechfunkgerät FuG 16 ZY and a FuG 25a „Erstling“ IFF beacon), as well as a compartment for up to three cameras with several ventral windows, which could take Rb (“Reihenbildner” = serial picture device) 20/30, 50/30 and 75/30 devices that could be mounted in different combinations and angles as needed.
Power came now from a pair of new Daimler-Benz DB 603A liquid-cooled piston engines, which offered 1,290 kW (1,750 hp) each for take-off. Since the engine mounts had to be re-designed for the DB603s (the Go 146 A had used adapters to attach its shorter DB 601s to the original Ha-102 radials’ hardpoints), German engineers used the opportunity to redesign the complete engine nacelles. As a result, their diameter and “wet” surface was reduced, so much that the landing gear had to be modified, too. It now rotated 90° upon retraction, so that the main wheels were lying in shallow wells within the wing structure. Beyond better aerodynamics, structural measures saved almost 250 kg (550 lb).
Instead of the Go 146 A’s single 7.92 mm (.312 in) MG 17 machine gun in the observer's cabin, facing rearwards, the defensive armament was improved and consisted of a pair of 13 mm (0.51 in) MG 131 machine guns, firing rearward from FDSL 131/1B remotely-operated barbettes, one per side. This rather complex installation had become possible (and in part necessary) due to a center of gravity shift from the modified engines and their empennage. The weapons were aimed by the rear crewman through a periscope that covered both the upper and lower rear hemisphere. The control unit had a rotating transverse crossbar with a sideways-pivoting handgun-style grip and trigger at its center, "forked" at its forward pivoting end to fit around the crossbar, with the upper fork extended beyond the rotating crossbar to mount the gunsight. This unique aiming and control scheme rotated the crossbar axially, when the handgrip was elevated or depressed, to aim the guns vertically by rotating both turrets together, and a sideways movement of the handgrip would pivot either one of the guns outwards from the fuselage-mounted turrets for diagonal firing. The guns were electrically fired, and an electrical contact breaker prevented the gunner from shooting off the aircraft’s tailplane. When not in use, the guns would return to a neutral position that would allow to fire directly backwards with both guns.
Furthermore, plumbed hardpoints were added to the inner wings, just inside of the engines. These could carry a 300 l drop tank each for an extended range and loiter time. Single bombs of up to 250 kg or racks with four 50 kg bombs each were theoretically possible too, but the aircraft lacked any bomb aiming support. Crew protection was slightly improved, too, but the airframe was overall kept as light as possible. Despite these efforts, however, MTOW rose to 6,500 kg (14,317 lb), but this was still relatively light in comparison with the similar contemporary Me 410 multi-purpose aircraft, which weighed more than 9 tons and was powered by similar engines. Consequently, and thanks to its clean lines, the G 146 B had a top speed of almost 700 km/h (434 mph) at ideal altitude and the aircraft retained its excellent handling, even though its structure was rather fragile and could not take much stress and punishment.
Two versions of the Go 146 B were produced, steadily but only at a low rate because the aircraft received, due to its highly specialized role and limited offensive capabilities, only a low priority. The B-1 was the main variant and kept the A version’s standard wing, a total of 54 were produced between 1943 and 1945. Additionally, the B-2 was produced between late 1943 and early 1944 as a dedicated high altitude photo reconnaissance aircraft. This sub-variant had an extended wingspan of 16.00 m (52 ft 5 in) instead of the standard 14.70 m (48 ft 2¾ in) and an improved oxygen system, even though the cabin was not pressurized. Its maximum service ceiling was almost 12.000 m (39.305 ft), with a maximum speed of 415 mph (668 km/h), a cruise speed of 250 mph (400 km/h) and a range of 3,200 km (1,987 nmi). Only twelve of these machines were produced and put into service, primarily for flights over Southern Great Britain. When the Arado Ar 234 became available from September 1944 on, though, this new, jet-powered type immediately replaced the Go 146 B-2 because it offered even better performance. Therefore, the B-3, a planned version with a fully pressurized cabin and an even bigger wingspan of 19.00 m, never left the drawing board.
Furthermore, the RLM had idea to convert the fast Go 146 into a fighter amd even a night fighter in mid-1944 as the “C” series. But these plans were not executed because the light airframe could hardly be adapted to heavy weapons or equipment like a radar set, and it was unsuited for vigorous dogfighting. The type’s poor climbing rate made it ineffective as an interceptor, too. There were, nevertheless, tests with at least one Go 146 B-1 that carried four Werfer-Granate 21 rocket launchers under the outer wings, as a fast bomber interceptor esp. against the high-flying B-29, which was expected to appear over continental Europe soon. But this kind of weaponry never reached frontline units and the Go 146 was never operated as a fighter of any kind.
There were, however, other uses: in 1944 the Go 146 was enlisted as a fast liaison aircraft for the RLM (Ministry of Aviation) in Berlin. Stripped off of any armament and cameras and outfitted with two passenger seats in the rear cabin, at least one Go 146 B (with the confirmed registration “ST+ZA”, others in similar configuration may have existed, too) was operated by the RLM’s Zentralabteilung (central command) from Tempelhof airfield for top brass officials between Luftwaffe locations on German terrain. ST+ZA’s fate after January 1945 is uncertain, though.
Specifications:
Crew: two (pilot and observer)
Length: 11.00 m (36 ft 1 in)
Wingspan: 14.70 m (48 ft 2¾ in)
Height: 3.88 m (12 ft 8¾ in)
Wing area: 32.0 m² (344 ft²)
Empty weight: 3,830 kg (8,436 lb)
Loaded weight: 5,661 kg (12,480 lb)
Max. takeoff weight: 6,500 kg (14,317 lb)
Powerplant:
2× Daimler-Benz DB 603A V-12 inverted liquid-cooled piston engines, rated at:
- 1,290 kW (1,750 hp) each for take-off
- 1,360 kW (1,850 PS) at 2,100 m (6,890 ft)
- 1,195 kW (1,625 PS) at 5,700 m (18,700 ft)
- 1,162 kW (1580 PS) combat power at 2500 rpm at sea level
Performance:
Maximum speed: 695 km/h (377 knots, 430 mph) at 5,800 m (19,000 ft)
Cruise speed: 450 km/h (245 knots, 280 mph)
Range: 2,800 km (1,522 nmi, 1,740 mi) with internal fuel
Service ceiling: 11,250 m (36,850 ft)
Wing loading: 157.8 kg/m² (32.3 lb/ft²)
Climb rate: 14.7 m/sec (2,900 feet per minute)
Climb to 8,000 m (26,250 ft): 15 min 20 sec
Armament:
2× 13 mm (0.51 in) defensive MG 131 machine guns with 500 RPG,
each firing rearward from FDSL 131/1B remote-operated turret, one per side
2× underwing hardpoints under the inner wings for 250 kg (550 lb) each,
typically occupied by 300 l drop tanks
The kit and its assembly:
This is a déjà vu build: I already did a “Germanized” Ki-46 in 2015, it was an Airfix Ki-46-II outfitted with DB 601s from a Bf 110 as a pre-series Gotha Go 146 A-0, an aircraft that (naturally) never existed but appeared plausible, since German military hardware including aircraft had been evaluated by Japanese forces. And why should this exchange not have worked the other way around, too? However, as I built this modified Dinah for the first time, I already thought that the basic idea had more potential than just one model, and the streamlined Ki-46-III just lent itself for an updated, later version.
This B-2 variant of the Go 146 was based on the LS Models/ARII Ki-46-III. Like the Airfix kit (its molds are from 1965, and that’s just what the kit feels, looks and builds like…), it’s a rather vintage offering, but it is in many aspects markedly ahead, with fine surfaces, recessed details, 3D engines and clear parts that actually fit into their intended places. The LS Models kit’s 10 years less of age are recognizable, and there are three boxings around with different versions of the aircraft (a Ki-46-II, a -III and a trainer with a raised tutor cockpit), differing in small extra sprues for the respective fuselage parts, but they all share a common sprue with the clear parts for all three versions.
The Ki-46-III kit was taken OOB, with just some minor mods. The most obvious change concerns the engines: they were transplanted from a Bilek Me 210, together with the underwing radiators outside of the nacelles. The Me 210, even though it’s from 1997, is a rather mediocre model with some dubious solutions, therefore earmarked for a conversion and ready to donor some body parts… The engine switch was insofar easy because the Ki-46 kit comes with completely separate parts for the engines and their fairings which also contain the main landing gear wells.
Because of this “clean” basis I decided to cut the nacelles out from the Me 210 and attach them to the Ki-46 wings, so that the DB 603 engines would have perfect attachment points. While this was a bigger overall surgery stunt than on the earlier Airfix Dinah, this was easier than expected and resulted in a cleaner solution that also underlines the Ki-46’s clean and slender shape. The modified nacelles were much smaller than the Dinah’s, though. The main wheels were replaced with slightly smaller and narrower ones from the scrap box.
Inside of the cockpit, I implanted a dashboard. In the rear cabin the seat was reversed and moved further forward. In the cabin’s rear a scratched targeting scope/weapon control column for the FDSL 131 installation was added. Since I left the single-part canopies (which are quite thick but very clear) closed I outfitted the model with a crew. The Ki-46 III kit comes with a pair of figures, but they are very small (H0 scale, at best!) and look goofy, so that I exchanged them with Matchbox WWII pilots, which had their legs bent and their bottoms cut away to make them fit into the tight fuselage and under the canopies.
Unfortunately, the Me 210 kit had already donated its machine gun barbettes (they had gone onto an upgraded Heinkel He 115 floatplane), so that I scratched them for the Go 146. WWII bombs became the fairings, some leftover landing gear struts were used as gun barrels, and round styrene bases were used as mounts that also lift the fairings slightly off the hull. The barbettes as such look a little superficial on the slender Dinah, but they are a nice, typically German detail, über-complicated for this type of fast aircraft that probably would have more benefited from leaving them away altogether to save weight and drag.
The (typically German) 300 l drop tanks come from Hobby Boss Bf 109s and each received four short attachment struts, made from styrene profile material, so that they could be stuck under the inner wings.
Painting and markings:
This was more complicated than expected. I wanted to apply a plausible, late German WWII livery with typical colors, but finding something that would be suited for high-altitude operations and not copy anything I had already done turned out to be challenging.
The paint scheme would be very light, with only low-contrast camouflage added on top. Therefore, the basis became an overall coat with RLM 76 (I used Tamiya XF-23, Light Blue, which is an excellent option). Inspired by He 177 bombers I found in literature, large blotches of a rather obscure and uncommon tone, RLM 77 “Hellgrau” were added to the flanks of fuselage, fin and engine nacelles. RLM 77 is/was a very light grey, and it was primarily used for markings like code letters on night fighters and not for camouflage. AFAIK it would later become the RAL 7035 (Lichtgrau) tone that still exists today. Humbrol 196 would have been an authentic option, but to keep the contrast to the underlying RLM 76 low I rather used XF-19 (Sky Grey) and extended the blotches under the fuselage and the nacelles, for a semi-wraparound scheme.
Then came the upper surfaces, everything was painted with brushes and without masks, with an intentional uneven finish. The wings and stabilizers were to receive a slightly darker camouflage in the form of RLM 02 and 75 splotches (with Tamiya XF-22 and XF-XX as proxies) over the uniform RLM 76 base, so that the aircraft’s outlines would be broken up from above. However, after first tests I found this did not look convincing, the RLM 76 was very prominent and bluish, so that I rather gave the upper wings and the spine a semi-translucent but continuous coat of paint, with the underlying RLM 76 just showing through here and there – much better. At this stage I added the decals (see below), but now found the upper surfaces to look too uniform and somewhat dark, so that, as a final measure, I added a meander pattern with RLM 77 (again XF-19) to the wings. This not only looked good and very “German”, it lightened the cammo and also helped to break the aircraft’s lines up. Some light panel shading to the uniform undersides, black ink and grinded graphite were used for weathering, but the effects are very soft.
Interior surfaces (cockpit and landing gear wells) became late-war style RAL 7021 Schwarzgrau (Humbrol 67), the landing gear struts were painted in RLM 02, this time Revell 45 was used. The propeller blades were painted in a very dark mix of green and black, the spinners became black with simple white spirals – the only detail with a high contrast on this aircraft.
The markings of this aircraft are minimal. Balkenkreuz markings only consisting of outlines were used, another typical late-war practice and for a low-visibility look/effect. They were taken from an Academy Fw 190 D. On the fuselage, the gun barbettes caused some headaches, because they take up a lot of space and made the application of a standard Luftwaffe code almost impossible. Consequently, the fuselage Balkenkreuze were placed ahead of the barbettes, partly disrupted by the observer’s lower side windows, while the tactical code became separated by the guns. At starboard the code even had to be reversed - not correct, but a pragmatic solution.
The model/aircraft belongs to a fictional unit, its code “P3” in front of the fuselage Balkenkreuz has no real-world reference and was executed in small letters, a typical late WWII measure. This part of the code was done with small, black 2 mm letters. A fictional unit badge, depicting a running greyhound, was added under the cockpit. It actually belongs to a German tank unit.
The “KN” part of the code, including the Ks on the nose, came from an Airfix Ju 87 B sheet. As an aircraft belonging to the 5th squadron within the unit’s 2nd group, the 4th letter in the code became “N”, while the 3rd letter “K” denotes the individual aircraft. The color code associated with a 5th squadron was red, incorporated on the aircraft as a thin red outline around the individual aircraft letter (another late-war low-contrast measure). To provide a little visual excitement, small red Ks were added to the nose, too, to make thew aircraft easy to identify when parked at the flight line.
Since this aircraft would operate over the Western front from German home ground, no further ID/theatre markings like fuselage or wing bands or wingtips in yellow or white, etc. were added. This, together with the lack of visible red as squadron code, results in a rather dry look, but that’s intentional.
After some exhaust and oil stains with graphite and Tamiya “Smoke”, a coat of acrylic matt varnish finally sealed the model and a wire antenna, made from heated sprue material, was added.
Well, an exotic what-if idea, but I really like how this conversion turned out, even though the livery evolved in a different way from what I had initially in mind. The Ki-46 was already an elegant aircraft, especially the Ki-46-III with its teardrop-shaped nose section. But, with the smaller, streamlined inline engines instead of the radials, this iteration looks even better and faster. It reminds a little of the D.H. Hornet? The gun barbettes are a nice “German” detail, and the makeshift high-altitude paint scheme adds to the obscure impression of the model. A really nice sister ship for the Go 146 A-0 build from 2015.
In India, Walmart’s Direct Farm Program aims to increase farmer income by 20 percent and reduce food waste by 5 percent.
Body Painting by Flick / Flick Photographic / Carl Flick
Websites:
www.carlflick.com/bodypainting www.modelmayhem.com/flick
www.modelmayhem.com/portfolio/533915/viewall
P. O. Box 432, West Palm Beach, Florida 33402, USA
Land line phone: 561-844-5488
In an attempt to save money and resources graygoosie and I walked to the store to refill our water bottles.
Maholo for reusing!
Hanalei, Kauai, Hawaii
185/365
Body Painting by Flick / Flick Photographic / Carl Flick
Websites:
www.carlflick.com/bodypainting www.modelmayhem.com/flick
www.modelmayhem.com/portfolio/533915/viewall
P. O. Box 432, West Palm Beach, Florida 33402, USA
Land line phone: 561-844-5488
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These are reduced sized pictures.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.
Disneyland Magn'Hom Paris
Disneyland Paris comprises two theme parks, a retail, dining and entertainment district, and seven Disney-owned hotels. Operating since 12 April 1992, it was the second Disney resort to open outside the United States (following Tokyo Disney Resort) and the first to be owned and operated by Disney.
Disneyland Paris is owned and operated by French company Euro Disney S.C.A., a public company of which 39.78 percent of its stock is held by The Walt Disney Company, 10 percent by the Saudi Prince Alwaleed and 50.22 percent by other shareholders. The senior leader at the resort is chairman and CEO Philippe Gas.
The complex was a subject of controversy during the periods of negotiation and construction in the late 1980s and early '90s, when a number of prominent French figures voiced their opposition and protests were held by French labour unions and others. A further setback followed the opening of the resort as park attendance, hotel occupancy and revenues fell below projections. The complex was renamed from Euro Disney Resort to Disneyland Paris in 1994. In July 1995, the company saw its first quarterly profit.
A second theme park, Walt Disney Studios Park, opened to the public 16 March 2002.
With 15,405,000 combined visitors to the resort's Disneyland Park and Walt Disney Studios Park in the fiscal year of 2009, it is France's and Europe's most visited tourist site.[2]
Background and development
Following the success of Disneyland in Anaheim, California, and the Walt Disney World Resort in Florida, plans to build a similar theme park in Europe emerged in 1972. Upon the leadership of E. Cardon Walker, Tokyo Disneyland opened in 1983 in Japan with instant success, forming a catalyst for international expansion. In late 1984 the heads of Disney's theme park division, Dick Nunis and Jim Cora, presented a list of approximately 1,200 possible European locations for the park.[3]
By March 1985, the number of possible locations for the park had been reduced to four; two in France and two in Spain.[4] Both of these nations saw the potential economic advantages of a Disney theme park and competed by offering financing deals to Disney.[5]
Both Spanish sites were located near the Mediterranean Sea and offered a subtropical climate similar to Disney's parks in California and Florida. Disney had also shown interest in a site near Toulon in southern France, not far from Marseille. The pleasing landscape of that region, as well as its climate, made the location a top competitor for what would be called Euro Disneyland. However, thick layers of bedrock were discovered beneath the site, which would render construction too difficult. Finally, a site in the rural town of Marne-la-Vallée was chosen because of its proximity to Paris and its central location in Western Europe. This location was estimated to be no more than a four-hour drive for 68 million people and no more than a two-hour flight for a further 300 million.
Michael Eisner, Disney's CEO at the time, signed the first letter of agreement with the French government for the 20-square-kilometre (4,940-acre) site on 18 December 1985, and the first financial contracts were drawn up during the following spring. The final contract was signed by the leaders of the Walt Disney Company and the French government and territorial collectivities on 24 march 1987. Construction began in August 1988, and in December 1990, an information centre named "Espace Euro Disney" was opened to show the public what was being constructed. Plans for a theme park next to Euro Disneyland based on the entertainment industry, Disney-MGM Studios Europe, quickly went into development, scheduled to open in 1996 with a construction budget of US$2.3 billion.[6] The construction manager was Bovis.[7]
[edit]Hotels, recreation and restaurants
In order to control a maximum of the hotel business, it was decided that 5,200 Disney-owned hotel rooms would be built within the complex. In March 1988, Disney and a council of architects (Frank Gehry, Michael Graves, Robert A.M. Stern, Stanley Tigerman and Robert Venturi) decided on an exclusively American theme in which each hotel would depict a region of the United States. At the time of the opening in April 1992, seven hotels collectively housing 5,800[8] rooms had been built.
By the year 2017, Euro Disney, under the terms specified in its contract with the French government, will be required to finish constructing a total of 18,200 hotel rooms at varying distances from the resort.[9] An entertainment, shopping and dining complex based on Walt Disney World's Downtown Disney was designed by Frank Gehry.
With its towers of oxidised silver and bronze-coloured stainless steel under a canopy of lights, it opened as Festival Disney.[10]
For a projected daily attendance of 55,000, Euro Disney planned to serve an estimated 14,000 people per hour inside the Euro Disneyland park. In order to accomplish this, 29 restaurants were built inside the park (with a further 11 restaurants built at the Euro Disney resort hotels and five at Festival Disney). Menus and prices were varied with an American flavour predominant and Disney's precedent of not serving alcoholic beverages was continued in the park.
2,300 patio seats (30% of park seating) were installed to satisfy Europeans' expected preference of eating outdoors in good weather. In test kitchens at Walt Disney World, recipes were adapted for European tastes. Walter Meyer, executive chef for menu development at Euro Disney and executive chef of food projects development at Walt Disney World noted, "A few things we did need to change, but most of the time people kept telling us, 'Do your own thing. Do what’s American'."[11]
[edit]Recruitment
Unlike Disney's American theme parks, Euro Disney aimed for permanent employees (an estimated requirement of 12,000 for the theme park itself), as opposed to seasonal and temporary part-time employees. Casting centres were set up in Paris, London, Amsterdam. However, it was understood by the French government and Disney that "a concentrated effort would be made to tap into the local French labour market".[5] Disney sought workers with sufficient communication skills, who spoke two European languages (French and one other), and were socially outgoing. Following precedent, Euro Disney set up its own Disney University to train workers. 24,000 people had applied by November 1991.[5]
[edit]Controversies
The prospect of a Disney park in France was a subject of debate and controversy. Critics, who included prominent French intellectuals, denounced what they considered to be the cultural imperialism, or ‘neoprovincialism’ of Euro Disney and felt it would encourage in France an unhealthy American type of consumerism. For others, Euro Disney became a symbol of America within France. On 28 June 1992 a group of French farmers blockaded Euro Disney in protest of farm policies the United States supported at the time.
A journalist in the French newspaper Le Figaro wrote, “I wish with all my heart that the rebels would set fire to [Euro] Disneyland."[12] Ariane Mnouchkine, a Parisian stage director, named the concept a “cultural Chernobyl;”[13] a phrase which would be echoed in the media and grow synonymous with Euro Disney's initial years.
In response, French philosopher Michel Serres noted, "It is not America that is invading us. It is we who adore it, who adopt its fashions and above all, its words." Euro Disney S.C.A.'s then-chairman Robert Fitzpatrick responded, "We didn’t come in and say O.K., we’re going to put a beret and a baguette on Mickey Mouse. We are who we are."[5] It also came to light that Walt Disney’s surname originates from a village in Normandy called Isigny-sur-Mer. Originally d’Isigny ("of Isigny"), it was later Americanized into Disney.
Topics of controversy further included Disney's American managers requiring English to be spoken at all meetings and Disney's appearance code for members of staff, which listed regulations and limitations for the use of make up, facial hair, tattoos, jewellery and more.
French labour unions mounted protests against the appearance code, which they saw as “an attack on individual liberty.” Others criticised Disney as being insensitive to French culture, individualism, and privacy, because restrictions on individual or collective liberties were illegal under French law, unless it could be demonstrated that the restrictions are requisite to the job and do not exceed what is necessary.
Disney countered by saying that a ruling that barred them from imposing such an employment standard could threaten the image and long-term success of the park. "For us, the appearance code has a great effect from a product identification standpoint," said Thor Degelmann, Euro Disney’s personnel director. "Without it we couldn't be presenting the Disney product that people would be expecting."[14]
[edit]Opening day
On 12 April 1992, Euro Disney Resort and its theme park, Euro Disneyland, officially opened. Visitors were warned of chaos on the roads and a government survey indicated that half a million people carried by 90,000 cars might attempt to enter the complex. French radio warned traffic to avoid the area. By midday, the car park was approximately half full, suggesting an attendance level below 25,000. Speculative explanations ranged from people heeding the advice to stay away to the one-day strike that cut the direct RER railway connection to Euro Disney from the centre of Paris.[12]
[edit]Financial, attendance and employment status
In May 1992, entertainment magazine The Hollywood Reporter reported that about 25% of Euro Disney's workforce — approximately 3,000 men and women — had resigned their jobs because of unacceptable working conditions. It also reported that the park's attendance was far behind expectations. However, the disappointing attendance can be at least partly explained by the recession and increased unemployment which was affecting France and indeed most of the rest of the developed world at this time; when construction of the resort began, the economy was still on an upswing.[15]
Euro Disney S.C.A. responded in an interview with The Wall Street Journal, in which Robert Fitzpatrick claimed only 1,000 people had left their jobs. In response to the financial situation, Fitzpatrick ordered that the Disney-MGM Studios Europe project would be put on hiatus until a further decision could be made. Prices at the hotels were reduced.
Despite these efforts, in May 1992, daily park attendance was around 25,000 (some reports give a figure of 30,000) instead of the predicted 60,000. The Euro Disney Company stock price spiralled downwards and on 23 July 1992, Euro Disney announced an expected net loss in its first year of operation of approximately 300 million French francs. During Euro Disney's first winter, hotel occupancy was such that it was decided to close the Newport Bay Club hotel during the season.
Initial hopes were that each visitor would spend around US$33 per day, but near the end of 1992, analysts reckoned spending to be around 12% lower.[16] Efforts to improve attendance included serving alcoholic beverages with meals inside the Euro Disneyland park, in response to a presumed European demand, which began 12 June 1993.[17]
In January 1994, Sanford Litvack, an attorney from New York City and former U.S. Assistant Attorney General, was assigned to be Disney's lead negotiator regarding Euro Disney's future. On 28 February Litvack made an offer (without the consent of Eisner or Frank Wells)[citation needed] to split the debts between Euro Disney's creditors and Disney. After the banks showed interest, Litvack informed Eisner and Wells.[citation needed] On 14 March, the day before the annual shareholders meeting, the banks capitulated to Disney's demands.
The creditor banks bought US$500 million worth of Euro Disney shares, forgave 18 months of interest and deferred interest payments for three years. Disney invested US$750 million into Euro Disney and granted a five-year suspension of royalty payments. In June that same year, Saudi Arabian Prince Al-Waleed Bin Talal Bin Abdulaziz Al Saud cut a deal whereby the Walt Disney Company bought 51% of a new US$1.1 billion share issue, the rest being offered to existing shareholders at below-market rates, with the Prince buying any that were not taken up by existing shareholders (up to a 24.5% holding).
[edit]1995 turnaround
On 31 May 1995, a new attraction opened at the theme park. Space Mountain: De la Terre à la Lune had been planned since the inception of Euro Disneyland under the name Discovery Mountain, but was reserved for a revival of public interest. With a redesign of the attraction (which had premiered as Space Mountain at the Walt Disney World Resort's Magic Kingdom in 1975) including a "cannon launch" system, inversions, and an on-ride soundtrack, the US$100 million attraction was dedicated in a ceremony attended by celebrities such as Elton John, Claudia Schiffer and Buzz Aldrin.
On 25 July 1995, Euro Disney S.C.A. reported its first ever quarterly profit of US$35.3 million. On 15 November, the results for the fiscal year ending 30 September were released; in one year the theme park's attendance had climbed from 8.8 million to 10.7 million — an increase of 21%. Hotel occupancy had also climbed from 60 to 68.5%. After debt payments, Disneyland Paris ended the year with a net profit of US$22.8 million.
[edit]2000 onwards
In 2002, Euro Disney S.C.A. and the Walt Disney Company announced another annual profit for Disneyland Paris. However, it then incurred a net loss in the three years following. In 2005, the Walt Disney Company agreed to write off all debt to the Walt Disney Company made by Euro Disney S.C.A.. As of 2007 the park was approximately US$2 billion in debt. In August 2008, Disneyland Paris was the most visited attraction in Europe, receiving more visitors than the Louvre and the Eiffel Tower combined.[18]
Source en.wikipedia.org/wiki/Disneyland_Paris
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British Columbia continues to take action to reduce overdose deaths.
Public Safety Minister Mike Morris and Health Minister Terry Lake today unveiled a new part of a public awareness campaign, announced the de-scheduling of naloxone, and provided an update of the actions to-date on the provincial overdose response. Chief coroner Lisa Lapointe also provided an update on the latest statistics on illicit drug deaths.
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From “My encounters with the Barbarians blade”, by Lady Elina Greypepper.
We had been on the slave ship for several weeks. Lay in the creaking, damp filthy stinking hold surrounded by other poor wretches, both male and female, all of us chained and hungry.
The bid for freedom came suddenly. None of us had been in a mood the past few weeks for any kind of frivolity, and even my usual stock of witty repartee had dried up. Skarr sat, sometimes lay, morose and silent. I knew she, like most Northers, hated the sea and she had puked many times, not used to being forced to make ocean crossings sober. I did not normally approve of her sometime excessive drinking, but right now I could have murdered a tankard of ale myself to deaden the pain and the smell of sitting in that stinking filth. We were all fettered below decks, Skarr more so because she had bitten off the nose of the Captain, on being boarded in chains weeks earlier. It had happened early on in the day, the slaves on deck were having their heads shaved to prevent lice and tics taking hold and reducing our value. They pushed Skarr roughly down to the deck and one of the men pulled out a huge knife and grabbed a handful of Skarr’s unruly blonde mane. I thought at first she was going to sit and suffer it being done to her, but she suddeny rose up from the deck with a Norther roar, broke the neck of the man holding her and leapt for the captain. They had collapsed together, and eventually the barbarian was wrenched off him with the mans nose in her teeth. With a glint in her eye, she swallowed the nose tip, while the man swore and held the bleeding remains of his face. Then, they wrenched her down to the deck and began to beat her with their coshes. This was it, I thought, we had not even got out of the harbour and we would be killed. But they set a high price on the Barbarian and her apothecary apprentice companion, it seemed. Our enforced haircuts forgotten, we were thrown into the dark hold, with another girl, Kefira, we later found our she was called. The guards came in to us most days and gave Skarr a few lashes with the whip, or hit her with sticks, but she remained quiet and morose, slumped in the corner under a pile of piss stained rags. We were well fettered. A large heavy iron collar was locked about my neck, short chains welded to the collar fastened to more shackles that were locked about my wrists and ankles, restricting my movement and making a horrible clanking sound every time I shited position in the cramped hold. At least I had some arm movement and could feed myself, unlike Skarr. She, like all of us, was fitted with strong manacles locked around her ankles. But unlike the other girls, they had fixed Skarr into a thick heavy wooden yoke. Her neck was fastenened into the centre hole, and her wrists pinioned either side, immovable and inescapable. She grunted with the weight occasionally, or with the discomfort of having her arms fixed up in that position permanently, but other than that the Barbarian gave no sign of her discomfort. I attempted to feed her with my own limited movement, but she often refused to eat, and when she did, it was near impossible to feed her wearing the wooden pillory as she was, and most of the gruel I attempted to spoon feed her ended up smeared all over her face.
The day of the fight came as did any other, locked in the dark stinking hold. I think it was Onag who came in to deliver our slop. The last time I had looked, Skarr had been attempting to lie down under a bundle of rags I had thrown over her. Suddenly the rags moved with unbelievable speed, with a clank of chain coming from her ankles, and she barrelled sideways into the man, thrusting her locked yoke into the sailor’s neck just under his chin. He collapsed clutching his throat. I recognised that this was now our only chance, if we were subdued again, Skarr and I would be killed instantly. How did I get myself into these situations, I wondered?
“Prepare your witchery”, she said, looking at me with a smile.
Damn her to hell, I thought. She was actually enjoying this. Witchery, I wondered? What witchery? I’d killed a goblin with a curse my granny had taught me, this situation was very different, this was armed men. And we were three chained women, three now as we had been joined by Kefira.
I noticed that Skarr had made her way up the small steps, with difficulty due to her fetters and was slamming her yoke sideways into the locked hold door. I ran after her, as best I could, but I was not quick enough as, by now, she had battered the door down and slammed her way into two crewmen armed with cutlasses, thus knocking them over.
“Pivarr san Iruktask!” she shouted at the top of her voice. I wished she could have fought more quietly, so to make easier our progress to the decks, but she insisted on shouting obscenities as she fought.
As I followed in her wake, I noticed red weals appearing on Skarr’s wrists and neck as she used her yoke as a battering ram. I also noticed that she was still firmly locked into it, the thing hadn’t even cracked and it still held her fast. With my shackled feet I managed to kick one of the guards in the face as he attempted to pull Skarr’s ankle chain out from under her. Then I felt a fist slam into the side of my head and I was down. I watched through hazy blurred vision as a crewman got hold of Skarr’s ankle chain finally and yanked her to the floor with a crash.
Witchery. I did what Granny taught me, but it was difficult, my mind kept focussing on my metal restraints, my power unable to pass beyond the locks that held me. Then I was in another place, a place of peace, with Skarr, by a river, fishing for salmon. We laughed and sang songs about old times, then I felt the heartbeat as I had with the goblin. I squeezed. Not quite hard enough. Then the power within me faded again. I remember my knees suddenly unable to hold me up and I fell to the deck. Kefira stood guard over me as Skarr kicked her feet, then the curse came to me once more, not the complete curse with which I had dispatched the goblin, but enough to distract the man slightly. Was it enough? The man cried to himself and clutched his chest as my weak magics took effect
We were done for, I thought, as the crewman struggled for his cutlass to cut Skarr’s throat. But no! I’d bought her time as, with struggling, at last, Skarr’s yoke had cracked and one arm was free.
“Davaris!” she cried, “Lavanoyka si sibarrhe!”
Unable to move now, I whimpered with the power I had wielded. I curled up into a ball, with Kefira stood over me.
The Barbarian brought her one free arm up into the mans crotch and crushed his balls to pulp. He screamed in pain, and collapsed, as Skarr again stood, battering more crew that had appeared with the half broken yoke. Then, from somewhere she had a cutlass in her free hand and was ripping into the crew with it, still half yoked and with her ankles still securely fastened. Finally, with the battering it had taken, the locks on the yoke broke and Skarr was free of it. She decapitated the remaining crewman with the cutlass and turned to me. She knelt and gripped my chains in one hand, yanking them apart and freeing my hands with the other. She stared at me with those blue eyes of hers, fixing me with her gaze, a look of tenderness passed between us, then she smiled that maniac’s smile of hers, turned to her own ankle shackles and snapped the chain in two. I did not have much time to contemplate our freedom as she was running off, blade in hand, onto the deck in the open air, to a chorus of shouts and cries. I picked up a cutlass and went to help her. By the time I got to her, she was stood on a pile of about five bodies, bleeding from a dozen cuts and wounds, the two remaining crewmen fearful of attacking her. They did so finally, Skarr finished one and I the other, muttering again the curse that came now easily to my lips. Then we were onto the upper deck. Skarr kicked down the door of the Captain’s cabin, wood spintering her bare feet. She never even paused, instead running straight to the startled noseless Captain, threw down her cutlass and ran to the nearby treasure chest. I stood watch as Skarr retrieved our belongings, and her precious Doomsayer. Smiling that strange smile of hers, she moved behind the Captain and put her hands on his throat and chin.
“Someday, you Imperials will learn that Northers do not make good slaves. Remember me to your gods.”
Then she snapped his neck suddenly and quickly, and we looked down at ourselves. Ragged, barefoot, sweating, cut and bleeding from a dozen places, and covered in puke and piss, we presented a fearsome sight. But we were once again free, even if we were adrift with a crew of slaves who had no knowledge of sailing.
The first thing to do was to wash, and we did so. Then Skarr unlocked our broken shackles and we attended each others wounds, dressed and buckled on our weapons. Skarr handed me the Captains keys. At first I wondered why, but then I remembered our fellow slaves. I handed the keys to Kefira who had appeared in the doorway. We had done it. We were on our own ship , free of our captors and on the way to Samaria.
I quickly realised that a crew of slaves captained by an apprentice apothecary and a severely seasick Norther barbarian would not amount to much. As I pondered on these thoughts and Skarr, once again, heaved her guts up over the side of the ship, the deck lifted up suddenly under our feet, with a sound of splintering wood and rending iron. We had run aground! The ship screamed as it came apart beneath us! Then we were in the water, and all I could hear was the sounds of slaves struggling in the salty foam and spray. We could see a coastline clearly now, we were not that far from land. It appeared we had run aground on a reef and our hard won ship was now snapped in two and sinking fast. As I struggled to keep my head above the waves, I looked around for a sight of the Cock of the North herself. I couldn’t see her, and began to wonder if she had been dragged to the depths already. Suddenly I felt an arm grab me, there she was, soaking wet and struggling in the water. What dread hand had fate got in store for us now. I would not be long in finding out.
To reduce adversarial attitudes between Arabs and Jewish youth living in Israel, the U.S. Embassy in Tel Aviv has supported a Negotiation Project for the past 3 years in cooperation with the Amal Educational Network and the Program on Negotiation at Harvard Law School with the aim encouraging good communication and team work and to learn how to understand each other’s interest, think openly and creatively, build trust, and learn how to deal with conflicts as a shared problem-solving challenge. This year’s project which was funded by the Middle East Partnership Initiative brought together 350 high school students from diverse cultures, communities, and religions to learn practical negotiation skills instructed by professional facilitators using Harvard’s interest-based / joint problem solving negotiation methodology. On October 1st students from 12 Arab and Jewish schools celebrated the culmination of the year-long program and participated in a full day of workshops led by well-known experts from the U.S., Israel and Jordan, who shared their personal and professional negotiation narratives. The students were divided into breakout discussion groups facilitated and moderated by the guests. Actress, singer songwriter and activist Mira Anwar Awad closed the day with several ballads in English, Arabic and Hebrew.
The goal of the Negotiation Program is to create a network of young adults, representing Israel’s varied geographic, cultural, religious and ethnic groups, who are able to negotiate constructively, to analyze the situation critically, examine and challenge their own and others’ assumptions, listen to other parties’ needs and interests, and cooperate in seeking and developing mutually beneficial, legitimate and sustainable solutions.
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Jose Rojas, North American Division Volunteer Ministries director, presents Check Him Out at the Lane County Fairgrounds in Eugene, Ore.
Chhattisgarh is a very young state, only 19 years old, and is currently on a growing trajectory. Its education system is catching up with the other states. The lack of proper educational infrastructure is definitely a problem but the government has joined hands with private players in the state and together they are uplifting higher education in the state. Among these private players is one of the Best University in Chhattisgarh, Dr CV Raman University, Bilaspur.
The 21st century is rightly named as the digital era and the internet has clearly taken over every aspect of our life, including education. Technology is the biggest driver of the education sector of any country and this college has definitely leveraged the use of the internet. From providing full-fledged computer labs to fully functional digitized libraries, the college has taken care of everything.
Technological evolutions like AI, ML, Data Science have had a resounding impact on the education sector and this college has included all these topics in their management courses Chhattisgarh. They are making sure that the state is at par with the changing scenario of the world around. Their curriculum also focuses on technology, innovation, general skills and business management which other colleges generally overlook.
According to the world economic forum, by 2025, demand for critical thinking and computer skills would increase by 20% which in turn would create 2.1 million jobs by 2020 in all related domains. Incorporation of digitized courses by the university helps its students learn critical thinking, innovation, problem solving and collaboration.
Exams from pen and paper have now moved to online portals, powerpoint presentations have taken the place of projects and the computer is taking over everything. This college has signed up for many online portals such as LMS, MOOC, KConnect and many more. Students directly get quizzes to solve, submit projects, divide into groups through online platforms are now getting the gist of technology.
CV Raman University is emerging as the Top Private College in Chhattisgarh and it is making sure that its students walk that path with them. They have clearly understood the outcomes of digitized education and have taken up the challenge to ensure that everyone gets to reap the benefits of it. The students of this college are involved in a more research-oriented and thought based learning process. The business world is rapidly moving towards newer technologies like IOT and Block Chain and the college organizes regular guest lectures from experts in the industry to keep the students up-to-date with the latest trends. The students, while graduating, are industry ready and take upon new challenges.
With the pace technology is moving at, the future of jobs will be defined by speed, scale and digitization. In order to embrace this change, India needs to skill their youth to ensure that we excel in it. This will help us raise the living standards of people in our country. All these transformational changes are bound to take higher education of the country to another level.
To Know More: cvru.ac.in/
Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
To reduce adversarial attitudes between Arabs and Jewish youth living in Israel, the U.S. Embassy in Tel Aviv has supported a Negotiation Project for the past 3 years in cooperation with the Amal Educational Network and the Program on Negotiation at Harvard Law School with the aim encouraging good communication and team work and to learn how to understand each other’s interest, think openly and creatively, build trust, and learn how to deal with conflicts as a shared problem-solving challenge. This year’s project which was funded by the Middle East Partnership Initiative brought together 350 high school students from diverse cultures, communities, and religions to learn practical negotiation skills instructed by professional facilitators using Harvard’s interest-based / joint problem solving negotiation methodology. On October 1st students from 12 Arab and Jewish schools celebrated the culmination of the year-long program and participated in a full day of workshops led by well-known experts from the U.S., Israel and Jordan, who shared their personal and professional negotiation narratives. The students were divided into breakout discussion groups facilitated and moderated by the guests. Actress, singer songwriter and activist Mira Anwar Awad closed the day with several ballads in English, Arabic and Hebrew.
The goal of the Negotiation Program is to create a network of young adults, representing Israel’s varied geographic, cultural, religious and ethnic groups, who are able to negotiate constructively, to analyze the situation critically, examine and challenge their own and others’ assumptions, listen to other parties’ needs and interests, and cooperate in seeking and developing mutually beneficial, legitimate and sustainable solutions.
Fuel Injector Flower
By Nicholaos Demas
The nozzle of the fuel injector in a car sprays gasoline through tiny holes, designed to make as fine a mist as possible so that the fuel burns better. Researchers at Argonne, attempting to make the engine even more efficient, reduced the size of the holes to less than the size of a single human hair. This is a nozzle with eight holes—polished from the tip down to reveal a flower-like pattern—seen under a microscope. The yellow area is the iron nozzle, the black areas are epoxy used to hold the nozzle, and the petals are the nickel-phosphorous material used to reduce the size of the holes.
--more details--
The gas pedal in your car is connected to a valve that regulates how much air enters the engine. So the gas pedal is really the air pedal.
When you step on the gas pedal, the throttle valve opens up more, letting in more air. The computer that controls all of the electronic components on your car engine "sees" the throttle valve open and increases the fuel rate in anticipation of more air entering the engine. It is important to increase the fuel rate as soon as the throttle valve opens; otherwise, when the gas pedal is first pressed, there may be a hesitation as some air reaches the cylinders without enough fuel in it. Sensors monitor the mass of air entering the engine, as well as the amount of oxygen in the exhaust. The computer uses this information to fine-tune the fuel delivery so that the air-to-fuel ratio is just right.
A fuel injector is basically an electronically controlled valve. When the injector is supplied with -pressurized fuel it opens, allowing the pressurized fuel to squirt out through a nozzle. The nozzle of the fuel injector is designed to atomize the fuel to make as fine a mist as possible so that it can burn easily. There are different nozzle designs varying from single-hole to multi-hole and are typically made from a ferrous material. The size of the holes of a nozzle is critical for fuel atomization.
A common method used to make the holes is a process called wire electrical discharge machining during which a thin metal wire removes material from the nozzle.
After this process, we subjected the nozzle to an electroless Nickel plating process in order to reduce the size of the holes made by wire electrical discharge machining. Due to the size of the holes (less than 100 micrometers), in order to examine the plated layer’s uniformity and adhesion a microscope is necessary. The nozzle was mounted onto epoxy, mechanically polished and microscope images at various stages during the polishing process are taken. Due to precise vertical orientation and polishing to the specific height corresponding to this image a flower-like pattern was created.
The main area is ferrous, the black areas are epoxy and the petals are the nickel-phosphorus layer of the EN plating process.
ANSBACH, Germany – U.S. Army Garrison Ansbach (USAG Ansbach) launched its first ever Plastic-Free Week Sept. 23 – 30, 2018. During the week the garrison introduced environmentally friendly plastic-free options available to the public to reduce single-use plastic and plastic waste. Ansbach Plastic-Free Week began with a public ceremony Sunday, 23 Sept. at the military Exchange and Commissary complex located on Urlas Kaserne.
In his opening remarks launching the week-long campaign U.S. Army Garrison Ansbach Commander Col. Steven Pierce (center), said, “Approximately 300 million tons of plastic will be produced this year and scientists estimate that by 2050 there will be as much plastic in the oceans as there are fish.” said Pierce. “Plastic has many beneficial uses but we must use and dispose of it responsibly; specifically single-use plastics such as straws, water bottles, plastic shopping bags and packaging, As good stewards of the environment we have to work to reduce these types of plastic.”
During the week the Ansbach Garrison distributed sturdy cloth bags - embellished with the Ansbach Plastic Buster logo – at many community facilities, free of charge to any who asked. These reusable bags can be folded up to the size of a wallet and can be kept in the car or at work to be used again and again wherever and whenever an Ansbach military community member encounter plastic, on or off post.
Many local organizations and facilities made a concentrated effort to initiate programs and offer alternatives to plastic products often taken for granted. DECA, DoDEA, Ansbach FMWR and AAFES as well as many others joined the Ansbach DPW in touting the problems with plastic waste and single-use plastics:
-- The Commissary, Post Exchange, and Shoppette provided thousands of reusable “Plastic Buster” cotton shopping bags to the public, free of charge during the week. These sturdy bags can be folded up to the size of a wallet and kept in the car or at work to be used again and again wherever and whenever a community member shops and encounters plastic. These same facilities also made a special effort to showcase a variety of smart, multi-use sport cups as alternatives to throw-away plastic bottles.
-- Ansbach schools stopped using plastic utensils and are purchasing metal utensils for daily re-use.
-- The German Kantine as well as DFAC dining facilities on post provided 'to go' boxes made of bio-degradable sugar cane, eliminating styrofoam takeaway boxes.
-- During Plastic-Free Week the Ansbach Spouses and Civilians Club Thrift Shop gave a 5 percent discount on all merchandise for any shopper who brought their own reusable bags.
-- The Ansbach Directorate of Family, Morale, Welfare and Recreation (FMWR) advertised and held a drawing giving away a trip to the Edelweiss Resort. Entry required a simple good faith pledge use less plastic.
-- The Pharmacy of the Ansbach Medical Clinic used paper bags when dispensing prescriptions whenever possible – and will continue to do so in the future.
-- Single and Rotational Soldiers also took part, capitalizing on special “Take One / Leave One” boxes placed in their barracks where the cotton giveaway “Plastic Buster” bags were picked up and left for buying groceries – or transporting takeaway meals.
Photo by Michael Beaton, U.S. Army Garrison Ansbach Public Affairs (RELEASED).
Jose Rojas, North American Division Volunteer Ministries director, presents Check Him Out at the Lane County Fairgrounds in Eugene, Ore.
Jose Rojas, North American Division Volunteer Ministries director, presents Check Him Out at the Lane County Fairgrounds in Eugene, Ore.
Jose Rojas, North American Division Volunteer Ministries director, visits with audience members following a Check Him Out program.
Pieter Aertsen (1508/09 - 1575), active in Antwerp and Amsterdam Vanitas Still Life, 1552
Aertsen developed from the mid-16th century with kitchen items and market images new types of painting. In doing so he integrated in the most cases Christian scenes - here: Christ in the House of Martha and Mary - which always conspicuously reduced are happening in the background of the picture. The in the foreground gathered objects of daily life - bread, various pots and jugs, as the main subject the haunch of venison, a bouquet, carefully folded documents and the moneybag with it form a vanitas still life.
Pieter Aertsen (1508/09 - 1575), tätig in Antwerpen und Amsterdam Vanitas-Stilleben, 1552
Aertsen entwickelte ab der Mitte des 16. Jahrhunderts mit Küchenstücken und Marktbildern neue Bildtypen. Dabei integrierte er in den meisten Fällen christliche Szenen - hier: Christus bei Maria und Martha -, die sich immer auffällig verkleinert im Hintergrund des Bildes abspielen. Die im Vordergrund versammelten Gegenstände des täglichen Lebens - Brot, verschiedene Kannen und Krüge, als Hauptmotiv die Rehkeule, ein Blumenstrauß, sorgfältig gefaltete Dokumente und der Geldbeutel bilden dabei ein Vanitasstillleben.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Project: Expand RV Sites to Reduce Overcrowding in Seasonal Employee Quarters.
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Project overview: A design/build project to construct six new RV sites and associated infrastructure in the developed area on the North Rim of Grand Canyon National Park..
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Currently, there is a shortage of employee housing within the national park which creates crowded conditions and over extends utilities and other infrastructure. Additionally, the lack of housing makes it difficult for the NPS to recruit seasonal employees or provide temporary housing for volunteers willing to provide valuable assistance to the NPS..
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Project leader: Phil Fessler.
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Park contact: Maureen Oltrogge, Public Affairs Officer, (928) 638-7779.
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Project timing: The project was announced in June 2010. Construction began in July 2010 and was completed in November 2010..
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ARRA funding: $378,579..
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Partners:.
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Accepting outside solicitations: The project was awarded to Ridgway Valley Enterprises, LLC of Montrose, Colorado