The great auk (Pinguinus impennis) was a flightless bird of the alcid family that became extinct in the mid-19th century. It was the only modern species in the genus Pinguinus (unrelated to penguins, although it was the first bird to be called "penguin"). It bred only on a select few, rocky, isolated islands with easy access to the ocean and a plentiful food supply, and it foraged in the waters of the North Atlantic, ranging as far south as northern Spain and also around the coast of Canada, Greenland, Iceland, the Faroe Islands, Norway, Ireland, and Great Britain. Before the 16th century, the great auk was so abundant that colonies of hundreds of thousands of birds thronged shores during the month-long breeding season. The Little Ice Age (c. 1300-1850) caused a reduction in numbers when their islands became accessible to polar bears, but it was a robust species even when hunted by humans and natural predators.

 

Great auk pairs mated for life. They nested in extremely dense and social colonies, laying one egg--white with brown marbling--on bare rock. Both parents incubated the egg for about six weeks before it hatched, and they continued to care for the young auk even when it left the nest site after two or three weeks.

 

The great auk was 75 to 85 centimetres tall and weighed around 5 kilograms, making it the second-largest member of the alcid family (Miomancalla was larger). It had a black back, white belly, and a heavy, hooked, black beak with grooves on its surface. In its summer plumage, there was a white patch over each eye, and in the winter, the auk developed a white band stretching between the eyes. A powerful swimmer, the auk mostly hunted fish, including Atlantic menhaden and capelin, and crustaceans. Although agile in the water, it was clumsy on land and its wings were only 15 centimetres long.

 

Analysis of mtDNA has confirmed that the razorbill is the great auk's closest living relative. The great auk was also closely related to the little auk (dovekie), which underwent a radically different evolution. The fossil record (especially that of the sister species Pinguinus alfrednewtoni) and molecular evidence show that the three closely related genera diverged soon after their common ancestor, a bird probably similar to a stout Xantus's murrelet, spread to the coasts of the Atlantic.

 

The great auk was an important part of many Native American cultures, both as a food source and as a symbol. Many Maritime Archaic people and paleolithic Europeans were buried with great auk bones; one 4000-year-old gravesite in Newfoundland contained over 200 auk beaks, which are assumed to have been part of a cloak made of their skins.

 

Early European explorers to the Americas used the auk as a convenient food source or as fishing bait; the feathers, fat, oil, and eggs all made it a valuable target. In 1534, French explorer Jacques Cartier wrote, “in less than half an hour we filled two boats full of them, as if they had been stones, so that besides them which we did not eat fresh, every ship did powder and salt five or six barrels full of them.” In 1622, Captain Richard Whitbourne wrote about the harvest of hundreds of auks "as if God had made the innocency of so poor a creature to become such an admirable instrument for the sustenation of Man.”

 

The bird's down and black, silky feathers (perfect for trimming hats) were in high demand in Europe, especially after the eider's decimation. In the late 18th century, thousands of the birds were being collected at a time and boiled to harvest the feathers, over fires fueled by the bodies of more birds.

 

In 1785, explorer George Cartwright wrote, “A boat came in from Funk Island [Canada] laden with birds, chiefly penguins [Great Auks]. But it has been customary of late years, for several crews of men to live all summer on that island, for the sole purpose of killing birds for the sake of their feathers, the destruction which they have made is incredible. If a stop is not soon put to that practice, the whole breed will be diminished to almost nothing” (Smithsonian magazine).

 

Scientists began to realize that the great auk was disappearing by the mid-16th century and it became the beneficiary of many early (futile) environmental laws: in 1775, a petition from the Nova Scotian government to the parliament of Great Britain was granted: killing auks for feathers or taking their eggs was punishable by a public beating. Fishermen were still permitted to kill the auks to use as bait. Despite the penalty, auks became a commodity, with collectors willing to pay the equivalent of a year's wage for a skilled worker for a single specimen. The bird's growing rarity drove European museums and private collectors to search aggressively for skins and eggs.

 

By 1800, the last flock of great auk were isolated on Geirfuglasker, a remote island with steep sides. In 1830, a volcanic eruption pulled the island into the ocean (though a new Geirfuglasker has since appeared), and the auk population moved to Eldey, an island closer to the coast. With about three hectares and sheer cliffs rising 77 metres above the waves, Eldey is now home to large numbers of birds, including one of the largest northern gannet colonies in the world, with around 16,000 pairs (which can be watched live via two webcams).

 

The Eldey colony had nearly fifty great auks when it was discovered in 1835, but it was quickly decimated by museums and collectors. The last pair, found incubating an egg, were killed there on July 3, 1844, when Icelandic sailors Jón Brandsson and Sigurður Ísleifsson strangled the adults and Ketill Ketilsson accidentally cracked the last egg of the species with his boot during the struggle.

 

There are unconfirmed later reports of roaming individuals being seen or caught: an account from 1852 is considered by some to be the last sighting of the species. It is the only British bird made extinct in historic times: the last found on UK shores was killed by Scottish sailors on Stac an Armin in June of 1840. They kept it alive for three days but then beat it to death out of superstitious fear that the bird's witchcraft had caused a storm that arose.

 

All that remains of the great auk are 78 mounted skins (most from Eldey Island), 24 complete skeletons, two collections of preserved viscera, and about 75 eggs. The skinned corpses of the breeding pair are preserved in spirits at the Royal Museum in Copenhagen. In 1971, Iceland's Natural History Museum paid £9,000 for a stuffed great auk.

 

The great auk is mentioned in several novels and the scientific journal of the American Ornithologists' Union is named in its honour. Artist Todd McGrain has created a memorial to the great auk as part of the Lost Bird Project: "Garefowl, Penguin, Pinwing, Gordo, Moyacks, Great Apponath, Geirfuglar, Wobble, Binocle—these are some of the names given the Great Auk …"

 

This article by Messy Beast also has a lot of fascinating details.

  

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

Wednesday 21st feb 12 pm , Support The Highly Skilled - injustice by Home Office. sihk community from across the united kingdom attended the second rally , Protesting against inhumane delays and injustice by the Home Office.

this one my personal favorite of the whole group small child unaware what the shindig is about

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

Fiaga Power Plant is a subproject of the Power Sector Expansion Project managed by Electric Power Corporation. Components of this subproject ensured the improved capacity and efficiency of Samoa’s power sector.

 

Video: Reliable Electricity Powers Up Samoa

Project Result: Saving Lives with Reliable Electricity in Samoa

 

Read more on:

Samoa

Energy

Power Sector Expansion Project

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

This project aims for safer and better managed cross border labour migration. ILO is providing coordination services for the Republic of Korea Government’s Employment Permit System which recruits low and semi-skilled workers from 15 countries in Asia-Pacific. © ILO/A.DOW

 

Click here to watch a related video: www.youtube.com/edit?video_id=uo0Qv7Bye3k&video_refer...

 

Click here to read a related feature story: www.ilo.org/asia/info/public/WCMS_211952/lang--en/index.htm

 

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

The great auk (Pinguinus impennis) was a flightless bird of the alcid family that became extinct in the mid-19th century. It was the only modern species in the genus Pinguinus (unrelated to penguins, although it was the first bird to be called "penguin"). It bred only on a select few, rocky, isolated islands with easy access to the ocean and a plentiful food supply, and it foraged in the waters of the North Atlantic, ranging as far south as northern Spain and also around the coast of Canada, Greenland, Iceland, the Faroe Islands, Norway, Ireland, and Great Britain. Before the 16th century, the great auk was so abundant that colonies of hundreds of thousands of birds thronged shores during the month-long breeding season. The Little Ice Age (c. 1300-1850) caused a reduction in numbers when their islands became accessible to polar bears, but it was a robust species even when hunted by humans and natural predators.

 

Great auk pairs mated for life. They nested in extremely dense and social colonies, laying one egg--white with brown marbling--on bare rock. Both parents incubated the egg for about six weeks before it hatched, and they continued to care for the young auk even when it left the nest site after two or three weeks.

 

The great auk was 75 to 85 centimetres tall and weighed around 5 kilograms, making it the second-largest member of the alcid family (Miomancalla was larger). It had a black back, white belly, and a heavy, hooked, black beak with grooves on its surface. In its summer plumage, there was a white patch over each eye, and in the winter, the auk developed a white band stretching between the eyes. A powerful swimmer, the auk mostly hunted fish, including Atlantic menhaden and capelin, and crustaceans. Although agile in the water, it was clumsy on land and its wings were only 15 centimetres long.

 

Analysis of mtDNA has confirmed that the razorbill is the great auk's closest living relative. The great auk was also closely related to the little auk (dovekie), which underwent a radically different evolution. The fossil record (especially that of the sister species Pinguinus alfrednewtoni) and molecular evidence show that the three closely related genera diverged soon after their common ancestor, a bird probably similar to a stout Xantus's murrelet, spread to the coasts of the Atlantic.

 

The great auk was an important part of many Native American cultures, both as a food source and as a symbol. Many Maritime Archaic people and paleolithic Europeans were buried with great auk bones; one 4000-year-old gravesite in Newfoundland contained over 200 auk beaks, which are assumed to have been part of a cloak made of their skins.

 

Early European explorers to the Americas used the auk as a convenient food source or as fishing bait; the feathers, fat, oil, and eggs all made it a valuable target. In 1534, French explorer Jacques Cartier wrote, “in less than half an hour we filled two boats full of them, as if they had been stones, so that besides them which we did not eat fresh, every ship did powder and salt five or six barrels full of them.” In 1622, Captain Richard Whitbourne wrote about the harvest of hundreds of auks "as if God had made the innocency of so poor a creature to become such an admirable instrument for the sustenation of Man.”

 

The bird's down and black, silky feathers (perfect for trimming hats) were in high demand in Europe, especially after the eider's decimation. In the late 18th century, thousands of the birds were being collected at a time and boiled to harvest the feathers, over fires fueled by the bodies of more birds.

 

In 1785, explorer George Cartwright wrote, “A boat came in from Funk Island [Canada] laden with birds, chiefly penguins [Great Auks]. But it has been customary of late years, for several crews of men to live all summer on that island, for the sole purpose of killing birds for the sake of their feathers, the destruction which they have made is incredible. If a stop is not soon put to that practice, the whole breed will be diminished to almost nothing” (Smithsonian magazine).

 

Scientists began to realize that the great auk was disappearing by the mid-16th century and it became the beneficiary of many early (futile) environmental laws: in 1775, a petition from the Nova Scotian government to the parliament of Great Britain was granted: killing auks for feathers or taking their eggs was punishable by a public beating. Fishermen were still permitted to kill the auks to use as bait. Despite the penalty, auks became a commodity, with collectors willing to pay the equivalent of a year's wage for a skilled worker for a single specimen. The bird's growing rarity drove European museums and private collectors to search aggressively for skins and eggs.

 

By 1800, the last flock of great auk were isolated on Geirfuglasker, a remote island with steep sides. In 1830, a volcanic eruption pulled the island into the ocean (though a new Geirfuglasker has since appeared), and the auk population moved to Eldey, an island closer to the coast. With about three hectares and sheer cliffs rising 77 metres above the waves, Eldey is now home to large numbers of birds, including one of the largest northern gannet colonies in the world, with around 16,000 pairs (which can be watched live via two webcams).

 

The Eldey colony had nearly fifty great auks when it was discovered in 1835, but it was quickly decimated by museums and collectors. The last pair, found incubating an egg, were killed there on July 3, 1844, when Icelandic sailors Jón Brandsson and Sigurður Ísleifsson strangled the adults and Ketill Ketilsson accidentally cracked the last egg of the species with his boot during the struggle.

 

There are unconfirmed later reports of roaming individuals being seen or caught: an account from 1852 is considered by some to be the last sighting of the species. It is the only British bird made extinct in historic times: the last found on UK shores was killed by Scottish sailors on Stac an Armin in June of 1840. They kept it alive for three days but then beat it to death out of superstitious fear that the bird's witchcraft had caused a storm that arose.

 

All that remains of the great auk are 78 mounted skins (most from Eldey Island), 24 complete skeletons, two collections of preserved viscera, and about 75 eggs. The skinned corpses of the breeding pair are preserved in spirits at the Royal Museum in Copenhagen. In 1971, Iceland's Natural History Museum paid £9,000 for a stuffed great auk.

 

The great auk is mentioned in several novels and the scientific journal of the American Ornithologists' Union is named in its honour. Artist Todd McGrain has created a memorial to the great auk as part of the Lost Bird Project: "Garefowl, Penguin, Pinwing, Gordo, Moyacks, Great Apponath, Geirfuglar, Wobble, Binocle—these are some of the names given the Great Auk …"

 

This article by Messy Beast also has a lot of fascinating details.

  

The Melvyn Maxwell Smith and Sara Stein Smith House also known as Myhaven is a Frank Lloyd Wright designed Usonian home that was constructed in Bloomfield Hills, Michigan in 1949 and 1950. Both were public school teachers living on a tight budget. During the two year construction period, the Smith's combined income was $280.00 per month. The house was to be 1800 square feet and featured radiant heating through hot water pipes installed in the floor slab. Like other Wright home designs, the house relied on passive solar energy. They received a housewarming gift from their friend Irving Goldberg of a maple dining table with eight maple chairs, two coffee tables and six hassocks, all designed by Frank Lloyd Wright. Wright called it "my little gem.”

The home is located near the Cranbrook Educational Community, and over the years, the Smiths built an extensive art collection, and the majority their works were by artists associated with Cranbrook. Among them are a massive chest by Paul R. Evans, a gazelle sculpture by Marshall Fredericks, and works by other artists including a sculpture by Sam Apple, exterior sculptures by Mike Calligan, weavings by Barbara Wittenburg, interior sculptures by Jim Messama, and a sculpted bust of Melvyn Smith by Robert Scheffman.[20] Cranbrook president Roy Slade praised the home as exemplifying "the integration of art, architecture and nature”. Architectural photographer Balthazar Korab produced a widely reproduced image of Calligan's "Natural Bridge" sculpture with the house as the backdrop.[11] Later, the Smiths collected works by Glenn Michaels, including an accordion screen, and a triptych mosaic installed above the fireplace. Sounding Sculpture by Harry Bertoia. At Wright's advice, Melvin Maxwell Smith decided to act as his own general contractor, so that he could save money and maintain the quality standards he expected. He recruited skilled workers who wanted to work on a home designed by Wright so much that they would accept lower pay than usual. Suppliers of building materials also provided goods such as 14,000 board feet of red tidewater cypress lumber at discounted prices because of their wish to be involved with a Wright project.[14] Shopping center developer A. Alfred Taubman provided all of the windows at a deep discount[15] because he considered the house a "fantastic structure”. en.wikipedia.org/wiki/Melvyn_Maxwell_and_Sara_Stein_Smith...

www.michiganmodern.org/buildings/melvyn-maxwell-and-sara-...

 

"Mdina Glass is a manufacturer of glassware, based in Malta. It was founded in 1968 by Michael Harris, a lecturer in industrial glass design at the Royal College of Art. Attracted by various government incentives offered by newly independent Malta, Eric Dobson and Michael Harris (Royal College of Art colleagues) ventured out to Mediterranean island from the UK with the aim of opening Malta's first ever glassware manufacturer. The company, Maltese Glass Industries (which soon changed to Mdina Glass), became an active glassmaking company in 1968. Mdina Glass was an instant success and soon the company was taking on local trainees to learn the craft. One of these trainees was Joseph Said, quickly impressing Harris and Dobson with his natural abilities in glassmaking. In 1971, two Italian maestros, the father and son team of Vincente and Ettore Boffo joined Mdina Glass to introduce Italian glassmaking techniques. Following independence from the UK in 1964, the Maltese government offered incentives for skilled workers and entrepreneurs from outside the island, in order to build up the industrial and commercial sectors of the economy. This included a 10-year tax holiday. Due to personal reasons, Harris left Mdina Glass in 1973, leaving Eric Dobson alone at the helm and by 1975, once promising trainee Joseph Said had climbed the ranks to become the company’s Production Manager, acting as a catalyst for a number of changes, revolutionising the way the company operated and what it produced. At the end of 1967 Harris and Eric Dobson, another lecturer from the RCA, imported glassmaking equipment to Malta, and set up Maltese Glass Industries. In 1985 Eric Dobson chose to relinquish control of Mdina Glass and return to the UK. The company wasn’t doing as well as it had done in previous years. Joseph Said took over and, under his control, the company went through some quick changes to remedy the commercial situation in challenging times. Said’s influence was evident by 1987 when Mdina Glass won the International Award for Tradition and Prestige in Brussels. Two years later, Mdina Glass presented a glass sculpture to the Maltese Prime Minister to commemorate the Bush – Gorbechev Malta summit. In 1992, the company won the Malta Achievement in Industry Award.

 

Further significant changes in glassmaking techniques, production processes and product range marked the 1990s. Basic raw materials were changed for those of a much higher quality. In 1990, Mdina Glass introduced lampworking techniques to Malta, and by 1995 its artisans were also honing their skills in applying the newly introduced fusion techniques to a whole new range of products. Harris trained a number of Maltese nationals as glassmakers, employing around 15 people when the firm became established.[1] His first apprentice, Joseph Said, took over Mdina Glass (as it became known) after Harris left in 1973.[2] Joseph Said’s children Olivia, Nevise, Pamela and Alan now form an integral part of the company, which employs around 50 people, from glassmakers, sales staff in the various outlets and administration. Olivia Said now holds the position of Production and Product Design Manager and has shown her passion for the craft by expanding the company’s range even further. In 2012 Mdina Glass was invited to participate in an exhibition at Harrods, London entitled ‘This Is Malta’. Mdina Glass has also won the National Artisan Award over two consecutive years."

   

Fiaga Power Plant is a subproject of the Power Sector Expansion Project managed by Electric Power Corporation. Components of this subproject ensured the improved capacity and efficiency of Samoa’s power sector.

 

Video: Reliable Electricity Powers Up Samoa

Project Result: Saving Lives with Reliable Electricity in Samoa

 

Read more on:

Samoa

Energy

Power Sector Expansion Project

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

The great auk (Pinguinus impennis) was a flightless bird of the alcid family that became extinct in the mid-19th century. It was the only modern species in the genus Pinguinus (unrelated to penguins, although it was the first bird to be called "penguin"). It bred only on a select few, rocky, isolated islands with easy access to the ocean and a plentiful food supply, and it foraged in the waters of the North Atlantic, ranging as far south as northern Spain and also around the coast of Canada, Greenland, Iceland, the Faroe Islands, Norway, Ireland, and Great Britain. Before the 16th century, the great auk was so abundant that colonies of hundreds of thousands of birds thronged shores during the month-long breeding season. The Little Ice Age (c. 1300-1850) caused a reduction in numbers when their islands became accessible to polar bears, but it was a robust species even when hunted by humans and natural predators.

 

Great auk pairs mated for life. They nested in extremely dense and social colonies, laying one egg--white with brown marbling--on bare rock. Both parents incubated the egg for about six weeks before it hatched, and they continued to care for the young auk even when it left the nest site after two or three weeks.

 

The great auk was 75 to 85 centimetres tall and weighed around 5 kilograms, making it the second-largest member of the alcid family (Miomancalla was larger). It had a black back, white belly, and a heavy, hooked, black beak with grooves on its surface. In its summer plumage, there was a white patch over each eye, and in the winter, the auk developed a white band stretching between the eyes. A powerful swimmer, the auk mostly hunted fish, including Atlantic menhaden and capelin, and crustaceans. Although agile in the water, it was clumsy on land and its wings were only 15 centimetres long.

 

Analysis of mtDNA has confirmed that the razorbill is the great auk's closest living relative. The great auk was also closely related to the little auk (dovekie), which underwent a radically different evolution. The fossil record (especially that of the sister species Pinguinus alfrednewtoni) and molecular evidence show that the three closely related genera diverged soon after their common ancestor, a bird probably similar to a stout Xantus's murrelet, spread to the coasts of the Atlantic.

 

The great auk was an important part of many Native American cultures, both as a food source and as a symbol. Many Maritime Archaic people and paleolithic Europeans were buried with great auk bones; one 4000-year-old gravesite in Newfoundland contained over 200 auk beaks, which are assumed to have been part of a cloak made of their skins.

 

Early European explorers to the Americas used the auk as a convenient food source or as fishing bait; the feathers, fat, oil, and eggs all made it a valuable target. In 1534, French explorer Jacques Cartier wrote, “in less than half an hour we filled two boats full of them, as if they had been stones, so that besides them which we did not eat fresh, every ship did powder and salt five or six barrels full of them.” In 1622, Captain Richard Whitbourne wrote about the harvest of hundreds of auks "as if God had made the innocency of so poor a creature to become such an admirable instrument for the sustenation of Man.”

 

The bird's down and black, silky feathers (perfect for trimming hats) were in high demand in Europe, especially after the eider's decimation. In the late 18th century, thousands of the birds were being collected at a time and boiled to harvest the feathers, over fires fueled by the bodies of more birds.

 

In 1785, explorer George Cartwright wrote, “A boat came in from Funk Island [Canada] laden with birds, chiefly penguins [Great Auks]. But it has been customary of late years, for several crews of men to live all summer on that island, for the sole purpose of killing birds for the sake of their feathers, the destruction which they have made is incredible. If a stop is not soon put to that practice, the whole breed will be diminished to almost nothing” (Smithsonian magazine).

 

Scientists began to realize that the great auk was disappearing by the mid-16th century and it became the beneficiary of many early (futile) environmental laws: in 1775, a petition from the Nova Scotian government to the parliament of Great Britain was granted: killing auks for feathers or taking their eggs was punishable by a public beating. Fishermen were still permitted to kill the auks to use as bait. Despite the penalty, auks became a commodity, with collectors willing to pay the equivalent of a year's wage for a skilled worker for a single specimen. The bird's growing rarity drove European museums and private collectors to search aggressively for skins and eggs.

 

By 1800, the last flock of great auk were isolated on Geirfuglasker, a remote island with steep sides. In 1830, a volcanic eruption pulled the island into the ocean (though a new Geirfuglasker has since appeared), and the auk population moved to Eldey, an island closer to the coast. With about three hectares and sheer cliffs rising 77 metres above the waves, Eldey is now home to large numbers of birds, including one of the largest northern gannet colonies in the world, with around 16,000 pairs (which can be watched live via two webcams).

 

The Eldey colony had nearly fifty great auks when it was discovered in 1835, but it was quickly decimated by museums and collectors. The last pair, found incubating an egg, were killed there on July 3, 1844, when Icelandic sailors Jón Brandsson and Sigurður Ísleifsson strangled the adults and Ketill Ketilsson accidentally cracked the last egg of the species with his boot during the struggle.

 

There are unconfirmed later reports of roaming individuals being seen or caught: an account from 1852 is considered by some to be the last sighting of the species. It is the only British bird made extinct in historic times: the last found on UK shores was killed by Scottish sailors on Stac an Armin in June of 1840. They kept it alive for three days but then beat it to death out of superstitious fear that the bird's witchcraft had caused a storm that arose.

 

All that remains of the great auk are 78 mounted skins (most from Eldey Island), 24 complete skeletons, two collections of preserved viscera, and about 75 eggs. The skinned corpses of the breeding pair are preserved in spirits at the Royal Museum in Copenhagen. In 1971, Iceland's Natural History Museum paid £9,000 for a stuffed great auk.

 

The great auk is mentioned in several novels and the scientific journal of the American Ornithologists' Union is named in its honour. Artist Todd McGrain has created a memorial to the great auk as part of the Lost Bird Project: "Garefowl, Penguin, Pinwing, Gordo, Moyacks, Great Apponath, Geirfuglar, Wobble, Binocle—these are some of the names given the Great Auk …"

 

This article by Messy Beast also has a lot of fascinating details.

  

Bootle's town hall and other municipal buildings were erected in the last quarter of the 19th century. The population of the town swelled during this period, boosted by Irish immigration and the attraction of plentiful work on the docks. The wealth to pay for the splendour of the town hall and the gentrified 'Bootle Village' area was generated by these docks. The skilled workers lived in terraced houses in the east of the town, while the casual dock labourers lived in cramped, dwellings near the dockside

 

You Bootle lads and lasses

Just list to what I sing,

In Bootle on Easter Monday,

The joy bells they will ring ;

They'll open Bootle new Town Hall,

And make a grand display,

And celebrate the great event

By a general holliday.

 

Then all rejoice with heart and voice,

Don't let your spirits fall ;

But cheer the Mayor of Bootle,

When he opens the new Town Hall.

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

The Field Museum of Natural History (FMNH), also known as The Field Museum, is a natural history museum in Chicago, Illinois, and is one of the largest such museums in the world. The museum is a popular natural-history museum for the size and quality of its educational and scientific programs, as well as due to its extensive scientific-specimen and artifact collections. The permanent exhibitions, which attract up to two million visitors annually, include fossils, current cultures from around the world, and interactive programming demonstrating today's urgent conservation needs. The museum is named in honor of its first major benefactor, the department-store magnate Marshall Field. The museum and its collections originated from the 1893 World's Columbian Exposition and the artifacts displayed at the fair.

 

The museum maintains a temporary exhibition program of traveling shows as well as in-house produced topical exhibitions. The professional staff maintains collections of over 24 million specimens and objects that provide the basis for the museum's scientific-research programs. These collections include the full range of existing biodiversity, gems, meteorites, fossils, and rich anthropological collections and cultural artifacts from around the globe. The museum's library, which contains over 275,000 books, journals, and photo archives focused on biological systematics, evolutionary biology, geology, archaeology, ethnology and material culture, supports the museum's academic-research faculty and exhibit development. The academic faculty and scientific staff engage in field expeditions, in biodiversity and cultural research on every continent, in local and foreign student training, and in stewardship of the rich specimen and artifact collections. They work in close collaboration with public programming exhibitions and education initiatives.

 

The Field Museum and its collections originated from the 1893 World's Columbian Exposition and the artifacts displayed at the fair. In order to house for future generations the exhibits and collections assembled for the Exposition, Edward Ayer convinced the merchant Marshall Field to fund the establishment of a museum. Originally titled the Columbian Museum of Chicago in honor of its origins, the Field Museum was incorporated by the State of Illinois on September 16, 1893, for the purpose of the "accumulation and dissemination of knowledge, and the preservation and exhibition of artifacts illustrating art, archaeology, science and history". The Columbian Museum of Chicago occupied the only building remaining from the World's Columbian Exposition in Jackson Park, the Palace of Fine Arts. It is now home to the Chicago Museum of Science and Industry.

 

In 1905, the museum's name was changed to Field Museum of Natural History to honor its first major benefactor and to reflect its focus on the natural sciences. During the period from 1943 to 1966, the museum was known as the Chicago Natural History Museum. In 1921, the Museum moved from its original location in Jackson Park to its present site on Chicago Park District property near downtown. By the late 1930s the Field had emerged as one of the three premier museums in the United States, the other two being the American Museum of Natural History in New York and the National Museum of Natural History at the Smithsonian Institution in Washington, DC.

 

The museum has maintained its reputation through continuous growth, expanding the scope of collections and its scientific research output, in addition to its award-winning exhibitions, outreach publications, and programs. The Field Museum is part of Chicago's lakefront Museum Campus that includes the John G. Shedd Aquarium and the Adler Planetarium.

 

In 2015, it was reported that an employee had defrauded the museum of $900,000 over a seven-year period to 2014.

 

Chicago is the most populous city in the U.S. state of Illinois and in the Midwestern United States. With a population of 2,746,388 in the 2020 census, it is the third-most populous city in the United States after New York City and Los Angeles. As the seat of Cook County, the second-most populous county in the U.S., Chicago is the center of the Chicago metropolitan area, which is often colloquially called "Chicagoland".

 

Located on the shore of Lake Michigan, Chicago was incorporated as a city in 1837 near a portage between the Great Lakes and the Mississippi River watershed. It grew rapidly in the mid-19th century. In 1871, the Great Chicago Fire destroyed several square miles and left more than 100,000 homeless, but Chicago's population continued to grow. Chicago made noted contributions to urban planning and architecture, such as the Chicago School, the development of the City Beautiful Movement, and the steel-framed skyscraper.

 

Chicago is an international hub for finance, culture, commerce, industry, education, technology, telecommunications, and transportation. It has the largest and most diverse derivatives market in the world, generating 20% of all volume in commodities and financial futures alone. O'Hare International Airport is routinely ranked among the world's top six busiest airports by passenger traffic, and the region is also the nation's railroad hub. The Chicago area has one of the highest gross domestic products (GDP) of any urban region in the world, generating $689 billion in 2018. Chicago's economy is diverse, with no single industry employing more than 14% of the workforce.

 

Chicago is a major tourist destination. Chicago's culture has contributed much to the visual arts, literature, film, theater, comedy (especially improvisational comedy), food, dance, and music (particularly jazz, blues, soul, hip-hop, gospel, and electronic dance music, including house music). Chicago is home to the Chicago Symphony Orchestra and the Lyric Opera of Chicago, while the Art Institute of Chicago provides an influential visual arts museum and art school. The Chicago area also hosts the University of Chicago, Northwestern University, and the University of Illinois Chicago, among other institutions of learning. Chicago has professional sports teams in each of the major professional leagues, including two Major League Baseball teams.

 

In the mid-18th century, the area was inhabited by the Potawatomi, an indigenous tribe who had succeeded the Miami and Sauk and Fox peoples in this region.

 

The first known permanent settler in Chicago was trader Jean Baptiste Point du Sable. Du Sable was of African descent, perhaps born in the French colony of Saint-Domingue (Haiti), and established the settlement in the 1780s. He is commonly known as the "Founder of Chicago."

 

In 1795, following the victory of the new United States in the Northwest Indian War, an area that was to be part of Chicago was turned over to the U.S. for a military post by native tribes in accordance with the Treaty of Greenville. In 1803, the U.S. Army constructed Fort Dearborn, which was destroyed during the War of 1812 in the Battle of Fort Dearborn by the Potawatomi before being later rebuilt.

 

After the War of 1812, the Ottawa, Ojibwe, and Potawatomi tribes ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the 1833 Treaty of Chicago and sent west of the Mississippi River as part of the federal policy of Indian removal.

 

On August 12, 1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 6,000 people. On June 15, 1835, the first public land sales began with Edmund Dick Taylor as Receiver of Public Monies. The City of Chicago was incorporated on Saturday, March 4, 1837, and for several decades was the world's fastest-growing city.

 

As the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicago's first railway, Galena and Chicago Union Railroad, and the Illinois and Michigan Canal opened in 1848. The canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River.

 

A flourishing economy brought residents from rural communities and immigrants from abroad. Manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade (established 1848) listed the first-ever standardized "exchange-traded" forward contracts, which were called futures contracts.

 

In the 1850s, Chicago gained national political prominence as the home of Senator Stephen Douglas, the champion of the Kansas–Nebraska Act and the "popular sovereignty" approach to the issue of the spread of slavery. These issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage. Lincoln was nominated in Chicago for U.S. president at the 1860 Republican National Convention, which was held in a purpose-built auditorium called the Wigwam. He defeated Douglas in the general election, and this set the stage for the American Civil War.

 

To accommodate rapid population growth and demand for better sanitation, the city improved its infrastructure. In February 1856, Chicago's Common Council approved Chesbrough's plan to build the United States' first comprehensive sewerage system. The project raised much of central Chicago to a new grade with the use of jackscrews for raising buildings. While elevating Chicago, and at first improving the city's health, the untreated sewage and industrial waste now flowed into the Chicago River, and subsequently into Lake Michigan, polluting the city's primary freshwater source.

 

The city responded by tunneling two miles (3.2 km) out into Lake Michigan to newly built water cribs. In 1900, the problem of sewage contamination was largely resolved when the city completed a major engineering feat. It reversed the flow of the Chicago River so that the water flowed away from Lake Michigan rather than into it. This project began with the construction and improvement of the Illinois and Michigan Canal, and was completed with the Chicago Sanitary and Ship Canal that connects to the Illinois River, which flows into the Mississippi River.

 

In 1871, the Great Chicago Fire destroyed an area about 4 miles (6.4 km) long and 1-mile (1.6 km) wide, a large section of the city at the time. Much of the city, including railroads and stockyards, survived intact, and from the ruins of the previous wooden structures arose more modern constructions of steel and stone. These set a precedent for worldwide construction. During its rebuilding period, Chicago constructed the world's first skyscraper in 1885, using steel-skeleton construction.

 

The city grew significantly in size and population by incorporating many neighboring townships between 1851 and 1920, with the largest annexation happening in 1889, with five townships joining the city, including the Hyde Park Township, which now comprises most of the South Side of Chicago and the far southeast of Chicago, and the Jefferson Township, which now makes up most of Chicago's Northwest Side. The desire to join the city was driven by municipal services that the city could provide its residents.

 

Chicago's flourishing economy attracted huge numbers of new immigrants from Europe and migrants from the Eastern United States. Of the total population in 1900, more than 77% were either foreign-born or born in the United States of foreign parentage. Germans, Irish, Poles, Swedes, and Czechs made up nearly two-thirds of the foreign-born population (by 1900, whites were 98.1% of the city's population).

 

Labor conflicts followed the industrial boom and the rapid expansion of the labor pool, including the Haymarket affair on May 4, 1886, and in 1894 the Pullman Strike. Anarchist and socialist groups played prominent roles in creating very large and highly organized labor actions. Concern for social problems among Chicago's immigrant poor led Jane Addams and Ellen Gates Starr to found Hull House in 1889. Programs that were developed there became a model for the new field of social work.

 

During the 1870s and 1880s, Chicago attained national stature as the leader in the movement to improve public health. City laws and later, state laws that upgraded standards for the medical profession and fought urban epidemics of cholera, smallpox, and yellow fever were both passed and enforced. These laws became templates for public health reform in other cities and states.

 

The city established many large, well-landscaped municipal parks, which also included public sanitation facilities. The chief advocate for improving public health in Chicago was John H. Rauch, M.D. Rauch established a plan for Chicago's park system in 1866. He created Lincoln Park by closing a cemetery filled with shallow graves, and in 1867, in response to an outbreak of cholera he helped establish a new Chicago Board of Health. Ten years later, he became the secretary and then the president of the first Illinois State Board of Health, which carried out most of its activities in Chicago.

 

In the 1800s, Chicago became the nation's railroad hub, and by 1910 over 20 railroads operated passenger service out of six different downtown terminals. In 1883, Chicago's railway managers needed a general time convention, so they developed the standardized system of North American time zones. This system for telling time spread throughout the continent.

 

In 1893, Chicago hosted the World's Columbian Exposition on former marshland at the present location of Jackson Park. The Exposition drew 27.5 million visitors, and is considered the most influential world's fair in history. The University of Chicago, formerly at another location, moved to the same South Side location in 1892. The term "midway" for a fair or carnival referred originally to the Midway Plaisance, a strip of park land that still runs through the University of Chicago campus and connects the Washington and Jackson Parks.

 

During World War I and the 1920s there was a major expansion in industry. The availability of jobs attracted African Americans from the Southern United States. Between 1910 and 1930, the African American population of Chicago increased dramatically, from 44,103 to 233,903. This Great Migration had an immense cultural impact, called the Chicago Black Renaissance, part of the New Negro Movement, in art, literature, and music. Continuing racial tensions and violence, such as the Chicago race riot of 1919, also occurred.

 

The ratification of the 18th amendment to the Constitution in 1919 made the production and sale (including exportation) of alcoholic beverages illegal in the United States. This ushered in the beginning of what is known as the gangster era, a time that roughly spans from 1919 until 1933 when Prohibition was repealed. The 1920s saw gangsters, including Al Capone, Dion O'Banion, Bugs Moran and Tony Accardo battle law enforcement and each other on the streets of Chicago during the Prohibition era. Chicago was the location of the infamous St. Valentine's Day Massacre in 1929, when Al Capone sent men to gun down members of a rival gang, North Side, led by Bugs Moran.

 

Chicago was the first American city to have a homosexual-rights organization. The organization, formed in 1924, was called the Society for Human Rights. It produced the first American publication for homosexuals, Friendship and Freedom. Police and political pressure caused the organization to disband.

 

The Great Depression brought unprecedented suffering to Chicago, in no small part due to the city's heavy reliance on heavy industry. Notably, industrial areas on the south side and neighborhoods lining both branches of the Chicago River were devastated; by 1933 over 50% of industrial jobs in the city had been lost, and unemployment rates amongst blacks and Mexicans in the city were over 40%. The Republican political machine in Chicago was utterly destroyed by the economic crisis, and every mayor since 1931 has been a Democrat.

 

From 1928 to 1933, the city witnessed a tax revolt, and the city was unable to meet payroll or provide relief efforts. The fiscal crisis was resolved by 1933, and at the same time, federal relief funding began to flow into Chicago. Chicago was also a hotbed of labor activism, with Unemployed Councils contributing heavily in the early depression to create solidarity for the poor and demand relief; these organizations were created by socialist and communist groups. By 1935 the Workers Alliance of America begun organizing the poor, workers, the unemployed. In the spring of 1937 Republic Steel Works witnessed the Memorial Day massacre of 1937 in the neighborhood of East Side.

 

In 1933, Chicago Mayor Anton Cermak was fatally wounded in Miami, Florida, during a failed assassination attempt on President-elect Franklin D. Roosevelt. In 1933 and 1934, the city celebrated its centennial by hosting the Century of Progress International Exposition World's Fair. The theme of the fair was technological innovation over the century since Chicago's founding.

 

During World War II, the city of Chicago alone produced more steel than the United Kingdom every year from 1939 – 1945, and more than Nazi Germany from 1943 – 1945.

 

The Great Migration, which had been on pause due to the Depression, resumed at an even faster pace in the second wave, as hundreds of thousands of blacks from the South arrived in the city to work in the steel mills, railroads, and shipping yards.

 

On December 2, 1942, physicist Enrico Fermi conducted the world's first controlled nuclear reaction at the University of Chicago as part of the top-secret Manhattan Project. This led to the creation of the atomic bomb by the United States, which it used in World War II in 1945.

 

Mayor Richard J. Daley, a Democrat, was elected in 1955, in the era of machine politics. In 1956, the city conducted its last major expansion when it annexed the land under O'Hare airport, including a small portion of DuPage County.

 

By the 1960s, white residents in several neighborhoods left the city for the suburban areas – in many American cities, a process known as white flight – as Blacks continued to move beyond the Black Belt. While home loan discriminatory redlining against blacks continued, the real estate industry practiced what became known as blockbusting, completely changing the racial composition of whole neighborhoods. Structural changes in industry, such as globalization and job outsourcing, caused heavy job losses for lower-skilled workers. At its peak during the 1960s, some 250,000 workers were employed in the steel industry in Chicago, but the steel crisis of the 1970s and 1980s reduced this number to just 28,000 in 2015. In 1966, Martin Luther King Jr. and Albert Raby led the Chicago Freedom Movement, which culminated in agreements between Mayor Richard J. Daley and the movement leaders.

 

Two years later, the city hosted the tumultuous 1968 Democratic National Convention, which featured physical confrontations both inside and outside the convention hall, with anti-war protesters, journalists and bystanders being beaten by police. Major construction projects, including the Sears Tower (now known as the Willis Tower, which in 1974 became the world's tallest building), University of Illinois at Chicago, McCormick Place, and O'Hare International Airport, were undertaken during Richard J. Daley's tenure. In 1979, Jane Byrne, the city's first female mayor, was elected. She was notable for temporarily moving into the crime-ridden Cabrini-Green housing project and for leading Chicago's school system out of a financial crisis.

 

In 1983, Harold Washington became the first black mayor of Chicago. Washington's first term in office directed attention to poor and previously neglected minority neighborhoods. He was re‑elected in 1987 but died of a heart attack soon after. Washington was succeeded by 6th ward alderperson Eugene Sawyer, who was elected by the Chicago City Council and served until a special election.

 

Richard M. Daley, son of Richard J. Daley, was elected in 1989. His accomplishments included improvements to parks and creating incentives for sustainable development, as well as closing Meigs Field in the middle of the night and destroying the runways. After successfully running for re-election five times, and becoming Chicago's longest-serving mayor, Richard M. Daley declined to run for a seventh term.

 

In 1992, a construction accident near the Kinzie Street Bridge produced a breach connecting the Chicago River to a tunnel below, which was part of an abandoned freight tunnel system extending throughout the downtown Loop district. The tunnels filled with 250 million US gallons (1,000,000 m3) of water, affecting buildings throughout the district and forcing a shutdown of electrical power. The area was shut down for three days and some buildings did not reopen for weeks; losses were estimated at $1.95 billion.

 

On February 23, 2011, Rahm Emanuel, a former White House Chief of Staff and member of the House of Representatives, won the mayoral election. Emanuel was sworn in as mayor on May 16, 2011, and won re-election in 2015. Lori Lightfoot, the city's first African American woman mayor and its first openly LGBTQ mayor, was elected to succeed Emanuel as mayor in 2019. All three city-wide elective offices were held by women (and women of color) for the first time in Chicago history: in addition to Lightfoot, the city clerk was Anna Valencia and the city treasurer was Melissa Conyears-Ervin.

 

On May 15, 2023, Brandon Johnson assumed office as the 57th mayor of Chicago.

 

Illinois is a state in the Midwestern region of the United States. It borders Great Lakes to its northeast, the Mississippi River to its west, and the Wabash and Ohio rivers to its south. Its largest metropolitan areas are Chicago and the Metro East region of Greater St. Louis. Other metropolitan areas include Peoria and Rockford, as well as Springfield, its capital, and Champaign-Urbana, home to the main campus of the state's flagship university. Of the fifty U.S. states, Illinois has the fifth-largest gross domestic product (GDP), the sixth-largest population, and the 25th-largest land area.

 

Illinois has a highly diverse economy, with the global city of Chicago in the northeast, major industrial and agricultural hubs in the north and center, and natural resources such as coal, timber, and petroleum in the south. Owing to its central location and favorable geography, the state is a major transportation hub: the Port of Chicago has access to the Atlantic Ocean through the Great Lakes and Saint Lawrence Seaway and to the Gulf of Mexico from the Mississippi River via the Illinois Waterway. Chicago has been the nation's railroad hub since the 1860s, and its O'Hare International Airport has been among the world's busiest airports for decades. Illinois has long been considered a microcosm of the United States and a bellwether in American culture, exemplified by the phrase Will it play in Peoria?.

 

Present-day Illinois was inhabited by various indigenous cultures for thousands of years, including the advanced civilization centered in the Cahokia region. The French were the first Europeans to arrive, settling near the Mississippi and Illinois River in the 17th century in the region they called Illinois Country, as part of the sprawling colony of New France. Following U.S. independence in 1783, American settlers began arriving from Kentucky via the Ohio River, and the population grew from south to north. Illinois was part of the United States' oldest territory, the Northwest Territory, and in 1818 it achieved statehood. The Erie Canal brought increased commercial activity in the Great Lakes, and the small settlement of Chicago became one of the fastest growing cities in the world, benefiting from its location as one of the few natural harbors in southwestern Lake Michigan. The invention of the self-scouring steel plow by Illinoisan John Deere turned the state's rich prairie into some of the world's most productive and valuable farmland, attracting immigrant farmers from Germany and Sweden. In the mid-19th century, the Illinois and Michigan Canal and a sprawling railroad network greatly facilitated trade, commerce, and settlement, making the state a transportation hub for the nation.

 

By 1900, the growth of industrial jobs in the northern cities and coal mining in the central and southern areas attracted immigrants from Eastern and Southern Europe. Illinois became one of America's most industrialized states and remains a major manufacturing center. The Great Migration from the South established a large community of African Americans, particularly in Chicago, who founded the city's famous jazz and blues cultures. Chicago became a leading cultural, economic, and population center and is today one of the world's major commercial centers; its metropolitan area, informally referred to as Chicagoland, holds about 65% of the state's 12.8 million residents.

 

Two World Heritage Sites are in Illinois, the ancient Cahokia Mounds, and part of the Wright architecture site. Major centers of learning include the University of Chicago, University of Illinois, and Northwestern University. A wide variety of protected areas seek to conserve Illinois' natural and cultural resources. Historically, three U.S. presidents have been elected while residents of Illinois: Abraham Lincoln, Ulysses S. Grant, and Barack Obama; additionally, Ronald Reagan was born and raised in the state. Illinois honors Lincoln with its official state slogan Land of Lincoln. The state is the site of the Abraham Lincoln Presidential Library and Museum in Springfield and the future home of the Barack Obama Presidential Center in Chicago.

Hashima Island, also commonly called Gunkanjima or "Battleship Island" (due to its shape resembling a battleship), is an abandoned island 15 kilometres off the coast of Nagasaki. The 16-acre island was a former industrial site for undersea coal mining that was first established in 1887. It drew controversy due to the fact that forced labourers worked there prior to and during WW II, while many skilled workers also lived there with their entire families. It was closed down in 1974 following depleted coal mines, and due to the fact that Japan was making the move to petroleum energy. The island is fascinating to see today, lying in ruin due to the harsh weather conditions and lack of human presence. Wild flowers can be seen sprouting up amongst the rubble, birds of prey circle overhead and fishermen journey there to fish standing on the outer perimeter walls. The island was featured in the 2012 Bond film "Skyfall", acting as the headquarters of Raoul Silva and is also a UNESCO World Heritage Site.

 

© 2017 James Gabriel Martin All Rights Reserved.

www.JamesGabrielMartinPhotography.com

 

The picture is photographed, precinct in a church, by the name Agia Fotine. The architect, Kostas Papatheodorou, created from the fragments of ancient Greek civilization.

"Wandering between the earth of Mantinea and sometimes wandering alone in the streets of Tripoli ... Pick over from the old stockyards materials, take them and then the chiselled by hand to find their place in the building that was to mark the course. It was a strange man.

For six months he lived in a tent next to the building in order not to lose valuable time;

working there all day, along with a few low-skilled workers from the surrounding villages."

 

Today he is 75 years old and is sometimes present in the area and sells paintings, his own creation. The day I visit the temple he was not present.

I would love to meet him, to express the congratulations of my.

His creation is so unique, he manage to join the ancient Greece with the present Greece in a perfect and intelligent way.

 

I dedicate this photo to him, to Kostas Papatheodorou, because I love people with passion and vision. The are so rare and so beutiful.

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

Text of Justice Kennedy's 2009 Commencement Address

Following is the text of the address by U.S. Supreme Court Justice Anthony Kennedy, as prepared for delivery at Stanford University's 118th Commencement on June 14, 2009:

 

President Hennessey, graduating students, and my fellow citizens in a world that must seek to come ever closer to the idea and reality of freedom under law. Thank you for inviting me to your Commencement. There is now clear evidence that, with President Hennessey, I have become a willing accomplice in the wacky walk.

 

Each of you graduates has your own story of the years at Stanford. Your story is bound up with your parents, your family and the loved ones who sustained you here. You—indeed all of us and the entire Nation—owe them warmest thanks.

 

Freedom must remain a central part of your story. From the beginning of our Republic, Americans have defined freedom by a moral principle. It is this: With our own freedom comes the duty to secure it for others. Freedom is the birthright of all. When we help others find freedom, we save our own.

 

Now, two people or two million people or two billion people cannot enjoy freedom without rules. So freedom goes hand in hand with law. This is just high school civics stuff. No surprise here. But the principles are so fundamental that it seems appropriate to discuss them at your commencement, as you consider how best to shape your life and your work.

 

Americans have the responsibility to try to advance law and freedom in other places. The task is daunting. For the stark truth is this: more than half the world lacks either the will or the power to embrace law and freedom as we know it. In struggling nations the jury on whether to pursue law and freedom is a jury that is still out. In the long run our last, best security is in the realm of ideas. It is urgent for our Nation and for you as young people to strive to make the case for the idea of law and freedom. We must make that case to a doubting world. On this question, the world must not be in search of two different destinies.

 

When lawyers make their case to a jury, they sometimes have a few hours. Attorneys in our Court have thirty minutes a side. Today, in order not to trespass upon your patience or delay your celebration, I shall take but eleven minutes more to make the case about your duties as the newest trustees of freedom.

 

We must be willing to persuade others to make law and freedom central in their own lives and their own Nation. For the past twenty years or so I have tried to visit China often to teach. Of course, on any given day, as in any classroom in any place, some students may fold their arms over their chests, the universal sign of resistance to the message or the messenger.

 

Still, there is an audience of eager students. They appear at least willing to consider finding common ground to pursue a common cause. This last fall China opened its first law school on the American model, a three year graduate program. The problem was how to select the entering class of about one hundred students from thousands of applicants. For those one hundred or so places there were thousands of highly qualified applicants, scientists and engineers, artists and humanities majors. The list was trimmed again, and then the committee decided to have interviews. One of the questions was: what inspired you to go to law school? Any number of students answered that it was a movie. Chinese students like to build their language skills by watching movies from England and the United States. So I thought, well, the movie that inspired them was 12 Angry Men, or To Kill a Mockingbird, or Witness for the Prosecution. Wrong answer. The movie was: Legally Blonde.

 

After watching the movie and then talking to the students at the new school, we found an explanation. The movie, after graduating from a college in California, depicts a young woman who decides to go to a famed, rigorous law school in the East. She is, or so it seems at first, the very caricature of some one so frivolous and naïve that the audience cannot take her seriously. So when she goes to the law school she takes a serious risk. She must enter a new, unfamiliar, unfriendly, threatening, small universe, one formerly closed to her. These Chinese students were taking a risk like that.

 

You must prepare to take some risks to make the case. You may enter a realm of ideas or a real world place where freedom is not just in doubt but opposed. You must find inventive, new ways to make the case for freedom. And to be prepared for this role, to be prepared to confront the reality of half a world without law and freedom, you must know what is at stake.

 

You must know that in Sri Lanka over a thousand people a year go to jail for three hundred sixty-five days for want of a one dollar fine.

 

You must know that there is an African country where a woman who is raped must pay five dollars to file a complaint with the police.

 

You must know that each year eight hundred thousand people – mostly women and children – are the subject of capture and trafficking for slavery and sexual exploitation. Human trafficking is one of the world’s most profitable businesses.

 

All of these failings come from the absence of the rule of law. You would think this would be clear to everyone. It is surprising, though, that the concept escapes so many.

 

In 1978, Alexander Solzhenitsyn gave a commencement speech. It was puzzling at first that, in a speech moving in so many other ways, he attacked the West for being too devoted to the law. After a few days I reached this conclusion: his understanding of law was simply different from our own. For him the concept, the history, the meaning of law made it a diktat, a ukase, a cold threat, a decree. We believe otherwise. For us the law is not an obstacle but the instrument of progress; not a command to be feared but a hope to be embraced; not a threat but a promise.

 

Let me give you another example of how absence of law takes away the chance for freedom. A recent U.N. Commission studied a populous, struggling country, and asked this question: “Suppose you want to open a bakery. How hard is it to get a business license?” The answer was: It takes over five hundred working days; over twenty agencies; and the cost is in excess of three and a half months wages for a skilled worker. So there is the other choice: pay a bribe and support a corrupt government where bribery itself is justified as the way to subsist.

 

The chance to build and own a small business is an essential part of any economy that seeks to establish law and freedom. That is why we want many of you to have economic success. A certain economic self sufficiency is necessary if we are to have some voice in planning our own destiny. This is essential in a world where governments are always waiting in the wings, all too eager to plan our destiny for us. And, as the bakery example shows, the legal infrastructure in over half the world cannot or will not allow the dream or the hope of owning a small business.

 

And in those same parts of the world neither can the legal infrastructure support basic improvements that engineers and builders otherwise could construct in short order. But you cannot build, say, a modern water system if there is no honest legal system to maintain it.

 

Consider the water crisis in the sub-Sahara. You have seen pictures of a stately, dignified woman in a flowing gown with a water jug on her head. That jug weighs more than the luggage allowance at the airport. The hours, the human hours, the toilsome hours, the heart-wrenching, backbreaking hours a woman spends just trying to bring water to the family are staggering.

 

By cautious estimates, on the African continent alone it takes over sixteen billion hours each year to bring water to the family. That is sixteen billion with a B. But new water systems cannot be built and maintained where corruption holds sway. This is not just because of the lack of money; it is because of the lack of law and property rights.

  

There are some who say your generation has less power than previous ones because a more interdependent world reduces our power to make unilateral policy choices. In my view this understates your capacity and potential. You are among a new generation of university graduates who see an interconnectedness in our world and its universe that far surpasses what previous generations could understand. An interconnected universe is manifest in all fields of learning and endeavors. The earth sciences teach this in a concrete, formal way. Science, and in particular quantum physics and astrophysics, may soon yield stunning explanations of dark matter and of our common link to the universe. As is evident in the new communications technology, this more interconnected world touches all of our work and culture, over the whole range of the sciences, law and business, and the arts and letters. "Legally blonde" in a law school a half a world away. The new awareness gives you new power. You have a potential to design and to create and to define and to project your own life and work, a potential far greater than given to your predecessors.

 

As you think how best to advance the idea of law and the freedom that it secures, please remember that you must understand our own heritage of freedom. This brings us back to the point of beginning. When the Americans rebelled, the world was puzzled. We said we wanted freedom, but it seemed to England and Europe that we were already the freest people the world knew. So we had to act at once to send a fax or an email explaining our case. This was the Declaration of Independence, and then, some eleven years later, came the Constitution of the United States. The result was, and has been this: As Americans we look to the Declaration of Independence, to the Constitution, to our heritage of freedom to define who we are. And let there be no doubt: This dynamic, by which the documents of liberty are part of our self identity, part of our self image, is the envy of oppressed peoples. But this linkage, this connection between the history of freedom and who we are can disappear if we ignore its dynamic force.

 

So it follows that the Constitution does not belong just to judges and attorneys. It is yours. And with this possession come serious responsibilities. It is not just the President who must preserve, protect, and defend the Constitution. All of us must do so. But you cannot preserve what you do not revere; you cannot protect what you have not learned; you cannot defend what you do not know.

 

If we are conscious of the heritage that defines us we are empowered in a special way. We come to this inevitable conclusion: law and freedom become even more priceless when we give them to others. That is why law and freedom are an ultimate expression of the human spirit. As Americans we know this and, indeed, we have the inward sense that it must be true.

 

This insight and empowerment can become all the greater for you who have studied at Stanford. Whatever your area of study, whatever your career, whatever deep personal hopes and aspirations you have, you should understand their basis in law and freedom. You must use this knowledge and power to work with your counterparts here and in other nations to advance law and freedom in your own time. If you do so, later generations will be more secure. And later generations will be grateful for the resolve you made here, for the resolve you made at this University, here at Stanford, here on this day, the day of your commencement.

 

Thank you. We wish you well.

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

A page from the c.1947 Official Handbook "Spotlight on Derby" discussing the work of the Council's Building Works Department who were involved in the construction of 'council' or social housing in the Borough's post-war housing push. It looks at the Department's trial; to build a Trusteel system property in 21 days, knocking off considerable time as against traditional 'wet trades' construction. Such properties were constructed in the Casson Avenue estate in the borough.

 

The four photos show progress at various stages over three weeks. At the time various construction methods, designed to either utilise scarce building materials in a more 'economical' way or to speed up production using prefabricated sections and using less skilled workers, were trialled with differing levels of success.

Griffith Observatory, 2800 East Observatory Road, Los Angeles.

 

Greeting visitors upon their arrival at Griffith Observatory, the fully restored Astronomers Monument is a large outdoor concrete sculpture on the front lawn that pays homage to six of the greatest astronomers of all time:

 

- Hipparchus (about 150 B.C.)

- Nicholas Copernicus (1473-1543)

- Galileo Galilei (1564-1642)

- Johannes Kepler (1571-1630)

- Isaac Newton (1642-1727)

- William Herschel (1738-1822)

 

The monument is an enduring product of the great economic depression of the 1930s, when New Deal initiatives created federally funded work programs to employ skilled workers in many fields at a time when they would otherwise remain idle and without income. One of the first of these programs, the Public Works of Art Project (PWAP), began in December 1933. Soon thereafter, in cooperation with the Los Angeles Park Commission, PWAP commissioned a sculpture project on the grounds of the new Observatory (which was under construction). Using a design by local artist Archibald Garner and materials donated by the Women's' Auxiliary of the Los Angeles Chamber of Commerce, Garner and five other artists sculpted and cast the concrete monument and figures. Each artist was responsible for sculpting one astronomer; one of the artists, George Stanley, was also the creator of the famous "Oscar" statuette.

 

On November 25, 1934 (about six months prior to the opening of the Observatory), a celebration took place to mark completion of the Astronomers Monument, which had proven to be the most ambitious creation of the PWAP. The only "signature" on the Astronomers Monument is "PWAP 1934" referring to the federal agency which funded the project and the year it was completed.

 

Like Los Angeles, the Griffith Observatory, a 1935 Art Deco masterpiece conceived by Russell Porter and designed by the firm Austin and Ashley, exists in several domains, illusory and real. Whether glimpsed in the movies—1955’s "Rebel Without a Cause" or 1984’s "The Terminator"—or as a twilight destination in the Hollywood Hills, the Griffith’s iconic three-domed structure, what longtime observatory director Edwin Krupp calls the “hood ornament of Los Angeles,” also provides that rare Los Angeles accident: true public space.

 

Sitting on the south-facing slope of Mount Hollywood in L.A.'s Griffith Park, it commands a view of the Los Angeles Basin, including downtown Los Angeles to the southeast, Hollywood to the south, and the Pacific Ocean to the southwest.

 

As a Works Progress Administration (WPA) project, construction began on June 20, 1933, using a design developed by architect John C. Austin based on preliminary sketches by Russell W. Porter. The observatory and accompanying exhibits were opened to the public on May 14, 1935. In its first five days of operation the observatory logged more than 13,000 visitors.

 

Included in the original design was a planetarium under the large central dome. The first shows covered topics including the Moon, worlds of the solar system, and eclipses. Since the observatory opened in 1935, admission has been free, in accordance with Griffith's will.

 

A major earthquake in Long Beach in March 1933 -- just as construction plans were being finalized -- led the architects to abandon the planned terra cotta exterior in favor of strengthening and thickening the building's concrete walls. Lower-than-usual prices caused by the Great Depression enabled the selection of the finest materials of the day for the interior walls, floors, and finishes, making the building both beautiful and durable. And a depression-era Federal public works program employed six sculptors to create a public sculpture at Griffith Observatory. The resulting Astronomers Monument, dedicated in November 1934, was hailed as one of the most important pieces of art to be completed by the program.

 

Its architecture combines Art Deco, Greek Revival and Beaux-Arts elements to bridge the real of the world we observe around us and the illusionary of the dimly glimpsed edges of the universe.

 

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

Aspernbrücke

The Aspern bridge in Vienna

The Aspern bridge crosses the Danube Canal in Vienna and connects the districts of Inner city and Leopold city.

Location

The Aspern bridge lies 800 meters northeast of St. Stephen's Cathedral and close to the Radetzky bridge where the river Wien flows into the Danube Canal. Immediately at the Aspern bridge is the Urania (Public Observatory and Culture Cinema), also located near are the former War Department (now Government House), the Wiener Rescue Center and the University of Applied Arts.

1863-1913

Aspernbrücke in the 1870s

The first Aspern bridge was from April 1863 as chain bridge at the expense of city expansion fund under the direction of Georg Rebhann (1824-1892) by the engineers Johann Fillunger (1807-1879) and Friedrich Schnirch (1791-1868) as an extension of the newly built Ring road into Leopoldstadt built. It was named on 14 July 1864 after the scene of victorious battle of Austrian troops under Archduke Charles of Austria-Teschen against the French under Napoleon Bonaparte.

Opened was the Aspern bridge on 30 November 1864 by Emperor Franz Joseph I in the framework of a large-scale, leading from North Station (Prater Stern) over the new (abundantly flagged) bridge to Schneider'schen house (Kärntner Ring 9) patriotic marching in of Austrian troops, having together with Prussia successfully participated in the Second Schleswig-Holstein war.

Construction characteristics of the bridge, inter alia, were: The bridge piers were carried out in limestone stemming from Oslip am Neusiedler See; the chain hoses were filled with Perlmoser Portland cement; the bridge deck wore a two-layer, on wooden planks (Bruckstreu) applied asphalt surface, the upper layer of which was mixed with gravel ballast.

For decoration were placed on the pedestals of the anchor chains allegorical figures of the artist Franz Melnitzky. Those symbolized war, peace, glory, prosperity. Before these figures were placed stone lions - also by Franz Melnitzky.

Two of the lions are now in the town of Horn (in Lower Austria) at the entrance to the castle (Wiener street).

Since the bridge with about ten meters wide meanwhile became too weak for traffic, it was, after a long discussion, demolished due to a council decision of 27 May 1913. For the pedestrians a temporary wooden bridge was built south of the bridge.

1913-1945

The construction work was carried out by bridge engineering company R. Ph. Waagner as well as L. & J. Biró & A. The architectural design was incumbent on Max Hegele, the site management had the Viennese Municipal Planning and Building and Control Office.

After the beginning of World War I, the construction works on the arch bridge got stuck. The iron skilled workers of the construction companies had to take up their duties in the armaments factories. After the war, although there were again enough skilled workers, however, there was missing coal for cement production.

Aspern Bridge was opened to traffic on November 30, 1919, the completion of final works on supporting structure, however, is logged with the July 26, 1922.

In the night from 9th to 10th April 1945, the Aspern bridge was blown up by the German Wehrmacht. In June 1945, Russian pioneers upstream the blown-up bridge built a temporary bridge, which on October 2, 1945 was opened for traffic.

After 1945

Night Lights (2009)

Between 1949 and 1951, the new Aspernbrücke according to plans of Erich Franz Leischner was built by the company Waagner Biro. The bridge has a length of 88.97 meters, a total width of 27.95 meters and a total weight of 925 tons. The construction costs amounted to 15.5 million shillings (about 1.13 million euros - 1,4333 million dollars).

 

Aspernbrücke

Die Aspernbrücke in Wien

Die Aspernbrücke überquert den Donaukanal in Wien und verbindet die Bezirke Innere Stadt und Leopoldstadt.

Lage

Die Aspernbrücke liegt 800 Meter nordöstlich des Stephansdoms und unweit der Radetzkybrücke, wo der Wienfluss in den Donaukanal mündet. Unmittelbar an der Aspernbrücke befindet sich die Urania (Volkssternwarte und Kulturkino), ebenfalls nahe gelegen sind das ehemalige Kriegsministerium (heute Regierungsgebäude), die Wiener Rettungszentrale und die Hochschule für Angewandte Kunst.

1863–1913

Aspernbrücke in den 1870er Jahren

Die erste Aspernbrücke wurde ab April 1863 als Kettenbrücke auf Kosten des Stadterweiterungsfonds unter der Leitung von Georg Rebhann (1824–1892) durch die Ingenieure Johann Fillunger (1807–1879) und Friedrich Schnirch (1791–1868) als Verlängerung der neu errichteten Ringstraße in die Leopoldstadt errichtet. Benannt wurde sie am 14. Juli 1864 nach dem Schauplatz der siegreichen Schlacht österreichischer Truppen unter Erzherzog Karl von Österreich-Teschen gegen die Franzosen unter Napoléon Bonaparte.

Eröffnet wurde die Aspernbrücke am 30. November 1864 durch Kaiser Franz Joseph I. im Rahmen eines groß angelegten, vom Nordbahnhof (Praterstern) über die neue (reichest beflaggte) Brücke zum Schneider’schen Haus (Kärntner Ring 9) führenden patriotischen Einzugs österreichischer Truppen, die gemeinsam mit Preußen am Zweiten Schleswig-Holsteinischen Krieg erfolgreich teilgenommen hatten.

Baumerkmale der Brücke waren unter anderem: Die Brückenpfeiler wurden in dem aus Oslip am Neusiedler See stammenden Kalkstein ausgeführt; die Kettenschläuche waren mit Perlmoser-Portlandzement ausgegossen; die Brückenfahrbahn trug eine zweilagige, auf Holzbohlen (Bruckstreu) aufgebrachte Asphaltdecke, deren obere Schicht mit Kiesschotter versetzt war.

Zur Dekoration wurde auf den Postamenten der Kettenanker allegorische Figuren des Künstlers Franz Melnitzky aufgestellt. Diese symbolisierten Krieg, Frieden, Ruhm, Wohlstand. Vor diesen Figuren wurden Steinlöwen – ebenfalls von Franz Melnitzky – platziert.

Zwei dieser Löwen befinden sich heute in der Stadt Horn beim Eingang zum Schloss (Wienerstraße).

Da die Brücke mit ungefähr zehn Metern Breite unterdessen für den Verkehr zu schwach war, wurde sie nach langer Diskussion auf Grund eines Gemeinderatsbeschlusses vom 27. Mai 1913 abgerissen. Für die Fußgänger wurde südlich der Brücke ein provisorischer hölzerner Steg errichtet.

1913–1945

Die Bauarbeiten wurden von der Brückenbauanstalt R. Ph. Waagner sowie L. & J. Biró & A. Kurz durchgeführt. Die architektonische Gestaltung oblag Max Hegele, die Bauleitung hatte das Wiener Stadtbauamt.

Nach Beginn des Ersten Weltkriegs stockten die Bauarbeiten an der Bogenbrücke. Die Eisenfacharbeiter der Baufirmen mussten ihren Dienst bei den Rüstungsbetrieben antreten. Nach Kriegsende gab es zwar wieder genügend Facharbeiter, allerdings fehlte dafür wieder an Kohle für die Zementerzeugung.

Für den Verkehr geöffnet wurde die Aspernbrücke am 30. November 1919. Der Abschluss der letzten Arbeiten am Tragwerk ist allerdings mit dem 26. Juli 1922 protokolliert.

In der Nacht vom 9. zum 10. April 1945 wurde die Aspernbrücke von der deutschen Wehrmacht gesprengt. Im Juni 1945 errichteten russische Pioniere oberhalb der gesprengten Brücke eine Notbrücke, die am 2. Oktober 1945 für den Verkehr freigegeben wurde.

Nach 1945

Nächtliche Beleuchtung (2009)

Zwischen 1949 und 1951 wurde die neue Aspernbrücke nach Plänen von Erich Franz Leischner von der Firma Waagner Biro errichtet. Die Brücke verfügt über eine Länge von 88,97 Meter, eine gesamte Breite von 27,95 Meter und ein Gesamtgewicht von 925 Tonnen. Die Baukosten betrugen 15,5 Millionen Schilling (ungefähr 1,13 Millionen Euro).

de.wikipedia.org/wiki/Aspernbr%C3%BCcke

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

Foreman Vladimir Shishkin (left) and crane operator Vladimir Tsirman are checking the progress at the Zhambyl Oblast.

 

Read more on:

Kazakhstan

Transport

CAREC Transport Corridor 1 (Zhambyl Oblast Section) Investment Program - Tranche 1

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

The Melvyn Maxwell Smith and Sara Stein Smith House also known as Myhaven is a Frank Lloyd Wright designed Usonian home that was constructed in Bloomfield Hills, Michigan in 1949 and 1950. Both were public school teachers living on a tight budget. During the two year construction period, the Smith's combined income was $280.00 per month. The house was to be 1800 square feet and featured radiant heating through hot water pipes installed in the floor slab. Like other Wright home designs, the house relied on passive solar energy. They received a housewarming gift from their friend Irving Goldberg of a maple dining table with eight maple chairs, two coffee tables and six hassocks, all designed by Frank Lloyd Wright. Wright called it "my little gem.”

The home is located near the Cranbrook Educational Community, and over the years, the Smiths built an extensive art collection, and the majority their works were by artists associated with Cranbrook. Among them are a massive chest by Paul R. Evans, a gazelle sculpture by Marshall Fredericks, and works by other artists including a sculpture by Sam Apple, exterior sculptures by Mike Calligan, weavings by Barbara Wittenburg, interior sculptures by Jim Messama, and a sculpted bust of Melvyn Smith by Robert Scheffman.[20] Cranbrook president Roy Slade praised the home as exemplifying "the integration of art, architecture and nature”. Architectural photographer Balthazar Korab produced a widely reproduced image of Calligan's "Natural Bridge" sculpture with the house as the backdrop.[11] Later, the Smiths collected works by Glenn Michaels, including an accordion screen, and a triptych mosaic installed above the fireplace. Sounding Sculpture by Harry Bertoia. At Wright's advice, Melvin Maxwell Smith decided to act as his own general contractor, so that he could save money and maintain the quality standards he expected. He recruited skilled workers who wanted to work on a home designed by Wright so much that they would accept lower pay than usual. Suppliers of building materials also provided goods such as 14,000 board feet of red tidewater cypress lumber at discounted prices because of their wish to be involved with a Wright project.[14] Shopping center developer A. Alfred Taubman provided all of the windows at a deep discount[15] because he considered the house a "fantastic structure”. en.wikipedia.org/wiki/Melvyn_Maxwell_and_Sara_Stein_Smith...

www.michiganmodern.org/buildings/melvyn-maxwell-and-sara-...

 

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

Efforts to clean up waste from the Manhattan Project and the Cold War are under way at the Y-12 National Security Complex. The seven projects there funded by $216 million from the Recovery Act are providing work for more than 1,500 Americans, many of whom had struggled in the recent recession.

 

In addition to the work at Alpha 5 and Beta 4, Recovery Act projects at Y-12 include the West End Mercury Area storm sewer cleanup project, removal of soil contaminated with mercury, and the cleanup of a 7-acre scrap yard. In January 2011, Recovery Act workers completed the demolition of Building 9211 at Y-12, which reduced the footprint of the Cold War legacy by more than 83,000 square feet.

 

Islamic architecture used mosaic technique to decorate religious buildings and palaces after the Muslim conquests of the eastern provinces of the Byzantine Empire. In Syria and Egypt the Arabs were influenced by the great tradition of Roman and Early Christian mosaic art. During the Umayyad Dynasty, mosaic making remained a flourishing art form in Islamic culture.

 

The most important early Islamic mosaic work is the decoration of the Umayyad Mosque in Damascus, then capital of the Arab Caliphate. The mosque was built between 706 and 715. The caliph obtained 200 skilled workers from the Byzantine Emperor to decorate the building. This is evidenced by the partly Byzantine style of the decoration. The mosaics of the inner courtyard depict Paradise with beautiful trees, flowers and small hill towns and villages in the background.

 

Literal representations of the Garden of Paradise are rare. The astonishing mosaic cycle applied around the courtyard of the Umayyad Mosque in Damascus, dating to the AH 2nd / AD 8th century, shows an idealised landscape with a sinuous river and an array of palaces and sophisticated buildings. That this pictorial cycle is based on Qur'anic descriptions is confirmed by the survival of a statement by one of the mosaicists involved: 'In the mosaics we represented what we found in the Qur'an with regard to trees and palaces of Paradise. And when a worker had executed a tree in a particularly fine manner the Caliph 'Umar would give him 30 dirhams as a reward.'

 

The mosaics include no human figures, which makes them different from the otherwise similar contemporary Byzantine works. The biggest continuous section survives under the western arcade of the courtyard, called the "Barada Panel" after the river Barada. It is thought that the mosque used to have the largest gold mosaic in the world, at over 4 m2. In 1893 a fire damaged the mosque extensively, and many mosaics were lost, although some have been restored since.

 

The mosaics of the Umayyad Mosque gave inspiration to later Damascene mosaic works. The Dome of the Treasury, which stands in the mosque courtyard, is covered with fine mosaics, probably dating from 13th- or 14th-century restoration work. The style of them are strikingly

(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)

Parliament building

The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.

Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.

Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.

Pallas Athene

Parliament Vienna

The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.

Meeting room of the former House of Representatives

The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the ​​of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.

Portico

The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.

www.wien-vienna.at/index.php?ID=1102

The Integrated Policy Exercise provides students with a week-long opportunity to work intensively on a policy issue. All students participate as part of a team representing different constituencies with an interest in the problem being studied. Working in groups of 7 to 10, students are assigned a role such as lobbying firm, public official, or economic group. Groups develop policy positions and prepare a political strategy to achieve their goal(s). More on IPE: fordschool.umich.edu/ipe

 

The Winter 2015 IPE, “Bolstering Detroit's Economic Renewal through Skilled Workers: Implementing Governor Snyder's Visa Plan” took place on January 5, 6, and 9, 2015 at the Ford School’s Joan and Sanford Weill Hall, and at the Detroit Institute of Arts in Detroit, MI. More on the 2015 topic and simulated media coverage: sites.google.com/a/umich.edu/fordschool-ipe-2015/home

Diane Delves knows what it takes to make it in a tough, demanding industry.

As the president of Quantum Properties, an Abbotsford-based development firm, she has had her fair share of challenges. Her reward

has been the pride of knowing that she operates a successful, respected company that builds homes for families.

 

“Without question, this is a fast-paced industry, but a rewarding one. You have to work hard to stay on top of the projects we have at various stages of development as well as keep a constant watch for new

opportunities,” states Delves.

 

The newest opportunity for Quantum will not be a property or building but will involve laying a different kind of foundation -- one that supports local students. Two new annual scholarships will soon be

offered at the University of the Fraser Valley: the Quantum Properties Entrance Scholarship for Women in the Faculty of Trades & Technology and the Quantum Properties Entrance Scholarship in Drafting.

 

Both awards have been created to give a boost to students seeking a career in the trades. Valued at $1,000, the scholarship for women in trades is directed to first-year students at UFV. Delves hopes that the financial incentive will encourage more young women to consider trades training. The $3,500 architectural drafting award will assist a mature student, possibly looking for a career change or a chance to combine their own experiences with a formal education. The awards will be available as of May 2009.

 

“I want to give those students who might not otherwise have an opportunity the chance to be rewarded for their choice or perseverance in their education,” noted Delves. “The trades are booming but we

have a real shortage in skilled labour -- now and looking to the future. Helping get more students into UFV can only mean we develop more highly skilled workers for my industry.”

    

- 30 -

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Confirmed panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

Islamic architecture used mosaic technique to decorate religious buildings and palaces after the Muslim conquests of the eastern provinces of the Byzantine Empire. In Syria and Egypt the Arabs were influenced by the great tradition of Roman and Early Christian mosaic art. During the Umayyad Dynasty, mosaic making remained a flourishing art form in Islamic culture.

 

The most important early Islamic mosaic work is the decoration of the Umayyad Mosque in Damascus, then capital of the Arab Caliphate. The mosque was built between 706 and 715. The caliph obtained 200 skilled workers from the Byzantine Emperor to decorate the building. This is evidenced by the partly Byzantine style of the decoration. The mosaics of the inner courtyard depict Paradise with beautiful trees, flowers and small hill towns and villages in the background.

 

Literal representations of the Garden of Paradise are rare. The astonishing mosaic cycle applied around the courtyard of the Umayyad Mosque in Damascus, dating to the AH 2nd / AD 8th century, shows an idealised landscape with a sinuous river and an array of palaces and sophisticated buildings. That this pictorial cycle is based on Qur'anic descriptions is confirmed by the survival of a statement by one of the mosaicists involved: 'In the mosaics we represented what we found in the Qur'an with regard to trees and palaces of Paradise. And when a worker had executed a tree in a particularly fine manner the Caliph 'Umar would give him 30 dirhams as a reward.'

 

The mosaics include no human figures, which makes them different from the otherwise similar contemporary Byzantine works. The biggest continuous section survives under the western arcade of the courtyard, called the "Barada Panel" after the river Barada. It is thought that the mosque used to have the largest gold mosaic in the world, at over 4 m2. In 1893 a fire damaged the mosque extensively, and many mosaics were lost, although some have been restored since.

 

The mosaics of the Umayyad Mosque gave inspiration to later Damascene mosaic works. The Dome of the Treasury, which stands in the mosque courtyard, is covered with fine mosaics, probably dating from 13th- or 14th-century restoration work.

The Postcard

 

A postally unused postcard bearing no publisher's name. In the space for the stamp is printed:

 

'Place Stamp Here.

ONE CENT for United

States and Island

Possessions, Cuba,

Canada and Mexico.

TWO CENTS for

Foreign'.

 

This postal rate was in force in the United States from the 1st. July 1919 to the 6th. July 1932.

 

On the divided back of the card is printed:

 

'The Woolworth Building,

New York City.

Occupies a plot 152x197 feet

at Broadway and Barclay Street.

It is the tallest building in the

world, rising to a height of

750 feet.

55 stories above the ground.

The foundation consists of

caissons 19 feet in diameter

sunk to bedrock, 110 to 130

feet below the ground.

Total cost is estimated at

$15,000,000'.

 

Irving Underhill

 

The photography was by Irving Underhill (1872 - 1960) of New York. Irving was one of the most notable commercial photographers in New York City during the first half of the 20th. century.

 

Irving produced work that was frequently featured on postcards and in numerous publications while he was alive, and his work continues to be exhibited and receive recognition long after his death.

 

The Woolworth Building

 

The Woolworth Building is a residential building and early skyscraper at 233 Broadway in the Tribeca neighborhood of Lower Manhattan in NYC.

 

Designed by Cass Gilbert, it was the tallest building in the world from 1913 to 1930, with a height of 792 feet (241 m). More than a century after its construction, it remains one of the 100 tallest buildings in the U.S..

 

The Woolworth Building consists of a 30-story base topped by a 30-story tower. Its façade is mostly decorated with architectural terracotta, though the lower portions are limestone, and it features thousands of windows.

 

The ornate lobby contains various sculptures, mosaics, and architectural touches. The structure was designed with several amenities and attractions, including a now-closed observatory on the 57th. floor and a private swimming pool in the basement.

 

F. W. Woolworth, the founder of a brand of popular five-and-ten-cent stores, conceived the skyscraper as a headquarters for his company. Woolworth planned the skyscraper jointly with the Irving National Exchange Bank, which also agreed to use the structure as its headquarters.

 

The Woolworth Building had originally been planned as a 12- to 16-story commercial building, but it underwent several revisions during its planning process. Construction started in 1910, although the building's final height was not decided upon until January 1911. The building officially opened on the 24th. April 1913.

 

The Woolworth Building has undergone several changes throughout its history. The façade was cleaned in 1932, and the building received an extensive renovation between 1977 and 1981.

 

The Irving National Exchange Bank moved its headquarters to 1 Wall Street in 1931, but the Woolworth Company (later Venator Group) continued to own the Woolworth Building for most of the 20th. century.

 

The structure was sold to the Witkoff Group in 1998. The top 30 floors were sold to a developer in 2012 and converted into residences.

 

Office and commercial tenants use the rest of the building.

 

-- Architecture of the Woolworth Building

 

Cass Gilbert designed the Woolworth Building in the neo-Gothic style. The building resembles European Gothic cathedrals; Reverend S. Parkes Cadman dubbed it "The Cathedral of Commerce" in a booklet published in 1916.

 

F. W. Woolworth, who had devised the idea for the Woolworth Building, had proposed using the Victoria Tower as a model for the building; he reportedly also admired the design of Palace of Westminster.

 

Gilbert, by contrast, disliked the comparison to religious imagery. The architect ultimately used 15th.- and 16th.-century Gothic ornament on the Woolworth Building, along with a complementary color scheme.

 

The Woolworth Building was designed to be 420 feet (130 m) high, but was eventually raised to 792 feet (241 m).

 

The Woolworth Building was 60 stories tall when completed in 1913, though this consisted of 53 usable floors topped by several mechanical floors.

 

The building's ceiling heights, ranging from 11 to 20 feet (3.4 to 6.1 m), make it the equivalent of an 80-story building. It remained the tallest building in the world until the construction of 40 Wall Street and the Chrysler Building in 1930, both in New York City.

 

The building is assigned its own ZIP Code; it was one of 41 buildings in Manhattan that had their own ZIP Codes as of 2019.

 

-- The Form of the Woolworth Building

 

The building's tower, flush with the main frontage on Broadway, joins an office block base with a narrow interior court for light. The base occupies the entire lot between Park Place to the north, Broadway to the east, and Barclay Street to the south.

 

The site measures 155 feet (47 m) wide on Broadway and 200 feet (61 m) wide on both Park Place and Barclay Street. The base contains two "wings" extending westward, one each on the Park Place and Barclay Street frontages, which form a rough U-shape when combined with the Broadway frontage.

 

This ensured that all offices had outside views. The U-shaped base is approximately 30 stories tall. All four elevations of the base are decorated, since the building has frontage on all sides.

 

The tower rises an additional 30 stories above the eastern side of the base, abutting Broadway. Above the 30th. floor are setbacks on the north and south elevations. There are additional setbacks along the north, south, and west elevations on the 45th. and 50th. floors.

 

The 30th. through 45th. floors measure 84 by 86 feet (26 by 26 m); the 46th. through 50th. floors, 69 by 71 feet (21 by 22 m); and the 51st. through 53rd. floors, 69 by 61 feet (21 by 19 m).

 

The tower has a square plan below the 50th.-story setback and an octagonal plan above. Though the structure is physically 60 stories tall, the 53rd. floor is the top floor that can be occupied. Above the 53rd. floor, the tower tapers into a pyramidal roof.

 

-- The Façade of the Woolworth Building

 

The lowest four stories are clad in limestone. Above that, the exterior of the Woolworth Building was cast in limestone-colored, glazed architectural terracotta panels.

 

F. W. Woolworth initially wanted to clad the skyscraper in granite, while Gilbert wanted to use limestone. The decision to use terracotta for the façade was based on both aesthetic and functional concerns.

 

Terracotta was not only fireproof but also, in Gilbert's mind, a purely ornamental addition clarifying the Woolworth Building's steel construction. Each panel was of a slightly different color, creating a polychrome effect.

 

The façade appeared to have a uniform tone, but the upper floors were actually darker and more dense. Behind the terracotta panels were brick walls; the terracotta pieces are attached to the brick walls by metal rods and hangers.

 

The Atlantic Terra Cotta Company provided the original terracotta cladding. The panels were manufactured in shades of blue, green, sienna, and rose. The terracotta panels were partially vitrified, allowing them to bear large loads.

 

Gilbert also asked that John Donnelly and Eliseo V. Ricci create full-size designs based on Atlantic Terra Cotta's models.

 

In 1932, Atlantic Terra Cotta carried out a comprehensive cleaning campaign of the Woolworth's façade in order to remove blackening caused by the city's soot and pollution.

 

The Ehrenkrantz Group restored the building's façade between 1977 and 1981. During the renovation, much of the terracotta was replaced with concrete and Gothic ornament was removed.

 

The building has several thousand windows: the exact number is disputed, but various sources state that the Woolworth Building has 2,843, 4,400, or 5,000 windows.

 

Windows were included for lighting and comfort; because the Woolworth Building was built before air conditioning became common, every office is within 10 feet (3.0 m) of a window.

 

Some of the Woolworth Building's windows are set within arch-shaped openings. Most of the building's spandrels, or triangles between the top corners of the window and the top of the arch, have golden Gothic tracery against a bright blue backdrop.

 

On the 25th., 39th., and 40th. stories, the spandrels consist of iconography found in the royal coat of arms of the United Kingdom.

 

Gold-on-blue tracery is also found on the 26th., 27th., and 42nd. floors.

 

-- The Base of the Woolworth Building

 

The main entrance on Broadway is a three-story Tudor arch, surrounded on either side by two bays: one narrower than the main arch, the other wider. The five bays form a triumphal arch overhung by a balcony and stone motifs of Gothic design.

 

The intrados of the arch contains 23 niches. The topmost niche depicts an owl; the lowest niches on both sides depict tree trunks; and the other twenty niches depict animated figures.

 

The spandrel above the left side of the arch depicts Mercury, classical god of commerce, while that above the right side depicts Ceres, classical goddess of agriculture.

 

Above all of this is an ogee arch with more niches, as well as two carvings of owls hovering above a "W" monogram. There are salamanders within niches on either side of the main entrance.

 

Inside the triumphal arch, there is a smaller arch with a revolving door and a Tudor window; it is flanked by standard doors and framed with decorations. There is a pelican above this smaller arch.

 

-- The Tower Section of the Woolworth Building

 

At the 45th.- and 50th.-story setbacks, there are turrets at each corner of the tower. The northeast corner turret concealed a smokestack.

 

There is a pyramidal roof above the 53rd. floor, as well as four ornamental tourelles at the four corners of the tower. The roof was originally gilt but is now green. The pyramidal roof, as well as the smaller roofs below, used 40,000 square feet (3,700 m2) of gold leaf.

 

The main roof is interspersed with small dormers, which contain windows into the maintenance levels inside. The pyramidal roof is topped by another pyramid with an octagonal base and tall pointed-arch windows. In turn, the octagonal pyramid is capped by a spire.

 

The three layers of pyramids are about 62 feet (19 m), or five stories tall. An observation deck was located at the 55th. floor, about 730 feet (220 m) above ground level. The deck, which was octagonal in plan, measuring 65 feet (20 m) across, was accessed by a glass-walled elevator.

 

It was patronized by an estimated 300,000 visitors per year, but was closed as a security measure in 1941 after the Pearl Harbor attack.

 

Strongly articulated piers, which carry right to the pyramidal cap without intermediate cornices, give the building its upward thrust. This was influenced by Aus's belief that:

 

"From an engineering point of view,

no structure is beautiful where the

lines of strength are not apparent."

 

The copper roof is connected to the Woolworth Building's steel superstructure, which serves to ground the roof electrically. The Gothic detailing concentrated at the highly visible crown is over-scaled, and the building's silhouette could be made out from several miles away.

 

Gilbert's choice of the Gothic style was described as "an expression of the verticality of the tower form", and as Gilbert himself later wrote, the style was "light, graceful, delicate and flame-like".

 

Gilbert considered several proposals for exterior lighting, including four powerful searchlights atop nearby buildings and a constantly rotating lamp at the apex of the Woolworth Building's roof.

 

Ultimately, the builders decided to erect nitrogen lamps and reflectors above the 31st. floor, and have the intensity of the lighting increase with height.

 

-- Structural Features of the Woolworth Building

 

-- The Substructure

 

In contrast to other parts of Manhattan, the bedrock beneath the site is relatively deep, descending to between 110 and 115 feet (34 and 35 m) on average. The site also has a high water table, which is as shallow as 15 feet (4.6 m) below ground level.

 

Due to the geology of the area, the building is supported on 69 massive caissons that descend to the bedrock. The caissons range in depth from 100 to 120 feet (30 to 37 m).

 

To give the structure a sturdy foundation, the builders used metal tubes 19 feet (5.8 m) in diameter filled with concrete. These tubes were driven into the ground with a pneumatic caisson process to anchor the foundations to the bedrock.

 

Because the slope of the bedrock was so sharp, steps had to be carved into the rock before the caissons could be sunk into the ground. The caissons were both round and rectangular, with the rectangular caissons located mainly on the southern and western lot lines.

 

The caissons are irregularly distributed across the site, being more densely concentrated at the northeastern corner. This is because the building was originally planned to occupy a smaller site at the corner of Broadway and Park Place; when the site was enlarged, the caissons that had already been installed were left in place.

 

The two basement levels, descending 55 feet (17 m), are constructed of reinforced concrete.

 

-- The Superstructure

 

Whereas many earlier buildings had been constructed with load-bearing walls, which by necessity were extremely thick, the Woolworth Building's steel superstructure was relatively thin, which enabled Gilbert to maximize the building's interior area.

 

Engineers Gunvald Aus and Kort Berle designed the steel frame. Each column carries a load of 24 tons per square foot, supporting the building's overall weight of 233,000 tons.

 

Where the columns of the superstructure did not match up with the caissons, they were cantilevered above on plate girders between two adjoining caissons. These girders are extremely large; one such girder measures 8 feet (2.4 m) deep, 6.75 feet (2 m) wide, and 23 feet (7.0 m) long.

 

For the wind bracing, the entire Woolworth Building was considered as a vertical cantilever, and correspondingly large girders and columns were used in the construction.

 

-- Interior

 

Upon completion, the Woolworth Building contained seven water systems — one each for the power plant, the hot-water plant, the fire-protection system, the communal restrooms, the offices with restrooms, the basement swimming pool, and the basement restaurant.

 

Although the water is obtained from the New York City water supply system, much of it is filtered and reused. A dedicated water system, separate from the city's, was proposed during construction, but workers abandoned the plan after unsuccessfully digging 1,500 feet (460 m) into Manhattan's bedrock.

 

The Woolworth Building was the first structure to have its own power plant, with four Corliss steam engine generators totaling a capacity of 1,500 kilowatt-hours; the plant could support 50,000 people.

 

The building also had a dedicated heating plant with six boilers producing 2,500 horsepower. The boilers were fed from subterranean coal bunkers capable of holding over 2,000 tons of anthracite coal.

 

-- Lobby

 

The ornate, cruciform lobby, known as the "arcade", was characterized by the New York City Landmarks Preservation Commission as:

 

"One of the most spectacular of

the early 20th. century in New

York City".

 

It consists of two perpendicular, double-height passageways with barrel-vaulted ceilings. Where the passageways intersect, there is a domed ceiling. The dome contains pendentives that may have been patterned after those of the Mausoleum of Galla Placidia.

 

Veined marble from the island of Skyros in Greece covers the lobby. Patterned glass mosaics that contain blue, green, and gold tiling with red accents decorate the ceilings.

 

There are other Gothic-style decorations in the lobby, including on the cornice and the bronze fittings. Twelve plaster brackets, which carry grotesques depicting major figures in the building's construction, are placed where the arcade and the mezzanine intersect.

 

These ornaments include Gilbert with a model of the building, Aus taking a girder's measurements, and Woolworth holding nickels and dimes. Two ceiling murals by C. Paul Jennewein, titled Labor and Commerce, are located above the mezzanine where it crosses the south and north wings, respectively.

 

The staircase hall is a two-story room located to the west of the arcade. It consists of the ground level, which contains former storefronts, as well as a mezzanine level above it. The ground floor originally contained 18 storefronts.

 

A 15-foot-wide (4.6 m) marble staircase leads westward from the arcade to a mezzanine, where the entrance to the Irving National Exchange Bank office was formerly located. The mezzanine contains a stained-glass skylight surrounded by the names of several nations. The skylight contains the dates 1879 and 1913, which respectively signify the years of the Woolworth Company's founding and the building's opening.

 

The skylight is also surrounded by sculpted grotesques, which depict merchandising activities in the five-and-dime industry.

 

There is a smaller space west of the staircase hall with a one-story-high ceiling. This room contains a coffered ceiling with a blue-green background. The crossbeams contain Roman portrait heads, while the cornice contains generic sculpted grotesques.

 

-- Basement

 

The basement of the Woolworth Building contains an unused bank vault, restaurant, and barbershop. The bank vault was initially intended to be used for safe-deposit boxes, though it was used by the Irving National Exchange Bank in practice.

 

In 1931, Irving moved some $3 billion of deposits to a vault in its new headquarters at 1 Wall Street, and the Woolworth Building's vault was converted into a storage area for maintenance workers.

 

There is also a basement storage room, known as the "bone yard", which contains replacement terracotta decorations for the facade.

 

The basement also contains closed entrances to two New York City Subway stations. There was an entrance to the Park Place station directly adjacent to the building's north elevation, served by the 2 and ​3 trains. This entrance was closed after the September 11 attacks in 2001.

 

Another entrance led to the City Hall station one block north, now served by the R and ​W trains, but this was closed in 1982 because of concerns over crime.

 

A private pool, originally intended for F. W. Woolworth, exists in the basement. Proposed as early as 1910, the pool measured 15 by 55 feet (4.6 by 16.8 m) and had a marble perimeter.

 

The pool was later drained, but was restored in the mid-2010's as part of the conversion of the Woolworth Building's upper floors into residential units.

 

-- Offices

 

At the time of construction, the Woolworth Building had over 2,000 offices. Each office had ceilings ranging from 11 to 20 feet (3.4 to 6.1 m) high. Gilbert had designed the interior to maximize the amount of usable office space, and correspondingly, minimize the amount of space taken up by the elevator shafts.

 

The usable-space consideration affected the placement of the columns in the wings, as the columns in the main tower were positioned around the elevator shafts and facade piers.

 

Each of the lowest 30 stories had 31 offices, of which ten faced the light court, eight faced Park Place, eight faced Barclay Street, and five faced Broadway. Above the 30th.-story setback, each story had 14 offices.

 

For reasons that are unknown, floor numbers 42, 48, and 52 are skipped.

 

Woolworth's private office on the 24th. floor, revetted in green marble in the French Empire style, is preserved in its original condition. His office included a mahogany desk with a leather top measuring 7.5 by 3.75 feet (2.29 by 1.14 m).

 

That desk contained a hidden console with four buttons to request various members of his staff.

 

The marble columns in the office are capped by gilded Corinthian capitals. Woolworth's reception room contained objects that were inspired by a visit to the Château de Compiègne shortly after the building opened.

 

These included a bronze bust of Napoleon, a set of French Empire-style lamps with gold figures, and an inkwell with a depiction of Napoleon on horseback.

 

The walls of the office contained portraits of Napoleon, and gold-and-scarlet chairs were arranged around the room. At some point, Woolworth replaced the portrait of Napoleon with a portrait of himself.

 

-- Elevators

 

The Woolworth Building contains a system of high-speed elevators capable of traveling 650 feet (200 m) or 700 feet (210 m) per minute. The Otis Elevator Company supplied the units, which were innovative in that there were "express" elevators, stopping only at certain floors, and "local" elevators, stopping at every floor between a certain range.

 

There were 26 Otis electric elevators with gearless traction, as well as an electric-drum shuttle elevator within the tower once construction was complete. Of these, 24 were passenger elevators. Two freight elevators and two emergency staircases were placed at the rear of the building.

 

The elevator doors in the lobby were designed by Tiffany Studios. The patterns on the doors are arabesque tracery patterns in etched steel set off against a gold-plated background.

 

-- History of the Woolworth Building

 

-- Planning

 

F. W. Woolworth, an entrepreneur who had become successful because of his "Five-and-Dime" (5- and 10-cent stores), began planning a new headquarters for the F. W. Woolworth Company in 1910.

 

Around the same time, Woolworth's friend Lewis Pierson was having difficulty getting shareholder approval for the merger of his Irving National Bank and the rival New York Exchange Bank.

 

Woolworth offered to acquire shares in New York Exchange Bank and vote in favor of the merger if Pierson agreed to move the combined banks' headquarters to a new building he was planning as the F. W. Woolworth Company's headquarters.

 

Having received a commitment from the banks, Woolworth acquired a corner site on Broadway and Park Place in Lower Manhattan, opposite City Hall.

 

Woolworth and the Irving National Exchange Bank then set up the Broadway-Park Place Company to construct and finance the proposed structure. Initially, the bank was supposed to purchase the company's stock gradually until it owned the entire company, and thus, the Woolworth Building.

 

Irving would be able to manage the 18 floors of rentable space on a 25-year lease. While negotiations to create the Broadway-Park Place Company were ongoing, Woolworth and his real estate agent Edward J. Hogan purchased several parcels from the Trenor Luther Park estate and other owners.

 

The entire footprint of the current building, a rectangular lot, had been acquired by the 15th. April 1910, at a total cost of $1.65 million (about $37.7 million in 2022).

 

-- Original designs

 

Woolworth commissioned Cass Gilbert to design the new building. Gilbert later mentioned that he had received the commission for the Woolworth Building after getting a phone call from Woolworth one day.

 

Woolworth wanted his new structure to be of similar design to the Palace of Westminster in London, which was designed in the Gothic style. At the time, Gilbert was well known for constructing modern skyscrapers with historicizing design elements.

 

Gilbert was originally retained to design a standard 12- to 16-story commercial building for Woolworth, who later said:

 

"I have no desire to erect a monument

that would cause posterity to remember

me".

 

However, Woolworth then wanted to surpass the nearby New York World Building, which sat on the other side of City Hall Park and stood 20 stories and 350 feet (110 m).

 

A drawing by Thomas R. Johnson, dated April 22 1910, shows a 30-story building rising from the site. Because of the change in plans, the organization of the Broadway-Park Place Company was rearranged.

 

Woolworth would now be the major partner, contributing $1 million of the planned $1.5 million cost. The Irving Bank would pay the balance, and it would take up a 25-year lease for the ground floor, fourth floor, and basement.

 

By September 1910, Gilbert had designed an even taller structure, with a 40-story tower on Park Place adjacent to a shorter 25-story annex, yielding a 550-foot (170 m)-tall building.

 

The next month, Gilbert's latest design had evolved into a 45-story tower roughly the height of the nearby Singer Building. After the latest design, Woolworth wrote to Gilbert in November 1910 and asked for the building's height to be increased to 620 feet (190 m), which was 8 feet (2.4 m) taller than the Singer Building, Lower Manhattan's tallest building.

 

Woolworth was inspired by his travels in Europe, where he would constantly be asked about the Singer Building. He decided that housing his company in an even taller building would provide invaluable advertising for the F. W. Woolworth Company and make it renowned worldwide.

 

This design, unveiled to the public the same month, was a 45-story tower rising 625 feet (191 m), sitting on a lot by 105 by 197 feet (32 by 60 m). Referring to the revised plans, Woolworth said:

 

"I do not want a mere building.

I want something that will be an

ornament to the city."

 

He later said that he wanted visitors to brag that they had visited the world's tallest building.

 

Louis J. Horowitz, president of the building's main contractor Thompson-Starrett Company, said of Woolworth:

 

"Beyond a doubt his ego was a thing

of extraordinary size; whoever tried to

find a reason for his tall building and

did not take that fact into account would

reach a false conclusion."

 

Even after the revised height was unveiled, Woolworth still yearned to make the building even taller, as it was now close to the 700-foot (210 m) height of the Metropolitan Life Insurance Company Tower, then the tallest building in New York City and the world.

 

On the 20th. December 1910, Woolworth sent a team of surveyors to measure the Metropolitan Life Tower's height and come up with a precise measurement, so that he could make his skyscraper 50 feet (15 m) taller.

 

He then ordered Gilbert to revise the building's design to reach 710 or 712 feet (216 or 217 m), despite ongoing worries over whether the additional height would be worth the increased cost.

 

In order to fit the larger base that a taller tower necessitated, Woolworth bought the remainder of the frontage on Broadway between Park Place and Barclay Street. He also purchased two lots to the west, one on Park Place and one on Barclay Street; these lots would not be developed, but would retain their low-rise buildings and preserve the proposed tower's views.

 

Such a tall building would produce the largest income of any building globally.

 

On the 1st. January 1911, the New York Times reported that Woolworth was planning a 625 feet (191 m) building at a cost of $5 million.

 

By the 18th. January 1911, Woolworth and Hogan had acquired the final site for the project at a total cost of $4.5 million; (about $103 million in 2022) the lot measured 152 feet (46 m) on Broadway, 192.5 feet (58.7 m) on Barclay Street, and 197.8 feet (60 m) on Park Place.

 

In a New York Times article two days later, Woolworth said that his building would rise 750 feet (230 m) to its tip. In order to fit the correct architectural proportions, Gilbert redesigned the building to its current 792-foot (241 m) height.

 

Renderings by the illustrator Hughson Hawley, completed in April 1911, are the first official materials that reflect this final height.

 

Gilbert had to reconcile both Woolworth's and Pierson's strict requirements for the design of the structure. The architect's notes describe late-night conversations that he had with both men. The current design of the lobby, with its arcade, reflected these conflicting pressures.

 

Sometimes Gilbert also faced practical conundrums, such as Woolworth's requirement that:

 

There must be many windows so divided

that all of the offices should be well lighted,

and so that tenants could erect partitions to

fit their needs."

 

Gilbert wrote that:

 

"This requirement naturally

prevented any broad wall

space".

 

Woolworth and Gilbert sometimes clashed during the design process, especially because of the constantly changing designs and the architect's fees. Nevertheless, Gilbert commended Woolworth's devotion to the details and beauty of the building's design, as well as the entrepreneur's enthusiasm for the project.

 

Such was the scale of the building that Gilbert noted:

 

"For several years my sense of scale was

destroyed because of the unprecedented

attuning of detail to, for these days, such

an excessive height".

 

-- Construction of the Woolworth Building

 

In September 1910, wrecking crews demolished the five and six-story structures which previously occupied the site. Construction officially began on the 4th. November 1910, with excavation by The Foundation Company, using a contract negotiated personally by Frank Woolworth.

 

The start of construction instantly raised the site's value from $2.25 million to $3.2 million. The contract of over $1 million was described as the largest contract for foundation construction ever awarded in the world.

 

It took months for Woolworth to decide upon the general construction company. George A. Fuller's Fuller Company was well experienced and had practically invented skyscraper construction.

 

However Louis Horowitz's Thompson-Starrett Company was local to New York, and despite being newer, Horowitz had worked for Fuller before, and thus had a similar knowledge base.

 

On the 20th. April 1911, Thompson-Starrett won the contract with a guaranteed construction price of $4,308,500 for the building's frame and structural elements.

 

The company was paid $300,000 for their oversight and management work, despite Woolworth's attempts to get the company to do the job for free due to the prestige of the project.

 

On the 12th. June 1911, the Atlantic Terra Cotta Company received a $250,000 contract to manufacture the terracotta.

 

The next month, Donnelly and Ricci received the $11,500 contract for the terracotta work and some of the interior design work. Gilbert requested Atlantic Terra Cotta use an office next to his while they drew several hundred designs.

 

The construction process involved hundreds of workers, and daily wages ranged from $1.50 for laborers (equivalent to $44 in 2022) to $4.50 for skilled workers (equivalent to $133 in 2022).

 

By August 1911, the building's foundations were completed ahead of the target date of the 15th. September; construction of the skyscraper's steel frame began on the 15th. August.

 

The steel beams and girders used in the framework weighed so much that, to prevent the streets from caving in, a group of surveyors examined them on the route along which the beams would be transported.

 

The American Bridge Company provided steel for the building from their foundries in Philadelphia and Pittsburgh; manufacturing took over 45 weeks.

 

The first above-ground steel had been erected by October 1911, and installation of the building's terracotta began on the 1st. February 1912.

 

The building rose at the rate of 1½ stories a week, and the steelworkers set a speed record for assembling 1,153 tons of steel in six consecutive eight-hour days.

 

By the 18th. February 1912, work on the steel frame had reached the building's 18th. floor. By the 6th. April 1912, the steel frame had reached the top of the base at the 30th. floor, and work then began on constructing the tower of the Woolworth Building.

 

Steel reached the 47th. floor by the 30th. May, and the official topping out ceremony took place two weeks ahead of schedule on the 1st. July 1912, as the last rivet was driven into the summit of the tower.

 

The skyscraper was substantially completed by the end of that year. The final estimated construction cost was US$13.5 million (equivalent to $400,000,000 in 2022), up from the initial estimates of US$5 million for the shorter versions of the skyscraper (equivalent to $148,000,000 in 2022).

 

Woolworth provided $5 million, while investors provided the remainder, and financing was completed by August 1911.

 

-- Opening and the 1910's

 

The building opened on the 24th. April 1913. Woolworth held a grand dinner on the building's 27th. floor for over 900 guests, and at exactly 7:30 p.m. EST, President Woodrow Wilson pushed a button in Washington, D.C., to turn on the building's lights. Additional congratulations were sent via letter from former President William Howard Taft, Governor of New Jersey James Fairman Fielder and United States Secretary of the Navy Josephus Daniels.

 

The building was declared ready for occupancy on the 1st. May 1913, and Woolworth began advertising the offices for rent beginning at $4.00 per square foot.

 

To attract tenants, Woolworth hired architecture critic Montgomery Schuyler to write a 56-page brochure outlining the building's features. Schuyler later described the Woolworth Building as the "noblest offspring" of buildings erected with steel skeletons.

 

On completion, the Woolworth Building topped the record set by the Metropolitan Life Insurance Company Tower as the world's tallest building, a distinction it held until 1930.

 

Woolworth had purchased all of the Broadway-Park Place Company's shares from the Irving National Exchange Bank by May 1914; his company held no ownership stake in the building.

 

The building contained offices for as many as 14,000 employees. By the end of 1914, the building was 70% occupied and generating over $1.3 million a year in rents for the F. W. Woolworth Company.

 

-- The Woolworth Building in the 1920's to 1960's

 

During the Great War, only one of the Woolworth Building's then-14 elevators was turned on, and many lighting fixtures in hallways and offices were turned off. This resulted in about a 70% energy reduction compared to peacetime requirements.

 

The building had more than a thousand tenants by the 1920's, who generally occupied suites of one or two rooms. These tenants reportedly collectively employed over 12,000 people in the building.

 

In 1920, after F. W. Woolworth died, his heirs obtained a $3 million mortgage loan on the Woolworth Building from Prudential Life Insurance Company in order to pay off $8 million in inheritance tax.

 

By this point, the building was worth $10 million and grossed $1.55 million per year in rental income. The Broadway-Park Place Corporation agreed to sell the building to Woolco Realty Co., a subsidiary of the F. W. Woolworth Company, in January 1924 at an assessed valuation of $11.25 million (about $153 million in 2022).

 

The company paid $4 million in cash and obtained a five-year, $11 million mortgage from Prudential Life Insurance Company at an annual interest rate of 5.5%. The sale was finalized in April 1924, after which F. W. Woolworth's heirs no longer had any stake in the building.

 

In 1927, the building's pinnacle was painted green, and the observation tower was re-gilded for over $25,000 (about $340,647 in 2022). The Atlantic Terra Cotta Company cleaned the Woolworth Building's façade in 1932.

 

Prudential extended its $3.7 million mortgage on the building by ten years in 1939, and the observation deck was closed after the bombing of Pearl Harbor in 1941.

 

Ten of the building's 24 elevators were temporarily disabled in 1944 because of a shortage of coal. The next year, the building's owners replaced the elevators and closed off the building above the 54th. story.

 

By 1953, a new chilled water air conditioning system had been installed, bringing individual room temperature control to a third of the building.

 

The old car-switch-control elevators had been replaced with a new automatic dispatching systems and new elevator cars. The structure was still profitable by then, although it was now only the sixth-tallest building, and tourists no longer frequented the Woolworth Building.

 

The building's terracotta façade deteriorated easily, and, by 1962, repairs to the terracotta tiles were occurring year-round.

 

The Woolworth Company had considered selling the building as early as the 1960's, though the planned sale never happened.

 

-- Restoration and Landmark Status

 

The National Park Service designated the Woolworth Building as a National Historic Landmark in 1966. The New York City Landmarks Preservation Commission (LPC) considered giving the Woolworth Building official city-landmark status in 1970. The F. W. Woolworth Company called the landmark law "onerous" since it would restrict the company from making modifications to many aspects of the building.

 

The commission ultimately declined to give the Woolworth Building a designated-landmark status because of the company's opposition to such a measure, as well as the increased costs and scrutiny.

 

The lobby was cleaned in 1974.

 

The F. W. Woolworth Company commissioned an appraisal of the building's façade in 1975 and found serious deterioration in the building's terracotta. Many of the blocks of terracotta had loosened or cracked from the constant thermal expansion and contraction caused by New York's climate.

 

The cracks in the façade had let rain in, which had caused the steel superstructure to rust. By 1976, the Woolworth Company had placed metal netting around the façade in order to prevent terracotta pieces from dislodging and hitting pedestrians.

 

The issues with the façade were exacerbated by the fact that very few terracotta manufacturers remained in business, making it difficult for the company to procure replacements.

 

The New York City Industrial and Commercial Incentives Board approved a $8.5 million tax abatement in September 1977, which was to fund a proposed renovation of the Woolworth Building.

 

The Woolworth Company still occupied half the building; its vice president for construction said:

 

"We think the building merits

the investment, in part because

F. W. Woolworth had used his

own wealth to fund the building's

construction."

 

Much of the remaining space was occupied by lawyers who paid rentals of between $7 to $12 per square foot ($75 to $129/m2).

 

The F. W. Woolworth Company began a five-year restoration of the building's terracotta and limestone façade, as well as replacement of all the building's windows, in 1977.

 

Initially, the company had considered replacing the entire terracotta façade with concrete; however this was canceled due to its high cost and potential backlash from preservationists.

 

The renovation, carried out by Turner Construction to plans by the New York architectural firm Ehrenkrantz Group, involved the replacement of roughly one-fifth of the building's terracotta.

 

Since there were so few remaining terracotta manufacturers, Woolworth's replaced 26,000 of the tiles with concrete lookalikes; many of those tiles had to be custom-cut. The concrete was coated with a surface that was meant to be replaced every five years, like the glazing on the terracotta blocks.

 

Similarly, the original copper windows were replaced with aluminum frames which allowed them to be opened, whereas the originals were sealed in place.

 

The company also removed some decorative flying buttresses near the tower's crown and refaced four tourelles in aluminum because of damage.

 

The building's renovation was completed without fanfare in 1982. The estimated cost of the project had risen from $8 million to over $22 million. Much of the renovation was financed through the city government's tax break, which had increased to $11.4 million.

 

The LPC again considered the Woolworth Building for landmark designation in early 1982, shortly after the renovation was completed. However upon the request of the building's lawyers, the LPC postponed a public hearing for the proposed landmark designation to April 1982.

 

That year, the building's entrance to the City Hall subway station was closed because of fears over crime. The LPC granted landmark protection to the building's façade and the interior of its lobby in April 1983.

 

The Woolworth Company (later Venator Group) continued to own the building for a decade and a half. After struggling financially for years, and with no need for a trophy office building, Venator Group began discussing a sale of the building in 1996.

 

To raise capital for its other operations, Venator formally placed the Woolworth Building for sale in April 1998.

 

-- Witkoff Group Ownership

 

Venator Group agreed to sell the building in June 1998 to Steve Witkoff's Witkoff Group and Lehman Brothers for $155 million (about $261 million in 2022). However before the sale was finalized in December 1998, Witkoff renegotiated the purchase price to $137.5 million (about $231 million in 2022), citing a declining debt market.

 

Venator shrunk its space in the building from eight floors to four; this was a sharp contrast to the 25 floors the company had occupied just before the sale.

 

Witkoff also agreed to license the Woolworth name and invest $30 million in renovating the exterior and interior of the building.

 

After purchasing the building, the Witkoff Group rebranded it in an attempt to attract entertainment and technology companies. In April 2000, the Venator Group officially moved their headquarters to 112 West 34th. Street, and Witkoff indicated that he would sell the upper half of the building as residential condominiums.

 

That October, the company proposed a two-story addition to the 29th.-floor setbacks on the north and south elevations of the tower, to be designed by Skidmore, Owings & Merrill, who were also leading the renovation of the building. The LPC denied the proposal.

 

The company unveiled an ambitious plan in November 2000 that would have converted the top 27 floors of the building into 75 condominiums, including a five-story penthouse. The plan would have included a new residential lobby on Park Place, a 100-space garage, a 75-seat underground screening room, and a spa in the basement.

 

The developers planned to spend $60 to $70 million on the conversion which would be ready for occupancy by August 2002. However the LPC opposed the plan because it would have required exterior changes to the roof.

 

The commission eventually approved a modified version of the plan. Following the September 11 attacks and the subsequent collapse of the nearby World Trade Center, the proposal was later canceled.

 

-- Security Increases and New Plan

 

Prior to the September 11 attacks, the World Trade Center was often photographed in such a way that the Woolworth Building could be seen between the complex's twin towers.

 

After the attacks occurred only a few blocks away, the Woolworth Building was without electricity, water and a telephone service for a few weeks; its windows were broken, and falling rubble damaged a top turret.

 

Increased post-attack security restricted access to most of the ornate lobby, previously a tourist attraction. New York Times reporter David W. Dunlap wrote in 2006 that a security guard had asked him to leave within twelve seconds of entering the Woolworth Building.

 

However, there was renewed interest in restoring public access to the Woolworth Building during planning for its centennial celebrations. The lobby reopened to public tours in 2014, when Woolworth Tours started accommodating groups for 30- to 90-minute tours.

 

The tours were part of a partnership between Cass Gilbert's great-granddaughter, Helen Post Curry, and Witkoff's vice president for development, Roy A. Suskin.

 

By 2007, the concrete blocks on the Woolworth Building's façade had deteriorated because of neglect. A lack of regular re-surfacing had led to water and dirt absorption, which had stained the concrete blocks.

 

Though terracotta's popularity had increased since the 1970's, Suskin had declined to say whether the façade would be modified, if at all.

 

Around the same time, Witkoff planned to partner with Rubin Schron to create an "office club" on the top 25 floors building to attract high-end tenants like hedge funds and private equity firms. The plan would have restored the 58th. floor observatory as a private amenity for "office club" tenants, in addition to amenities like a private dining room, meeting rooms, and a new dedicated lobby.

 

The partners planned to complete the project by the end of 2008, but the financial crisis of 2007–2008 derailed the plans, leaving the top floors gutted and vacant.

 

-- Residential Conversion

 

On the 31st. July 2012, an investment group led by New York developer Alchemy Properties which included Adam Neumann and Joel Schreiber, bought the top 30 floors of the skyscraper for $68 million (about $86.1 million in 2022) from the Witkoff Group and Cammeby's International.

 

The firm planned to renovate the space into 33 luxury apartments and convert the penthouse into a five-level living space. The lower 28 floors are still owned by the Witkoff Group and Cammeby's International, who planned to maintain them as office space.

 

The project was expected to cost approximately $150 million including the $68 million purchase price. The Landmarks Preservation Commission approved the changes to the building in October 2013.

 

When the sale was first announced in 2012, the developers expected the building's conversion to be complete by 2015. However, construction took longer than expected.

 

Workers could not attach a construction hoist to the building's façade without damaging it, and they were prohibited from using the elevators because of the active office tenants on the lower floors and the regular public tours of the landmarked lobby.

 

The renovation included many restorations and changes to the building's interior. Two of the elevator shafts only went to the 29th. floor, allowing extra floor space for the residents above.

 

A new private lobby was also built for residents, and the coffered ceiling from F. W. Woolworth's personal 40th. floor office was relocated to the entryway. Each unit received space in a wine cellar, along with access to the restored private pool in the basement.

 

The 29th. floor was converted to an amenity floor named the "Gilbert Lounge" after the structure's architect, while the 30th. floor hosts a fitness facility.

 

In August 2014, the New York Attorney General's office approved Alchemy's plan to sell 34 condos at the newly branded Woolworth Tower Residences for a combined total of $443.7 million. After a soft launch in late 2014, units at the building were officially listed for sale in mid-2015.

 

Alchemy initially intended to leverage an in-house sales staff, and hired a director from Corcoran Sunshine to lead the effort. However, the new sales director left at the end of 2015 amid rumors of slow sales. Following his departure, the company hired Sotheby's International Realty to market the units.

 

The building's penthouse unit, dubbed "The Pinnacle", was listed at $110 million, the highest asking price ever for an apartment in downtown Manhattan. If it had sold at that price, the unit would have surpassed the record $50.9 million penthouse at Ralph Thomas Walker's Walker Tower, and even the $100.5 million record price for a Manhattan penthouse set by Michael Dell at Extell's One57 in 2014.

 

Due to delays, the conversion was expected to be completed by February or March 2019, about six and a half years after Alchemy bought the property. However by February 2019, only three of the building's 31 condos had been sold, since the developers had refused to discount prices, despite a glut of new luxury apartments in NYC.

 

The still-vacant penthouse's asking price was reduced to $79 million. By 2021, Alchemy had sold 22 condominiums to tenants such as the entrepreneur Rudra Pandey.

 

-- Corporate Tenants

 

On the building's original completion, the F. W. Woolworth Company occupied only one and a half floors. However, as the owner, the Woolworth Company profited from renting space out to others.

 

The Woolworth Building was almost always fully occupied because of its central location in Lower Manhattan, as well as its direct connections to two subway stations.

 

The Irving Trust Company occupied the first four floors when the building opened. It had a large banking room on the second floor accessible directly from a grand staircase in the lobby, vaults in the basement, offices on the third-floor mezzanine, and a boardroom on the fourth floor.

 

In 1931, the company relocated their general, out-of-town, and foreign offices from the Woolworth Building after building their own headquarters at 1 Wall Street.

 

Columbia Records was one of the Woolworth Building's tenants on opening day and housed a recording studio in the skyscraper. In 1917, Columbia made what are considered the first jazz recordings, by the Original Dixieland Jass Band, in this studio.

 

Shortly after the building opened, several railroad companies rented space. The Union Pacific Railroad and Delaware, Lackawanna and Western Railroad occupied the ground floor retail space with ticket offices.

 

The inventor Nikola Tesla also occupied an office in the Woolworth Building beginning in 1914; he was evicted after a year because he could not pay his rent.

 

Scientific American moved into the building in 1915 before departing for Midtown Manhattan in 1926. The Marconi Wireless Telegraph Company of America was present at the building's opening, occupying the southern half of the 18th. floor.

 

By the 1920's, the building also hosted Newport News Shipbuilding and Nestlé.

 

In the 1930's, prosecutor Thomas E. Dewey maintained his offices in the building while investigating racketeering and organized crime in Manhattan. His office took up the entire fourteenth floor, and was heavily guarded.

 

During World War II, the Kellex Corporation, part of the Manhattan Project to develop nuclear weapons, was based here.

 

During the early 1960's, public relations expert Howard J. Rubenstein opened an office in the building. In 1975, the city signed a lease for state judge Jacob D. Fuchsberg's offices in the Woolworth Building.

 

-- Educational Tenants

 

The structure has a long association with higher education, housing a number of Fordham University schools in the early 20th. century. In 1916, Fordham created "Fordham Downtown" at the Woolworth Building by moving the School of Sociology and Social Service and the School of Law to the building.

 

The Fordham University Graduate School was founded on the building's 28th. floor in the same year, and a new Teachers' College quickly followed on the seventh floor.

 

In September 1920, the Business School was also established on the seventh floor, originally as the School of Accounting. By 1929, the school's combined programs at the Woolworth Building had over 3,000 enrolled students.

 

Between 1916 and 1943 the building was also home at various times to the Fordham College (Manhattan Division), a summer school, and the short-lived School of Irish Studies.

 

In 1943, the Graduate School relocated to Keating Hall at Fordham's Rose Hill campus in Fordham, Bronx, and the rest of the schools moved to nearby 302 Broadway because of reduced attendance due to World War II.

 

The New York University School of Professional Studies' Center for Global Affairs leased 94,000 square feet (8,700 m2) on the second, third, and fourth floors in 2002 from defunct dot-com startup FrontLine Capital Group.

 

The American Institute of Graphic Arts also moved its headquarters to the Woolworth Building.

 

-- 21st-Century Tenants

 

By the early 2000's, the Woolworth Building was home to numerous technology tenants. Digital advertising firm Xceed occupied 65,000 square feet (6,000 m2) across four floors as its headquarters. Organic, Inc. took 112,000 square feet (10,400 m2), and advertising agency Fallon Worldwide used two floors.

 

Xceed terminated its lease in April 2001 during the midst of the Dot-com bubble collapse in order to move to smaller offices in the Starrett–Lehigh Building.

 

One month after the U.S. Securities and Exchange Commission's (SEC's) Northeast Regional Office at 7 World Trade Center was destroyed in the September 11 attacks, the commission's 334 employees moved into 140,000 square feet (13,000 m2) across five floors of the Woolworth Building. The SEC left for a larger space in Brookfield Place in early 2005.

 

The General Services Administration took over the commission's space on the 1st. November 2005 and used it as offices for approximately 200 staff of the Administrative Office of the United States Courts and U.S. Probation and Pretrial Services System.

 

The New York City Police Department pension fund signed a lease for 56,000 square feet (5,200 m2) on the 19th. and 25th. floors in April 2002.

 

Starbucks opened a 1,500-square-foot (140 m2) location on the ground floor in the spring of 2003. In 2006, Levitz Furniture moved its headquarters to the 23rd. floor from Woodbury, Long Island, after declaring bankruptcy a second time.

 

In May 2013, SHoP Architects moved the company's headquarters to the entire 11th. floor, occupying 30,500 square feet (2,830 m2) of space. In February 2016, the New York City Law Department leased the entire 32,000 square feet (3,000 m2) fifth floor for the Department's tort office.

 

Joseph Altuzarra's namesake fashion brand, Altuzarra, signed on to occupy the 14th. floor in June 2016. In 2017, the New York Shipping Exchange moved into the 21st floor. In May 2018, architecture and design firm CallisonRTKL signed a lease for the entire 28,100 square feet (2,610 m2) 16th. floor.

 

-- Impact of the Woolworth Building

 

Before construction, Woolworth hired New York photographer Irving Underhill to document the building's construction. These photographs were distributed to Woolworth's stores nationwide to generate enthusiasm for the project.

 

During construction, Underhill, Wurts Brothers, and Tebbs-Hymans each took photographs to document the structure's progression. These photos were often taken from close-up views, or from far away to provide contrast against the surrounding structures.

 

They were part of a media promotion for the Woolworth Building. Both contemporary and modern figures criticized the photos as:

 

"Standard solutions at best and

architectural eye candy at worst".

 

Later critics praised the building. Amei Wallach of Newsday wrote in 1978 that the building resembled:

 

"A giant cathedral absurdly

stretched in a gigantic fun

mirror. The lobby certainly

looks like a farmboy's dream

of glory".

 

A writer for The Baltimore Sun wrote in 1984 that:

 

"The lobby's lighting, ceiling mosaic,

and gold-leaf decorations combine

for a church-like atmosphere, yet the

grotesques provide a touch of

irreverence".

 

Richard Berenholtz wrote in his 1988 book Manhattan Architecture that:

 

"At the Woolworth Building, Gilbert

succeeded in uniting the respected

traditions of architecture and

decoration with modern technology".

 

In a 2001 book about Cass Gilbert, Mary N. Woods wrote that:

 

"The rich and varied afterlife of

the Woolworth Building enhances

Gilbert's accomplishment".

 

Dirk Stichweh described the building in 2005 as being:

 

"The Mozart of skyscrapers".

 

In 2007, the building ranked 44th. among 150 buildings in the AIA's List of America's Favorite Architecture.

 

In recognition of Gilbert's role as the building's architect, the Society of Arts and Sciences gave Gilbert its gold medal in 1930, calling it:

 

"An epochal landmark in the

history of architecture".

 

On the 40th. anniversary of the building's opening in 1953, one news source called the building:

 

"A substantial middle-aged lady, with

a good income, unconcern over years—

and lots of friends".

 

A one-third-scale replica of the Woolworth Building, the Lincoln American Tower in Memphis, Tennessee, was also built in 1924.

 

-- The Woolworth Building in the Media

 

The Woolworth Building has had a large impact in architectural spheres, and has been featured in many works of popular culture, including photographs, prints, films, and literature.

 

One of the earliest films to feature the skyscraper was Manhatta (1921), a short documentary film directed by painter Charles Sheeler and photographer Paul Strand.

 

Since then, the building has made cameo appearances in several films, such as the 1929 film Applause. It was also the setting of several film climaxes, such as in Enchanted (2007), as well as the setting of major organizations, such as in Fantastic Beasts and Where to Find Them (2016).

 

The television show Ugly Betty used the Woolworth Building as the 'Meade Publications' building, a major location in the series, while one of the vacant condominiums was used in filming the TV series Succession in 2021.

 

The building has also appeared in literature, such as Langston Hughes's 1926 poem "Negro" and the 2007 novel Peak.

Efforts to clean up waste from the Manhattan Project and the Cold War are under way at the Y-12 National Security Complex. The seven projects there funded by $216 million from the Recovery Act are providing work for more than 1,500 Americans, many of whom had struggled in the recent recession.

 

In addition to the work at Alpha 5 and Beta 4, Recovery Act projects at Y-12 include the West End Mercury Area storm sewer cleanup project, removal of soil contaminated with mercury, and the cleanup of a 7-acre scrap yard. In January 2011, Recovery Act workers completed the demolition of Building 9211 at Y-12, which reduced the footprint of the Cold War legacy by more than 83,000 square feet.

 

Friday, 7 June, 2013

14:10 – 15:10 GLOBAL PERSPECTIVE AND VIEWPOINTS

 

GLOBAL PERSPECTIVE: WHAT’S AHEAD FOR EMERGING MARKETS? Over the last decade, the majority of the growth has occurred in the so-called BRICS: Brazil, Russia, India, China, and South Africa—but growth has slowed. What’s the outlook for these economies and can they sustain growth? Who are the new leaders and how can multinational corporations capitalize on these increasingly important markets? Which factor is most likely to slow progress in emerging markets: a shortage of skilled workers, too much red tape and corruption, or fierce local competition?

 

Panelists:

John Faraci, Chairman and CEO, International Paper Co.

Joseph Jimenez, Chief Executive Officer, Novartis AG

Peter Sands, Group Chief Executive, Standard Chartered PLC

Michael Smith, Chief Executive Officer, ANZ Bank

 

Moderator: Rana Foroohar, Assistant Managing Editor, TIME Magazine

 

Photograph by Stefen Chow/Fortune Global Forum

Efforts to clean up waste from the Manhattan Project and the Cold War are under way at the Y-12 National Security Complex. The seven projects there funded by $216 million from the Recovery Act are providing work for more than 1,500 Americans, many of whom had struggled in the recent recession.

 

In addition to the work at Alpha 5 and Beta 4, Recovery Act projects at Y-12 include the West End Mercury Area storm sewer cleanup project, removal of soil contaminated with mercury, and the cleanup of a 7-acre scrap yard. In January 2011, Recovery Act workers completed the demolition of Building 9211 at Y-12, which reduced the footprint of the Cold War legacy by more than 83,000 square feet.

 

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