16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.

ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.

At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.

The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.

Read more on:

53rd ADB Annual Meeting of the Board of Governors

Well - what I set out to be as a Sautoir (necklace), turned out to be a devant de corsage and sautoir combined. Still - I am pleased with the result so far. The next step is to ink the design in, then it will be highlighted with silver gouache, and then touched up with the ink - and finally colored in.

A better version, doesn't fall apart when used.

PDF available,

Olympus XA2 35mm compact camera

Agfa Gevaert 400S film developed in ID11

Château de Châteaubriant

The Château de Châteaubriant is a medieval castle strongly modified during the Renaissance, located in the commune of Châteaubriant in the Loire-Atlantique département of France.[1] The original castle was founded in the 11th century on the eastern border of Brittany and, such as the fortresses in Vitré, Fougères, Ancenis and Clisson, it was defending the duchy against Anjou and the Kingdom of France.

The castle was renovated several times during the Middle Ages and the town of Châteaubriant developed at its side. During the Mad War, the castle was seized by the French after a siege. The keep and the halls, partially destroyed, were renovated in the flamboyant style. Eventually, during the 16th century, the château obtained its definitive appearance when the new Renaissance palace was built against the medieval enceinte.

After the French Revolution, the château was sold and divided several times, and was finally transformed into an administrative centre, with the seat of the sous-préfecture, a court and a police station. All these offices closed down after 1970, and nowadays the château is partly opened to visitors.

The château is located between the Châteaubriant-Rennes railway on the east and the old town centre on the west. To the north, it is bordered by the river Chère which forms a natural moat, and on the south by a wide square, the place Charles-de-Gaulle.

The Chère is retained by a medieval dam and forms a pond, the étang de la Torche. The dam serves as a bridge and it was originally an access to the walled town. A stream, the Rollard, also formed a moat on the western side of the castle. It was covered over during the 19th century and now flows under the town centre.

The subsoil in Châteaubriant is made of sedimentary rocks (schist and sandstone) belonging to the Armorican massif. These rocks form folds and outcrops.[2] The château is built on a promontory which is steep on the north, where the Chère flows, but slopes in terraces towards the south.

The castle is first mentioned between 1030 and 1042 but it was founded earlier, at the beginning of the 11th century.[citation needed] It was first built by Brient, an envoy of the count of Rennes, to create an outpost in the Pays de la Mée. This region around Châteaubriant was then a buffer zone between the counties of Rennes, Nantes and Angers, but also a place for trading. The Béré fair was for example founded in 1049 in a suburb of the town. Brient is also responsible for the construction of the Béré church and priory, two major landmarks of medieval Châteaubriant.[3]

The first castle was a motte-and-bailey structure made of wood. It dominated the river Chère and the Rollard and had two concentric moats. One was dry, the other filled with water. It also had a big square keep, rebuilt in stone around 1100.[3] Two halls and a chapel were added during the 12th century, the latter being completed in the 13th century. In the same period, Châteaubriant emerged as a town on the banks of the Rollard. City walls were built between the 13th and the 15th centuries.[4]

The upper-ward gatehouse, the curtain wall and most of the towers were built during the 13th century. The gatehouse still includes its two towers which were originally 25 meters high. The halls and the keep were rebuilt in the 14th century, and the lower-bailey gatehouse was completed before 1400.[5]

The early House of Châteaubriant, whose founder was Brient, became extinct in 1383. The barony of Châteaubriant was then inherited by the House of Dinan, another Breton noble family. The Dinans found themselves without male offspring in 1444.[6] In 1486, the baroness of Châteaubriant, Françoise de Dinan, the last of her family, opposed Francis II of Brittany. She prepared the "Châteaubriant treaty" by which the barons of Brittany asked the King of France to settle a Breton internal dispute. The treaty, which betrayed the authority of Francis II, was one of the reasons for the Mad War and showed the weakness of the Duchy of Brittany as a political entity. Brittany and France went to war, Breton castles were taken one after the other by the French. Châteaubriant was besieged in 1488 and surrendered after one week.

At the end of the war, Françoise de Dinan had the castle restored and improved. As the old walls did not fit the new military exigences, a bastion was built. The keep and the halls, which also lost their defensive capacity, were opened by large windows. Inside, the baroness ordered new fireplaces in the Flamboyant style.[5]

The improvements on the keep and the halls were not sufficient for Françoise de Dinan who wanted a fashionable residence. She ordered a new palace, built in the lower bailey. This palace has been called Bâtiment des Gardes ("guards' building") since the French Revolution, because it was then used by the National Guard. The new residence was completed at the beginning of the 16th century, after the death of Françoise. At that time, Châteaubriant belonged to Jean de Laval, her grandson and a member of the House of Laval.[7]

However, Jean de Laval was not satisfied with the new palace, a stark building typical of the First Renaissance. He ordered a new wing, built around 1530 in an Italian style, and characteristic of the Second Renaissance. Jean de Laval is also responsible for the long gallery which forms an angle with the palace.[7]

Jean de Laval died heirless in 1543 and gave his possessions and titles to the Constable of France Anne de Montmorency, one of the most powerful Frenchmen of the time. The constable completed the works begun by Jean de Laval but established his residence at the Château d'Écouen, close to Paris.

Châteaubriant belonged to the House of Montmorency until 1632 when Henri II de Montmorency was dispossessed and beheaded for felony. The barony was given to the Princes of Condé who kept it until the French Revolution.

The Condés slightly improved the château, for example in redesigning some rooms, such as the Chambre dorée in the Jean de Laval wing, decorated after 1632.[7] However, the princes did not live in Châteaubriant, but at the Château de Chantilly and in their hôtel particulier in Paris. The distance of the Dukes of Montmorency and later the Princes of Condé permitted the town council to gain some independence, but the lords still maintained local officers in the château.[8]

The roof of the keep collapsed after a storm around 1720. The building was not restored afterwards and slowly fell into ruin.[9]

The prince Louis V de Bourbon-Condé was one of the first nobles to go into exile during the French Revolution. He left France for England in 1789. The National Guard of the town settled in the château, which was also used to house various storehouses and a police station. Several parts of the buildings and courtyards were sold or rented to locals and the moat was partially filled in.[10]

During the Bourbon Restoration, the estate was progressively returned to the Prince of Condé. However, he eventually decided to sell it. The town council, in need of buildings for its jail, court and services, wanted to buy the château, but the prince did not wish to deal with the administration, and the mayor bought the property personally. He left the lower bailey gatehouse to the département, which transformed it into a jail, and sold the rest to the town council.[10] The mayor, Martin Connesson, also kept a part of the estate and built a new house on it in 1822.

In 1839, the council considered pulling down the keep to use its stones to build a school and a bridge. This project met strong opposition and the château was included on the first list of monuments historiques in 1840.[9]

The town could not maintain the château in good repair and sold it to the Duke of Aumale in 1845.[10] The Duke settled in the house built by the mayor Martin Connesson and refurbished it.[11] Being a son of Louis-Philippe I, he followed his father to England after the Revolution of 1848 and sold the château to the Loire-Atlantique département in 1853.[9] The sous-préfecture moved there in 1854, and the 1822 house became the residence of the sous-préfet.[11] The police station, the court and the jail, which were relocated somewhere else after the Duke of Aumale acquired the estate, came back in 1855.[12][13]

In 1887, the département asked for the removal of the château from the monument historique list because it could not afford the repairs required by the authorities. However, several restoration campaigns were mounted after 1909, especially on the keep. The château was eventually reintegrated into the list in 1921.[9] In 1944, the southern end of the Renaissance palace was destroyed during an American bombing raid.[14]

Major restoration campaigns were carried out in the 1960s and after 2000.[9] Nonetheless, the château has never been fully opened to visitors, who can only access the wards and some rooms, such as the Chambre dorée and the Bâtiment des Gardes which hosts exhibitions. However, all the administration services progressively closed after 1970. For instance, the police station moved out in 1971, the public library followed in 2006, the sous-préfecture in 2012, and the court was closed in 2009. The house built by Martin Connesson remains the residence of the sous-préfet.

The castle is divided between an upper ward and a lower bailey. The bailey, on the south, is opened by a 14th-century gatehouse, the Pavillon des Champs, which is the main entrance for the whole castle. The upper ward is accessible from the bailey through a second gatehouse. It is located on the highest point, dominating the Chère, and it is bordered by the seigniorial buildings: the two halls and the chapel.

The keep is built on both the upper and lower ward and also dominates the Chère. It was built in stone around 1100 on the site of the primitive motte. Later rebuilt in the 14th century, it felt into ruins during the 18th century. It forms an irregular square, its walls are 18 m long and 3.5 m thick. Remains of machicolation are visible on the top.[3] The two halls form an angle with the keep. They were rebuilt in the 14th century and the opening of new windows after the Mad War did not alter their austere look. The small hall, partially destroyed, has a peculiar roof, similar to a flat onion dome, made around 1562. The result is somewhat clumsy and is only an experimental attempt.

Located close to the small hall, the chapel was built around 1142 and refurbished in the 13th century. Some hundred years later, it was divided in two and the western part was turned into the chaplain's house. The monument is romanesque but gothic windows were added in the 16th century.[3] The windows on the chaplain's house form a single bay culminating with a gothic dormer. Mural paintings and 15th-century floor tiles were discovered during archeological excavations.[5]

The gatehouse is partly ruined but it still has its two towers. It is built in sandstone with alternating lines of schist. Parts of the enceinte and the chemin de ronde are preserved.[3]

The Pavillon des Champs ("fields pavilion"), which opens the lower bailey, originally had a drawbridge. Its rear half was built in the 14th century and the front dates from the 16th century.[3]

The Renaissance residence is located in the lower ward. It consist of an alignment of buildings built on the enceinte, with a gallery forming an angle.

The Bâtiment des Gardes is the oldest Renaissance building and also the less decorated. It was built around 1500. Its slate roof is steep and as tall as the facade itself, which gives a massive look to the whole. The facade is opened by large regularly positioned windows on the first floor and small irregular doors and windows on the ground floor. The facade on the moat is framed by two medieval towers which were opened by new large windows.

The walls are very thick and inside, the rooms are usually big. On the ground floor, the Salle verte ("green room"), which is the main hall, is 30 meters long and 10 meters large. It is also 10 meters high and its monumental fireplace is two meters wide. The local blue schist was largely used as an ornamental material; it is particularly visible on ceilings, fireplaces and around the windows.[16]

The Jean de Laval wing was designed by Jean Delespine, a local architect, and built after 1532. At that time, French architecture had changed a lot: medieval features still in use at the beginning of the 16th century were totally rejected for Italian designs. Thus the Jean de Laval wing is fully different from the Bâtiment des Gardes. It is opened on the bailey by large windows bordered by tuff pilasters and small niches and it has Italian sculpted dormers. On the external facade, the architect reemployed the medieval walls and towers and opened them with large windows and dormers. Although very Italian in design, the building retained some French typical features, such as a steep slate roof and high chimneys. The design is also messy on several details, for example, the windows are not perfectly regular and some of them are too close to each other. Tuff, extremely common on the châteaux in the Loire Valley, because it is easily found there, had to be imported to Châteaubriant and was only used for ornamental purpose. Instead, the walls were built with local sandstone and the facade on the bailey was covered by a white coating. Local blue schist was also used for the niches and the chimneys alternate tuff and bricks.

A monumental staircase was built at the junction between the Jean de Laval wing and the Bâtiment des Gardes. It served as the main entrance and its first floor is opened by a loggia. The staircase was built with tuff and its vaults are decorated with little schist coffers.[16]

The Chambre dorée ("golden room"), the only room opened to visitors, is located on the first floor. It was decorated in the 1630s with red tapestry and baroque sculptures. The overmantel of the fireplace is particularly rich, with oil on canvas

The great gallery was originally closing the garden in front of the Jean de Laval wing and it was connecting it to the keep. Only one wing has been preserved, but several remains such as columns are still visible in the garden. The remaining part comprises two levels and the walls are made of red bricks whereas the decorative details are made of blue schist. The combination of these two materials is rare and creates a quaint look. The ground floor is a loggia opened by 21 arches with doric columns. The first floor is opened by large windows with small pediments. This floor is accessible through a stair located in an adjoining pavilion.[16]

Two legends are linked with the château. The first one involves Sybille, the wife of Geoffroy IV of Châteaubriant, who went on Crusade in 1252. He was jailed in Egypt in 1250 and the French army was destroyed there by the plague. The same year, the death of Geoffroy was announced in Châteaubriant, and Sybille started to mourn him. However, he would have come back several months later. Because of the shock, Sybille would have succumbed in his arms.[17]

The second legend involves Jean de Laval and his wife, Françoise de Foix. They were engaged in 1505 with the support of Anne de Bretagne, duchess of Brittany and Queen of France. After the death of Anne and her husband Louis XII of France, the new King, Francis I, asked Jean de Laval to come to his Court to help him settle the French annexation of Brittany. Françoise de Foix followed her husband and became the lady in waiting to the Queen Claude de France as well as the mistress of Francis I. Jean fought in the Italian Wars and became Governor of Brittany in 1531. Françoise de Foix was on her side rejected from the Court in 1525.[18]

She died on 16 October 1537, during the night, and assassination rumors quickly spread. According to them, Françoise would have been killed by her husband, jealous of her relationship with the King. According to some rumors, Jean de Laval would also have locked up his wife in a room, and later poisoned her or bled her to death. Since then, every 16 October at midnight, a ghost procession would walk in the château. The Chambre dorée has often been presented as the place where Françoise died, but its present layout dates from only the 17th century.[18]

I was just a little guy when this happened. I remember going to HerPak Meats, (Cameron St), Dad parked in the upper lot of Acme Markets (Hbg River Rescue Quarters) and they set up cattle chutes across Cameron and herded the live stock to the Acme building.

Formed: June 14, 1972 | Dissipated: June 23, 1972.

Agnes developed on June 14 from the interaction of a polar front and an upper trough over the Yucatán Peninsula. Agnes began its long life as an extratropical cyclone once cold air invaded its circulation late on June 22. The system looped across south-central Pennsylvania on June 23 and then looped across southern Ontario on June 25. Due to the significant effects, the name Agnes was retired in the spring of 1973.

In Pennsylvania, heavy rainfall was reported, with much of the state experiencing more than 7 inches of precipitation. Furthermore, a large swath of rainfall exceeding 10 inches was reported in the central part of the state. Overall, the rains peaked at 19 inches in the western portions of Schuylkill County. Due to the significant effects, the name Agnes was retired in the spring of 1973. Overall, more than 100,000 people were forced to leave their homes due to flooding. Some buildings were under 13 feet of water in Harrisburg. At the Governor's Mansion, the first floor was submerged by flood waters. Hundreds were trapped in their homes in Wilkes-Barre due to the overflowing Susquehanna River. At the historic cemetery in Forty Fort, 2,000 caskets were washed away, leaving body parts on porches, roofs, and in basements. In Luzerne County alone, 25,000 homes and businesses were either damaged or destroyed. Losses in that county totaled to $1 billion. At Chadds Ford Township, the Brandywine Creek crested at 16.5 feet, sending flood waters into the city. Water poured into the first floor of an art museum in Chadds Ford Township, which threatened at least $2.5 million in N.C. Wyeth paintings, though they were quickly moved to the upper floors. Along the Allegheny River, it was above flood stage in some low-lying areas. During the height of the storm, the river was rising at about 7 inches per hour. In Reading, the Schuylkill River reached a record flood of 31.5 feet.

More than one hundred Harrisburg YMCA campers and staff were evacuated using two CH-47 Chinook helicopters flown by the National Guard at Camp Shikellimy located downstream of DeHart Dam in Middle Paxton Township. Additionally, 36 Girl Scouts were rescued by state police while at a camp in York. A bridge collapsed in Danville, which caused two diesel locomotives and several freight cars to fall into a swollen creek. In the state of Pennsylvania, more than 68,000 homes and 3,000 businesses were destroyed. Due to the destroyed houses, at least 220,000 people were left homeless.The damage and death toll was the highest in Pennsylvania, with 50 fatalities and $2.3 billion in losses in that state alone. Willow Mill Amusement Park in Mechanicsburg was also damaged, including the Red Streaker, a defunct junior small wooden rollercoaster, which was severely damaged and had to be rebuilt.

On June 26, 1972, three news correspondents were killed in a helicopter crash in Harrisburg, where they had been covering the flooding. The victims were Del Vaughn of CBS News and Sid Brenner and Louis Clark of WCAU in Philadelphia, and the pilot, Mike Sedio. The helicopter lost its rotor some three hundred feet above the Capital City Airport, crashed, and exploded on the runway.

Following the storm, then-President of the United States Richard Nixon declared the states of Florida, Virginia, Maryland, Pennsylvania, and New York as disaster areas. Agnes had a devastating impact on the already-bankrupt railroads in the northeastern United States, as lines were washed out and shipments were delayed:

The Erie Lackawanna Railway (EL) estimated that damage between Binghamton and Salamanca, New York, amounted to $2 million. EL filed for Chapter 77 bankruptcy.

The Penn Central Railroad sustained nearly $20 million in damages

The resulting cost of repairing the damage was one of the factors leading to the creation of the federally financed Conrail.

Most pictures are photo's I took of pictures from collectors books from the 1972 flood.

Journalists compete in more than 50 different categories; AGAHI Awards encourages best content in print, television, radio and online journalism.

Pakistan’s most prestigious journalism “Agahi Awards 2013” celebrated today at PNCA Islamabad. The Awards have been organized in collaboration with leading press clubs, local and international media development institutions, regulatory authorities, civil society organizations, private sector and other stakeholders. Puruesh Chaudhary Founder & President, AGAHI and Amir Jahangir Chief Executive Officer, Mishal Pakistan founded these awards in 2012.

The Agahi Awards are an annual series of awards for journalism in Pakistan, developed under the umbrella of the Credibility Lab at Mishal for creating an appreciation methodology for ethical and quality content. The evaluation methodology and criteria of the awards have been designed on the pillars of Media Development Indicators of UNESCO, in collaboratiosn with the Center for International Media Ethics (CIME) and UNESCO headquarters in Paris. The Awards were inaugurated in March 2012 and have become the most prestigious awards for the journalism in Pakistan.

The Awards have created appreciation for journalism in fifty different categories including business and economy, conflict, corruption, crime, education, infotainment, the nexus between water, energy and food security, gender and governance, health, extremism and terrorism, peace, interfaith, dignity; thus creating media diversity across print, television, radio and the online media.

Among the winners for this year’s “Agahi Awards 2013, the Journalist of the Year Award” were deigned in 50 categories. The award for business and economy was won by Naveen Mangi (Bloomberg), Maliha Naz Rana from Herald in Health and Primary Education, Shakeel Ahmad (DAWN News) Higher Education and Training, Zahir Shah Sherazi (DAWN News) in Infrastructure, Abdur Rauf (Express Tribune) for Institutions, Maimoona Saeed (GEO News) forLabor Market Efficiency, Ghulam Mohiuddin (AAJ TV) for Environment,Shabina Faraz (Jang) in Climate Change, Zahid Gishkori (Express Tribune) in Flood and Disaster Reporting, Sehrish Wasif (Express Tribune) in Disaster and Catastrophe, Xari Jalil (DAWN) in Governance, A.B. Arisar (DAWN) in Corruption, Asad Kharal (Express Tribune) forLaw &Order, Hanif Samoon (DAWN.com) in Health,Din Muhammad Watanpal (Daily Qudrat, Quetta) forChild Survival, Sarwar Baloch (VSH News) in Health&Nutrition, Ali Usman (Express Tribune) forNon Communicable Diseases, Zia ur Rehman (Friday Times) for Polio Immunization, Aslam Chandio (Online News Agency) forEnergy, Water &Food Security, Sarah Munir (Express Tribune) on Media Ethics,Syed Ali Shah (DAWN News) forMedia Safety, Ashraf Javed (The Nation)for Crime Reporting, Shahzada Irfan Ahmad (The News) forCorporate Social Responsibility, Zahir Shah Sherazi (DAWN News) in Democratic Values and Dignity, Bina Shah (Blogger) in Education, Zia ur Rehman (Friday Times) for Extremism and Terrorism,Shahzada Irfan Ahmad (The News) in Gender,A.B. Arrisar (DAWN) in Gender – Economic Opportunity, Abdul Shakoor (APP) in Gender – Health and Survival, Zia Ur Rehman (Friday Times) in Gender – Political Empowerment, Aamir Saeed (Pique Magazine) forHuman Rights,Fazal Khaliq (Express Tribune) in Child Protection, Kiran Nazish (DAWN.com) forChild Rights, A.B. Arisar in Gender – Domestic Violence, Zia ur Rehman (Friday Times) in Minorities &Marginalized Communities, Mehtab Haider (The News) in Political &Regularity Environment, Jawwad Rizvi (The News) in Market Environment, Faseeh Mangi (Bloomberg) in Infotainment,Mubashar Zaidi (DAWN.com) in Journalism for Peace,Muhammad Irfan Haider (Dawn) forConflict Reporting, Asad Kharal (Express Tribune) in Judiciary,Zeeshan Anwar (Daily Express) in Court Reporting, Zahir Shah Sherazi (DAWN.com) in Photo Journalism,Aslam Chandio (Online News Agency) in sports.

The awards ceremony was presented by Osama Bin Javaid, a Pakistani journalist based in the Middle East and Razeshta Sethna, par of the editorial team at a leading English language publication in Pakistan. The Awards also have special categories including“Current Affairs Anchor of the Year” and “News Channel of the Year” in Pakistan. These categories are on the basis of people’s choice, which includes voting for these two categories by reaching out to more than 6 million Pakistanis through social media engagement and 1.5 million via SMS campaign and direct feedback.

GEO NEWS won the Peoples’ Choice Award for the “Most Favourite News Channel” second year around.

The “Current Affairs Anchor of the Year” Award was for two emerging anchors; won by Iqrar ul Hassan (ARY News) and Alia Nazki (BBC Urdu), as “the Emerging Current Affair Anchor of the Year” in the male and female categories. “Investigative Journalist of the Year” award was won by Asad Kharal (Express Tribune).

Ejaz Haider from Capital TV awarded the “Most Credible Anchor” based on the Media Credibility Index developed in collaboration with more than 10 journalism schools in Pakistan.

To ensure diversity in content and more social issues to be highlighted in media, Mishal Pakistan in collaboration with Save the Childrencreated the health category further dividing them into six sub-categories. This has not only increased the quantum of health content in media, but has also encouraged journalists to write more on the socio-economic challenges in Pakistan.

This year AGAHI Awards received an overwhelming response by the journalist community, where more than 1500 nominations were received from all over the country across more than 50 different categories in print, television, radio and online content.

Academic partners for Agahi Awards 2013 from the disciplines of journalism and mass communication included;Fatima Jinnah Women University (Rawalpindi), AllamaIqbal Open University (Islamabad), BahauddinZakariya University (Multan), International Islamic University (Islamabad), Islamia University (Bahawalpur), University of Gujrat, National University of Science and Technology (Islamabad), Roskilde University (Denmark), Center for Media Pluralism and Media Freedom atEuropean University (Italy).

Press Clubs in Lahore, Peshawar, Karachi, Multan, and the National Press Club along with the Kashmir Press Club (Mirpur) and the Tribal Union of Journalists, Center for International Media Ethics, Ethical Journalism Network, Media Helping Media, Save the Children, Devex, International Center for Journalists (ICFJ), United Nations Educational, Scientific and Cultural Organization (UNESCO), Press Council of Pakistan, Internews Network, Center for Investigative Journalism (Bosina-Sarajevo), Transnational Crisis Project, Hayward Black Media, MediaShift, P@sha have partnered to ensure making the journalism awards at par with international standard of journalism.

Mishal Pakistan is the country partner Institute of the Center for Global Competitiveness and Benchmarking Networks at the World Economic Forum. Established in 2003, Mishal has been engaged with key stakeholders in Pakistan to improve the state of media through good governance initiatives.

16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.

ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.

At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.

The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.

Elk Island Park

2nd Regiment, Advanced Camp Cadets develop critical skills during the Platoon Situational Training Exercise at Cadet Summer Training 2018. (Fort Knox, Kentucky, 24 June) Photos By: Jakob Coombes

Developed using darktable 3.0.2.

Fossil of the day 12 December COP25

1st 🇺🇸 US (again!) for blocking money for victims of severe climate impacts for 6 years now!

2nd - Developed Countries especially 🇪🇺🇨🇦🇦🇺 for lack of ambition in #lossanddamage for vulnerable countries

🇦🇺 Australia for using carbon market loopholes

#RayoftheDay 🌅

For the people rolling up their sleeves to take on the fossil fuel industry

🇵🇭 Philippines - climate activists petitioning #CarbonMajors for human rights

🇳🇴Norway-fighting extraction in the Arctic

Indigenous heroes from the 🇧🇷Amazon to 🇦🇺Australia

Today we have in first place for the fossil of the day award the United States of America (USA) (again and again)!

The main reason is for generally really standing in the way of any money going to the people suffering from climate change. This has been going on for at least six years. This should really raise eyebrows about the country´s lack of empathy. Are there real people in office in the US People with actual hearts? Or have they replaced their humanity with a lump of coal?

First inhumanity, and now they put on full display their paranoia! They are afraid of being held accountable for causing droughts in Africa. They are afraid of being held accountable for the drowning of the Pacific; the destruction of entire civilisations. Actually, they should be held accountable but this is not what the Paris Agreement is about. It is about international cooperation, no developing country talked about liability. Yet the US insists on language on liability and compensation in the draft COP Decision text on the Review of the Warsaw International Mechanism on Loss & Damage (WIM).

Hey US you are on your way out, you are not giving a single dollar to the Green Climate Fund and now you don’t want any help to get to the people bearing the brunt of the mess you created! And still, you want to be part of the WIM’s Executive Committee! Pay up or step out, let others move forward already.

The Second Fossil of the Day award goes to developed countries with special mention to the European Union, Canada and Australia for showing lack of ambition in responding to vulnerable peoples’needs on loss and damage.

The WIM Review unofficially began on December 1st, and the overwhelming message was that finance to address loss and damage must be an outcome of COP25.

Two weeks later, poor and vulnerable countries and civil society are wondering if developed countries attended a different meeting on December 1st.

While we acknowledge they have been less problematic than the US, developed countries, including Australia, Canada and the European Union have done very little very late to advance discussions on loss and damage finance age. It’s especially confusing when all three have agreed that existing climate finance is insufficient. Anyhow, aren’t they the rich people in the room? And part of the club that caused the problem in the first place? Why is it so difficult for them to pay for the damages they are still causing. Also…hey Canada… isn’t high time you differentiate yourself from cronies like Australia and the US?

It is beyond us to understand how developed countries can sit by and continue to twiddle their thumbs whilst vulnerable communities in developing countries experience severe losses and damages. You have one day left to show you want to be on the right side of history!

The third fossil award goes to Australia - for using carbon market loopholes to meet its climate targets

We award this fossil to Australia for planning to cheat the atmosphere by carrying over its credits from the Kyoto protocol. Instead of cutting greenhouse gas pollution, Australia is using creative accounting. Please bear with us now: Australia plans to count surplus carbon credits from exceeding previous targets against future targets. Regrettably, this was allowed under the old Kyoto protocol, but it is not even mentioned in the Paris agreement. No country in though about such trickery.

To make things worse, since the Paris Agreement is a new and separate treaty, this is not even legal stuff!

Hey Australia: Article 6 deserves some more love here instead of your distractions. When you rig your climate target you shouldn't showcase this as "overachievement". You must do more in the future, not less. Please stop cooking up the books, stop shifting carbon pollution around. Grow up, be a responsible adult and get over Kyoto, it´s long gone now!

The Ray of the Day goes to the people rolling up their sleeves to take on the fossil fuel industry

We would like to especially mention:

The activists from the Philippines who petitioned the Philippines Commission for Human Rights to denounce the responsibility of the Carbon Majors for climate-induced human rights violations

The amazing Norwegians campaigning to denounce fossil fuel extraction in the Arctic and who will be facing the government in court tomorrow - hoping that the judge will realize how incompatible large scale fossil fuel extraction is with the right to a healthy environment for present and future generations

The indigenous heroes, from the Amazon to Australia risking their already vulnerable lives to fight fossil fuel development on traditional land and to preserve cultural and environmental integrity

These heroes are leading the charge in bringing down the real elephant occupying the UNFCCC hallways and backing the deniers and the blockers. Hur-Ray to the people! They are the hope and they will prevail!

About the fossils:

Every day at 18:00 local time you can watch the Fossil ceremony in Hall 4 during COP25.

The Fossil of the Day awards were first presented at the climate talks in 1999, in Bonn, initiated by the German NGO Forum. During United Nations climate change negotiations (www.unfccc.int), members of the Climate Action Network (CAN), vote for countries judged to have done their 'best' to block progress in the negotiations in the last days of talks.

About CAN: The Climate Action Network (CAN) is a global network of over 1,300 Non-Governmental Organizations (NGOs) in more than 120 countries working to promote government and individual action to limit human induced climate change to ecologically sustainable levels.

Watch the Facebook livestream video

Attribution: John Englart/Climate Action Network

developed in the fridge

We do learn and develop when we are exposed to those who are greater than we are. Perhaps this is the chief way we mature. - Madeleine L'Engle

Most of the nearly two–billion children in the developing world are inadequately educated, or receive no education at all. One in three does not complete the fifth grade.

Find out more at laptop.org/

Sometimes it's not working out with developing but still a nice result. Shot with a Mamiya 645M on Kodak Porta 400

The badge of Queensland developed from the need to include a seal or badge in the design of the state flag.

The badge was adopted as part of the state flag on 29 November 1976. It is officially described as "On a Roundel Argent a Maltese Cross Azure surmounted with a Royal Crown".

It was designed by William Hemmant, the then Queensland Colonial Secretary and Treasurer. It is not known why this was chosen as a suitable badge.

However, it is interesting to note that a Maltese Cross is the final stop on the legend band around the Great Seal of Queensland (1859). The Royal Crown also appears on this seal.

It was last altered in 1963, after Queen Elizabeth II decided to reproduce the Crown during her reign.

Description source:

Queensland Government

View the original record at the Queensland State Archives:

Item ID 1055857

developed raw

Developing thunderstorm, photographed near Ardmore, South Dakota, on May 28, 2016.

At Friday Bridge.

Bronica SQ-A camera

Zenzanon PS 150mm f/4 lens

Foma Fomapan Creative 200 medium format 120 film

Home developed in FirstCall R09.

HPD pupils are developing concept models as part of their Developing Design Proposals Unit. As usual lighting remains a popular choice. Pupils are also developing proposals on themes as diverse as seating, kitchen utensils and sportswear equipment.

Good to see evidencs of great strides being made in quich modeling techniques using materials like plasticine, copper wire, plywood and foam. The glue gun gets a lot of use at the moment as does the bandsaw and fretsaw.

Fortunately, Cathy, our cleaner has been very understanding. The mess at times you would not believe!

Good work everybody. Have a great Christmas break, get some rest. You'll need all your energy for the new year!

KMZ Zorki-3

KMZ JUPITER-9 85mm F2

ILFORD HP5+ 400

Self_developed FX-5_Dev

The rear bit was built in 1866. The front bit in the 1920s.

A Town of One, Two, Three.

The story of Gawler, the first town developed outside of Adelaide in 1839 is the story of numbers. Colonel William Light, after he resigned as Surveyor General for SA, formed a private surveying company with his friend and former Assistant Surveyor Boyle Finniss. (Remember Boyle Finniss became our first Premier in 1854.) They did some commercial surveying; they surveyed a sort of village along the Sturt River at what is now Marion; but the only other town apart from Adelaide that they surveyed and laid out was Gawler.

•Their township of Gawler had three squares- Light, Orleana and Parnell. Light had planned for the squares to be the centres for the Anglican, Presbyterian and Catholic churches. It did not quite work out like that!

•Light carefully sited this town on a ridge of high ground between three rivers –the North Para, South Para and Gawler Rivers. The first two rivers join just below Light’s town to form the Gawler River which flows out to the sea. The town grew quickly for a non mining town and became the 19th century industrial hub of SA.

•The first settlers around the town grew wheat and consequently flour milling became the first industry with three flour mills –the Albion Mill, the Victoria Mill and the Union Mill.

•The farmers needed plough disks, windmills, strippers and winnowers and other farm machinery. The Gawler residents wanted fancy wrought iron lace work to adorn the verandas of their houses and cottages. So from the mid 19th century Gawler became a town of three foundries- the May Brothers Foundry, the Eagle Foundry and the Phoenix Foundry.

•Like all country towns in the 19th century Gawler was dominated socially by a select group of business and social leaders. In Gawler the well respected and known leaders of the 19th century were three prominent men- Walter Duffield - the flour miller, James Martin - the foundry man and John McKinley - the explorer.

Some Unique Aspects of Gawler’s History.

The origins of Gawler are unique in SA. When the Special Surveys of 1839 were offered for those with £4,000 to select 4,000 acres in an area of the person’s choice, a group of farming settlers who had voyaged out together on the ship the Orleana clubbed together to purchase a Special Survey at the junction of the North and South Para Rivers. Those settlers were John Reid, Henry Dundas Murray, E. Jerningham, Stephen King, William Porter, Patrick Tod, James Fotheringham, John Patterson, Thomas Stubbs, John Sutton, Robert Tod and the Reverend Howard. You will see many of these names on the street signs of Church Hill. These pioneering men came to a strict agreement and each donated a certain number of acres for the township of Gawler (named after the Governor of the day) in proportion to the total number of acres they had purchased from the 4,000 acres. Most of this group purchased around 300 acres and donated 7½ acres for the town and parklands but John Reid, Henry Murray, E Jerningham and

Stephen King purchased between 530 and 932 acres each. Hence the main street of Gawler is Murray Street. John Reid was the first to settle in the town and built a house called Clonlea. Stephen King built his sandstone mansion, Kingsford along the North Para a couple of miles out of Gawler. It was used for the TV series McLeod’s Daughters but is now an upmarket bed and breakfast establishment. Some of the others from this Special Survey appear to have sold their land and moved on quickly rather than settling in the emerging township. Fotheringham stayed and set up the town’s first brewery.

Social aspects and a sense of civic pride were always strong in Gawler. It was remarkable that in 1859 this small “gateway to the north” sponsored a competition for a national song to be conducted by the Institute Committee. As we all know Mrs Caroline Carleton won the competition. The Song of Australia was sung in all SA primary schools and was one of the options voted upon for the new national anthem in the 1970s. The music for the song was written by German born Carl Linger and the lyrics and music were first presented in the Gawler Oddfellows Hall in December 1859. The town also offered a prize for a written history of SA in 1861. Henry Hussey won that award. Also in 1859 the township opened the first museum in SA. At one time Mr Schomburgk, who later became Director of the Botanic Gardens, was the curator of this museum. Gawler also formed the Humbug Society in 1859 to consider social and political issues of the day and in 1863 the town established its own newspaper, which is still published, called the Bunyip. In later years it was unique in building so many steam railway engines that were used in SA or exported for use in other states.

Developing nicely after a very mild winter...

© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.

Heliconia Lodge Trail, Amazon, Maynas Province, Loreto Region, Peru

19:15 15 June 2014

Phylum Arthropoda

Class Insecta

Order Hemiptera - True Bugs

Developed by Fritz B. Burns Research Division for Housing

Architects: Walter Wurdeman and Welton Becket

Landscape Architects: Eckbo, Royston & Williams

laist.com/2009/02/07/laistory_the_post-war_house.php

The carburetor indicates the early model A1 developed in 1925 and is the same as the W1 boat engine carburetor. Interesting also is the use of a butterfly type choke in the carburetor inlet pipe. The engine burns gasoline (with oil mixed in) on spark ignition and has an adjustable timer assembly on the back of the crankcase.

See a Half Scale Model of This Engine at: www.flickr.com/photos/15794235@N06/26394230880/in/photost...

See More Springfield Engines at: www.flickr.com/photos/15794235@N06/sets/72157634297393122/

See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/

Visit Our Photo Albums at: www.flickr.com/photos/15794235@N06/sets

Courtesy of Paul and Paula Knapp

Miniature Engineering Museum

www.engine-museum.com

It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.

PDF of the crease pattern.

Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)

A squall developing over the Konmaru La.

Canon AE1-Program

Canon FD 50mm, f1.4

Kodak Vision3 50D

Tetenal Colortec C41 kit

Reflecta RPS 10M

Colorperfect, Photoshop, Lightroom.

Out in Manchester on Friday with some friends, taking pictures.

Develop: D-23_(200ml+800ml H2O)_20C-22min

Rollfilm: Rollei Retro-100

My friend owns a restaurant in a building that used to house a dentist's office upstairs. It's been gone for decades but some remnants of the business still remained, including these X-Ray developing instructions.

Developing cirrus sky at Waterhead

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

Plastique Fantastique (UK)

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

9 channel video installation, live score performed by musician ‘U’

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

Fallopé & The Tubes (UK)

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

DJ RHL (UK)

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

AGK Booth

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

WEST WARD WORKS

Guthrie Street

DD1 5BR

Images: NEoN

Art for the Soul by Richard Lazzara

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Snow balls battle in the festival.

Iwamizawa, Hokkaido.

Canon AV-1, Tokina SZ-X 60-300mm negative ISO 100 expired, exposed as ISO 50, developed normally.

Grasshopper sparrow

SIGMA fp + 45mm F2.8 DG DN C019

Developed by SIGMA Photo Pro 6.7.0

Sunset in black and white - Scarisbrick,West Lancashire

Yashicaflex 'C' Neopan Acros 100 developed in Kodak D76 for 9 and a half minutes at 1:1 (20c)

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

www.wien-vienna.at/albertinabaugeschichte.php

developed in Xtol (stock)

(En référence avec la photo plus bas....)

La construction des bâtiments est terminer a 98%. Mis a part quelques détails sur ces bâtiments résidentiels, il reste que les terrains a terminer, les clôtures, l'asphaltage de la rue et le mobilier urbain a installer (il y aura un petit parc au fond dans le coin).

Les gens ont déjà commencer a habiter l'endroit et d'ici l'été prochain tout devrait être terminer. La phase suivante sera maintenant de remettre la maison Dubois en étât afin de la transformer en endroit publique où aura lieu des expositions d'art par exemple.

A suivre....

Some photos from the very first roll of black and white film I developed on my own in my bathroom.

Developed October 1959.