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Developing countries, whose economies often rely heavily on one or two agricultural products, are especially vulnerable to climate change. This graphic shows that with an increase of only 2 degrees Celsius, there would be a dramatic decrease in the amount of land suitable for growing robusta coffee in Uganda.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Cartografare il Presente/Nieves Izquierdo
Palazzo Orengo developed around an ancient tower between the 17th and 18th centuries; when Sir Thomas Hanbury purchased the property in the second half of the 19th century, it needed major restructuring. The renovations maintained the role of the villa's emerging structure, increasing its visibility and panoramic views. In the past, the palazzo had played a defensive and strategic role. The renovations kept the ancient tower and the mighty walls.
At the time of Sir Thomas' death in 1907, the garden stocked at least 5,800 different species, but after the First World War, the garden went into a state of decline. His son Sir Cecil Hanbury and daughter-in-law Lady Dorothy Hanbury (1890-1972), decided in 1925 to start replanting and developing the garden to perpetuate the family legacy. Dorothy continued to live at La Mortola after Cecil died in 1937.
During the Second World War, the Gardens were confiscated, occupied first by Italian troops and then by German troops, and suffered severe damage. 1944 was the black year of the property which was bombed, looted and, of course, abandoned. In 1945 Dorothy managed to return and with just twenty gardeners she began the rebuilding work, supported by her second husband the Reverend Rutven Forbes.
The Hanbury Gardens were purchased by the Italian State in 1960 and committed to the Istituto Internazionale di Studi Liguri [International Institute of Ligurian Studies]; as of 1983, they have been managed by the University of Genoa in cooperation with the Ministry for Cultural Heritage and Activities regarding the protection of architectural components. Visitors have been admitted to the gardens since 1872.
Taken in the Georgetown neighborhood of Seattle
Pentax PC550 28mm
Kodak Portra 400VC
Lab C41
Epson 4490
Man in a Blue Smock, c. 1896–97
Paul Cézanne, French
Starting around 1887, using his wife and son as models, Cézanne began to paint single figures with the same gravity he had developed in his landscapes and still lifes. Around 1890 he extended his options by enlisting workers from his family’s estate in the south of France. The worker who posed for Man in a Blue Smock also posed for the famous Cardplayers compositions of the early 1890s. For the remainder of his career, Cézanne maintained his interest in making portraits of rural workers—if the term “portrait” can be applied to images of anonymous models posed as themselves in the studio.
In the background of Man in a Blue Smock, Cézanne represented the right-hand section of a folding screen that was his very first work of art (around 1859, Musée Granet, Aix-en-Provence). Featuring elegant figures such as the woman with a parasol, this was a scene of leisure rendered in the pastoral spirit of an eighteenth-century tapestry. Juxtaposed in an ambiguous way next to the worker in the Kimbell portrait, this faceless woman perhaps suggests some mute dialogue between opposite sexes, differing social classes, or even between the artist’s earliest and most fully evolved efforts as a painter.
Not counting his classical nudes in landscape settings, Cézanne had mostly abandoned figure painting after his portrait of the painter Achille Emperaire (Musée d’Orsay, Paris) was refused by the jury of the Salon of 1870. Left on deposit at the shop of the art-supply dealer Julien Tanguy, the Emperaire portrait was a revelation around 1887 to young Post-Impressionist painters including Vincent van Gogh. The enthusiasm of these younger artists may have helped rekindle Cézanne’s lapsed interest in portraiture.
Kimbell Art Museum, Fort Worth, Texas - April 14, 2026
The Kimbell Art Museum, owned and operated by the Kimbell Art Foundation, is internationally renowned for both its collections and for its architecture. The Kimbell's collections range in period from antiquity to the 20th century and include European masterpieces by artists such as Fra Angelico, Michelangelo, Caravaggio, Poussin, Velázquez, Monet, Picasso and Matisse; important collections of Egyptian and classical antiquities; and the art of Asia, Africa and the ancient Americas.
The museum's 1972 building, designed by the American architect Louis I. Kahn, is widely regarded as one of the outstanding architectural achievements of the modern era. A second building, design
The Kimbell collection consists of approximately 375 works that not only epitomize their periods and movements but also touch individual high points of aesthetic beauty and historical importance.
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kimbellart.org/holy-sepulcher?gad_source=1&gad_campai...
The architect behind the expansion of the Kimbell Art Museum in Fort Worth is so famous that his name has been affixed to the project like a brand: the addition, which will be unveiled on Wednesday, is called the Renzo Piano Pavilion.
Over nearly 50 years, Mr. Piano has designed notable buildings like the Pompidou Center in Paris and the Modern Wing of the Art Institute of Chicago, and his association with Texas institutions of fine art dates back more than a quarter-century to his 1987 Menil Collection in Houston. Eight years later, he designed the Cy Twombly Gallery in the same city and in 2003 his Nasher Sculpture Center opened in Dallas. (Some 1,400 miles away, he designed the headquarters building of The New York Times.)
But the $135 million Piano Pavilion is, perhaps, Mr. Piano’s most subtly ambitious Texas work to date — in part because the structure was commissioned to serve one of the most revered museum buildings in the country, designed by the American architect Louis I. Kahn. The Piano Pavilion will be the main location for visiting exhibitions and the museum’s Asian art collection. It also contains a 298-seat auditorium.
Mr. Piano’s pavilion design aims to complement Kahn’s monumental modernist aesthetic, his fondness for concrete and his emphasis on light. “I understood that we needed to create a dialogue between the two buildings,” Mr. Piano wrote in an email.
What Mr. Piano’s pavilion adds to the conversation is a stress on contemporary sustainability practices.
“The Kahn building is famous for its natural light,” Mr. Piano said. “But that was a natural lighting system designed in the late ’60s and ’70s. Technologies have advanced considerably since then. We needed to capitalize on the new technologies and make a design that is more flexible and responsive to the issues of today, like sustainability.”
“Designing for energy savings is not an ‘add on,’ ” Mr. Piano said in an October Kimbell Art Museum publicity release, “but, rather, the proper way to build.”
He set three-quarters of the 101,130-square-foot building below ground. Though the decision was driven by Mr. Piano’s desire not to overpower Mr. Kahn’s masterpiece, “having a huge amount of the museum program underground increases its energy efficiency as we only send daylight into the areas where the public actually goes,” said Andy Klemmer, president of Paratus Group, the pavilion’s project director.
The pavilion’s roof has fritted glass and fabric scrims, over which lies a network of aluminum mechanical louvers, or slats, that open and close to control and diffuse the amount of light let into the museum. The evenly distributed natural light cuts down on how much electricity the Kimbell might otherwise use to illuminate the gallery spaces.
Moreover the tops of those aluminum louvers are covered with photovoltaic cells, or solar panels, that harvest sunlight to generate electricity for the museum.
“The solar cells produce the energy to illuminate the building at night,” Mark Carroll, the pavilion’s lead architect and partner with the Renzo Piano Building Workshop, wrote in an email.
On the ground, Mr. Piano and his team have installed 36 geothermal wells, each one 460 feet deep, to harness the more stable temperature of the ground water to heat and cool the building.
The galleries’ white oak plank floors (with quarter-inch gaps between the floor boards) are made to be breathable, allowing low-velocity air to circulate throughout the pavilion. The air-displacement system uses less energy, and air is sent only where there are people.
Finally, there is the 19,200-square-foot green sod roof covering the museum’s western pavilion. It insulates the building from both the sun and the cold. “And unlike from a traditional roof, you will avoid lots of wasteful rainwater runoff into a nearby gutter,” said Kathryn Holliday, director of the David Dillon Center for Texas Architecture at the University of Texas at Arlington.
Of course the roof also scores aesthetic points.
“The roof is done in such a beautiful, sculptural way,” said Carlos Jiménez, a professor of architecture at Rice University. “It is more like an impeccable green tapestry.”
Because of Mr. Piano’s many green choices Mr. Klemmer says that the Piano Pavilion will need only half the energy per square foot required to run the nearby Kimbell.
“Piano firmly set out the environmental goal of this new building to make it as carbon-neutral as possible, and to wring every bit of energy efficiency out of it, while still providing natural light and a great place to view art,” Mr. Klemmer said. “What we’ve finally created is the most energy-efficient art museum Piano has ever designed — by a long shot.”
As impressive as that is, the Kimbell Art Museum director, Eric M. Lee, is most proud of the fact that none of Mr. Piano’s environmental features intrude on the sheer beauty of his latest Texas museum.
“I’m thrilled at how Renzo built into the Kimbell his concern for building green, as, in 2013, I don’t think you can construct a museum without building it green,” Mr. Lee said. “But even better is that none of these green aspects have compromised the new building’s stunning visual appeal. In fact, so many of our works of art, especially from our African, pre-Columbian and Asian collections, positively sing in the new Piano building.” And Mr. Kahn’s original Kimbell Museum building, just 65 yards to the east, positively sings outside and across from it.
www.nytimes.com/2013/11/24/us/the-kimbells-stylish-sustai...
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Shot with a Canon Canonet QL17 GIII and Ilford HP5 plus, developed at home with Rodinal and scanned with an Epson V600
Raindrops on windows and whiskers on kittens.
Home developed Legacy Pro 400 (aka Fuji Neopan 400) in D76, 1:3, 15 minutes @ 68F.
BioInspired Devices, LLC develops medical devices inspired by the body. Our underlying phil -
osophy of biomimicry involves implementing strategies used in nature to prevent infections,
thereby reducing healthcare costs and saving lives. We are currently developing our patentpending
urinary catheter.
This is Caitlyn Odette. Now *nervous cough* at this point in the left of the picture she is "giving into her addiction to majuana" - KIDS!! SMOKING IS NOT COOL!!! - and yeah in the right of the picture she is scratching her head lol and pretty much high. This is sometimes how her power to control the elements can be activated. And with all the "abiltated" characters in my comic their eyes turn white when they are in control of their powers or have activated their powers - I showed this to a classmate and he thought she was posing in an "erotic way"...she isn't! *smiles*
"Everything comes from paper "
The research developed by Sergio Esteves, with the paper, takes the fusion as its starting point between two craft techniques: the oriental kirigami and the French "sculpture". From the first one he uses the folding and the cutting. The rounding that suggests the volume of the figures comes from the French tradition.
Passeio Fotográfico - São Paulo - 458º Aniversário
Photografic walk - São Paulo - 458th Anniversary
The last few times I have developed Sahnaghai GP3 film in Rodinal 1:200 stand development for 2 hours, I have noticed a recurring problem.
You can see in the top right hand corners of the image, the blotches that are throughout the image.
Perhaps not enough developer is getting to the film throughout the stand development process?
I thought my Fixer may be exhausted but I have developed other films without this problem.
This problem seems to be consistent with the Shanghai GP3 .... Any thoughts on why this may be happening ?????
Hasseblad + 80 mm + Shanghai GP3 + Rodinal 1:200 Stand Developed @ 2hours
Together with Karel and neighbor boy Afra we made a new board game and tested it - the boys' sisters played along, too. Most of the rules were my idea, but they're subject to change as we test the game.
Everybody rolls 2 dice at every turn. One special die (made with the Lego die) and one regular one.
The special die has the following sides:
CLOSE - close the gates on the board
OPEN - open the gates
MONEY - get a chip
PURPLE - pay a chip
The regular die is for walking, of course. The figures can pick their route on crossings, but cannot go backwards.
Every player gets a 4x10 plate to put the chips (round 2x2 tiles) on; objective of the game is to collect 10 chips so that the plate is full.
There are the following special fields:
- White jumper plate = sing a song and earn a chip
- Brown jumper plate = do a dance and earn a chip
- Red jumper plate = make a drawing and earn a chip
- Tan jumpuer plate = go two steps forward and earn a chip
- Field with a gold or silver ball = earn a chip and put the ball in the bucket. When the fourth ball goes in the buckets, all balls come back in the game at random
- Golden gate: must be open to pass. Earn a chip
- Start gate: must be open to pass
- 'Hit the wall': if you land on the field adjacent to the outer wall with the castle windows, you skip two turns
- Shelter: skip one turn
- Stop sign: skip one turn
- Arrow tile: roll again
- Field with soccer ball: go to the field before the golden gate and put the soccer ball somewhere else
- Antenna: go to the field before the golden gate
Things that need to change:
- Maybe the routing isn't clear enough. Madelief insisted on turning left where she couldn't (hence the pout), maybe I should add an arrow sign. (The way she went about, she'd skip the bit with the gate)
- I designed the game with just one OPEN and two CLOSE sides on the special die, but kids are waiting behind closed gates too much.
- That START gate was annoying. Everybody was waiting for the gate to open and got fed up. It should go.
-Reaching 10 chips may take too long. Maybe I should use smaller plates or let the game end when the first player reaches the slide.
The Snail Shell Assassin figure recently released, and I got mine in a few days ago. Like Figma, Snail Shell has a very competent body that they tweak and provide for use in developing figures for the assortment of interesting character designs.
So I don't know the official names or anything, but this figure basically has two forms - some strange hybrid cybernetic animal form, and of course, the expected Waifu in skintight jumpsuit form.
It's an interesting design aesthetic, though for an assassin she seems awfully under armed, featuring a knife and a Grapnel Gun. The sheath for the knife and the harness for the Grapnel Gun plug directly into her lower spine. The interesting thing is that the hands are only meant to hold the knife - the Grapnel Gun is directly deployed from her harness... or that's what I think, as there's no real instructons.
Grapnel Gun comes with a coiled wire as well as three different tips, one for use when the tip has not been fired, and two actual projectiles to use with the wire.
Assassin is a return to average height for one of their figures, as Milk T Girl was just really short, though to be fair she was also really cheap to buy.
The cyborg mode head features multiple joints for articulation in the neck, covered with a fabric piece to hid the joints. There's also a joint at the base of the head, so overall this giraffe necked sculpt is actually very articulated. Compared to the normal head, which features effectively no neck articulation and limited head tilt, this feels somewhat like a step back.
Articulation has generally not been an issue with Snail Shell figures, and this is no different. mainly lacking a waist and butterfly shoulder joints. I've never removed the legs of any of the other figures (but this one I have to in order to swap out the groin pieces, and I notied the the hip design actually features some robust designs to allow for increased range of let motion without relying on a pull down hip design. The tail is actually articulated, tough the connection looks so fragile I'm afraid to actually manipulate the piece too much.
As always, use of the base will increase your posing options, and the base has cavities for you to store you spare pieces.
The two face plates are functional, and I can only presume they look like the source art. I can say, however, they're solid in terms of looking anime in nature, though again I wonder if this is simply because art direction insisted. There seems to be more rouge around the eyes on the finished product compared to the prototypes, and this shows up on the photos.
Otherwise, Paint and Build wise, pretty much on par with other Snail Shell items. in case you weren't aware, that is basically Storm Collectibles level of quality that should be coming out from these sets. Some questionable design choices as i've outlined above, but overall the figure certainly holds together than product from other companies.
First pictures developed from my "new" (expired 1993) 9x12 Fuji 160 NSP film.
9x12 is the european equivalent of 4x5. Film holders have the same external dimensions, but film area and dark slides are different.
I shot the film at ISO 100 with my Crown Graphic. Developed in Tetenal Colortek C41.
Although a 19 year old film, I am pleased with the results - colours are good, film is a bit grainy, but acceptable.
Representatives from Malawi, Mozambique, Tanzania, Zambia and Zanzibar gathered in Dar es Salaam for 3 days to pilot the use of the GPE/UNGEI Guidance for developing gender-responsive education sector plans.
Credit: GPE/Chantal Rigaud
A new trusty 35mm film camera. 5 rolls of Superia 200 shot and in need of developing. Cant wait to see the outcome.
A local Afghan offers a French soldier tea in eastern Afghanistan. (Photo Courtesy of Task Force Lafayette/French)
Shot with Hasselblad 500 C/M, CZ Planar 80/2.8 T*, FP4plus. Developed in Adox Adonal (1+50) @ 18 minutes. Scanned with Epson V600.
A Norwich street scene taken with a folding camera.
Agfa Isolette I. 1954 folding camera.
Ilford HP5 Plus medium format film
Developed in ID11
The course presents best practices to develop and operate science centres and museums relating to our natural and cultural heritage, and supporting programmes for the public.
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Foto: Lisa Zillio
At a time of changing tides, Alaeddine Rezgui (LDF, Tunisia) saw the necessity for promoting the values of citizenship, democracy, and acceptance of others among the youth of his community in Tunisia. With the support of a MEPI Leaders Grant, Alaeddine implemented a project to equip high school students with leadership skills and encourage them to be effective members of their communities. Through activities aimed to strengthen citizenship values, non-violent communication, the art of accepting others, and democratic values, the project trained 40 participants to prepare electoral programs and conduct election campaigns for the leadership of a “Citizenship Club” in La Marsa city.
Participants in the project learned more about democracy as a system. They were able to understand the importance of voting based on the election campaigning and not based on who is running for the election. The project helped them understand the importance of accepting others, regardless of their differences. Furthermore, it helped in promoting women’s leadership as many participants were young women. “Our project affected the lives of the young participants positively and they spread the word about. As a result, soon after establishing a ‘citizenship club’ in the school, we received about 100 joining applications.”
Alaeddine believes the project had a positive impact on participants and their immediate family members. He received support from local civil society organizations, as well as local government institutions, and was able to sign partnership agreements with the International Junior Chamber in La Marsa. The Youth Center of La Marsa city provided the venue for the project activities, and Alaeddine signed an agreement with them to host the “Citizenship Club”.
“Implementing the project was very rewarding as it had a positive profound impact on participants. There was more demand to such workshops to help other non-participants youth acquire the same skills as their peers who participated,” reported Alaeddine. On a personal level, Alaeddine thought that conducting the project had a great positive impact on him as a community leader as it helped him develop his leadership skills, to develop skills in managing financial resources, as well as help him expand his network of stakeholders within his community.
For decades, developing and emerging economies have relied on traditional financing solutions intermediated by commercial banks with limited capital market activity. A vital challenge for these countries is how to mobilise more finance to help accelerate their development and achieve the Sustainable Development Goals (SDGs). This event comes at a critical juncture as developed economies begin to tighten their monetary policies and geopolitical tensions increase dramatically, raising new questions on how sustainable capital market ambitions could be achieved going forward.
The current turbulent environment in Europe has also highlighted the importance of energy security and the pressing need to fast-track decarbonisation efforts. This panel explored how emerging economies can achieve significant breakthroughs by mobilising cross-border finance focused on sustainable and inclusive solutions. In particular discussing the growth of blended finance and impact investment flows and their role in building up the stock of assets in emerging market economies with the aim of achieving sustainable development impact.
At the heart of the EBRD’s mandate lies a focus on environmentally sound investment and sustainable development, and the Bank is determined to promote Environmental, Social, and Governance (ESG) through a unique combination of policy dialogue, investments, and private sector focus. The panel also explored how various parties -- the emerging countries’ authorities, advanced economies’ governments interested in supporting sustainable development, impact investors and IFIs - could work together to support the much-needed quantum leap in finance.
Featuring:
Andre Kuusvek
President & CEO
Nordic Investment Bank
Alex Pivovarsky - Speaker
Director, Capital Markets Development
EBRD
nwboatschool.org
The Batela is a traditional Venetian boat, that is, developed in the Italian city of Venice. It is a flat-bottomed boat with a slight degree of rocker (meaning, the bottom is curved from bow to stern) to make it easier to row and control. Rowed standing up, it is essentially a cargo carrier or ferry.
The Traditional Small Craft class of 2014 under the direction of Master Instructor Jeff Hammond will build the boat.
The batela is approximately 30 feet long, and will be built largely of western red cedar over sawn frames.
This is an extremely interesting commission in that the boat was developed using design input provided by the owner in the form of sketches and commentary accompanied by video of Venetian batelae. Jeff drew the boat using that data, and refined it based on additional commentary and guidance to meet the owner's direction.
A good picture of a classic Venetian batela can be seen here: tinyurl.com/kvnnvyj on the webpage of Row Venice. There are more pictures at rowvenice.org/whos-row-venice/
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is an accredited, non-profit vocational school. You can find us on the web at www.nwboatschool.org .
Our mission is to teach and preserve the fine art of wooden boatbuilding and traditional maritime crafts.
We build both commissioned and speculative boats while teaching adult students the traditional wood and wood composite boatbuilding skills they will need to work in the marine trades. We sell our boats to help support the School. Please feel free to give us a call should you like to discuss our building a boat for you.
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948.
Camden, London.
26th August 2008. Olympus 35DC and expired Ilford FP4+ film, developed by me in Ilfosol-3 for 9.5 minutes in December 2014. Cropped and tweaked in Picasa.
Developed by Remedy Entertainment | PC version | Screenshots taken with Hattiwatti's cinematic tools
From Wikipedia:
"Developed in African-American communities in the United States, the Charleston became a popular dance craze in the wider international community during the 1920s. Despite its origins, the Charleston is most frequently associated with white flappers and the speakeasy. Here, these young women would dance alone or together as a way of mocking the "drys," or citizens who supported the Prohibition amendment, as the Charleston was then considered quite immoral and provocative."
I love fancy dress parties, and I'm always getting hold stuff that could be useful as vintage fancy themed outfits. I'm weak for hats and head ornaments, so this sparkly number just caught me!
I couldn't quite reflect all the drama, I envisioned for this photo, but there you go!