"Now that is what I call a Re-enactment!

 

Bartimaeus the blind beggar

May the Peace of the Risen Christ be with you! Easter is here.

 

We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.

 

How do we measure "success" in regards to our re-enactment?

On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.

But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.

We saw many people following the play and praying along with us.

  

Crowning with Thorns

Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.

 

One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"

 

I touched Jesus' Robes!

 

Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.

 

Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.

 

When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.

 

One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.

 

At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.

 

When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.

  

Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."

 

We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.

The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.

 

So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.

 

Thank you.

~David Bruggeman"

Copied from goodfridaypassionplay.blogspot.com.au/

 

For more information please visit www.paulinefathers.org.au

 

No need to meditate or imagine, this event will take you to Calvary!

 

Images by Giovanni Portelli Photography © 2018.

Saturday 6th February 2016 saw a Manchester City play Leicester City at the Etihad Stadium.

 

The Force’s photographer was on hand to take a series of images to be used in future safety briefings and also captured some images of the build up to the game.

 

The Manchester weather did its best to dampen the spirits of both sets of supporters and the rain poured constantly. Despite the inclement weather Leicester fans left the ground in good spirits after a win.

 

Policing the many major football games played in our region is a regular duty for many of our officers.

 

For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

 

So I bought a big stock of Dark Turquoise at a cheap price... I wanted to test the effect, so here it is ! I'll probably use those parts a lot in future MOCs, especially for my strange interiors. Never had any Dark Turquoise before : very nice color, I must say !

PizzaBuzz is, in a city so full of new restaurant openings, a very good idea indeed. The concept can be summed up (crudely) as âDIY Pizzaâ or "we have the toppings, you do the rest!" or "Subway, but with pizzas!". This doesnât really do it justice however and there is, obviously, much more to it than that - which Iâll now try to elaborate upon:

 

Essentially the idea is semi-self service pizza/food assembly. You take your place at the start of their "DIY pizza assembly lineâ and prepare yourself a pizza entirely of your own devising (though you donât have to do anything really asides from tell them what you want your pizza to be made of - it arrives pre sliced too, woo!).

 

You choose from 5 types of bases (gluten free options are available). These range from a âregularâ Margherita (cheese, tomato etc) to the Bianca (white sauce, mozzarella, parmesan) - plus a pretty fkn extensive range of toppings, divided into vegetables, proteins (i.e meats, fish) and cheese. Said toppings include such gastronomic curiosities such as bacon jam and wild rock shrimp. The recommended number of toppings for a pizza is about 4-5, though apparently one guy came in (drunk) on a Friday night once and ordered a £20+ pizza that contained EVERY SINGLE topping they offered. It ended up looking like a pyramid (hahahahaha!)

 

And, if you donât fancy coming up with your own pizza, their âsignature collectionâ of pre-designed pizzas come in around £10, and have names like Middle Earth and Etna. Once youâve picked your combo of ingredients, it takes them about 1-3 minutes to cook the whole thing in their wood fired ovens - so you might even be able to describe it as fast food. Takeaway is also an option. In the Southern Italian style, you can also get a burrata (and choose what ingredients to have it with, which is the recurring theme...)

 

As for the ambiance - PizzaBuzz lives inside the brand spanking new Alphabeta development on Worship street. On the inside it has a minimal vibe - almost the feel of an industrial space about it. Except theyâve made it more friendly with offcentre animal illustrations drawn onto the walls (pictured) plus their colourful logo and a recurring love of hexagonal things. Plus staff singing along to the music (not sure if this is an actual feature or if I just came in at the right time ^_^)

 

I must also tell you about the dough - which took a yearâs development and is quite something (theyâve got a video called âJane Doughâ in which the dough explains this all to you in a Yorkshire accent, lol). Anyway, it comes from a small mill in Oxfordshire and is, unusually, 50% spelt. I am told that this results in better texture, digestibility and mouthfeel than regular pizza. This is a big claim to make, and Iâm not sure I agree - the pizza I had, however, WAS very good and thatâs all I can say about that.

 

All in all, Pizzabuzz is taking a very good idea from another restaurant (*ahem*) and applying it to pizza very, very well. I wasnât surprised to hear that they have another site opening soon and can see them doing pretty well in future. Inherently, itâs fun, a bit silly, and provides you with a lot more choice than most of the (pizza based) competition. Definitely a place Iâd recommend to everybody (because who the hell doesnât like pizza, really?!)

This is the first of hopefully many pieces I plan to put out in future. After making my StreetDeck net, I realised quite quickly that I could do much better, and this is the culmination of my efforts, the East Lancs Vyking.

 

FX53 TXA was new in 2003 to Lincolnshire RoadCar as their 907 for use on service 3 between Grimsby and Grimsby, which is now the 53. It arrived painted in their "Making the Connection" livery with Interconnect branding. Following the sale to Stagecoach, 907 was renumbered as 16907. In 2009, 16907 was repainted in the new purple and gold Interconnect livery.

 

In 2014, 16907 was repainted again, this time into the company's then-standard "Beachball" livery. From 2016-2017, it was based at Lincoln, transferring in 2017 to Skegness where it would remain until 2020. In 2020, it was transferred yet again to Scunthorpe where it would live out its twilight years until 2022.

 

In 2022, 16907 was donated to the Trolleybus Museum at Sandtoft, who were eager to run a low-floor shuttle service on their running days, the lack of a pantograph or trolleypole not being a huge issue to them. In 2023, it was taken to the South Yorkshire Transport Trust in Rotherham who repainted it back into its original Lincolnshire RoadCar livery.

 

Now back as 907, the vehicle carries an advertisement for the Trolleybus Museum on its rear and can be seen operating shuttle services to Doncaster on museum running days, but also appears at events of the SYTT.

 

My work is not open for reposting or editing.

PANCHKHAL, Nepal (Mar. 27, 2013) - A Cambodia platoon manages a crowd control situation involving a negotiation with role players during Shanti Prayas-2 at the Birendra Peace Operations Training Center. Shanti Prayas-2, a Global Peace Operations Initiative training exercise, is a multinational exercise, led by the Nepalese Army and sponsored by the U.S. Pacific Command. The exercise takes place March 25 to April 7, bringing together military representatives from 23 nations to train United Nations standards for operating in future peacekeeping missions. (U.S. Army Photo by Sgt. Cory Grogan, Oregon National Guard 115 Mobile Public Affairs Detachment)

130327-A-FS713-474

 

** Interested in following U.S. Pacific Command? Engage and connect with us at www.facebook.com/pacific.command and twitter.com/PacificCommand and www.pacom.mil/

(further pictures and informations you can see by clicking on the link at the end of page!)

Austrian State Archives (ÖStA)

Austrian authority

Oesterreichisches Staatsarchiv.svg

State level Federation

Position of the authority subordinated agency

Supervisor(s)/organs to the Federal Chancellery

Founded in 1749 as the Secret House Archive (Empress Maria Theresia)

Headquarters Vienna Highway (Landstraße, 3rd district of Vienna)

Board of Directors Univ. Doz Dr. Wolfgang Maderthaner

www.oesta.gv.at site

 

Central Archives building of the Austrian State Archives in Nottendorfergasse 2 in Vienna 3

The Austrian State Archives (ÖStA) in Vienna is the central archive of the Republic of Austria. It keeps on the basis of the Federal Records Act the archives of the Federation. The tasks of the Austrian State Archives are therein described as follows: capturing, taking over, keeping, obtaining, placing, organizing, making accessible, exploiting and utilisation of archived documents of the Federation for the exploration of the history and present, for other research and science, for the legislation, jurisdiction, administration as well as for legitimate concerns of people.

As far as in the public records monuments are concerned, the Austrian State Archives according to Monument Protection Act in place of the Federal Monuments Office is also responsible for the preservation.

History

The origin of the Austrian State Archives goes back to the year 1749 when Empress Maria Theresa in the course of an administrative reform installed a secret Hausarchiv. The establishment was related to the new, centralized administration, which required a separate archive. For other centers of administration such as Prague, Graz and Innsbruck documents were taken to Vienna.

In the historical analysis is important to note that there have been earlier archives and collections of documents, whose contents were incorporated into the new archive.

In the 19th Century the name House, Court and State Archives became then usual.

1951 there was a scandal because Heinz Grill, archivist in the House, Court and State Archives, had stolen gold and silver bulls over the years and sold to metal dealers ("affair Grill").

The archive departments

The modern Austrian State Archives is divided into several sections:

Archives of the Republic

The in 1983 founded archive of the Republic is the youngest archive department. It is the center of contemporary research in Austria and archival responsible for the evaluation, discarding, taking over and custody, safeguarding, maintenance and overhaul, accessing, compilation and exploitation of those written or typed material supply, which in the Austrian central authorities (all ministries, central federal departments and subordinated offices) have been produced since 1918.

Since the introduction of the electronic file (ELAKimBUND) in the Austrian federal administration (nationwide for all federal agencies since 2004), the Archives of the Republic is also responsible for the implementation of the digital archiving of this written material. Since 2007 it has been actively worked on an appropriate solution for long-term preservation of the "born digital" act. The startup of the digital archive Austria took place in 2012.

General Administration Archive

The General Administration Archives preserves the records of the central authorities responsible for internal administration of the Habsburg Monarchy from 16th Century, over 12,700 running meters, a significant collection of maps and plans, and about 5,000 documents. In its origins, the General Administration Archive goes back to the first-time centralisation of the old registries of the court chancelleries in founding the "Directorium in publicis et cameralibus" in 1749. The archive materials of the General Administrative archive were decimated by the Justice Palace fire in July 1927 considerably.

The public records which are kept in this division are divided into 10 thematic groups (= inventory groups), which for their part again contain files of various central services:

Inventory group Internal Affairs: Chancellery, Ministry of Interior, police authorities, Council of Ministers, rights of the Austrian State of Lower Austria, city expansion fund

Inventory group Justice: Supreme Justice office, Ministry of Justice, prosecutors, Linz Regional Court, Imperial Court, Administrative Court

Inventory group Instruction and Cultus: Studienhofkommission (Imperial Commission on Education), Ministry of Education, Old and New Cultus

Inventory group Commerce: Department of Commerce, Post Office, Ministry of Public Works, Navy Department, Patent Office

Inventory group Agriculture: Ministry of Agriculture, Agricultural Operations, Forestry and Dömänendirektion (Domain Directorate) Vienna, Forest Institute Mariabrunn, teacher Audit Commission, Agricultural Society

Inventory group Transport: United Court Chancellery, General Court Chamber, Ministry of Public Works, Ministry of Trade, Commerce and Public buildings, Ministry of Finance, Ministry of Trade and National Economy, Department of Commerce, the General Inspectorate of the Austrian Railways, Ministry of Railways, Railway Construction Department, State railway administrations, private railway companies

Inventory group Family archives and Estates

Inventory group Nobility: imperial nobility files, Hofadelsakten (Court nobility records), pedigrees

Inventory group Audiovisual Collection: Politics and Public life since 1945, Austrian landscapes and buildings, customs, history, science, technology, medicine, business, art, culture and sport

Inventory group Plan and Posters collection: collection of plans comprised of the following funds: Hofbauamt (Court building authorities), chancellery, General Construction Authority, Lower Austrian Civil Construction Authority, Bausektion (construction section) of the Ministry of the Interior, Bausektion of the Ministry of Commerce, Ministry of Public Works, State Baudirektionen (construction directorates), Waterway Construction Authority, Dikasterialgebäudeverwaltung (dicasterila building administration), Ministry of Agriculture, Ministry of Culture and Teaching, Studienhofkommission (Imperial Commission on Education), Stiftungshofbuchhaltung (Foundation Court Bookkeeping), Ministry of Justice, city expansion fund

War Archive

The beginning of a proper Military Archives in the Habsburg monarchy is to fix in the year 1711, when Emperor Joseph I. ordered the creation of an archivist office with the Hofkriegsrat, the highest central authority for the Habsburg warfare. Already in the first half of the 18th Century, this hofkriegsrätliche (Court's warfare council) archives of the chancelleries has gradually evolved into a kind of military central archives, especially since 1776 through the merger of the hofkriegsrätlichen plan collection with the combat engineer the archives of the chancelleries in reference to cartographic material became to a central contact point. In addition, however, the aim was put on experiences in the past, lessons from former campaigns for the present and future. In view of the above, Emperor Joseph II in 1779 ordered the documentary revision of the campaigns since 1740. This access to the history of war intended Archduke Karl to continue, too, by 1801 disposing the creation of the Imperial War archive. This had according to its founding mission to collect documents and maps, but also scientifically and journalistically to evaluate.

The Imperial and Royal (from 1889 kuk) Kriegsarchiv (war archive) initially consisted of a department of scriptures, a card archive, library and a department of military history works. By the end of the 19th Century the war archive had the bulk of the until then elsewhere stored military documentary material taken on. During the First World War, the war archive had with the assumption of mass documentary material from the front considerably more tasks to carry out, for which the number of staff of the archives substantially had to be increased. After the end of war in 1918 the war archive became a civilian institution, to which after the fall of the monarchy have been given masses of new documentary material from previously independent departments and liquidated offices. During the Second World War, the war archive as Army Archives Vienna was a part of the German Army archive organization under the supreme command of the Wehrmacht. After considerable losses as a result of the war, the War Archives in 1945 became a department of the newly created Austrian State Archives. In the years 1991-1993 moved the since 1905 in the Stiftskaserne (barracks) in the 7th District of Vienna housed war archive to the Central Archives building in Vienna III.

The war archive contains about 180,000 document cartons and 60,000 account books on 50 shelf kilometers and is by far the most important military archives in Central Europe. Its map collection with over 600,000 maps and plans is the largest in Austria. There is also a collection of about 400,000 images. The former library of the war archive is one of the most extensive collections of older military historical literature .

The in 22 inventory groups aggregated inventories of the Kriegsarchiv, in their structure these two fundamentally different archiving traditions are reflected to this day, can be broadly divided into five major blocks:

Personnel files of officers, petty officers, crews and officials of the armed forces of about 1740 to 1918; reward acts (1789-1958), so documents on military awards, which the archives of the Military Maria Theresa Order is attached.

Feldakten (combat files) with material on the operations of the imperial or kk Field armies from 16th Century to 1882 (Old Field records and Army files) as well as on 1914-1918 (Army High Command, New field files - Neue Feldakten).

Most High command, main, subordinate and territorial authorities. This group brings together the recordings of major institutions in the entourage of the emperor (especially of the Military Chancellery, the Generaladjutantur (general adjutancy) and the General Staff), the central military services (Hofkriegsrat (Court War Council) 1557-1848, War Office 1848-1918, Ministry of National Defence from 1868 to 1918) and a number of other authorities, institutions and territorial command posts such as the disability Office, the Apostolic field Vicariate, the supreme combat engineer and artillery authorities, the military educational institutions, the military invalids houses and single General and Military command posts in the countries.

Navy and Luftfahrtruppe (air force troup (19th - 20th century)

Collections, which include in particular the maps and plan collection, image collection, the manuscripts and a very important collection of military scripture estates.

The war archive is now a "historical archive". The here kept official written or printed material essentially ends with the collapse of the Austro-Hungarian Empire at the end of the First World War (1918). The collections of the Kriegsarchiv (war archive) on the other hand constantly increase.

Financial and Hofkammerarchiv [ Edit]

The financial and Hofkammerarchiv (Court Chamber archive) arose when in 1945 the previously separately kept inventories of the Hofkammerarchiv and financial archives were merged. The Court Chamber, founded in 1527 was the central financial authority of the Habsburg monarchy. 1848 took over the newly founded Treasury its duties. The archive contains financial records that are especially important for historians. In historical Archive building in the Johannesgasse the Directorate room of Franz Grillparzer is still preserved, working there from 1832 to 1856 as director. With 1st December 2006, the Department of Finance and Court Chamber archive was incorporated into the General Administration Archive. The bulk of the archival material was moved into the central archive building in the Nottendorfergasse.

House, Court and State Archives

The House, Court and State Archives in Minoritenplatz

Board on State Archives

The House, Court and State Archives, Minoritenplatz 1, 1749 by Maria Theresa (1740-1780) was established as a central archive of the Habsburg dynasty. By creating a well-ordered document repository unifiying the hitherto over several sites scattered important House and state documents in Vienna, it should be ensured that the legal titles and rulers' rights of the dynasty in the future were quickly available when required.

Of the today in 11 inventory groups organised inventories of the House, Court and State Archives the following topics have been given priority:

the history of the Habsburg dynasty

the activities of the supreme Court offices and the Imperial Cabinet

Diplomacy and foreign policy of the Danube monarchy

highest Administration and Jurisdiction in the Holy Roman Empire of the German Nation whose imperial dignity the Habsburgs held for centuries almost without interruption until the dissolution of the National Association in 1806.

Worthy of mention furthermore in the House, Court and State Archives deposited ruler and family archives, estates, a manuscript collection, a collection of seal and stamp imprints as well as a plan and map collection.

Showpiece under the "Collections" of the archive department is but unquestionably the document collection formed from different provenances.

Overall, stores the in a 1899-1902 built landmarked Archive functional building at Vienna's Minoritenplatz housed House, Court and State Archives on 16,000 running meters, 130,000 accounting records and document cartons, 75,000 documents, 15,000 maps and plans, and about 3000 manuscripts.

The oldest piece is a document that Emperor Louis the Pious issued in the year 816. The chronological endpoint sets the year 1918. The House, Court and State Archives is among the "historical" departments of the Austrian State Archives, who do no longer grow by receiving documentary material deliveries from the Austrian federal ministries.

The great importance of the House, Court and State Archives for international research is based on the wide geographical catchment area and the variety of its collection. Due to the territorial expansion of the Habsburg rule from the 15th Century and the literally global relations of the dynasty, the here stored archival material encompasses practically all continents.

In addition to the "classical" access of diplomatic and political history, the archive also offers a social and cultural history oriented research rich material.

Restoration workshop

The restoration workshop of the ÖStA belongs alongside those of the National Library and the Federal Monuments Office to the most important restoration facilities for paper, parchment, sealing and bookbindery in Austria.

Significant archivists

Ludwig Bittner (1877-1945), archivist 1904-45

Anna Coreth (1915-2008), Director of the House, Court and State Archives

Walter Goldinger (1910-1990), Director-General in 1973

Lothar Gross (1887-1944), director of the House, Court and State Archives

Joseph Knechtl (1771-1838), archivist 1806-1834, 1834-1838 Director

Hanns Leo Mikoletzky (1907-1978), Director-General 1968-72

Lorenz Mikoletzky (* 1945), Director-General from 1994 to 2011

Rudolf Neck

Kurt Peball (1928-2009), Director-General 1983-89

Gebhard Rath (1902-1979), Director-General 1956-68

Leo Santifaller (1890-1974), Director-General 1945-54

Erika Weinzierl (* 1925), archivist at the House, Court and State Archives 1948-64

Publications

The Austrian State Archives publishes the periodical Communications of the Austrian State Archives (Mösta) appearing in annual volumes since 1948. In addition, archive inventories, supplementary volumes to the communications and exhibition catalogs are published.

de.wikipedia.org/wiki/%C3%96sterreichisches_Staatsarchiv

Shigatse, Tibet , China, Summer Palace Panchen Lama, Tashilhunpo Monastery, Tibet Autonomous Region, Tibetan Plateau, Tsang province of China,

 

We are visiting the Tashilhunpo Monastery

 

Tashilhunpo Monastery , founded in 1447 by the 1st Dalai Lama, is a historic and culturally important monastery in Shigatse, the second-largest city in Tibet.

 

The monastery was sacked when the Gorkha Kingdom invaded Tibet and captured Shigatse in 1791 before a combined Tibetan and Chinese army drove them back as far as the outskirts of Kathmandu, when they were forced to agree to keep the peace in future, pay tribute every five years, and return what they had looted from Tashilhunpo.

 

The monastery is the traditional seat of successive Panchen Lamas, the second highest ranking tulku lineage in the Gelug tradition of Tibetan Buddhism. The "Tashi" or Panchen Lama had temporal power over three small districts, though not over the town of Shigatse itself, which was administered by a dzongpön (prefect) appointed from Lhasa.

 

en.wikipedia.org/wiki/Tashilhunpo_Monastery

 

Shigatse, officially known as Xigazê, is a prefecture-level city of the Tibet Autonomous Region of China, It is located within the historical Tsang province of Tibet.

 

en.wikipedia.org/wiki/Shigatse

This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM Road Race and Fun Run which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.

 

We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992

 

Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q

 

USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS

Can I use these photographs directly from Flickr on my social media account(s)?

 

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

 

BUT..... Wait there a minute....

We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.

 

This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

I want to download these pictures to my computer or device?

 

You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

 

I want get full resolution, print-quality, copies of these photographs?

 

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

 

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

Let's get a bit technical: We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

 

Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

 

One of the most rare ducks in the world! Photographed at Zealandia, Karori Sanctuary, Wellington, New Zealand.

Family: Anatidae (Dabbling ducks)

Status: endangered endemic

Brown teal is one of three closely related species of teal in New Zealand. The other two being the flightless subantarctic Auckland teal and Campbell Island teal.

Once common throughout New Zealand, habitat destruction, especially swamp drainage and predation, have resulted in brown teal becoming one of our most nationally endangered species of waterfowl. Approximately 1300 birds were surviving nationwide in 1999making it one of the rarest ducks in the world!

Most birds are to be found on Great Barrier Island. There are a few brown teal on Kapiti, Mana, and Tiritiri Matangi Islands, the eastern side of Northland and a new population has recently been established in the Coromandel area. Brown teal are regularly present at the Waikanae Estuary, probably part of the Kapiti Island population.

In the South Island, a few birds survive in Fiordland.

Recognition: About half the size of the common mallard duck, brown teal stand 48cm tall and weigh just over half a kilo as an adult. The male is slightly larger than the female. Brown teal have a warm brown plumage, with dark-brown mottling on the breast. Breeding males have a glossy green head, a narrow white collar, broad green and narrow white bands on the wings and a white flank patch. A distinctive feature of all brown teal is their blue-black bill and the narrow white ring around the eye. Their eyes are brown. Males give a soft whistle, and the female a low quack and growl.

Brown teal are often referred to as bush ducks, since they prefer stream and bushland habitats. They are reluctant flyers and are shallow divers, dabbling just below the surface for food. Their favourite food is invertebrates and they mainly feed in the evening or at night.

Breeding: Most brown teal breed from June to October but are able to breed at almost any time of the year.

They begin breeding at about 2 years of age and can lay clutches of up to 8 eggs. • Brown teal build a bowl-shaped nest near water, under the cover of dense tussocks or ferns, constructed with grasses lined with down. The female incubates the eggs about 30 days while the drake guards the nest - they are strongly territorial during breeding. Chicks fledge at an age of about 2 months. Brown teal pairs generally have stable relationships. The oldest known teal in the wild lived over 6 years.

Brown teal at Karori Sanctuary. 18 brown teal were initially released in 2000 and 2001. Breeding started from late 2002 and good productivity has resulted in increased competition for preferred wetland habitats and, because these habitats are limited in the Sanctuary, losses have occurred as a result.

Supplementary feeding of maize has been largely discontinued since early 2006 to reduce productivity and competition for territories.

Genetic analysis of the population in 2006-2007 should clarify whether or not there has been a loss of genetic diversity and whether additional birds need to be released into the population in future.

Active monitoring over the breeding season was ceased in 200x due to the fact that the population is self-sustaining.

Brown teal are readily seen on the lower and upper lakes. Being forest dwellers as well as water dwellers, some are being regularly seen at the kaka feeders below the upper dam at dusk and also at the southern end of the Faultline Track. The brown teal’s omnivorous diet, restricted annual range and mainly terrestrial lifestyle give it a unique ecological niche among waterfowl, somewhat akin to a wetland rodent, and it serves as a classic example of the influence of selective forces that operated on birds in pre-human New Zealand.

Day 2 of Brands Hatch Brit Car into The Night and after a thrilling set of Qualifying and Racing Yesterday All Drivers were Ready Once again to Challenge the Circuit.

 

Some Drivers from the Previous Day were Seen Packing Up and Heading Home after a Brilliant Days Racing while Others were Just Arriving and Getting their Machines Prepared for The Race Track.

 

With an Action Packed Day to look forward to and Lots of Action for Both Qualifying and Racing Lets take a Look and See who is up First and Ready to Challenge This Almighty Indy Circuit.

 

Avon Tyres Intermarque Silhouettes-(Qualifying Results)

 

First Up onto the Circuit was The Intermarque Silhouettes and Thease Machines are Very Quick and Built to be as Light Weight as Possible by Using a Space Frame Chassis and a Fibreglass Body.

 

Lets Find out who Qualified were and Who Managed to Take Pole Position for Race 1.

 

In First Place Securing Pole Position and The Fastest Lap was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 1:01.454 and a Top Speed of 70.76mph. Great Lap there Danny Really Keeping that Car on the Track and Taking a Strong Pole Position.

 

In Second Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 1:01.813 and a Top Speed of 70.35mph. Brilliant Drive there Pat Nice Work and Fantastic Second Place on the Grid for Race 1.

 

In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:03.883 and a Top Speed of 68.07mph. Well Done Malcom a Massive Charge to Earn that P3 Spot on the Gird Lets Hope it can be turned into a Race Win Come Race 1.

 

What an Exciting End to Qualifying with the Likes of Danny Pat and Malcom All Looking Ready to Go for Race 1 but out of The Three Who Will be Able to Turn their Qualifying Position into a Race Win? Lets Find Out.

  

Avon Tyres Intermarque Silhouettes-(Race 1 Results)

 

After an Intense Battle During Qualifying which saw the Likes of Danny Hun take a Dominant Pole Position with Pat Kiely Second and Malcom Blackman Third this Grid is Looking to be Very Big and Very Fast. Lets Find Out Who Won and Who took Glory in the First Race of The Day.

 

In First Place Taking The Victory Was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 57.507 and an Average Speed of 54.53mph. Congratulations Malcom Fantastic Drive and A Well Deserved Win in that Beautifully Prepared Vauxhall.

 

In Second Place was (Danny Hun) in his Ford Autoxross Fiesta ST with a Best Lap Time of 57.789 and an Average Speed of 54.49mph. Amazing Work there Danny Brilliant Drive and a Well Deserved P2 Finish over the Line.

 

In Third Place was (Pat Kiely) in his Vauxhall Tigra with a Best Lap Time of 57.346 and an Average Speed of 54.48mph. Great Work Pat Really Pushing Hard and Almost Catching Danny Hun Just Before The End by 0.157 Seconds there.

 

What a Fantastic First Race of The Day for The Intermarque Silhouettes with Some Incredible Winners in the Likes of Malcom Danny and Pat All Taking Superb Victories for their Respective Teams.

 

With Race 2 Coming Up Next Who will be the One to Retain their Crown at the Top of The Standings and Can the Likes of Pat and Danny Possibly Improve and start Putting Pressure on Malcom who Currently Reins Supreme?

 

Lets Find Out

 

Avon Tyres Intermarque Silhouettes-(Race 2 Results)

 

Race 2 and One Last Chance for The Top 3 To Battle it out and See who can Take Either Back to Back Victories at Brands Hatch or Who can Possibly Disrupt the Win Streak Currently Set by Malcom.

 

In First Place Taking The Last Victory was (Steve Burrows) in his Vauxhall Tigra with a Best Lap Time of 1:01.432 and an Average Speed of 69.99mph. Congratulations Steve What a Brilliant Bit of Driving there in Very Wet and Dark Conditions to Beat Malcom and Take Home a Fantastically Deserved Win.

 

In Second Place was (Dave York) in his Vauxhall Tigra with a Best Lap Time of 1:01.329 and an Average Speed of 69.59mph. Amazing Work there Dave Really Pushing that Vauxhall for All it was Worth and Doing Very Well to Keep it on the Damp and Slippery Track for a Superb P2 on the Podium.

 

In Third Place was (Malcom Blackman) in his Vauxhall Tigra with a Best Lap Time of 1:01.343 and an Average Speed of 69.50mph. Well Driven there Malcom Great Drive and A Really Good Finish in P3 from an Amazing Weekend of Racing.

 

What a Fantastic Weekend for The Intermarque Silhouettes and So many Amazing Winners in the Likes of Danny Pat Malcom Dave and Steve Who All Showed Incredible Wet Weather Skills and Kept there Cars Going to Take some Superb Victories. Well Done to All of the Other Drivers too Who Fought Hard on Track. Keep Pushing for that Victory and Good Luck.

 

BMR Super Saloons & CMMCS Tin-Tops-(Qualifying Results)

 

Next Up on to The Race Track was The Super Saloons and Tin Tops and Thease Machines not Only Have Incredible Liveries and Looks but they Also Pack a lot of Power and Variety in the Types of Race Cars and How they Handle.

 

From the Ford Escort WRC to the Peugeot 306 and even the Mitsubishi Lancer Evo 10 Each Car and Driver Have a Certain Driving Style that can Either Mean the Difference Between a Loss or a Victory on the Race Track.

 

Lets Get to Qualifying and See Who Took Pole

 

In First Place Taking Pole Position and The Best Lap Was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 58.886 and a Top Speed of 73.84mph. Brilliant Drive from Birley as a Home Hero of Brands Hatch He Always Knows How to Take Almost Any Car and Get it onto Pole Position Fantastic Drive.

 

In Second Place was (Chris Basset) in his Peugeot 306 with a Best Lap Time of 1:00.040 and a Top Speed of 72.42mph. Fantastic Drive there Chris Pushing that Peugeot Hard for a Well Deserved P2 Finish Well Done.

 

In Third Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 1:01.904 and a Top Speed of 70.24mph. Brilliant Drive there Nick Really Working Hard and Getting that Beautiful Lancer Evo into P3 on the Gird.

 

A Fantastic Qualifying Session for Tin Tops and Super Saloons with some Very Fast and Experienced Drivers in Rod Chris and Nick all Pushing their Machinery Hard and Gunning for a Victory. With Race 1 Just Around the Corner it will be Interesting to See who can Take the Victory and who can Defend their Position from the other Drivers who will no Doubt Be Ready and Waiting to Attack.

 

BMR Super Saloons & CMMCS Tin-Tops-(Race 1 Results)

 

In First Place Taking the Victory and The Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:02.316 and an Average Speed of 57.41mph. Congratulations Rod a Really Incredible Bit of Driving in those Rain Soaked Conditions to take Home a Victory that the Whole Family will be Really Proud of. Amazing Drive.

 

In Second Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.502 and an Average Speed of 57.35mph. Great Driving there from Steve Taking the Fight Right to Birley at The End and Almost Catching him for the Race Win. Non the Less a Very Well Deserved P2 Finish.

 

In Third Place was (Nick Wall) in his Renault Clio with a Best Lap Time of 1:04.877 and an Average Speed of 55.89mph. Brilliant work there Nick A Fantastic P3 Finish in Conditions that were Very Challenging Indeed.

 

What an Incredible Race this was to Witness with the Start Being Behind the Safety Car before All of the Driver put their foot down and Went for it in conditions where at Times the Spray made it Impossible to see Anything.

 

A Big Congratulations to the likes of Rod Steve and Nick who All Drove Incredibly and Really Showed Everyone who the Rain Masters were around the Indy Circuit. A Big Congratulations to All of the Other Drivers too Who also Showed Incredible Bravery and Skill Navigating their way Around and Claiming some Incredible Victories of their own.

 

With Race 2 Coming Up Next will Rod be able to Hold onto his 1st Place Finish or Will the Likes of Nick and Steve Try to Take that 1st Place away from Rod? and Who Else May be able to Challenge this Trio of Fast and Capable Drivers.

 

Lets Find Out

 

BMR Super Saloons & CMMCS Tin-Tops-(Race 2 Results)

 

With The Circuit Now Entering Night fall it was Getting Very Difficult for The Drivers to see which will add a New Challenge to this Race. Will the Likes of Rod Birley be Able to Win Once Again?

 

In First Place Taking the Win and Fastest Lap was (Rod Birley) in his Ford Escort WRC with a Best Lap Time of 1:00.960 and an Average Speed of 60.83mph. Amazing Work there Rod Driven like a True Champion and a Fantastic Home Win to Add to the Already Incredible Win Streak at Brands Hatch.

 

In Second Place was (Nick Sutton) in his Mitsubishi Lancer Evo 10 with a Best Lap Time of 59.429 and an Average Speed of 60.74mph. Great Drive from Nick Once Again Showing his Brave and Fantastic Skills even at Night When the Lights go Out. Well Done.

 

In Third Place was (Steve Dann) in his VW Scirocco with a Best Lap Time of 1:02.227 and an Average Speed of 60.48mph. Nice Work Steve Really Good Drive for P3 Showing some Incredible Speed and Commitment Thought the Race.

 

What an Amazing Race from the Super Saloons and Tin Tops with some Incredible Drives and Victories from the likes of Rod Nick Sutton Nick Wall and Steve All Pushing Hard and Achieving Some Incredible Victories.

 

Well Done to All of the Other Drivers out there Racing too You All did a Fantastic Job and Looking Forward to seeing you All out there Again Doing what you Love and Sharing a Passion for Motorsport.

 

Dunlop Mini Winter Challenge supported by Mini Spares (Race 2 Results)

 

The Mini's were Up Next and After Some Incredible Racing Yesterday which Saw the Likes of Rupert Deeth Take 1st with Scott Kendall 2nd and Colin Peacock 3rd it was Going to be an Intense Battle at the Front of the Field.

 

The Likes of Endaf Owens was Also Prepared after an Engine Failure During Yesterdays Race Which Many thought would put him out of Contention for Today..........However With Some Incredible Overnight Work by Him and His Fellow Mechanics as well as a Late Night Trip to Wales and Back to Pick Up a Spare Engine, Endaf and His Dedicated Team Have Managed to Get his Car Ready for Race 2. Truly a Phenomenal Achievement. Lets Hope for Better Luck this Time.

 

Lets Get to the Action

 

In First Place Taking Victory and The Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 55.033 and an Average Speed of 67.78mph. Incredible Drive there Endaf Coming Back from Yesterday with an Engine Failure to Win the First Race of Sunday is Truly The Drive of a Champion. Incredible Work.

 

In Second Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 54.925 and an Average Speed of 67.72mph. Another Heroic Drive from Rupert Really Putting Pressure on Endaf the Entire Race and the two of them being in a Class of their Own way out in Front. Amazing Drive there Rupert.

 

In Third Place was (Scott Kendall) in his Mini Miglia 1293 with a Best Lap Time of 55.618 and an Average Speed of 67.34mph. Great Drive there From Scott Racing Hard and Doing a Fantastic Job of Defending that P3 Spot. A Very Well Deserved Third Place Finish.

 

What a Race from The Dunlop Mini Winter Challenge and with One More Race to go The Game is on for Anybody to take on the Likes of Scott Endaf and Rupert for Victory. Lets Find Out what Race 3 Brings and if Endaf can Make it 2 out of 3 Wins to Finish what Has Been a Phenomenal Weekend of Racing for the Mini's.

 

Dunlop Mini Winter Challenge supported by Mini Spares (Race 3 Results)

 

The Final Race for The Mini's and with Endaf Owens on an Incredible Charge will he be able to Withstand The Pressure coming from Rupert Deeth and Take Victory Once More?

 

In First Place taking the Final Win and Fastest Lap was (Endaf Owens) in his Mini Miglia 1298 with a Best Lap Time of 1:02.979 and an Average Speed of 60.65mph. Congratulations Endaf Another Superb Victory for Today and What an Incredible Come Back From Yesterday. He and His Family as well as His Race Engineers and Mechanics will be Very Proud of Him This Weekend that's for sure.

 

In Second Place was (Joe Thompson) in his Mini Miglia 1300 with a Best Lap Time of 1:03.571 and an Average Speed of 60.40mph. Brilliant Driving from Joe and a Really Excellent Performance in Very Dark and Dreary Conditions for a P2 Finish.

 

In Third Place was (Rupert Deeth) in his Mini Miglia 1293 with a Best Lap Time of 1:03.433 and an Average Speed of 59.93mph. Very Well Done Rupert a Fantastic P3 Finish To End the Weekends Racing and some Incredible Battles thought the Weekend with Endaf too. Well Done.

 

What a Weekend it has been for The Dunlop Mini Winter Challenge with Some Incredible Drives from the Likes of Endaf Rupert Joe and Scott all Taking Amazing Victories. Well Done to all of the other Competitors too you All did a Fantastic Job and Good Luck for the Next Time Out. Hope to See you All again Next Year for More High Speed and Close Racing Action.

 

Ginetta Junior Championship-(Qualifying 2 Results)

 

Now it was Time for the Return of the Ginetta Junior Championship onto the Brands Hatch Indy Circuit and after Some Intense and Close Racing Yesterday Each Driver was Ready to Go for Victory Once Again.

 

Currently Josh Rowledge Liam Mcneilly and Max Dodds are The Top 3 Finishers from Yesterdays Race and with Another Qualifying Session Ready and Waiting Will they be able to Put themselves Back at the Front of the Grid or Will a New set of Driver work to Challenge them?

 

In First Place Taking Pole Position and The Fastest Lap was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.449 and a Top Speed of 66.44mph. Congratulations Tom Taking Pole Position and Ensuring a Front Row Start. Brilliant Lap.

 

In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:05.832 and a Top Speed of 66.05mph. Great Work there from Aqil Taking P2 on the Gird and Some Impressive Car Control thought Qualifying. A Well Deserved P2.

 

In Third Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:05.964 and a Top Speed of 65.92mph. Brilliant Drive there Joe Keeping that Car Nicely Positioned Thought the Lap to ensure a Smooth and Yet Confident P3 Spot on the Gird.

 

A Great Second Qualifying Session for the Ginetta Junior Drivers with Three New Drivers in the likes of Tom Aqil and Joe All Looking to take that Glory Come The Next Race. But Who will be able to turn that Impressive Qualifying Lap into a Victory?

 

We Will Have to Wait and See.

 

Ginetta Junior Championship-(Qualifying 2 Second Fastest Results)

 

After an Intense Qualifying Session which saw the Likes of Tom Edgar Aqil Alibhai and Joe Warhurst Taking the Top Three Spots it was Time for them to do it One More Time in a Second Heat for Qualifying. Who will be on Top This Time and will the likes of both Joe and Aqil take that P1 Spot away from Tom?

 

In First Place Taking The Pole was (Tom Edgar) in his GBR R Racing with a Best Lap Time of 1:05.453 and a Top Speed of 66.43mph. Superb Job Once Again from Tom who manages to Hold onto that All Important P1 Position. Brilliant Drive there Tom.

 

In Second Place was (Joe Warhurst) in his GBR Elite Motorsport with a Best Lap Time of 1:06.089 and a Top Speed of 65.79mph. Fantastic work Joe Pushing Hard and Taking that P2 Spot away from Aqil Alibhai.

 

In Third Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:06.284 and a Top Speed of 65.60mph. Nice Work there Aqil P3 and a Really Good Effort Against the Likes of both Joe and Tom.

 

What Another Intense Qualifying Session with the Top Three In Tom Joe and Aqil All Pushing Hard and Swapping Positions thought Second Qualifying. What Will the First of Two Races Bring Today and Who will be the First to take Victory?

 

Ginetta Junior Championship-(Race 3 Results)

 

In First Place Taking The Victory was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 59.381 and an Average Speed of 71.48mph. Congratulations Aqil A Really Well Deserved Win and Some Incredible Driving to take the Race Win. Well and Truly Deserved.

 

In Second Place was (Max Doods) in his GBR Assetto Motorsport with a Best Lap Time of 59.284 and an Average Speed of 71.21mph. Brilliant Driving from Max Pushing Himself and The Car Thought the Race to take Home a Fantastic P2 Finish.

 

In Third Place was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 59.426 and an Average Speed of 71.12mph. Brilliant Driving Liam P3 and The Final Spot on The Podium.

 

A Fantastic Race with Two New Winners in the Likes of Max and Liam and a Huge Congratulations to Aqil for that Incredible Victory after Overtaking both Liam and Max During the Race to take Victory. Good Luck to All other Drivers too and Lets see what the Final Race Brings.

  

Ginetta Junior Championship-(Race 4 Results)

 

The Final Race for Ginetta Juniors and One Last Time for One Driver to Stand on the Top Step of the Podium. After Some Fantastic Drives from the likes of Max Aqil Liam Tom and Joe who will be able to take that Last All Important Victory?

 

In First Place Taking The Final Victory was (Liam Mcneilly) in his GBR Fox Motorsport with a Best Lap Time of 1:07.685 and an Average Speed of 45.65mph. Congratulations Liam Brilliant Final Drive and a Really Great way to End a Perfect Weekend. Your Family and Friends will be Really Proud of you.

 

In Second Place was (Aqil Alibhai) in his RSA Elite Motorsport with a Best Lap Time of 1:07.749 and an Average Speed of 45.62mph. Awesome work there Aqil Another Very Good Battle at the Front of the Field and a Great P2 Finish to End the Weekend with a Smile.

 

In Third Place was (Sonny Smith) in his GBR R Racing with a Best Lap Time of 1:07.784 and an Average Speed of 45.59mph. Congratulations Sonny P3 and a Really Superb Job Defending from the Likes of Max Behind thought the Race.

 

A Brilliant Weekend for The Ginetta Junior Championship With So Many Fantastic Drivers in the likes of Liam Aqil and Sonny as well as Max and Liam These Young Drivers are Going to do Really Well in Future Top Level Motorsport. A big Congratulations to All of you and to the Other Drivers in the Field Keep Pushing and Working Hard Never Stop Trying.

 

Britcar Endurance Championship-(Race 1 Results)

 

As The Light Fell away from the Circuit The Britcar Endurance Championship made its way out onto the circuit with Lights a Blaze and a lot of Energy coming from both the Drivers and their Cars This was Going to be a Race of Endurance and Car Management thought the 45 Minutes of the Race.

 

During Qualifying Yesterday The Team of

 

Valluga's Carl Cavers/Sean Doyle took Pole with

 

Valluga's Ian Humphries/Benji Hetherington in Second while

 

Nial Bradley Took Third.

 

With a Quick set of Warm Up Laps Over it was Time for The Brit car's to make their way out onto the Track and Get Ready for two Races of Endurance to Decide the Britcar Champion of 2021.

 

In First Place Taking the Victory was (Valluga's) Ian Humphries and Benji Hetherington in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.023 and an Average Speed of 70.37mph. Congratulations both Ian and Benji a Fantastic Win in Very Tricky and Tiering Circumstances thought the 45 Minutes.

 

In Second Place was (Nial Bradley) in his BMW M3 E46 with a Best Lap Time of 50.799 and an Average Speed of 70.34mph. Brilliant work there Nial Keeping the Pressure on for both Ian and Benji at the front of the Pack. a Very Committed Drive for P2.

 

In Third Place was (Valluga's) Carl Cavers and Sean Doyle in their Porsche 718 GT4 Club sport with a Best Lap Time of 50.016 and an Average Speed of 70.34mph. Congratulations Carl and Sean Brilliant Drives from both of you and a Well Deserved P3 Finish after an Intense Battle with Team Hard's Eric Bolton in P4.

 

What an Intense First Race for the Britcar Endurance Championship with the Likes of Ian Humphries and Benji Hetherington Taking the Spoils while Nial Bradley Finishes Second and Carl Cavers and Sean Doyle Finish Third.

 

With Only One Race Left who will be the Victor and Take Home Glory? Lets Find Out.

 

Britcar Endurance Championship-(Race 2 Results FINAL)

 

In First Place Taking the Final Race Win of the Day and The Fastest Lap was (Steve Rothery) in his Peugeot 308 with a Best Lap Time of 58.289 and an Average Speed of 66.59mph. Congratulations Steve a Really Phenomenal Drive to take The Final Win of the Weekend for Britcar. Brilliantly Driven and Nicely Controlled.

 

In Second Place was (Valluga's) Ian Humphries and Carl Cavers in their Porsche 718 GT4 Club Sport with a Best Lap Time of 57.414 and an Average Speed of 66.46mph. Great Work there by both the likes of Ian and Carl to Bring there car Home in P2. A Wonderful Way to End the Weekend and the Championship.

 

In Third Place was (Spires Motorsport's) Anton Spies in his Renault Clio Gen 4 with a Best Lap Time of 1:01.189 and an Average Speed of 64.37mph. A Very Heroic Drive from Anton Pushing His Renault Hard and Ensuring He Defends that All Important Final Spot on the Podium. Great Job.

 

What a Weekend it has been for the Britcar Endurance Championship with Many Fantastic Teams and Drivers in the Likes of (Valluga's) Ian Humphries Carl Cavers Benji Hetherington and the Likes of (Spire Motorsports) Anton Spires and Steve Rothery.

 

Brilliant Driving from All of you and a Really Big Congratulations to The Final Race Winner Steve Rothery.

 

A Fantastic Weekend with Many Talented and Incredible Drivers All Pushing Hard and Doing what they Love on the Race Track. Congratulations to All of the Race Winners.

 

See You All Again Next Year!

                                    

After the catastrophic fire at Santika's New Year party, many questions still remain open:

 

Justice Minister Pirapan Salirathavibhaga said while inspecting the charred building of Santika Club in Ekamai Soi 9, a popular nightlife zone, where the fire erupted at around 0.30am that he would order the Justice permanent secretary Kittipong Kittiyarak on Monday to set up a special committee to probe the Santika blaze for the sake of fairness to relatives of fire victims and the owner.

 

Among the victims were foreigners including a Singaporean identified as Teo Sze Siong who was pronounced dead and 25-year-old Japanese Keiichi Wada who suffered over 60% burns.

 

Information obtained during the inspection will also be used to determine whether the club's owner had violated the city's building code, Mr. Pirapan said, adding that he was puzzled why the burned nightclub had only one exit and was equipped with iron-grilled windows, making it difficult for persons inside the building to escape in case of fire.

 

The large number of casualties was blamed on there being only one apparent exit, making it difficult for New Year revelers who had just finished the countdown to the New Year to escape when the blaze broke out above them. Many of them died because of the stampede.

 

Mr. Pirapan said he had spoken with Chantra Purnariksha, secretary-general of Office of the Insurance Commission, who was inspecting the disaster site that concerned officials in future certify that building owners have insured buildings in accordance with the law while fire protection equipment must be installed inside in order to prevent a similar incident from occurring in future.

 

-----------------

 

Australian entertainment industry worker Peter Kent, who lives near the club, told The Age that clubs along the flashy Ekamai Road were known for poor safety standards, with many lacking fire escapes.

 

"It was an accident waiting to happen," said Mr Kent, who is holidaying in Melbourne. "Being inside one of these clubs is like a sardine can. If there was a fire you wouldn't get out because you are shoulder to shoulder."

 

He said local police turned a blind eye to poorly built and regularly overcrowded clubs.

 

"People who have money are able to sidestep regulations in Bangkok," he said.

 

The Bangkok Metropolitan Administration said there did not seem to be legal questions regarding the construction of Santika club.

 

According to local media, Bangkok clubbers yesterday led heated discussions on Thai websites about the narrow entrances and exits of Santika and other similar clubs.

 

More articles from around the web about the Santika New year fire:

 

Pub Inferno leaves 61 Dead

 

Londoner tells how he was pulled unconscious from Thai nightclub inferno

 

Fireworks blamed for deadly Bangkok Club Blaze

 

BMA sets up assistance centre to help nightclub fire victims

 

Police: Many victims were foreigners

 

Google News about Santika catastrophe

The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.

 

In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!

 

So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.

 

Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)

 

The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.

 

In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.

 

In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.

 

In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.

 

A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.

  

Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)

 

Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.

 

In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.

 

In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.

 

In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.

 

Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.

 

A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.

 

CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)

 

Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.

 

In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.

 

In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.

 

In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.

 

A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.

 

CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)

 

Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.

 

In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.

 

In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.

 

In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.

 

Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.

 

CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)

 

Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.

 

In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.

 

In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.

 

In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.

 

Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.

 

CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)

 

Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.

 

In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.

 

In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.

 

In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.

 

What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.

 

CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)

 

The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.

 

In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.

 

In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.

 

In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.

 

What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.

 

CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)

 

Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.

 

In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.

 

In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.

 

In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.

 

What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.

 

Junior Saloon Car Championship (Race 1 Result FINAL)

 

The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.

 

In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.

 

In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.

 

In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.

 

What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.

 

Kumho BMW Championship (Race 1 Results)

 

Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.

 

In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.

 

In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.

 

In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.

 

Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.

  

Kumho BMW Championship (Race 2 Results FINAL)

 

In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.

 

In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.

 

In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.

 

And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.

 

That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.

 

See You All At The Next One!

             

A panoramic shot of the trees around the reflecting pond in Future World at Epcot Center (Walt Disney World). Granted, this is a panorama of the reflection, so you're looking at it upside down. ;)

My new apocalyptic city, hard to get a good picture with little lighting, place will be redone in future. Based on zombie apocafest and Crimson Wolf's Outskirts.

"Now that is what I call a Re-enactment!

 

Bartimaeus the blind beggar

May the Peace of the Risen Christ be with you! Easter is here.

 

We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.

 

How do we measure "success" in regards to our re-enactment?

On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.

But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.

We saw many people following the play and praying along with us.

  

Crowning with Thorns

Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.

 

One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"

 

I touched Jesus' Robes!

 

Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.

 

Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.

 

When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.

 

One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.

 

At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.

 

When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.

  

Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."

 

We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.

The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.

 

So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.

 

Thank you.

~David Bruggeman"

Copied from goodfridaypassionplay.blogspot.com.au/

 

For more information please visit www.paulinefathers.org.au

 

No need to meditate or imagine, this event will take you to Calvary!

 

Images by Giovanni Portelli Photography © 2018.

Проект трамвайной линии Т3 не является сугубо транспортным. Одной из важнейших его задач является реабилитация и обновление городской среды по пути следования. В пространстве, которое вы видите на фотографии, еще недавно доминировала автомобильная эстакада 1960-х годов постройки. В рамках проекта продления трамвайной линии это сооружение было демонтировано и в будущем все движение будет осуществляться в одном уровне, а вся территория будет благоустроена, с учетом интересов пешеходов и велосипедистов.

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Project T3 serves more than just transportational purpose. The other important purpose is rehabilitation of urban space along the new tramline. The space you see on the photo was dominated by an elevated road only a few months ago. In the process of T3 expansion the overpass was removed and in future all the traffic will move on ground surface while the whole area will be improved in favor of pedestrians and cyclists.

 

Больше информации по этому участку можно получить на сайте линии Т3.

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More information on this area can be found on T3 website.

This is my first panorama shoot. Thanks a lot to Irwan Shah & Fireworm. U all really cool during teaching me to get this nice view. Hope I will improve my shoot and editting in future...

 

Place : Malacca.

Date : 10th May 2009.

18 June 2023, Tallinn, Estonia: His All Holiness Patriarch Bartholomew of the Ecumenical Patriarchate delivers a keynote speech on the topic of 'What are our Ecumenical tasks in future Europe?' at the 2023 CEC General Assembly, which takes place in Tallinn, Estonia on 14-20 June under the theme of: 'Under God's blessing – shaping the future'. Photo: Albin Hillert/CEC

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

 

At 1pm on Thursday February 15, 2013, In Lewisham, in south east London, hundreds of Save Lewisham Hospital campaigners, trade union representatives and concerned residents of the London Borough of Lewisham attended a rally at the war memorial opposite Lewisham Hospital, on Lewisham High Street, to tell the government and senior NHS management that they -- we -- will continue to campaign to save Lewisham Hospital from plans to severely downgrade its services and to sell off 60 percent of its buildings, which were approved two weeks ago by the health secretary Jeremy Hunt. The event was part of a week of London-wide events, as part of a new initiative called "Defend London's NHS."

The proposals were put forward in October by Matthew Kershaw, an NHS Special Administrator charged with finding solutions to the financial problems of a neighbouring NHS trust, the South London Healthcare Trust, which was placed in administration in the summer. Under those plans, Lewisham's A&E Department will close, replaced by an Urgent Care Unit, which cannot deal with emergencies, and this will have a severe impact on the hospital's ability to survive. There will no longer be an intensive care unit, other acute services will be shut, and, according to Jeremy Hunt, just 10 percent of the 4,400 Lewisham mothers who give birth in Lewisham every year will be able to do so in future, as any birth that carries a risk of complications will have to take place elsewhere.

As the Save Lewisham Hospital campaign has successfully pointed out over the last four months, it is unjust for Lewisham -- a financially viable hospital -- to be sacrificed to address the financial problems of a neighbouring trust, whose debts, it should be noted, are in part because of monstrous PFI repayments. However, it is also unacceptable for tens of thousands of emergencies to have to be dealt with elsewhere, when there is no spare capacity, just as it is unacceptable that 4,000 mothers will also have to travel elsewhere, to hospitals that have no room for them.

The fight to save Lewisham Hospital continues!

For more information, see: www.savelewishamhospital.com/

For "Defend London's NHS," see: www.andyworthington.co.uk/2013/02/01/tories-endorse-nhs-p...

For my most recent article about the plans for Lewisham, see: www.andyworthington.co.uk/2013/02/01/tories-endorse-nhs-p...

Also see my sets of photos from the January 26 protest here: www.flickr.com/photos/andyworthington/sets/72157632616078...

and here: www.flickr.com/photos/andyworthington/sets/72157632628284...

And my photos of the November 24 protest: www.flickr.com/photos/andyworthington/sets/72157632089076...

And the demonstration outside a consultation with Matthew Kershaw and his team in Lewisham in December: www.flickr.com/photos/andyworthington/sets/72157632173200...

For more on Andy Worthington, see: www.andyworthington.co.uk/

For my most interesting photos, see: www.flickriver.com/photos/andyworthington/popular-interes...

This fireplace was built by myself and other SnailLUG members for a month-long display at the America on Wheels museum's Holiday Train Exhibit. The idea came pretty quickly after seeing that I had purchased two of the official LEGO Christmas stockings this past May - the natural way to display stockings is on a fireplace. We built the large red bricks out of red 2x4s at the June SnailLUG meeting (in Mechanicsburg), BrickFair PA (in Exton), and the November SnailLUG meeting (at Little Brick Gallery). This display was installed at the museum on 11/19/2022 and will be dismantled on 1/14/2023. We're already looking at other display opportunities for it and at options for improving it in future years.

 

We split assembling the large red bricks (4X upsized 2x4s) across all of SnailLUG, and I did the final assembly, grate, mantelpiece, mortar, stocking holders, etc, as well as the design work. Since one of the goals of SnailLUG is inclusivity, I was immediately excited about the idea of a club collaboration where I could provide all of the brick and we could all build simple parts of the build - so it was accessible to SnailLUG members at all skill levels and with no need for anyone to buy or locate any parts to participate. As an unrecognized LUG, we did not have any access to LUG support, project support, LUGBULK, etc, for this build, and we worked exclusively with materials I purchased from Kevin Hinkle's former collection.

 

The full list of builders (to the best of my knowledge - we lost track of exactly who participated at each meeting and had to reconstruct the list later):

Daniel Pikora

Todd Michels

Heather Attardo

KC Ross

Dean Majorino

Sam Tauser

Vicki Tauser

Kevin Johns

Stephanie Johns

Kelly Hoffman

Rich Schamus

Amanda Rothrock

Bruce Shaw

Ryan Miller

Roy Forbes

Laura Bonebrake

Nicki Toizer

Rob Bender

Mike Tighe

 

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

 

PizzaBuzz is, in a city so full of new restaurant openings, a very good idea indeed. The concept can be summed up (crudely) as âDIY Pizzaâ or "we have the toppings, you do the rest!" or "Subway, but with pizzas!". This doesnât really do it justice however and there is, obviously, much more to it than that - which Iâll now try to elaborate upon:

 

Essentially the idea is semi-self service pizza/food assembly. You take your place at the start of their "DIY pizza assembly lineâ and prepare yourself a pizza entirely of your own devising (though you donât have to do anything really asides from tell them what you want your pizza to be made of - it arrives pre sliced too, woo!).

 

You choose from 5 types of bases (gluten free options are available). These range from a âregularâ Margherita (cheese, tomato etc) to the Bianca (white sauce, mozzarella, parmesan) - plus a pretty fkn extensive range of toppings, divided into vegetables, proteins (i.e meats, fish) and cheese. Said toppings include such gastronomic curiosities such as bacon jam and wild rock shrimp. The recommended number of toppings for a pizza is about 4-5, though apparently one guy came in (drunk) on a Friday night once and ordered a £20+ pizza that contained EVERY SINGLE topping they offered. It ended up looking like a pyramid (hahahahaha!)

 

And, if you donât fancy coming up with your own pizza, their âsignature collectionâ of pre-designed pizzas come in around £10, and have names like Middle Earth and Etna. Once youâve picked your combo of ingredients, it takes them about 1-3 minutes to cook the whole thing in their wood fired ovens - so you might even be able to describe it as fast food. Takeaway is also an option. In the Southern Italian style, you can also get a burrata (and choose what ingredients to have it with, which is the recurring theme...)

 

As for the ambiance - PizzaBuzz lives inside the brand spanking new Alphabeta development on Worship street. On the inside it has a minimal vibe - almost the feel of an industrial space about it. Except theyâve made it more friendly with offcentre animal illustrations drawn onto the walls (pictured) plus their colourful logo and a recurring love of hexagonal things. Plus staff singing along to the music (not sure if this is an actual feature or if I just came in at the right time ^_^)

 

I must also tell you about the dough - which took a yearâs development and is quite something (theyâve got a video called âJane Doughâ in which the dough explains this all to you in a Yorkshire accent, lol). Anyway, it comes from a small mill in Oxfordshire and is, unusually, 50% spelt. I am told that this results in better texture, digestibility and mouthfeel than regular pizza. This is a big claim to make, and Iâm not sure I agree - the pizza I had, however, WAS very good and thatâs all I can say about that.

 

All in all, Pizzabuzz is taking a very good idea from another restaurant (*ahem*) and applying it to pizza very, very well. I wasnât surprised to hear that they have another site opening soon and can see them doing pretty well in future. Inherently, itâs fun, a bit silly, and provides you with a lot more choice than most of the (pizza based) competition. Definitely a place Iâd recommend to everybody (because who the hell doesnât like pizza, really?!)

The Oil and Gas Regulatory Authority (Ogra) on Tuesday issued a notification for increase in prices of petroleum products for the month of February, DawnNews reported.

 

If Price hike continue with the same pace this could be a common scene in future.

Our memorable London, England, UK July/August 2017 visit. Highly recommended again and again.

Slow shutter speed and a beautiful sea in a background makes for some wonderful launching pad for fishing and for making some environmental portraits.

 

As pollution increases manifolds, as more and more fish is caught by big trawlers combing the sea; as cost of fuel and living goes up, the future for this child in the seas become bleaker by the minute. For now he can enjoy the views. Maybe that would be taxed in future!

 

Shot at Sandspit beach, Karachi, Pakistan.

PizzaBuzz is, in a city so full of new restaurant openings, a very good idea indeed. The concept can be summed up (crudely) as âDIY Pizzaâ or "we have the toppings, you do the rest!" or "Subway, but with pizzas!". This doesnât really do it justice however and there is, obviously, much more to it than that - which Iâll now try to elaborate upon:

 

Essentially the idea is semi-self service pizza/food assembly. You take your place at the start of their "DIY pizza assembly lineâ and prepare yourself a pizza entirely of your own devising (though you donât have to do anything really asides from tell them what you want your pizza to be made of - it arrives pre sliced too, woo!).

 

You choose from 5 types of bases (gluten free options are available). These range from a âregularâ Margherita (cheese, tomato etc) to the Bianca (white sauce, mozzarella, parmesan) - plus a pretty fkn extensive range of toppings, divided into vegetables, proteins (i.e meats, fish) and cheese. Said toppings include such gastronomic curiosities such as bacon jam and wild rock shrimp. The recommended number of toppings for a pizza is about 4-5, though apparently one guy came in (drunk) on a Friday night once and ordered a £20+ pizza that contained EVERY SINGLE topping they offered. It ended up looking like a pyramid (hahahahaha!)

 

And, if you donât fancy coming up with your own pizza, their âsignature collectionâ of pre-designed pizzas come in around £10, and have names like Middle Earth and Etna. Once youâve picked your combo of ingredients, it takes them about 1-3 minutes to cook the whole thing in their wood fired ovens - so you might even be able to describe it as fast food. Takeaway is also an option. In the Southern Italian style, you can also get a burrata (and choose what ingredients to have it with, which is the recurring theme...)

 

As for the ambiance - PizzaBuzz lives inside the brand spanking new Alphabeta development on Worship street. On the inside it has a minimal vibe - almost the feel of an industrial space about it. Except theyâve made it more friendly with offcentre animal illustrations drawn onto the walls (pictured) plus their colourful logo and a recurring love of hexagonal things. Plus staff singing along to the music (not sure if this is an actual feature or if I just came in at the right time ^_^)

 

I must also tell you about the dough - which took a yearâs development and is quite something (theyâve got a video called âJane Doughâ in which the dough explains this all to you in a Yorkshire accent, lol). Anyway, it comes from a small mill in Oxfordshire and is, unusually, 50% spelt. I am told that this results in better texture, digestibility and mouthfeel than regular pizza. This is a big claim to make, and Iâm not sure I agree - the pizza I had, however, WAS very good and thatâs all I can say about that.

 

All in all, Pizzabuzz is taking a very good idea from another restaurant (*ahem*) and applying it to pizza very, very well. I wasnât surprised to hear that they have another site opening soon and can see them doing pretty well in future. Inherently, itâs fun, a bit silly, and provides you with a lot more choice than most of the (pizza based) competition. Definitely a place Iâd recommend to everybody (because who the hell doesnât like pizza, really?!)

merlinomayo.wordpress.com/2012/02/28/metamorphoses/

 

Metamorphoses by Merlino Mayo at LEA - Full Sim Project - 1st turn - 2011-2012 Show Open till 15 March 2012.

 

First of all I want to thank LEA (Linden Endowment for the Arts) and The LEA committee (Bryn Oh, Dancoyote Antonelli, Dekka Raymaker, JayJay Zifanwe, L1 Loire, Sasun Steinbeck, Solo Mornington, Werner Kurosawa, PatriciaAnne Daviau -advisor-) who trusted me and other artists (Artistide Despres, Charlotte Bartlett, comet Morigi, Freewee Ling, Glyph Graves, Harter Fall, Merlino Mayo, Mikati Slade, Misprint Thursday, Oberon Onmura, RAG Randt, Secret Rage, Selavy Oh, Sowa Mai, Ux Hax, Zachh Cale) for the first round LEA Land Grants to give me the opportunity to use a big space as a full sim to express my art.

Taking inspiration from the 1st book and a few of other episodes of the "Metamorphoses", word that from greek means "change of shape", written in latin by Publius Ovidius, this new project aims to build a path of multi levels within an allegorical vision related to the current age of crisis and transformation of human beings and our society.

The way to see the whole work would formally very different but conceptually similar to the fresco dedicated to the "Fall of the Giants" by Giulio Romano in the Palazzo Te in Mantua (Mantova), where the representation becomes a metaphor of the times lived and precarious power and human ambitions; So going on other examples are possible like the trasformations of Aracne, Daphne, Icarus, Heliades sisters, Medusa, ect. The outer and inner change of form and substance of living beings and their natural relationships into something different, new and unexpected, from the creative process naturally with technology through the lens of the symbolism of Myth and the squared glass of Science.

It is very intersting to see the origin of name Palazzo Te: "The famous villa, designed for parties, receptions and "idleness" of the Duke of Mantua, was built on an island in direct contiguity with the city center, known since the Middle Ages Tejeto, or Te. The hypothesis most likely derive from the term 'tilietum' (place of linden trees) or from the Celtic 'tezza' linked with Latin 'atteggia' in english 'attitude', both meaning 'hut'." *from

Obviously the project is not complete about the whole huge Ovid's work, and in start I've done just some main episodes, but my intention is to work on it in future, it will take time for sure. Stay tuned.

 

Merlino Mayo

 

Book I: Cosmogony, Ages of Man, Gigantes, Daphne;

 

0 Metamorphoses - Start point "Palazzo Te, Mantova"

  

1 Metamorphoses - I - Cosmogony - The Creation of Universe

  

2 Metamorphoses - II - Cosmogony The Elements - EL MENTUM (2010)

  

3 Metamorphoses - III - Cosmogony - The Creation of Sea and Sky

  

4 Metamorphoses - IV - Ages of Man - The Golden Age of Man

 

5 Metamorphoses - V - Raise of Giants

  

6 Metamorphoses - VI - Fall of Giants

  

7 Metamorphoses - VII - Daphne

   

It's a well worth of a sore neck process in this project. Undertaking 3 years to explore and documentation of the street lighting design. The distinct design of bulb fusion with various element to beautify it. At the same time creating a light source to light up the frontage or act as a guiding path to walk safely in the dim.

 

Human have the tendency to look at various direction without, hardly looking up unless necessary. During the photography process it was a wonderful insight to discover so many patterns, shapes and colors that are mounted on the ceiling, waiting to be discover. As time elapse, how many of these would survive when new design is featured in future.

 

For more pictures check out my gallery.

People living in Morriston were pleased to see the National Assembly for Wales bus visit their area on Thursday. Visitors on board were eager to learn about the work of the Assembly and know who represents them. Others wanted to know who the candidates are for the National Assembly election on 5 May. Some interesting questions were raised about the differences between Scotland and Wales following the referendum result as well as if any laws are likely to be made relating to the Welsh language in future. A few people raised questions about Assembly Members’ pay and expenses. Staff on board the bus told them about the Remuneration board and its report on Members’ pay and allowances. More information is available at www.assemblywales.org

 

Roedd trigolion Treforys yn falch o weld bws y Cynulliad Cenedlaethol yn eu hardal hwy ddydd Iau. Roedd yr ymwelwyr yn awyddus i ddysgu am waith y Cynulliad a chael gwybod pwy oedd yn eu cynrychioli. Roedd gan eraill ddiddordeb yn etholiad y Cynulliad sydd ar y gorwel ac eisiau darganfod pwy fydd ymgeiswyr eu hardal hwy ar 5 Mai. Cwestiwn cyson a godwyd oedd y gwahaniaeth rhwng Cymru a’r Alban yn dilyn canlyniad y refferendwm ar 3 Mawrth. Roedd un ymwelydd eisiau gwybod a fydd unrhyw ddeddfau yn debygol o gael eu gwneud ar yr iaith Gymraeg yn y dyfodol. Roedd sawl un eisiau gwybodaeth am gyflogau a threuliau Aelodau Cynulliad. Cawsant wybodaeth am y Bwrdd Taliadau a’i adroddiad am daliadau a lwfansau Aelodau’r Cynulliad gan staff y Cynulliad ar fwrdd y bws. Mae mwy o fanylion ar www.cynulliadcymru.org

 

www.assemblywales.org / www.cynulliadcymru.org

Two stunning, long- legged chickens have been hand appliqued to this soft fleece blanket – the wide choice of colours have been carefully chosen to stand out against the cream background of the blanket. The birds themselves are made of a combination of cotton fabric, felt, ribbon and they have buttons for eyes and also on the knees.

 

As part of the applique process, the birds have been heat fused to the blanket and then, using blanket stitch, have been carefully and lovingly sewn around.

 

This `one of a kind` blanket is part of a unique Collection by Julia Nairn and can be personalised (a maximum of 8 letters) at no extra charge.

 

Ideal for a baby girl or boy, this is a beautiful blanket which would make a wonderful gift and be treasured in future years.

 

Applique size (both chickens together): 53cm x 43cm.

 

Approximate blanket size: 100 x 75cm

Nearly ready to move in! Future home office/studio for www.printmarketdirect.com , printing and graphic design.

18 June 2023, Tallinn, Estonia: His All Holiness Patriarch Bartholomew of the Ecumenical Patriarchate delivers a keynote speech on the topic of 'What are our Ecumenical tasks in future Europe?' at the 2023 CEC General Assembly, which takes place in Tallinn, Estonia on 14-20 June under the theme of: 'Under God's blessing – shaping the future'. Photo: Albin Hillert/CEC

vigyanprasar.gov.in/isw/Dr-harsh-vardhan-dedicates-two-ne...

Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.

 

The database on `S&T Awards in India’ is an attempt to build and manage the information about science and technology awards that have been instituted since 1928 in India. It provides data on various aspects such as discipline, periodicity, categories, awards level, chronology and state wise distribution of awards and their sponsors. It will be useful for planners, policy makers, funding agencies and other stakeholders to chalk out their programmes as per the priorities of R&D activities.

 

The database on `Indian Origin Academicians’, in turn, has information on 23,472 Indian academicians and research scholars working in various countries. It is of immense relevance/importance in the present-day scenario where international collaborations with knowledge experts are the key factor for S&T led growth and competitiveness. The project team explored around 2,700 academic university websites to gather this information from selected countries (US, UK, Australia and Canada).

 

The Minister released the databases at a function to mark the National Science Day, which is celebrated every year since 1987 in remembrance of Nobel Laureate Sir C.V.Raman’s path breaking discovery of Raman Effect in 1930.

 

He also presented the National S&T Communication Awards, AWSAR (Augmenting Writing Skills for Articulating Research) Awards, and SERB (Science and Engineering Research Board)’s Women Excellence Awards on the occasion.

 

Under the National S&T Communication Awards, Dr. S. Anil Kumar (Anilkumar Vadavathoor), a well known popular science writer in Malayalam has won the Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines; Indian Resource and Development Association and Mr. Mihir Kumar Panda the Award for Outstanding Efforts in Science & Technology Popularization among Children; Dr Sheffali Gulati, Delhi and Mr.Rakesh Khatri the Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods; and Dr. Krishna Kumari Challa the Award for Outstanding Efforts in Science & Technology Communication in Electronic Media.

  

National Science Communication Award Winner - Dr. S. Anil Kumar, Mihir Kumar Panda, Dr. Sheffali Gulati, Rakesh Khatri, Dr. Krishna Kumari Challa (top to bottom)

 

Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.

 

In the case of AWSAR awards, Dr. Sangeeta Dutta of Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR) has won the AWSAR Award for Outstanding Story under the Post-doctoral fellow category; Ms. Pooja Maurya of CSIR- Central Drug Research Institute, Lucknow, the AWSAR Award: First Prize (PhD category); Ms. Indu Joshi of Indian Institute of Technology Delhi, the AWSAR Award: Second prize (PhD category); and Ms. Shruti Soni of Indian Institute of Science, Bangalore the AWSAR Award: Third prize (PhD category).

  

Photo-1: Winners of 'AWSAR' contest- Dr. Sangeeta Dutta (top left), Pooja Maurya (top right), Indu Joshi (bottom left), Shruti Soni (bottom right)

 

The winners of SERB Women Excellence Award are Dr. Shobhna Kapoor of Indian Institute of Technology Bombay, Dr. Antara Banerjee of National Institute for Research In Reproductive Health, Dr. Sonu Gandhi of National Institute of Animal Biotechnology, and Dr. Ritu Gupta, Indian Institute of Technology Jodhpur, Rajasthan

  

SERB Women-Excellence Award Winners- Dr. Shobhna Kapoor (top left), Antara Banerjee (top right), Dr. Ritu Gupta (bottom left), Dr. Sonu Gandhi (bottom right)

 

Speaking on the occasion, the Minister noted that India's global position both in innovations and scientific publications has seen a rising trend over the last six years, with its Global Innovation Index (GII) ranking improving rapidly to 48 (2020) from 81 (2015) and Scientific Publication ranking to 3rd position (2018) from 6th (2014)

 

Further, he pointed out that India ranked 8th in patents filed by resident scientists/innovators from respective countries as per WIPO Statistics and ranked 3rd in number of PhD degrees awarded (24,474) in Science and Engineering. Besides, women’s participation in R&D has increased to 16.6% (2018) from 13.9% (2016). India has reached 3rd position in the world in terms of number of startups.

 

He pointed out that compared to last year there has been a 30 per cent increase in the budget of the Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 and said that the Country’s upcoming Science, Technology and Innovation (STI) Policy aspired to position India much higher among globally competitive and innovative economies and the coming policy on Scientific Social Responsibility will seek to provide a big impetus to create the mindset and value systems to recognize, respect, and reward performances which create wealth from S&T derived knowledge.

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Dr Harsh Vardhan gives away awards to science communicators and women scientists on National Science Day

 

The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country: Dr Harsh Vardhan

 

“Fundamental and Translational Research have to be people centric. So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”: Dr Harsh Vardhan

 

Dr. Harsh Vardhan also releases the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad

 

Also confers an appreciation shield to National S&T database developers

Posted On: 28 FEB 2021 7:10PM by PIB Delhi

Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &

   

Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year's challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.

 

“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.

 

“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.

 

He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.

 

Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.

   

The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.

 

Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.

 

Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.

 

Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.

 

Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.

 

National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.

 

National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.

   

List of Awardees:

   

Science and Technology Communication Awardees

 

National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala

 

National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha

 

National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi

 

National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana

 

Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala

 

Appreciation Shield for National S&T Databases

 

S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi

 

Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh

   

AWSAR Awardees

 

Outstanding Story (PDF category)

Dr. Sangeeta Dutta, Bengaluru, Karnataka

 

AWSAR Award: First Prize (Ph.D. category)

Ms. Pooja Maurya, Lucknow, Uttar Pradesh

 

AWSAR Award: Second prize (Ph.D. category)

Ms. Indu Joshi, New Delhi, Delhi

 

AWSAR Award: Third prize (Ph.D. category)

Ms. Shruti Soni, Bangalore, Karnataka

   

SERB Women Excellence Awardees

 

Dr. Shobhna Kapoor

 

Assistant Professor

 

Indian Institute of Technology Bombay

 

Mumbai, Maharashtra

   

Dr. Antara Banerjee

 

Scientist B

 

National Institute for Research in Reproductive Health

 

Mumbai, Maharashtra

   

Dr. Sonu Gandhi

 

Scientist D

 

National Institute of Animal Biotechnology

 

Hyderabad, Telangana

   

Dr. Ritu Gupta

 

Assistant Professor

 

Indian Institute of Technology Jodhpur

 

Jodhpur, Rajasthan

   

(PLEASE CLICK HERE FOR DETAILS OF AWARDEES):

 

1… AWASAR

 

2….NCSTC

 

Click here to see Brochure NSD

 

indiaeducationdiary.in/dr-harsh-vardhan-gives-away-awards...

  

Dr Harsh Vardhan Gives Away Awards To Science Communicators And Women Scientists On National Science Day

By India Education Diary Bureau Admin On Feb 28, 2021

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New Delhi: Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &

   

Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year’s challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.

 

“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.

 

“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.

 

He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.

 

Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.

   

The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.

 

Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.

 

Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.

 

Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.

 

Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.

 

National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.

 

National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.

   

List of Awardees:

   

Science and Technology Communication Awardees

 

National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala

 

National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha

 

National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi

 

National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana

 

Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala

 

Appreciation Shield for National S&T Databases

 

S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi

 

Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh

  

hindi.webdunia.com/national-hindi-news/raman-effect-awsar...

 

राष्ट्रीय विज्ञान दिवस पर पुरस्कृत किए गए विज्ञान संचारक

National Science Day

 

Last Updated: सोमवार, 1 मार्च 2021 (12:07 IST)नई दिल्ली, समाज में वैज्ञानिक चेतना के प्रचार-प्रसार में जुटे विज्ञान संचारकों को राष्ट्रीय विज्ञान दिवस (28 फरवरी) के अवसर पर राष्ट्रीय पुरस्कार प्रदान किए गए हैं।

 

राष्ट्रीय विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) की ओर से हर वर्ष विज्ञान एवं प्रौद्योगिकी संचार में उल्लेखनीय योगदान देने वाले संचारकों को ये पुरस्कार प्रदान किए जाते हैं। विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार के साथ-साथ इस मौके पर साइंस ऐंड इंजीनियरिंग रिसर्च बोर्ड (एसईआरबी) वुमन-एक्सिलेंस अवार्ड, और ‘अवसर’ (ऑग्मेंटिंग राइटिंग स्किल्स फॉर आर्टिकुलेटिंग रिसर्च) प्रतियोगिता के विजेताओं को भी पुरस्कृत किया गया है।

 

विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) द्वारा विज्ञान को लोकप्रिय बनाने और संचार के क्षेत्र में उत्कृष्ट प्रयासों के प्रोत्साहन और वैज्ञानिक अभिरुचि बढ़ाने में योगदान देने वाले लोगों एवं संस्थाओं को छह श्रेणियों में विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार दिया जाता है। वहीं, ‘अवसर’ एक अखिल भारतीय प्रतियोगिता है, जिसमें विज्ञान एवं प्रौद्योगिकी से जुड़े विभिन्न विषयों में डॉक्टोरल या पोस्ट डॉक्टोरल शोधार्थियों से उनके शोध विषय पर आधारित सरल भाषा में आलेख आमंत्रित किए जाते हैं, और चयनित सर्वश्रेष्ठ आलेखों को पुरस्कृत किया जाता है। इसी तरह, विज्ञान एवं इंजीनियरिंग में उत्कृष्ट शोध को प्रोत्साहित करने के लिए युवा महिला वैज्ञानिकों (40 वर्ष से कम आयु) को एसईआरबी वुमन-एक्सिलेंस अवार्ड प्रदान किया जाता है।

 

केंद्रीय विज्ञान एवं प्रौद्योगिकी, पृथ्वी विज्ञान, स्वास्थ्य तथा परिवार कल्याण मंत्री डॉ हर्षवर्धन ने पुरस्कृत लोगों को बधाई देते हुए कहा है कि “वर्ष 2021 के राष्ट्रीय विज्ञान दिवस की विषयवस्तु “विज्ञान, प्रौद्योगिकी एवं नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” है, जो वर्तमान परिदृश्य के अनुकूल है।

National Science Day

पिछले एक साल में, कोविड-19 की चुनौतियों के बावजूद विज्ञान से संबंधित मंत्रालयों के लिए वर्ष 2021 उपलब्धि भरा रहा है। दुनिया ने देखा कि महामारी से उपजे अप्रत्याशित संकट से उबरने में भारतीय विज्ञान एवं प्रौद्योगिकी तंत्र ने कैसे भूमिका निभायी है।” उन्होंने कहा कि हम तब तक एक स्थायी और समावेशी विकास का सपना नहीं देख सकते, जब तक कि वर्ष 2050 तक 150 करोड़ से अधिक लोगों की अनुमानित आबादी में वैज्ञानिक दृष्टिकोण और नवोन्मेषी मानसिकता के विकास के लिए निरंतर प्रयास न करें।”

 

इस मौके पर मौजूद विज्ञान एवं प्रौद्योगिकी विभाग के सचिव प्रोफेसर आशुतोष शर्मा ने कहा कि “राष्ट्रीय विज्ञान दिवस एक ऐसा दिन है, जब हम न केवल ‘रामन प्रभाव’ को याद करते हैं, और इसका उत्सव मनाते हैं, बल्कि यह एक ऐसा अवसर है, जब हम आचार्य रामन के वैज्ञानिक कार्यों में निहित दृष्टिकोण से नये सबक भी सीख सकते हैं। उनको आचार्य कहना अधिक उपयुक्त है, क्योंकि इस शब्द का संबंध एक गौरवशाली परंपरा से है। आचार्य का अर्थ, ‘सर’ से बिल्कुल अलग है। ‘सर’ एक टाइटल है, जबकि आचार्य का अर्थ मूल रूप से स्कॉलर से जोड़कर देखा जाता है।”

National Science Day

नयी विज्ञान, प्रौद्योगिकी एवं नवाचार नीति का जिक्र करते हुए प्रोफेसर आशुतोष शर्मा ने कहा कि “इस नीति में कई ऐसे अध्याय शामिल हैं, जो भविष्य की जरूरतों पर आधारित हैं, और विज्ञान को समाज से जोड़ने पर ध्यान केंद्रित करते हैं। भविष्य में हमें दो महत्वपूर्ण तथ्यों पर ध्यान केंद्रित करने की जरूरत होगी। सबसे पहले तो शोध कार्यों की प्रासंगिकता एवं उनकी सही दिशा का निर्धारण जरूरी है। वहीं, दूसरा आयाम शोध कार्यों की गुणवत्ता और गंभीरता से संबंधित है। दूसरों की नकल करके शोध विषयों का चयन करने का औचित्य नहीं है। हमें अपने आइडिया के आधार पर कार्य करना होगा, जो विज्ञान के क्षेत्र में भारत को लीडर के रूप में उभरने में मदद कर सकते हैं। इस तरह हम आचार्य रामन को याद कर सकते हैं।”

 

इस अवसर पर वैज्ञानिक तथा औद्योगिक अनुसंधान परिषद के महानिदेशक डॉ शेखर सी. मांडे ने ‘रामन प्रभाव’ की खोज से जुड़े महत्वपूर्ण पड़ावों और इससे संबंधित शोध कार्य में एक अन्य प्रमुख वैज्ञानिक के.एस. कृष्णन की भूमिका के बारे में जिक्र किया।

 

उन्होंने कहा कि “हम भले ही कोविड-19 महामारी से मजबूती से लड़ने में सफल हुए हैं, लेकिन आगे भी इस तरह की चुनौतियां बनी रहेंगी। महामारियों के अलावा, जलवायु परिवर्तन एक अन्य प्रमुख चुनौती है, जिससे निपटने के लिए प्रभावी वैज्ञानिक समाधान खोजने होंगे।”

 

पुस्तकों एवं पत्रिकाओं सहित प्रिंट मीडिया के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार में योगदान के लिए इस बार कोट्टायम, केरल के डॉ अनिल कुमार को राष्ट्रीय पुरस्कार से सम्मानित किया गया है। इस पुरस्कार के तहत दो लाख रुपये की नकद राशि, स्मृति चिह्न और प्रशस्ति पत्र प्रदान किया गया है। विज्ञान एवं प्रौद्योगिकी संचार में उत्कृष्ट प्रयास के लिए पांच लाख रुपये का राष्ट्रीय पुरस्कार हरियाणा की संस्था इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन और बालासोर, ओडिशा के वैज्ञानिक एवं नवप्रवर्तनकर्ता मिहिर कुमार पांडा को प्रदान किया गया है।

नवप्रवर्तक एवं पारंपरिक प्रणालियों के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार के लिए दो लाख रुपये का राष्ट्रीय पुरस्कार दिल्ली की डॉ शेफाली गुलाटी और राकेश खत्री को प्रदान किया गया है। इलेक्ट्रॉनिक माध्यम में दो लाख रुपये का विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार तेलंगाना की डॉ कृष्ण कुमारी चल्ला को दिया गया है।

 

डॉ एस. अनिल कुमार मलयालम के एक प्रसिद्ध लेखक हैं। उन्होंने करीब 1500 नवोदित पत्रकारों को प्रशिक्षण प्रदान किया, कार्यशालाएं आयोजित कीं, और विज्ञान संचार के क्षेत्र में संचारकों के लिए आधा दर्जन पाठ्यपुस्तकें लिखी हैं। डॉ अनिल कुमार के 1500 से अधिक लेख/फीचर प्रकाशित हुए हैं एवं पॉपुलर साइंस पर आधारित 40 पुस्तकें भी उन्होंने लिखी हैं।

 

इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन एवं मिहिर कुमार पांडा को अनूठे तरीकों से विज्ञान एवं प्रौद्योगिकी के प्रचार-प्रसार के लिए पुरस्कृत किया गया है। इन तरीकों में कठपुतली शो, फिल्म एवं स्लाइड शो, विज्ञान मेलों का आयोजन, प्रदर्शनी एवं वैज्ञानिक प्रयोगों पर आधारित कार्यशालाएं शामिल हैं। डॉ शेफाली गुलाटी ने व्याख्यान एवं प्रिंट तथा ऑडियो-विजुअल मीडिया द्वारा विज्ञान को लोकप्रिय बनाने में योगदान दिया है। वहीं, डॉ राकेश खत्री करीब तीन दशक से रंगमंच, कार्यशालाओं, मॉडल्स, नेचर टूर जैसे प्रयासों के माध्यम से विज्ञान के प्रति आकर्षण पैदा करने का कार्य करने में जुटे रहे हैं।

 

डॉ कृष्णा कुमारी चल्ला भी करीब डेढ़ दशक से दृश्य कला, साहित्य, वीडयो, टीवी और इंटरनेट के उपयोग से आम लोगों के लिए विज्ञान संचार कर रही हैं।

 

एसईआरबी वुमन-एक्सिलेंस अवार्ड इस बार चार महिला वैज्ञानिकों को प्रदान किया गया है। इनमें आईआईटी, बॉम्बे में असिस्टेंट प्रोफेसर शोभना कपूर, मुंबई स्थित नेशनल इंस्टीट्यूट फॉर रिसर्च इन रिप्रोडक्टिव हेल्थ की वैज्ञानिक डॉ अंतरा बैनर्जी, हैदराबाद स्थित नेशनल इंस्टीट्यूट ऑफ बायोटेक्नोलॉजी की वैज्ञानिक डॉ सोनू गांधी, और आईआईटी, जोधपुर में असिस्टेंट प्रोफेसर डॉ रितु गुप्ता शामिल हैं।

 

‘अवसर’ प्रतियोगिता के अंतर्गत पोस्ट डॉक्टोरल श्रेणी में उत्कृष्ट आलेख के लिए बेंगलुरु स्थित जवाहरलाल नेहरु सेंटर फॉर एडवांस्ड साइंटिफिक रिसर्च की शोधार्थी डॉ संगीता दत्ता को पुरस्कृत किया गया है। इन्मास, डीआरडीओ से पीएचडी डिग्री प्राप्त डॉ संगीता जैव प्रौद्योगिकी विभाग में अपने पोस्ट डॉक्टोरल प्रोजेक्ट के लिए रिसर्च एसोसिएट के तौर पर कार्य कर चुकी हैं। उनके पांच शोध पत्र प्रकाशित हुए हैं, और एक पेटेंट भी उनके नाम दर्ज है। ‘अवसर’ प्रतियोगिता की पीएचडी श्रेणी में प्रथम पुरस्कार सीएसआईआर-सीडीआरआई, लखनऊ की शोधार्थी पूजा मौर्या को मिला है। द्वितीय पुरस्कार आईआईटी, दिल्ली में कंप्यूटर साइंस की शोधार्थी इंदु जोशी, और तृतीय पुरस्कार भारतीय विज्ञान संस्थान, बेंगलुरु की शोधार्थी श्रुति सोनी को दिया गया है।

 

सभी पुरस्कार विजेताओं को बधाई देते हुए डॉ हर्ष वर्धन ने कहा है कि "विज्ञान संचार एवं लोकप्रियकरण से जुड़े उत्कृष्ट प्रयास, वैज्ञानिक शोध में युवा महिलाओं का योगदान और विज्ञान संचार में अभिनव प्रयोग सराहनीय हैं।"

 

डॉ हर्ष वर्धन ने इस मौके पर वर्चुअल रूप से विज्ञान एवं प्रौद्योगिकी पुरस्कारों पर आधारित सूचनाओं से लैस एक ऑनलाइन डेटाबेस लॉन्च किया है। साइंस ऐंड टेक्नोलॉजी अवार्ड इन्फॉर्मेशन रिट्रीवल सिस्टम (STAIRS) नामक यह डेटाबेस स्वतंत्रा से पहले से लेकर अब तक विज्ञान एवं प्रौद्योगिकी के क्षेत्र में पुरस्कृत भारतीय पेशेवरों के बारे में जानकारी उपलब्ध कराएगा।

 

इसी के साथ, विदेशों में कार्यरत भारतीय मूल के शिक्षाविदों एवं शोधकर्ताओं से संबंधित एक अन्य डेटाबेस भी लॉन्च किया गया है। यह डेटाबेस मौजूदा दौर में बढ़ते अंतरराष्ट्रीय सहयोग के संदर्भ में महत्वपूर्ण माना जा रहा है। इस डेटाबेस में, भारतीय मूल के 23,472 शिक्षाविद एवं शोधकर्ता शामिल किए गए हैं। अमेरिका, कनाडा, ब्रिटेन और ऑस्ट्रेलिया जैसे देशों के 2700 से अधिक विश्वविद्यालयों एवंअन्य शैक्षणिक संस्थानों की वेबसाइट्स को खंगालने के बाद यह डेटाबेस तैयार किया गया है।

 

आईबीएम रिसर्च इंडिया की निदेशक डॉ गार्गी बी. दासगुप्ता का विशेष व्याख्यान इस बार राष्ट्रीय विज्ञान दिवस पर एक अन्य प्रमुख आकर्षण रहा। डॉ गार्गी बी. दासगुप्ता ने “विज्ञान, प्रौद्योगिकी, नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” विषय को केंद्र में रखते हुए अपना व्याख्यान दिया। उन्होंने अपने व्याख्यान में, मुख्य रूप से इस बात को रेखांकित किया कि चौथी औद्योगिक क्रांति किस तरह नये कौशल की माँग करती है। उल्लेखनीय है कि साइबर भौतिक प्रणाली, आर्टिफशियल इंटेलिजेंस, इंटरनेट ऑफ थिंग्स तथा इंटरनेट ऑफ सर्विसेज इत्यादि चौथी औद्योगिक क्रांति के प्रमुख उपकरण बनकर उभरे हैं।

 

सर सी.वी. रामन को याद करते हुए हर वर्ष 28 फरवरी को राष्ट्रीय विज्ञान दिवस मनाया जाता है। विज्ञान में नोबेल पुरस्कार प्राप्त करने वाले सी.वी. रामन पहले एशियाई थे। उन्हें यह पुरस्कार, वर्ष 1930 में की गई उनकी खोज ‘रामन प्रभाव’ के लिए मिला था।

"Now that is what I call a Re-enactment!

 

Bartimaeus the blind beggar

May the Peace of the Risen Christ be with you! Easter is here.

 

We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.

 

How do we measure "success" in regards to our re-enactment?

On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.

But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.

We saw many people following the play and praying along with us.

  

Crowning with Thorns

Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.

 

One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"

 

I touched Jesus' Robes!

 

Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.

 

Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.

 

When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.

 

One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.

 

At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.

 

When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.

  

Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."

 

We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.

The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.

 

So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.

 

Thank you.

~David Bruggeman"

Copied from goodfridaypassionplay.blogspot.com.au/

 

For more information please visit www.paulinefathers.org.au

 

No need to meditate or imagine, this event will take you to Calvary!

 

Images by Giovanni Portelli Photography © 2018.

Christiane Baumgartner, 1967 (Formation II), 2006 (Holzschnitt/Woodcut), Albertina - Ankauf/Acquisition, 2008

 

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

 

Arnulf Rainer (1929), Serie "Schleierbilder": Ohne Titel/Series "Veil Paintings": Untitled, 1995-2000

Leimfarbe auf Holz, in Alu gerahmt/Distemper on wood, framed in aluminium (Albertina - Schenkung/Donation, 2016)

 

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

 

HTC is an innovative company in designing smartphones the CEO and chairperson named Jebastin Cher Wang who was the daughter of late Wang Yung-Ching. It comes with innovative ideas that ever thought.

 

HTC become synonymous with innovation, engineering breakthroughs, and creating human communication in future that explains unknown product territories. The company always taking risk and challenging projects, it can reveal the gadgets with high-end features. We can design the product which gives a real impact created over the people, and it can be useful for every person. We can release a new products having new categories with the Re camera and some other beneficial products.

HTC brings a new camera named RE camera, the camera price getting reduced in the U.S. during last week. Now the RE camera will be selling by the retail Marks and Spencer (M&S) after cutting a discounted rate, it will comes for only £69.50 in the UK.

Actually the company sells the HTC RE camera with a price tag of £139, but HTC offers a discount of 50 percent for the camera so if you calculate this discount, it will get £69.50 value that is the offer produced by the HTC. The company has informed that the discounted offer will be available for only the white colored model of compact camera.

The HTC UK website has announced that the Taiwanese company is provided the RE camera for the white color model at the price of just £129.00. And also the company has reported that the third party retailers such as Amazon India has provided the RE camera with same model at a price tag of just £99.99 in all over the country. If you want to purchase the camera you can go through the HTC website for further details of the HTC RE camera.

For latest updates please tune in to our channel and we will appreciate you if you click the Like button on our Facebook page.

HAVE SOMETHING TO SUGGEST US TO THE STORY? PLEASE LET US KNOW. www.techfact.net/htc-re-camera-now-selling-for-just-69-50...

In the Operations and Checkout Building, STS-96 Commander Kent V. Rominger dons his launch and entry suit, plus helmet, during final launch preparations. STS-96 is a 10-day logistics and resupply mission for the International Space Station, carrying about 4,000 pounds of supplies, to be stored aboard the station for use by future crews, including laptop computers, cameras, tools, spare parts, and clothing. The mission also includes such payloads as a Russian crane, the Strela; a U.S.-built crane; the Spacehab Oceaneering Space System Box (SHOSS), a logistics items carrier; and STARSHINE, a student-involved experiment. It will include a space walk to attach the cranes to the outside of the ISS for use in future construction.. Space Shuttle Discovery is due to launch today at 6:49 a.m. EDT. Landing is expected at the SLF on June 6 about 1:58 a.m. EDT. Image from NASA, originally appeared on this site: science.ksc.nasa.gov/gallery/photos/ Reposted by San Diego Air and Space Museum

On Sunday 14th July 2019 Val and myself celebrated our 50th wedding anniversary.

 

Hard to believe now where those fifty years have gone to!

 

One thing is for sure; in recent years the time has accelerated, and gone much too fast. But we have lots of great memories of our life together and we hope for a few more yet, health permitting.

 

Not all of our close family and friends could make it along but we had around forty or so for our special party.

 

The photographs represent a bit of the day and, with hindsight, I should have taken some more pictures. Let’s hope there are other occasions for us to do so in the future. (Note to self: make a list of the pictures you want to take in future at gatherings like this!)

  

The North Walsham & Dilham canal is currently only navigable in part. Given that there is some opposition to restoration, whether it will ever be re-opened completely remains to be seen. Here work has started on Ebridge Mill lock. What remained of the top gate had been dammed off with concrete filled bags for over forty years. Now a bund of earth has been established further back and the entrance to the lock cleared. What can be seen now seems in remarkably good condition under the circumstances, particularly the iron work which was produced locally.. The first job will be to rebuild the brick entrance to the lock and establish a slot for "stop" boards so that there is no need for such extensive earthworks in future. The lock sides also need attention as does the duct for the spillway which runs underground close by the North lock wall. For more information www.nwdct.org/

One of the world'smost rare ducks, this bird what photographed in the wetlands at Zealandia, Wellington, New Zealand.

Family: Anatidae (Dabbling ducks)

Status: endangered endemic

Brown teal is one of three closely related species of teal in New Zealand. The other two being the flightless subantarctic Auckland teal and Campbell Island teal.

Once common throughout New Zealand, habitat destruction, especially swamp drainage and predation, have resulted in brown teal becoming one of our most nationally endangered species of waterfowl. Approximately 1300 birds were surviving nationwide in 1999making it one of the rarest ducks in the world!

Most birds are to be found on Great Barrier Island. There are a few brown teal on Kapiti, Mana, and Tiritiri Matangi Islands, the eastern side of Northland and a new population has recently been established in the Coromandel area. Brown teal are regularly present at the Waikanae Estuary, probably part of the Kapiti Island population.

In the South Island, a few birds survive in Fiordland.

Recognition: About half the size of the common mallard duck, brown teal stand 48cm tall and weigh just over half a kilo as an adult. The male is slightly larger than the female. Brown teal have a warm brown plumage, with dark-brown mottling on the breast. Breeding males have a glossy green head, a narrow white collar, broad green and narrow white bands on the wings and a white flank patch. A distinctive feature of all brown teal is their blue-black bill and the narrow white ring around the eye. Their eyes are brown. Males give a soft whistle, and the female a low quack and growl.

Brown teal are often referred to as bush ducks, since they prefer stream and bushland habitats. They are reluctant flyers and are shallow divers, dabbling just below the surface for food. Their favourite food is invertebrates and they mainly feed in the evening or at night.

Breeding: Most brown teal breed from June to October but are able to breed at almost any time of the year.

They begin breeding at about 2 years of age and can lay clutches of up to 8 eggs. • Brown teal build a bowl-shaped nest near water, under the cover of dense tussocks or ferns, constructed with grasses lined with down. The female incubates the eggs about 30 days while the drake guards the nest - they are strongly territorial during breeding. Chicks fledge at an age of about 2 months. Brown teal pairs generally have stable relationships. The oldest known teal in the wild lived over 6 years.

Brown teal at Karori Sanctuary. 18 brown teal were initially released in 2000 and 2001. Breeding started from late 2002 and good productivity has resulted in increased competition for preferred wetland habitats and, because these habitats are limited in the Sanctuary, losses have occurred as a result.

Supplementary feeding of maize has been largely discontinued since early 2006 to reduce productivity and competition for territories.

Genetic analysis of the population in 2006-2007 should clarify whether or not there has been a loss of genetic diversity and whether additional birds need to be released into the population in future.

Active monitoring over the breeding season was ceased in 200x due to the fact that the population is self-sustaining.

Brown teal are readily seen on the lower and upper lakes. Being forest dwellers as well as water dwellers, some are being regularly seen at the kaka feeders below the upper dam at dusk and also at the southern end of the Faultline Track. The brown teal’s omnivorous diet, restricted annual range and mainly terrestrial lifestyle give it a unique ecological niche among waterfowl, somewhat akin to a wetland rodent, and it serves as a classic example of the influence of selective forces that operated on birds in pre-human New Zealand.

7/23/10

Update on Giant Sequoia at Fourth and Olive, July 23

 

The Seattle Department of Transportation (SDOT) inspected the damaged crown of the Giant Sequoia today, located at Fourth Avenue and Olive/Stewart. During recent years the tree has been declining in health, and the top of the tree was lost in a 2006 wind storm. SDOT Urban Forestry has been working to save the tree.

 

This morning the Urban Forestry crew reached the top of the tree without damaging the crown by riding in a 125-foot tall telescopic boom provided free of charge by Hertz Equipment Rental.

 

The crew found the tree putting on a good amount of new growth. There are two new tops forming, both of which they left intact. In one or more years, SDOT Urban Forestry will return to select the stronger of the tops to take over as the leader of the tree by pruning out the other. The SDOT tree crew who managed the work site were Joe Markovich, Zeke Richardson and Mark Malone.

 

The tree has responded to a soil treatment conducted in June and now is improving in color and is showing new growth.

 

Urban Forestry will also work closely with the permitee of holiday lighting to ensure that the lighting practices do not damage the tree.

 

Urban Forestry will continue to monitor sequoia’s condition. They expect to take further steps to care for the tree in future years.

 

For more information: Shane.DeWald@seattle.gov

 

Media contact: Marybeth Turner, Marybeth.Turner@seattle.gov

 

Christiane Baumgartner, 1967 (Transall/Transall), 2002 (Holzschnitt auf Kozopapier/Woodcut on kozo paper), Albertina - Ankauf/Acqusition, 2005

 

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

 

Hans Natge - Faust - eine deutsche Volkssage/Faust, 1926, Regie/Director: Friedrich Wilhelm Murnau, GER, 1926 - Deutsche Kinemathek, Berlin

 

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

 

Ramzan is a special month for Muslims world over, and its even more special at Hajvery University as each year we prepare ourselves to offer Iftar & dinner to more than 1100 people on a daily basis. It’s a sight to experience, to see such a large number of people sitting and breaking fast together. Needless to say, its a daunting task to distribute food among a 1100+ people during iftar - on time. This is where our management, staff, and a whole team of cooks and support staff work very hard to prepare and distribute the iftar and dinner on time.

 

“It’s an immensely rewarding experience and words simply will not do justice to the feelings which we have after each Roza’s activity.

 

On any typical Roza, Rozeydars begin to assemble at Hajvery University Main Campus lawns, 30 mins before Iftar time. People break their fast with Roof Afzha & Dates, and Dinner is served after Magrib Prayer, which includes chicken alu, chicken channa, etc, everyday is a meat day here. Rozeydar are also treated to delicious desserts after meal, and the regular entries include: Meethay chawal, Kheer, Halwa etc. To ensure we distribute in a timely fashion, different teams are dedicated to distribute water, roti, salan and desserts.

 

Corporate Social Responsibility has a central role in HU’s Mission statement and vision, and we undertake programs all year round to serve the communities around us in various ways, such as distributing aid & medicines to hospitals, sending aid to orphanages and madrassas, distribution of ration packets among the needy. In future we hope and pray to Almighty that we can serve the country and communities around us even more. Ameen

Hajvery University (HU) is one of the leading Universities in Pakistan. HU is Chartered by Govt. Of Pakistan, Accredited by Higher Education Commission of Pakistan (HEC) and rated W category. HU is a progressive, Student Centric University, focused on offering rigorous, market driven courses in Business, Fashion, Engineering, Computer sciences, Textile Design, Media Studies, Economics, Commerce, Pharmacy & English For details: Web: www.hup.edu.pk, UAN: 042-111-777-007 Email: info@hup.edu.pk

Ramzan is a special month for Muslims world over, and its even more special at Hajvery University as each year we prepare ourselves to offer Iftar & dinner to more than 1100 people on a daily basis. It’s a sight to experience, to see such a large number of people sitting and breaking fast together. Needless to say, its a daunting task to distribute food among a 1100+ people during iftar - on time. This is where our management, staff, and a whole team of cooks and support staff work very hard to prepare and distribute the iftar and dinner on time.

 

“It’s an immensely rewarding experience and words simply will not do justice to the feelings which we have after each Roza’s activity.

 

On any typical Roza, Rozeydars begin to assemble at Hajvery University Main Campus lawns, 30 mins before Iftar time. People break their fast with Roof Afzha & Dates, and Dinner is served after Magrib Prayer, which includes chicken alu, chicken channa, etc, everyday is a meat day here. Rozeydar are also treated to delicious desserts after meal, and the regular entries include: Meethay chawal, Kheer, Halwa etc. To ensure we distribute in a timely fashion, different teams are dedicated to distribute water, roti, salan and desserts.

 

Corporate Social Responsibility has a central role in HU’s Mission statement and vision, and we undertake programs all year round to serve the communities around us in various ways, such as distributing aid & medicines to hospitals, sending aid to orphanages and madrassas, distribution of ration packets among the needy. In future we hope and pray to Almighty that we can serve the country and communities around us even more. Ameen

Hajvery University (HU) is one of the leading Universities in Pakistan. HU is Chartered by Govt. Of Pakistan, Accredited by Higher Education Commission of Pakistan (HEC) and rated W category. HU is a progressive, Student Centric University, focused on offering rigorous, market driven courses in Business, Fashion, Engineering, Computer sciences, Textile Design, Media Studies, Economics, Commerce, Pharmacy & English For details: Web: www.hup.edu.pk, UAN: 042-111-777-007 Email: info@hup.edu.pk

Sometimes i want to go back in time to make the photo once more. Recognized the cutted leaf? Damn - have to recognize before in future.

The church of St Thomas Becket, Fairfield, is a rare example of a small medieval church which has managed to survive without an immediate village to sustain it. Remote on a man-made hillock above the Wallend Marsh, part of Romney Marsh, the church guidebook suggests there was never a village of Fairfield as such but rather a scattered rural community which was served by a small church initially built only of timber, lath and plaster.

 

www.flickr.com/photos/barryslemmings/sets/72157594384281432/ to view the whole set.

 

Probably built in the late 12th century, a 1293 AD visitation roll records that the church was lightly constructed and it appears to have remained as such for much of its life - implying the church authorities themselves may have regarded the Fairfield community as 'marginal' and the building's fabric as almost expendable. It is described in 1293 as being of wood and plaster, very damp and full of holes.

 

The same roll records many shortcomings - namely that the current chaplain had pastured sheep in the churchyard and had allowed a woman to serve at the altar. He agreed not to do this in future, except in harvest time. Simon, the former chaplain, was having an affair with Natakina, the daughter of Hugh at Walle. He was 'corrected' by church authorities. The font was found to have no lock meaning that laymen could help themselves to the Holy Water for illicit purposes.

 

The timber structural frame was eventually replaced in the 15th century [and is what we see today] and the lath and plaster walls were replaced in the 18th century with more durable brick. But the standard of the 18th century workmanship was poor and in 1912 the church was found to be in danger of collapse. Around 1913 the entire chancel, the north wall of the nave, the porch, the turret and the entire roof were carefully taken down and rebuilt but re-using all old materials and timbers under the direction of architect W. D. Caroe.

 

The interior is very 18th century with oval text boards on the inside of the sloping roof, white painted box pews and a three-decker pulpit. The communion table retains a three-sided 'Laudian' communion rail to prevent dogs from fouling the altar.

 

The church today is small and quite charming, being surrounded on all sides by water courses and only reached via a concrete footbridge. Until 1913, when an earth causeway was built, a boat was often needed to reach it. An 18th century mounting block at the west end implies horse riders could also reach the church, at least at some times of the year. As late as 1960 the fields around the church flooded and a photograph appeared in national newspapers of Fairfield church and it's little hill rising just a couple feet out of a vast expanse of water.

 

The church is still in regular use and cared-for by the Romney Marsh Historic Churches Trust. The huge [18th century?] key hangs on a special board behind a nearby house and visitors have to walk around to the back door to borrow it.

 

The Romney Marsh Historic Churches Trust was formed under the patronage of the then Archbishop of Canterbury Robert Runcie and the former Private Eye editor Richard Ingrams. Details about the trust are obtainable from Mrs Elizabeth Marshall, Lansdell House, Rolvenden, Kent, TN17 4LW.