View allAll Photos Tagged relocation
I've been wanting to get a portrait of my brother Kevin up here, and today I took this photo of him and I think it's the best one of him yet. It capture his "cool" attitude and his career in one photo. This is my brother in all his glory right here.
You've probably figured by looking at the photo that Kevin is a truck driver, but actually he is a relocation specialist or "mover". His job is much more involved than just driving trucks, and he's always quick to remind everyone of this. Truck drivers don't carry heavy dressers and couches down narrow staircases on a regular basis. Kevin does.
Lemon Grove's famous lemon sculpture had to be relocated when a second track was added to the railroad right-of-way, to extend the Trolley through Downtown Lemon Grove towards El Cajon. In a careful crane operation, the lemon was moved from the east side of the tracks, adjacent to Lemon Grove Avenue, to the west side of the tracks, next to Main Street.
Cumberland Mountain State Park is situated on the Cumberland Plateau, a segment of the great upland, which extends from western New York to central Alabama. It is said to be the largest timbered plateau in America. Cumberland Mountain State Park began as part of the greater Cumberland Homesteads Project, a New Deal-era initiative by the Resettlement Administration that helped relocate poverty-stricken families on the Cumberland Plateau to small farms centered on what is now the Cumberland Homestead community. This 1,720-acre park was acquired in 1938 to provide a recreational area for some 250 families selected to homestead on the Cumberland Plateau.
The park is located around Byrd Lake, a man-made lake created by the impoundment of Byrd Creek in the 1930s. The park is set on the Cumberland Plateau and provides numerous recreational activities, including hiking, swimming, picnicking and interpretive programs. The park also features a popular area restaurant and separate recreation hall that can accommodate up to 250 people.
The return programme team is at work to relocate the 4,000 families in Camp Acra to safer and more dignified accommodation, thanks to the generous contribution of DfID, the UK Department for International Development.
Office relocation – Country State,
70 Castlereagh Street, Sydney
CFS Fitout worked closely with the staff and management at Country State, Sydney meet the specific requirements to re-design the current working environment.
Working within the scope of the project requirements, CFS Fitout was able to successfully re-design, build, and install every components for this project, on time and within budget.
Key features for this project included the relocation from the 8th to 10th floor, re-design the current work environment, build new manager offices, new office desks & chairs, joinery & storage, build a new reception and boardroom.
Country State required a complete new office fit out from one level of the building to another level. As a result of this move the project involved office joinery, the relocation of power and overhead lighting, new office partition made from plaster and glass. New electricals and network cables, customer built and designed desks and workstations, office storage and reception area.
Finally, the project required the building of a a new board room with specialist table, chairs and projecttion facilties
For the past few months, IDPs are often finding refugee in Goma public sites. In March 2013, IOM North Kivu organised in close collaboration with the National Commission for Refugees (CNR) and the Congolese Civil Protection the relocation of IDPs staying in Samarya Church, Ushindi and Nazaréen primary schools to Mugunga I spontaneous site.
* The Spinnaker Lounge on this ship has been relocated to the stern of the ship on deck 7 *
We cruised aboard NCL Star to the Western Caribbean from Tampa Florida
The whole story: pasqualehome.com/Star_Feb2012/Star_Feb2012.htm
Kingdom | Richmond, VA | October 5, 2013
Check me out on my other sites:
Brandonhambright.com
Facebook.com/brandonhambright
Brandonhambright.tumblr.com
Twitter: @bhambright
Instagram: @brandonhambright
Originally the Little Scioto River Bridge in Scioto County Built in 1902 by the Brackett Bridge Co. It was relocated to Innis Park in 2011.
— at Innis Park.
Portrait of Max DUPAIN
Personal Life:
Max Dupain was born on the 4th April 1911 in Ashfield, Sydney. He lived and worked in Sydney for most of his life and was dedicated to his field of photography for more than 50 years. Dupain was twice married; his first wife was fellow photographer and childhood friend Olive Cotton whom he married in 1939. Dupain and Cotton divorced in 1941. Ten years later he married Diana Illingworth. They had two children Danina and Rex. Following in his father’s footsteps Rex also became a photographer. Although he travelled extensively throughout Australia, Max Dupain did not travel overseas like most artists. Other than a short time spent in New Guinea during World War II and a trip to France in 1978, he spent his life and career in Australia, failing to see the need for international influences.
Education and Career.
Max Dupain was given his first camera at the age of 13. The “Box Brownie” was a gift from his uncle and the beginning of Dupain’s fascination with photography. In 1929 he joined the Photographic Society of NSW while still at school.When he left school he already had work, training with Cecil Bostock, a popular commercial photographer. By the age of 23, Dupain had already branched out and opened his own studio in Sydney. During World War II Dupain, served with the Royal Australian Air Force in Darwin and was a service photographer in Papua New Guinea. Photographing the War deeply affected Dupain which in turn affected his photography. He felt that photography needed to abandon what he called the “cosmetic lie”. Photography, he believed, had to be accurate and reflect real life. In the 1950s Dupain began photographing industrial landscapes and architecture, a practice which continued throughout his career. He held his first one-man show at the Australian Centre for Photography in 1975. Dupain was also highly involved with The University of New South Wales, CSR Limited and the Royal Australian Institute of Architects. Max Dupain is one of Australia’s most beloved photographers who captured the way of life in our country.
Artwork
This photograph titled Max Dupain, Atarmon NSW 1979 was taken by David Moore in the year 1979. It captures Dupain in his studio looking through photograph negatives; giving a rare look into the studio of our most prominent photographer. This photograph was taken after David Moore had relocated to Melbourne, placing him in the same art circles as Dupain. It became apparent that Moore saw Max Dupain as a mentor, having worked with him for some time during the late 1940’s early 1950’s
It wasn’t until later in his life that Max Dupain’s photography became recognised and celebrated. In 1982 he was awarded Order of the British Empire and in 1983 was awarded Life Membership of The Royal Australian Institute of Architects. Dupain moved to his studio in Atarmon, Sydney, in 1971 where he spent the remainder of his life. He died in 1992 at the age of 81.
I believe this house was near the corner of San Bernardino Rd and Vineyard Ave. just north of theThomas Bros. winery. Credit to Gino Filippi & City of Rancho Cucamonga for the photo
Office relocation – Country State,
70 Castlereagh Street, Sydney
CFS Fitout worked closely with the staff and management at Country State, Sydney meet the specific requirements to re-design the current working environment.
Working within the scope of the project requirements, CFS Fitout was able to successfully re-design, build, and install every components for this project, on time and within budget.
Key features for this project included the relocation from the 8th to 10th floor, re-design the current work environment, build new manager offices, new office desks & chairs, joinery & storage, build a new reception and boardroom.
Country State required a complete new office fit out from one level of the building to another level. As a result of this move the project involved office joinery, the relocation of power and overhead lighting, new office partition made from plaster and glass. New electricals and network cables, customer built and designed desks and workstations, office storage and reception area.
Finally, the project required the building of a a new board room with specialist table, chairs and projecttion facilties
Relocated from Philae Island to Agilika Island.
Patrons 1st Pylon: Ptolemy V Epiphanes (Manifest, Beneficent) 210–180 BCE (r.204-180 BCE),
Ptolemy VI Philometor (lover of his Mother) 186–145 BCE (r.180-164 BCE & 163-145 BCE),
Ptolemy XII Neos Dionysos (Auletes) c.117 BCE-51 BCE (r.c. 80–58 BCE).
Patron, 1st Pylon Gate: Ptolemy II Philadelphus (friend of his siblings) 308/9-246 BCE (r.283-246 BCE).
I've taken a ton of pictures documenting the first couple weeks of our move. As you can imagine, with the new job/neighborhood/apartment/state... pretty much everything, we've been super busy folks. Just getting around to uploading. Yes, on Christmas eve. :) Queen Anne, Seattle, 2009.
The Motherland Calls (Russian: Родина-мать зовёт!, romanized: Rodina-mat' zovyot!) is a colossal neoclassicist and socialist realist war memorial sculpture on Mamayev Kurgan in Volgograd, Russia. Designed primarily by sculptor Yevgeny Vuchetich with assistance from architect Yakov Belopolsky, the concrete sculpture commemorates the casualties of the Battle of Stalingrad, and is the predominant component of a larger monument complex, which includes several plazas and other sculptural works. Standing 85 metres (279 ft) tall from the base of its pedestal to its peak, the statue was the tallest in the world upon its completion in 1967, and is the tallest statue in Europe if excluding the pedestal. The statue, along with the rest of the complex, was dedicated on 15 October 1967, and has been listed as a tentative candidate for UNESCO's list of World Heritage Sites since 2014.
The sculpture depicts a female personification of Russia, commonly referred to as Mother Russia. She wears a windswept shawl resembling wings, and holds a sword aloft in her right hand. Her left hand is extended outward, as she calls upon the Soviet people to battle. The statue was originally planned to be made of granite and to stand only 30 metres (98 ft) tall, with a design consisting of a Red Army soldier genuflecting and placing a sword before Mother Russia holding a folded banner, but was changed in 1961 to be a large concrete structure at nearly double the height, a decision that was subject to criticism from Soviet military officials and writers. It was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike.
The construction of The Motherland Calls began in 1963, and was led by structural engineer Nikolai Nikitin. The project faced numerous challenges, including the assembly of the statue's framework and its intricate features, which were compounded by the statue's size. Delays were caused by cold weather and unforeseen geological issues, necessitating extensive foundation reinforcement and relocation of water systems. Additional complications arose with the statue's sword, which was required to be redesigned due to problems with wind resistance. Despite these obstacles, the memorial was completed in 1967 for the 50th anniversary of the October Revolution.
After its dedication, the sculpture underwent numerous alterations and restoration attempts. In 1972, the statue's sword was replaced with a higher-grade steel alloy version to reduce wind resistance, and by 1986, it had tilted significantly from its original axis. Concerns about the statue's structural integrity arose by the early 21st century, with the statue in disrepair and at risk of collapsing. Comprehensive restoration efforts began later in the century, and by 2020, the monument had undergone extensive restoration, although post-renovation critiques and new structural issues have since arisen.
The Battle of Stalingrad was a major conflict between the Soviet Union and Nazi Germany on the Eastern Front of World War II, fought over six months from July 1942 to February 1943. The battle resulted in a decisive Soviet victory but came at a tremendous cost, with over a million estimated Soviet deaths. The battle was quickly mythologised in Soviet culture, and was widely referred to as the turning point in the war in Soviet history textbooks.
The idea of commemorating the Soviet victory in the Battle of Stalingrad originated in the final years of the war. Soviet politicians and artists had considered designs for monuments to the battle prior to the war's end, and the first museum honoring the Great Patriotic War was established as early as March 1943. In 1944, the publication Arkhitektura SSSR issued a number of articles detailing possible designs for memorials. Following the end of the war in 1945, several small-scale obelisks and commemorative plaques were erected across the Soviet Union; however, larger plans for monuments were curtailed by leader Joseph Stalin, who sought to refocus attention on emerging Cold War conflicts, virtually prohibiting all public observation of the war by 1948.
In 1948, sculptor Yevgeny Vuchetich, a member of the Academy of Arts of the Soviet Union, began discussing plans for a monument for the Battle of Stalingrad with architect Yakov Belopolsky, whom he had previously collaborated with on the development of the Soviet War Memorial in Berlin's Treptower Park.[6] The project was intended to be built atop Mamayev Kurgan, a burial mound that was the site of intense conflict during the battle. Vuchetich started petitioning high-ranking Soviet officials for permission to design the monument in the early 1950s, including Politburo member Georgy Malenkov.[8] In a letter to Malenkov dated December 1951, Vuchetich claimed that he had received multiple inquiries from veterans and family members of those who died in the war about the absence of a memorial on Mamayev Kurgan.
After Stalin's death in March 1953, plans for a memorial on Mamayev Kurgan were revitalised. In March 1954, the Council of Ministers announced a competition for the design of a "State Museum of the Defense of Tsaritsyn-Stalingrad", which would include a large panoramic painting depicting the battle; by this time, Vuchetich and Belopolsky had already finalised drafts for the project's structural designs. On 23 January 1958, the Council of Ministers declared that the construction of "a memorial-monument in the city of Stalingrad commemorating victory over the German fascist force" would be overseen by a committee led by Vuchetich and comprising Belopolsky and Anatoly Garpenko, an artist and Red Army veteran.
Vuchetich and Belopolsky's initial designs for the project were ambitious and took much of their inspiration from the memorial at Treptower Park. The entrance to the monument was planned to feature a triumphal arch that led into a granite staircase, followed by a brick staircase in an avenue of Lombardy poplar trees. A second granite staircase would lead to a circular plaza, with a large granite statue of a Russian man titled Stand To the Death!. Behind the statue, a final granite staircase would lead to a plaza with an entrance to an underground complex called the "Panorama". A cupola-shaped hall would include an eternal flame to memorialise the heroes of Stalingrad, a sculpture of a man shaping a sword into a ploughshare, and walls engraved with the names of those who died in the battle. An exit at the end of the hall led to a second observation platform with a panoramic painting depicting a prosperous post-war Stalingrad.
The principal component of the project was to be a colossal statue at the top of Mamayev Kurgan; at the statue's base, a foyer would be built in order to allow visitors to honor the dead with commemorative gifts. The statue was designed according to the principles of neoclassicism and socialist realism, both artistic styles that Vuchetich specialised in. The original plan for the sculpture was to have it constructed entirely of granite, with a design featuring a Red Army soldier genuflecting and placing a sword before a female personification of Russia, commonly referred to as Mother Russia, holding a folded banner; this was later changed to be a concrete statue of a lone Mother Russia wearing a windblown shawl resembling wings and holding a sword aloft in her right hand, with her left hand extended outward as she calls upon the Soviet people to fight against the enemy. The design was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike. Committee members initially suggested that the sculpture should be dressed in traditional Russian clothing. Vuchetich objected to the proposition, arguing that a traditional costume would diminish the idea of the battle as an "international event" and defy the neoclassical style he had envisioned for the statue. The sculpture was initially planned to be 30 metres (98 ft) tall from its pedestal to its peak; however, Soviet leader Nikita Khrushchev ordered it to be taller than the 46 metres (151 ft) tall Statue of Liberty in a display of dominance over the United States, their geopolitical rival during the Cold War. The height of the statue alone was increased to 52 metres (171 ft), nearly double the originally planned height, a decision that further increased the project's cost, which had already substantially overrun its budget. Valentina Izotova, a 26-year-old waitress at a local restaurant, was chosen by Vuchetich to be the model for the sculpture, while the face of the statue is believed to have been based on that of Vuchetich's wife.
The choice to make The Motherland Calls the primary feature of the monument complex was met with derision from Soviet military officials, including generals Andrey Yeryomenko and Mikhail Shumilov, who believed the statue's design would detract from the importance of the Panorama, which they thought to be the only structure that could faithfully represent the extent of the soldiers' experiences. Vuchetich rationalised the decision by asserting that the monument should reflect the widespread recognition of the Battle of Stalingrad as the turning point of the war, and marketed the project as one part of a sculptural triptych that would encompass the memorial at Treptower Park and a planned monument in Moscow. The planned sculpture also attracted criticism from Soviet writers, including author Viktor Nekrasov, who claimed that the monument would defile the historic site.
While construction on the rest of the monument complex began in 1961, work on The Motherland Calls did not start until late 1962. Vuchetich's final design for the sculpture was approved by the artist committee in December of 1962, and on 23 January 1963 the Council of Ministers ordered the development of blueprints for the statue. The process of building of the monument would prove to be more complicated than anticipated by its developers, primarily due to its size and the complexity of its details. After the Sculptural Group of the Artistic Fund requested to be relieved of their construction duties and the construction firm Volgogradgidrostroi expressed reservations about taking over the project, structural engineer Nikolai Nikitin was appointed to lead the construction efforts.
In 1963, Nikitin's design team began planning the construction process for the monument, finalizing their designs by August. Nikitin began his role as head of the team by emphasizing unresolved issues, specifically the lack of geological and hydrological studies that had been recommended earlier in the year. In a report to the Ministry of Culture made in September, he insisted that these studies were crucial due to the extensive construction already completed and the need to ensure the foundation's durability and stability, particularly given the presence of mellite clays on Mamayev Kurgan; the hill could only support the structure if the moisture of its soil remained low. Nikitin noted that the foundation, initially designed for a statue half the height, required thorough investigation to confirm its suitability. Almost immediately following his report, the Ministry sent a team to Volgograd to thoroughly investigate the issues.
Construction on The Motherland Calls commenced in November 1963. The statue, made entirely of reinforced concrete, used a special hydrostatic cement mixture that had been developed for the construction of the Ostankino Tower in Moscow. The statue's structure featured an internal framework of vertical and horizontal diaphragms forming cells that were 3 metres (9.8 ft) wide, 3 metres deep, and 4 metres (13 ft) tall, extending from its 2-metre (6.6 ft) pedestal to its neck. The external surface was a reinforced concrete membrane varying in thickness from 25 to 60 centimetres (9.8 to 23.6 in). Construction involved pouring concrete in 50-centimetre (20 in) increments into the forms shaping the vertical diaphragms, allowing each layer to harden before proceeding. Workers used small vibrators to settle the concrete, eliminate air pockets, and ensure even pours, working manually due to the tight spaces. Each 4-metre-high section was capped with a horizontal diaphragm, serving as the foundation for the next section. The statue's head, arms, and scarf were cast separately and attached using cantilevered junctions and large steel bolts, with the metal sword anchored in the right hand. Its stability was ensured by a complex system of steel tension cables to counteract wind forces, monitored by seismographic and meteorological instruments inside the structure. A radio transmitter was installed in the statue's head in order to transmit data on ground vibrations, surface temperatures, and humidity. Passageways within the statue were built to allow for interior inspections, while the exterior would be visually examined.
Initially, crews focused on assembling the metal framework designed to support the internal diaphragms, followed by welding the rebar for the external membrane and creating the plaster molds for the statue's surface. The concrete pedestal was poured, and by the end of 1963, the shawl pieces and the empty hand had been made and attached to the framework. However, the arrival of subfreezing temperatures halted further concrete pouring, which could not resume until the spring; plans were set to complete this phase of the construction by 1 July 1965. The statue's head and sword hand were then mounted, with the metal sword set to be installed later. During this period, the construction of other components of the memorial, such as the "Wall Ruins" and parts of the "Square of Heroes", progressed significantly.
Despite initial forecasts for a November 1965 opening, the construction timeline was extended into the late summer of 1966. This delay was partly due to emerging issues with the sculpture's foundation and the stability of the surrounding soil, prompting geological investigations that uncovered several critical deficiencies in the initial surveys. For instance, examinations of Mamayev Kurgan's substrata were only carried out to a depth of 9 metres (30 ft), rather than the necessary depth of at least 46 metres (151 ft). Additionally, there had been no measurement of the soil's compression under the statue's weight, nor was there any consideration of how the expansion of waterlogged clay could impact the foundation. No comprehensive assessment was made of potential groundwater sources, and no tests to evaluate the stability of the mound's slope were conducted. Addressing these issues required significant effort and expense; in early 1966, officials concluded that the only solution involved relocating all water supply pipes and reservoirs buried within the mound to a distance of at least 273 metres (896 ft) from the statue's base in order to improve drainage around the structure. The statue's foundation was reinforced, and several thousand cubic metres of extra earth were backfilled to create a levee around the pedestal. However, these adjustments necessitated the removal of several graves previously located at the hill's summit and a reduction in the size of the plaza where the Grief of the Motherland statue and the Pantheon, which had replaced the Panorama due to issues with the latter's foundation, were situated. These remedial efforts continued into 1967.
In May 1966, crews hoisted and secured the 14-ton, 28-metre-long (92 ft) sword into the statue's right hand. The sword was constructed from stainless steel and bolstered by plates made from titanium. However, by late August, strong winds revealed that the sword and its anchoring structure were subjected to lateral forces that had not been accurately accounted for. The sword's tip was observed wavering by nearly 1 foot (0.30 m) in either direction, posing a risk to the integrity of the joint connecting the arm to the metal framework. This movement resulted in visible cracks in the concrete surface around the area. A committee was formed to investigate further, who concluded that the existing sword needed replacement; temporary measures were applied, included cutting holes in the current sword and reinforcing the joint until a permanent fix could be implemented.
In February 1967, the Council of Ministers mandated that all remaining work on the memorial complex be completed by 15 October for the 50th anniversary of the October Revolution. Laborers worked throughout the spring and summer to meet this deadline, completing the earthen levee surrounding the main monument's pedestal, relocating the remaining leaking irrigation pipes and reservoirs, reinforcing the sword, installing sound and lighting systems across the complex, and setting in place the final sculptural and landscaping elements. The last major obstacle arose from complications with the Pantheon; as crews applied the mosaics to the Pantheon's interior walls in early 1967, they discovered inconsistencies in the glass tiles. With only four months until the scheduled opening, Vuchetich urgently sought intervention from officials to expedite a solution. Supplementary glass was quickly produced and delivered, and several hundred soldiers from a local garrison were enlisted to aid in construction. The crews worked diligently, completing the Pantheon's mosaic walls in under a month for the complex's opening. Once finished, the full sculpture stood 85 metres (279 ft) tall from the base of the pedestal to the top of the sword, and was the tallest statue in the world upon its completion; it remains the tallest statue in Europe.
The dedication of the memorial occurred on 15 October 1967. The event drew tens of thousands of people to Mamayev Kurgan, along with reporters from official press outlets, including Izvestia and Pravda, who wrote extensively on the memorial's scale and significance, describing the statue as a tribute to the heroism of Stalingrad's defenders. Vuchetich, along with the engineers and construction workers, were lauded for their contributions to the project, with reporters drawing parallels between their efforts and those of the soldiers who defended the city.
The opening ceremony featured speeches from party leaders and military representatives, who highlighted various themes such as the valor of those who fought in the battle, the importance of remembering past sacrifices, and the role of the Red Army in defeating fascism. Premier Leonid Brezhnev's keynote address framed the monument as a testament to Soviet unity and postwar recovery, while also emphasizing the USSR's commitment to peace and culture in contrast to American actions during the Vietnam War. The speeches collectively stressed the significance of the memorial in preserving the memory of the war and its heroes, and praised the Soviet people's enduring loyalty to the Communist Party and its Central Committee.
The years after the statue's dedication were primarily marked by alterations and several attempts at restoration. A year after the monument's opening, cracks had already started to form on the statue's surface. In order to preserve the monument, the head and hands of the sculpture were treated with a waterproofing agent once a year. In 1972, the statue's sword was replaced with a higher-grade steel alloy version featuring jalousie-like slits to reduce wind resistance. The sculpture's surface received a maintenance inspection in 1986; by this time, it had tilted 60 millimetres (2.4 in) from its original vertical axis since its initial assessment in 1966.
Between 2008 and 2009, a comprehensive safety and reliability program for the statue was developed and approved by the Russian Ministry of Culture. However, by 2009, concerns had been raised about the structural integrity of the structure; the statue's foundation was not anchored but held in place by its own weight, and was subsiding as a result of rising water levels. By this time, pieces of concrete had already begun to fall off the statue, nearly injuring passersby, and it had tilted approximately 20 centimetres (7.9 in), with further tilting risking collapse. Estimated costs to repair the structural issues were over 7 million USD (equivalent to $9,664,521 in 2023); however, efforts to secure funding for restoration were complicated by the Great Recession, and previous attempts to allocate government funds for restoration had been undermined by misappropriation. Large-scale restoration work on the sculpture funded by the federal budget began in 2010. Initial steps included replacing the piezometric network (a system for measuring pressure) to allow for hydrogeological monitoring, studying the reinforced concrete's condition, and analyzing cracks and other defects.
In 2014, the sculpture, along with the surrounding complex, was listed as a tentative candidate for UNESCO's list of World Heritage Sites. Following the 70th anniversary of the Soviet victory in the Great Patriotic War in 2015, the statue was set to undergo further renovation, with 99 of its 117 steel cables requiring replacement. By 2017, the cables had not yet been replaced, though plans were made to address the replacement along with other maintenance needs, with additional restoration efforts set to be conducted after the end of the 2018 FIFA World Cup, which was held in Russia. In late 2018, the construction company Glavzarubezhstroy completed preparations for the external restoration of the sculpture, which included creating access for special equipment, fencing off the area for material storage and worker camps, installing a two-metre fence around the sculpture, removing the lawn, setting up external lighting for the duration of the work, and digging trenches around the statue's base. In early 2019, the observation deck at the foot of the statue was closed off to visitors until March of the following year in order to allow for additional restoration work to its pedestal, surface, and framework. In May, the sculpture had begun to be covered in scaffolding, and the granite slabs at the pedestal were removed. Restoration on the external features of the monument continued from July to November, including cracks being filled in and the surface being painted with white lead. In November, the scaffolding and the pedestal's slabs were removed, with internal renovations to be finished before Victory Day on 9 May 2020, the 75th anniversary of the end of the battle. The restoration of the monument was completed in March 2020; however, due to the COVID-19 pandemic, the reopening ceremony that had originally been planned for Victory Day was postponed. A virtual tour of the structure and the surrounding complex was made available online in lieu of public visitations.
The monument complex was reopened on 24 June 2020, with a ceremony hosted by Volgograd governor Andrey Bocharov and Russian Minister of Culture Olga Lyubimova. In total, the cost of renovating the sculpture alone cost approximately 750 million rubles (equivalent to $11,296,607 USD in 2023). In August, Russian designer Artemy Lebedev criticised the statue's post-renovation appearance, arguing that the statue was in a worse condition than it had been before its restoration; his comments received criticism from residents of Volgograd, who insisted that he be punished for insulting the memory of those who died in the Battle of Stalingrad. By early 2021, dark spots and more cracks were noticed on the surface of the statue, prompting the filing of an application with a Moscow arbitration court requesting for Glavzarubezhstroy, which had not fulfilled its warranty obligations, to declare bankruptcy. Glavzarubezhstroy later filed for bankruptcy, was sued by the Battle of Stalingrad Museum-Reserve, and listed on a national registry of "unscrupulous suppliers". In a poll conducted by Bloknot Volgograd in March, a majority of Volgograd residents surveyed responded negatively to the question of whether the sculpture looked better after its restoration, with some calling on those who worked on the project to "restore it themselves, with their own money". An assessment of the reliability and safety of the structure was planned to be conducted in 2023. As of 2024, the dark spots on the statue were still noticeable.
The Motherland Calls is featured on the coat of arms and flag of Volgograd Oblast. Postage stamps and postcards depicting the sculpture were issued in the Soviet Union for the 20th anniversary of the founding of the International Federation of Resistance Fighters in 1971 and the 30th anniversary of the Battle of Stalingrad in 1973; a postcard with the statue was issued in Russia to commemorate the 60th anniversary of the battle in 2002. The sculpture also appears on a commemorative 100-ruble coin issued by the Central Bank of Russia in 2013, and a 3-ruble coin issued in 2015. There is a replica of the statue in the city of Manzhouli in Inner Mongolia, China, near the border between Russia and China.
(September 17, 2009) — Sixty ordnance treasures made the 200-mile trip down treacherous Interstate 95 to Fort Lee, Va., during Phase 1 of the Ordnance Museum relocation Aug. 3 to 7. Powering the historical move were drivers from the Meadow Lark Transportation Company and crane operators and riggers from A&A Transfer Inc. out of Virginia. Read more...
Back to Christchurch for a while to catch up on some photos I have been taken lately of our city and its re-build.
July 7, 2013 Christchurch New Zealand.
A little wooden church built in Lyttelton 130 years ago is about to head on its final journey, right back home.
The St Saviour's Chapel was moved from the port township to the Cathedral Grammar School in 1976, and would have stayed had it not been severely damaged in the February 2011 earthquake.
Deemed too expensive to repair, it was written off by insurers and the school paid out.
However, rather than demolish a historic Anglican church, school headmaster Paul Kennedy asked Bishop Victoria Matthews if they could instead donate it to someone willing to restore it.
She "quite rightly agreed it will go back to Lyttelton", Kennedy said.
It will be placed on the site of Lyttelton's now-demolished Holy Trinity Church, which was Canterbury's oldest stone church, in Winchester St - less than a kilometre from its original site on the corner of Brittan Tce and Simeon Quay.
Preparation for the relocation starts this week, with the move expected to take six to eight weeks.
Restoration plans are still awaiting signoff from the Anglican Diocese of Christchurch church property trustees.
However, Holy Trinity Church vicar Neil Struthers hopes to raise funds and have the project completed by Christmas next year.
Struthers said it needed to raise about $785,000, with the total project estimated to be $2.38 million.
"My pragmatic side says it's a waste of money but my emotional side [says] I'm delighted we're getting something historic back that has once been part of our community and will be again," he said.
"It's just wonderful. This is like a new beginning for us."
Once complete, the church will be called St Saviour's at Trinity.
Kennedy said a new chapel would be built at the school as part of a campus-wide redevelopment.
Taken from; www.stuff.co.nz/the-press/news/hills-and-harbour/8733640/...
All about our earthquakes: en.wikipedia.org/wiki/2011_Christchurch_earthquake
Just as babies' bibs are soiled with drool, beverages and food, these bibs were soiled with sweat, Gatorade/Powerade and whatever was on my hands when I unintentionally wiped them on the bibs. The numbers are coming with me. Haven't decided whether to ship them or to bring them along. These are irreplaceable items.