Relocation of an old lady. At a wedding at Magdalen College. The wedding car driver was waiting to transport the happy couple and filling his time reading a classic car magazine in his classic car. I particularly liked the title of the article he was reading :-)

I found two Monarch cats in the scarlet milkweed yesterday - already 3/4" long. They always sneak up on me. I brought one in to raise and left the other out there - for now. I saw a Monarch butterfly over two days and thought she was laying eggs. Indeed she was ;-)

Yesterday we relocated the Laura's clubtail - amazing to see it again. My husband spotted him while I was shooting a butterfly. It was in the same location as when I first found him. More photos soon. No emeralds flying this time.

Have a great Friday!

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Nikon AF3, Ferrania Solaris 400. 27 June 2011.

abandoned outside a railroad station.

scanned from negative.

Subway #26330 (1,566 square feet)

1807 East Pembroke Avenue, Hampton, VA

This location opened in fall 2002 and was renovated in April-August 2022; it was originally a Taco Bell, which was built and opened in 1979 and relocated here in 2001.

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Relocated from last photo

3/4

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Freightliner

relocating to toronto!

SET 8 – Oxford Kroger, Post-Expansion

Something that I’m not certain I’ve mentioned yet in this very long-running album, surprisingly, is that the store’s fuel center also grew as part of the overall store expansion project. Not only did it increase in size to accommodate more fuel pumps, the entire island was relocated to the rightmost side of the property, away from its original perch out front facing the street. Because my daytime photo was from across the parking lot, I also included a nighttime close-up as the inset.

(c) 2026 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

By accident it seems that I have started a new initiative - a Mouse Relocation Program. At the same time I have invented, again by accident, a new "mouse friendly" mouse trap.

Twice this week a mouse has fallen into a plastic tub which sides are too high and too slippery for the mouse to escape.

Twice this week I have taken the mouse (should be mice) to a nearby scrub and let them go and they quickly scamper off to a new life and freedom.

The Minidoka Relocation Center, 15 miles north of Twin Falls and 150 miles southeast of Boise, was also referred to as the Hunt Camp. Minidoka was considered a model environment because of its relatively peaceful atmosphere and population that got along well with the administration. Because it was not within the Western Defense Command restricted area, security was somewhat lighter than at most other camps. But when the internees first arrived, they were shocked to see the bleak landscape that was to be there home over the next three years.

Located on the Snake River Plain at an elevation of 4000 feet, the land is dotted with sagebrush and thin basaltic lava flows and cinder cones. The internees found the environment to be extremely harsh, with temperatures ranging from 30 degrees below zero to as high as 115 degrees. They also had to contend with blinding dust storms and ankle-deep mud after the rains.

Minidoka was in operation from August 10, 1942 to October 28, 1945. The reserve covered more than 33,000 acres of land in Jerome County. The camp’s peak population reached 9,397 by March 1, 1943, and it became Idaho's third largest city. Five miles of barbed wire fencing and eight watchtowers surrounded the administrative and residential areas, which were located in the west-central portion of the reserve.

Most of the people interned at Minidoka were from the Pacific Northwest: approximately 7,050 from Seattle and Bainbridge Island, Washington, 2,500 from Oregon and 150 from Alaska, including children or grandchildren of Eskimo women and Japanese men. They were temporarily housed at the Puyallup Fairgrounds in Washington, then sent by train to Idaho. In early 1943, all of the Bainbridge Island, Washington, residents interned at the Manzanar Relocation Center were transferred to Minidoka at their own request because of constant conflict with the internees from Terminal Island in Los Angeles.

The central camp consisted of 600 buildings on 950 acres. When the first internees arrived at Minidoka in August 1942, they moved into the crude barracks even though much of the camp was unfinished and there was no running water or sewage system. The Army insisted on having all Japanese removed from the West Coast at once, and they did not halt the evacuation until the camp could hold no more. The last group of 500 evacuees to arrive at the camp had to sleep in mess halls, laundry rooms, or any available bed space. Waiting in line for many daily functions, especially meals, was common.

The camp’s residential area encompassed 36 blocks and was one mile wide and three miles long. Each block included 12 tarpaper barracks, one dining hall, one laundry building with communal showers and toilets and a recreation hall. Immediately after arrival, the internees were instructed to see the camp physician, and then they received an apartment assignment. Apartments were of three sizes, and where possible, family groups or relatives were placed near each other. Efforts were later made to move people near their place of employment.

The move ran smoothing where we arranged for personal belongings and furniture to be relocated and also prepared the offices for the company with organisation including a searing plan for 100+ staff, welfare facilities, signage and more.

Relocation of a small prebuilt cottage over the Bower bridge.

Had to re-locate some of my girls for a few days, while I get some plastering done in my dolly room. Most of the others will be boxed for safety so I can stack them.

Don't trust the workmen with my treasures, plus it gave me a good excuse to take brighter pics of them. LOL

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The people of Ladang Bukit Jalil need your voice. Pls send an email to the editor of The Star, the most widely circulated English newspaper in Malaysia.

editor@thestar.com.my

"Please Note! Letters to the Editor must carry the sender's full name, address, telephone number and e-mail address for authentication. A pseudonym may be included. Letters may be edited for clarity, objectivity, brevity and other requirements. We will only publish letters addressed exclusively to The Editor of The Star. "

Nikon F55

Nikkor 28-80mm

Kodak Ultramax 800

Photo by Lee Bennett

Johnson City, NY. May 2024.

If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.

Covering two floors of this office building in Fleet Place, London, Mansfield Monk designed a fresh working environment that consolidated the two businesses who were relocating to the new offices. The design reflects the individuality, creativity and passion of both parts of the business.

www.mansfieldmonk.co.uk

Many people find it stressful to move to a new house due to many #household items which are heavy and fragile. Unpacking too is a tiresome job if things were not packed in an orderly manner. Luckily professionals and expert movers have come up with tips and ways of packing in order to make every move on that specific day #systematic and smooth.

Get rid of the things you don’t use or need

When you are planning to move into a new house, consider getting rid of things that you no longer use. These include clothes, shoes, electronics and kitchen items such as old #coffee #makers and other items. Consider packing these items and give them to people of good will around your community. By so doing, the bulk of unnecessary items will reduce hence making the items to be packed to be less. It will also minimize overcrowding in your new house.

Consider looking for the best moving company one month prior the moving day

Compare prices of the moving companies and any other terms of payment to prevent unexpected costs during the #moving day. Also, check the moving company that you have chosen if it is licensed to ascertain the security of your items. Plan with the company the best flexible day to move in. It is also crucial to map the best and easiest route to use before the moving day. Look for possible traffic; detour and other constructions that might be scheduled on a moving day. This will make the journey more manageable and less tiresome as there will be no obstructions on the way.

When you are moving to a new house, start packing as early.

Start with things that are not being used for the time being. This includes decorations, some clothes, books that you have already read and other things that might not be of use. This is done by buying boxes from a nearby shop together with different packing materials like packing tapes, cardboard boxes, putty, extra screws and wrapping papers from a nearby hardware store. Pack items like books, toiletries, clothes as well as kitchen utensils in separate boxes and label the boxes at the top and on sides. This will make unpacking an easy task as each box will be taken to where those items are kept. Also, number your boxes to make sure that all things reached and no box was stolen.

Stop shopping like two weeks earlier

To avoid wasting any #food, consume all the shopping at home. Don’t buy more supplies unless you need them. Also, you can call friends and neighbors to take extra shopping that you might have. Pack extra toiletries and cleaning items in a different bag. These are items that will be used immediately when you rich the new home. Consider also packing extra clothes, laptop, and any other thing that you might need before unpacking. Call friends and relatives to help you in packing when you are moving to your new house. During the moving day ensure all things are handled with care especially electronics and other fragile items .When you reach to your new home, put someone in charge of unpacking process. This will help the task move smoothly without wasting time. Consider taking a picture of the new house before bringing your items inside. This is to show any damage that would be there.

Finally, appreciate all the people who helped you by ordering food, drinks, and snacks for them.

Carlo Maratta (1625-1713), actif à Rome

Marie avec l'enfant et le petit saint Jean, 1704

La Sainte Famille s'enfuit devant l'assassin des enfants le roi Hérode en Egypte. Un sphinx de pierre, mais aussi les regards de Joseph indiquent la direction. Selon la légende, s'approche le petit saint Jean lors d'une pause aux fugitifs. En préfiguration de son futur rôle de baptiste et héraut du Messie, il est déjà ici caractérisé avec robe de fourrure, férule et font baptismal. Volontièrement le bébé Jésus prend la bannière avec les mots significatifs, "Ecce Agnus Dei" ("Voici l'Agneau de Dieu").

Carlo Maratta (1625-1713), tätig in Rom

Maria mit dem Kind und dem Johannesknaben, 1704

Die Heilige Familie flieht vor dem kindermordenden König Herodes nach Ägypten. Eine steinerne Sphinx, aber auch Josephs Blicke weisen die Richtung. Der Legende folgend nähert sich der Johannesknabe während einer Ruhepause den Fliehenden. In Vorwegnahme seiner künftigen Rolle als Täufer und Künder des Messias ist er schon hier mit Fellkleid, Kreuzesstab und Taufschale gekennzeichnet. Bereitwillig ergreift das Jesuskind das Schriftband mit den bedeutungsvollen Worten "Ecce Agnus Dei" ("Seht das Lamm Gottes").

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The AMD Mystère S represents one of the many evolutionary steps in French 2nd generation jet fighter aircraft design, which began with the straight-wing Dassault Ouragan and progressed through the Mystère II/III and Mystère IV to the supersonic Super Mystère SM2B. Internally designated AMD 461 and originally called the Mystère X (Roman numeral “10”, not the letter “X”), the new aircraft was the attempt to improve the successful Mystère IV from 1953 in many respects, following Marcel Dassaults strategy to take small, evolutionary steps instead of radical quantum leaps. While the overall outlines were similar and followed the proven layout of the former Dassault jet fighters, the AMD 461 was a completely new design, though.

Having become quickly obsolete through the introduction of 3rd generation jet fighters in the early Sixties – namely the Mirage III – the Mystère SR’s active career only lasted a mere 10 years, and the Mirage III’s fighter variants quickly replaced the Super Mystère, too. Due to its many limitations, the Mystère SR was soon replaced by the Mirage IIIR reconnaissance version, by 1974 all aircraft had been retired. Another reason for this early operational end were durability problems with the composite elements on the aircraft’s wings – there had been no long-term experience with the new material, but the elements tended to become brittle and collapse under stress or upon bird strikes. AMD conceived a plan to replace the affected panels with light metal sheets, but this update, which would have prolonged service life for 10 more years, was not carried out. After spending 5 years in mothballed storage, all surviving Mystère SR airframes were scrapped between 1980 and 1981.

General characteristics:

Crew: 1

Length: 42 ft 3 in (12.88 m) overall

42 ft 3 in (12.88 m) w/o pitots

Wingspan: 32 ft 4 in (9.86 m)

Height: 3.75 m (12 ft 4 in)

Wing area: 345.5 sq ft (32.2 m²)

Empty weight: 13,435 lb (6,094 kg)

Gross weight: 21,673 lb (9,831 kg)

Fuel capacity: 3,540 l (778 imp gal; 934 US gal) internally

plus 2x 625 l (72 imp gal; 165 US gal) drop tanks

Powerplant:

1× Atar 101F turbojet, rated at 29.42 kN (6,610 lbf) dry thrust

and with 37.3 kN (8,400 lbf) with afterburner

Performance:

Maximum speed: 1,110 km/h (600 kn, 690 mph) at sea level

1,180 km/h (637 kn 732 mph,) at 11,000 m (36,089 ft)

Combat range: 915 km (494  nmi, 570 mi) with internal fuel only

Maximum range: 1,175 km (730 mi, 634 nmi)

Service ceiling: 45,800 ft (14,000 m)

Rate of climb: 14,660 ft/min (74.5 m/s)

Time to altitude: 40,000 ft (12,000 m) in 4 minutes 41 seconds

Armament:

2x 30mm (1.18 in) DEFA 552 cannon with 150 rounds per gun (later frequently deleted)

Four underwing hardpoints for 1.500 kg (3.300 lb) of ordnance,

including a pair of 625 liter drop tanks, flares and various unguided missiles and iron bombs

The kit and its assembly:

A project I had on my idea list for a long time – there were so many AMD jet fighter designs (both that entered service but also many paper projects and prototypes) during the Fifties and Sixties that I wondered if I could smuggle a what-if type somewhere into the lineage. A potential basis appeared when I recognized that the British Supermarine Swift had a fuselage shape quite similar to the contemporary French fighters, and from this impression the idea was born to “Frenchize” a Swift.

This called for a kitbash, and I used a Matchbox Mystère IV (Revell re-boxing) for the French donor elements that would be grafted onto an Xtrakit FR.5 model, which looks good in the box but has serious fit issues, e.g. between the rear fuselage halves or when the wings have to be mated with the completed fuselage.

The transplantations from the rather primitive/blunt Matchbox Mystère included the whole cockpit section except for the interior, which was taken from the in this respect much better Swift, the glazing, the spine and the whole tail with fin and stabilizers. The Swift provided most of the fuselage, the wings and the landing gear, even though I used the Mystère’s main wheels because of their characteristic hub caps/brake arrangement.

Mating the fuselage sections from the two models became a major stunt, though, because the diameters and shapes were rather different. Three-dimensional gaps and steps behihd the cockpit had to be bridged, initially with 2C putty for the rough overall shape and then with NC putty for a smooth finish. A gap in the spine in front of the fin had to be improvised/filled, too, and the Mystère’s fin had to be tailored to the different Swift rear fuselage shape, too.

The result looks a little odd, though, the Swift’s original air intake ducts now look from certain angles like hamster cheeks – but after all, the ducts have to pass the central cockpit section on both sides somehow, so that the arrangement makes nonetheless sense. And the small dorsal spine taken over from the Mystère changes the Swift’s profile considerably, as well as the shorter Dassault-style canopy.

The small ranging radar radome is just a piece of sprue from the Mystère kit, blended into the rest of the fuselage with putty. The interior of the air intake was heavily modified – the original splitter, positioned directly inside of the intake, was deleted and the walls trimmed down for a much thinner/sharper lip. Inside of the intake a bulkhead was added as a sight blocker, and a new splitter was mounted to the new bulkhead in a much deeper position. The gun camera fairing is a piece of styrene profile, the new twin pitots (reminiscent of the SM2B’s arrangement) were made from heated sprue material.

The camera fairing is the lower half from a P-47 drop tank, left over from a Hobby Boss kit, IIRC, and in order to fit the Swift’s cockpit tub into the Mystère’s fuselage the rear bulkhead had to be re-created with the help of paper tissue drenched with white glue.

The drop tanks come from a KP MiG-19, which had the benefit of integral, thin pylons at a suitable position for the Mystère SR. For a different look I just canted their fins downwards.

Painting and markings:

For a subtle impression I settled for an authentic livery: the French rendition of the USAF SEA scheme for the F-100 with local CELOMER tones, which was not only applied to the Armée de l’Air’s F-100s (these were originally delivered in NMF and camouflaged later in the Sixties), but also to the Super Mystères - the SM2Bs actually carried a quite faithful adaptation of the USAF’s F-100 pattern! However, the indigenous CELOMER paints differed from the original U.S. Federal Standard tones (FS 30219, 34102, 34079 and 36622, respectively), esp. the reddish light tan was more of an earth tone, and the dark green had a more bluish hue.

This offered some freedom – even more so because real life pictures of French reference aircraft show a wide range of shades of these basic tones and frequent serious weathering. Instead of the U.S. tan I went for RAF Dark Earth (Humbrol 29), the dark Forest Green was replaced with Humbrol 75 (Bronze Green). The light green became a 2:1 mix of Humbrol 117 (the original FS 34102) with Humbrol 78 (RAF Cockpit Green), for more contrast and less yellow in the tone. The undersides were painted with Humbrol 166 (RAF Light Aircraft Grey).

After a black ink wash I gave the model a thorough panel post-shading and recreated some lost panel lines with the help of silver paint, too. I also added some paint patches and touch-ups, for a rather worn look of the aircraft.

The black areas around the gun muzzles were created with the help of decal material, generic black decal sheet material was also used to create the camera windows. Grey (Revell 75) dielectric panels were added to the fin tip and behind the cockpit. The cockpit interior became very dark grey (Revell 09, Anthracite, with some dry-painted medium grey on top), while the landing gear and the respective wells were left in aluminum (Humbrol 56).

The decals are a mix from various sources. The ER 2/33 markings came from a Heller Mirage III sheet, which offers an optional IIIR from 1984. I also settled for relatively small roundels (from a Mirage F.1C) – a trend which started in the Armée de l’Air in the early Seventies and also comprised the deletion of the fin flash. Contemporary real world SM2Bs with the French SEA cammo frequently carried a similar type of subdued markings instead of earlier, bigger roundels found on the machines in NMF finish or on the aircraft from EC 1/12 "Cambresis" with their unique and different camouflage in two shades of green and a rather sandy tan, almost like a desert paint scheme. The white tactical code “33-PS” was improvised with single 4mm letters from TL Modellbau. The stencils were puzzled together from various Mirage III/V/F.1C sheets and also from an IAI Kfir.

The kit received some additional dry-painting with silver to simulate more wear, and was finally sealed with a coat of matt acrylic varnish.

Another “missing link” build, but I think that my Mystère S fits stylistically well into the (non-existent, though) gap between the Mystère IV and the Super Mystère, sporting vintage details like the round air intake but coupled with highly swept wings and the Swift’s elegant lines. The “traditional” French paint scheme adds to the realism - and, when put in the right background/landscape context, turns out to be very effective. Not a spectacular model, despite serious body work around the cockpit, but a convincing result.

As part of a nearby fish passage improvement project at Little Minter Creek on SR 302 in Purdy, our team of field biologists collected approximately 700 fish in a recent defishing expedition. This process is important in preventing the fish from entering the construction zone. The fish are relocated nearby away from the site. Work is expected to wrap up fall 2021 with new and improved fish passable structures constructed beneath the highway.

TDI oil filter relocation adapter

A 12-meter antenna being relocated at the Chajnantor Plateau

Museu Blau, Museu de Ciències Naturals de Barcelona, Spain

Architects: Herzog & de Meuron, project 2009-2010, realization 2010-2012

Relocating the Museum of Natural Sciences into the Forum Barcelona building signals the beginning of a new life cycle for both institutions: one where each mutually benefits from the space, program and potential of the other. With its large exterior and interior spaces and its reference to natural processes and shapes, the architecture of the Forum is a particularly appropriate new home for the relocated Museum. And the Museum of Natural Science promises to energetically revitalise the existing building, replacing vacant space with intense new public activities.

The open public space that marks the approach from the Diagonal and extends under the triangular body of the building is now diversified and activated, engaging with the life of the city. The corner addressing the city centre retains its function as the main public approach. This is enhanced by the three existing pavilions which are reconfigured to provide meeting places for groups and general information along the approach to the museum entrance. The second corner, further along the Diagonal is enlivened with lush external planting and the basin under the water patio. And finally, the corner addressing the sea is activated by a new exterior dining area for students and groups, adjacent to a bar which opens onto the plaza. The interior of the elevated triangular building, which is like a vast interior landscape, structured by patios, creates a specific space well suited to an exhibition of Natural science and to the Museum’s demand for growth and need to display more of its outstanding collection.

Architecture and Museography

The core of the Museum is its permanent exhibition. This consists of an outstanding collection of rocks and minerals, taxidermy, microbes, plants and herbariums, meteorites, scientific drawings, diagrams, fossils and skeletons, sounds and dioramas, gathered together over centuries in Barcelona. The exhibition consists of elements from the permanent collection structured around the concept of Gaia – the idea of a living planet which forms and is, in turn, transformed by life.

This exhibition arrangement follows the logic of the existing space and at the same time radically transforms it. It frees the visitor to explore any number of individual routes while still ensuring an overall logical sequence. It also extends into the museum lobby, where the main stair and the dramatically hung whale skeleton forms the central arrival and departure point for all public programs, including shop, restaurant, media library, classrooms, event spaces and temporary exhibition, as well as administration and support areas. The lobby extends down to the plaza connecting to the large covered public space of the Museu Blau, allowing for the visitor to invigorate the rapidly developing area where the Diagonal reaches the sea.

Prinz Eugen, Eugenio di Savoia, Eugenio de Saboya, Eugène de Savoie-Carignan, Prince Eugene of Savoy, Eugeniusz Sabaudzki

History of the Vienna Hofburg

First residence

(further information you can get by clicking on the link at the end of page!)

With the elevation of Austria to Archduchy in 1156 Vienna became city of residence. From the residence of the Babenberg which was located on the present site "Am Hof", unfortunately there are no more remains left. After the extinction of the Babenberg, King Ottokar II Přemysl of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known today as the Schweizerhof (Swiss court). In the fight for the German crown Ottokar was defeated at the Battle of Dürnkrut (Lower Austria) by Rudolf I of Habsburg (1218-1291) and killed during the retreat.

As the old residence of the Babenberg burnt about 1276, Rudolf probably in 1296 moved to the former castle of Ottokar 1279. The descendants of Rudolf extended the castle only slightly: chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426) . Due to the division of the lands of the Habsburgs, Vienna lost its importance and it also lacked the financial resources to expand the castle.

Imperial residence

Under Frederick III. (1415-1493) acquired the Habsburgs the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand began a large construction: the three wings of the existing Swiss court were expanded and increased. The defensive wall in the northwest was as fourth wing with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco ) rebuilt. In the southwest was a tract for Ferdinand's children (the so-called "children Stöckl (Kinderstöckl)") added. The newly constituted authorities Exchequer and Chancery were domiciled in adjacent buildings at Castle Square. There were also an art chamber in the castle, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.

First major extensions of the residence

In the area of the ​​"desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) moved after his father's death in 1564 in the old castle. He had his residence for his Spanish horses in a Hofstallgebäude (Court stables building - Stallburg) converted and from 1565 increased.

Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, resided Maximilian II, who was awarded apart from Austria above and below the Enns also Bohemia and Hungary, readily in Prague and moved also the residence there. In 1575 he decided to build a new building opposite the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but was inhabited by the governor of the Emperor (Archduke Ernst of Austria). However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I) that in 1711 there established her widow's home.

In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the treasure and art chamber (1583-1585) as well as setting up of a dance hall in the area of ​​today's Redoutensäle (1629-1631).

Under Leopold I the dance hall war rebuilt of Ludovico Burnacini 1659/1660 into a at that time modern theater ("Comedy House"). 1666 Leopold I had in the area of ​​today's castle garden a new opera house with three tiers and a capacity of 5,000 persons built.

In the 1660-ies was under Leopold I (1640-1705) between the Amalienbourg and the Schweizerhof, the so-called Leopoldine Wing (Leopoldinischer Trakt), according to the plans of architect Filiberto Lucchese an elongated Flügelbau (wing building) built. Since, however, the tract shortly after the completion burned down, it has been newly built and increased by Giovanni Pietro Tencala. Due to its architectur, this tract connects yet more to the late Renaissance. The connection with the Amalienborg Castle followed then under Leopold's son, Joseph I (1678-1711).

After completion of the Leopoldine Wing the in the southeast of the castle located Riding School was restored, the south tower of the old castle razed, the old sacristy of the castle chapel replaced by an extension. Under Charles VI. (1685-1740) the gatehouse between the Castle Yard and carbon market (Kohlmarkt) by Johann Lucas von Hildebrandt was transformed into a monumental triumphal portal as a representative signum of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.

Baroque redesign of the Hofburg

In the early 18th Century began an intense construction activity. The Emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls as well as a new court library.

After the death of Johann Bernhard Fischer von Erlach whose son Joseph Emanuel Fischer von Erlach took over the supervision of the stables and the Imperial Library. 1725 the palatial front of the stables was completed. Since yet during the construction period has been noted that the stables were too smal dimensioned, the other wings were not realized anymore. The with frescoes by Daniel Gran and emperor statues of Paul Strudel equipped Court Library was completed in 1737.

Opposite of the Leopoldine Wing was supposed to be built a new Reich Chancellery. 1723 Johann Lucas von Hildebrandt was commissioned with the design. 1726, however, the Reich Chancellery was withdrawn the supervision and is was transferred to the Chancery and thus to Joseph Emanuel Fischer von Erlach, who also designed the adjacent court chamber and the front to St. Michael's Church. 1728 were finished the court chamber and the facade of the two buildings. By Joseph Emanuel Fischer von Erlach was also planned the Michaelertrakt, the connection between the Winter Riding School and Reichskanzleitrakt (Imperial Chancellery Tract). However, since the old Burgtheater building was in the way, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner.

Under Maria Theresa (1717-1780) was the at St. Michael's Square located and only as remnants existing Ballhaus (ballhouse) adapted as a court theater. Beside the Kaiser hospital therefore a new ballhouse was built, which was name giving for the Ballhausplatz. Subsequently, there were over and over again modifications and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small Redoutensaal and the large Redoutensaal (ball room) (1744-1748). The transformation of the two halls (since 1760), repair of the Court Library and since 1769 the design of the Josefsplatz followed under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension building for the Royal Library was built in the southeast the Augustinian tract.

Other structural measures under Maria Theresa: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg accommodated art collection to the Upper Belvedere, demolition of the remaining two towers of the old castle, the construction of two stairways (the ambassadors (Botschafterstiege) and the Säulenstiege (pillar stairway).

Extensions in the 19th Century and early 20th century

Francis II (1768-1835) gave Albert Duke of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa), the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and by a wing building expanded to the today's Albertina.

1804 proclaimed Francis II the hereditary Empire of Austria and was thus as Francis I the first Austrian emperor. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.

1809 part of the old bastions by the castle was blown up as a consequence of the war with Napoleon and afterwards razed. Towards to the today's ring road then new outworks were layed out (the so-called Hornwerkskurtine and the Escarpen). In the early 20's of the 19th Century were created three gardens: the private Imperial Castle Garden with two by Louis von Remy planned steel/glass-constructed greenhouses, Heroes Square with boulevards and the People garden with the Theseus Temple (Pietro Nobile). At the same time arised also the new, by Luigi Cagnola in 1821 begun and 1824 by Pietro Nobile completed outer castle gate.

1846 was built a monumental memorial to Francis I in the Interior Castle Square. In the turmoil of the 1848 Revolution the Stallburg was stormed and at the outer castle square as well as the castle gate fiercely fought. In the process burned the roof of the court library. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Prince Metternich and the coronation of Ferdinand's nephew Franz Joseph.

In the first years of the reign of Emperor Franz Joseph I (1830-1916) were converted the court stables by Leopold Mayer and expanded. As part of the expansion of the city, the city walls were razed and it emerged in place of the fort complex space for a magnificent boulevard, the Ringstrasse (Ring road). 1862, was born the idea of ​​an Imperial Forum of architect Ludwig Förster. On the surface between the Hofburg and the Imperial Stables should arise Court Museums (Art and Natural History Museum).

At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (defeated Napoleon at the Battle of Aspern-Essling) and Prince Eugene of Savoy (victor over the Turks in several battles) set.

After an unsuccessful architectural competition on the design of the Heroes square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing building over the ring road away with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was started with the Erdaushebungen (soil excavations) for the museums. 1889, the Natural History Museum was opened,1891 the Museum of Fine Arts (Kunsthistorisches Museum).

On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905), an overall view of the Imperial Forum is shown

1888 the Old Court Theatre at St. Michael's Square was demolished as the new KK Court Theatre (today's Burgtheater) by Gottfried Semper and Carl Freiherr von Hasenauer built, was finished. The since150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules" sidewards of the drive-through arches. 1893, the Hofburg had finally its last magnificent decorative facade .

1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans of Friedrich Ohmann (finalization in 1910). In 1907, the Corps de Logis, which forms a closure of the new castle, completed. Since Emperor Franz Joseph I in the budding 20th Century no longer was interested in lengthy construction projects and the Crown Prince Franz Ferdinand of Austria-Este (1863-1914) spoke out against the establishment of a throne hall building, but spoke for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922) succeeded to the throne, however, that he only occupied two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11th November 1918 the First Republic was proclaimed. As Karl in fact renounced of the businesses of government, but not the throne, he had to go into exile with his family.

The Imperial Palace in the 20th century

The interior design of the ballroom tract and the New Castle were continued despite the end of the monarchy to 1926. By the end of the monarchy, many of the buildings lost their purpose. Further on used or operated was the Riding School. The stables were used from 1921 as the Wiener Messe (Fair) exhibition grounds ("Messe palace"). In 1928, the Corps de Logis, the Museum of Ethnology, by then part of the Natural History Museum, opened. 1935 came the weapons collection (court, hunting and armour chamber) of the Kunsthistorisches Museum in the New Castle.

1933/1934 the outer castle gate by Rudolf Wondracek was transformed into a hero monument to the victims of the First World War. 1935 emerged left and right of the castle gate pylon portals with eagle sculptures of Wilhelm Frass. In March 1938, the Heroes' Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler announced to the cheering crowd at the Heldenplatz the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace were held during the period of the Nazism propaganda events.

During the war, the Imperial Palace (Stallburg, St. Augustine's Church, Albertina, the head office of the Federal President, the current building of the Federal Chancellery) was severely damaged by bomb hits: The first President of the Second Republic, Dr. Karl Renner, moved in 1946 the Office of the President to the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).

During the time of occupation the seat of the Inter-Allied Commission was housed in the Neue Burg.

1946 again were held first events in the Exhibition Palace and have been set up two large exhibition halls in the main courtyard of the fair palace. In the course of the reconstruction the damages of war were eliminated and the Imperial Palace repaired, the castle stable were built again. In 1958 in the ballroom wing was set up the convention center, 1962-1966 the modern Library of the Austrian National Library housed in the Neue Burg.

For the first time appeared in 1989 the concept of a "Museum Quarter". The Museum district should include contemporary art and culture. The oversized design of Laurids and Manfred Ortner but was redimensioned several times after the resistance of a citizens' initiative. The implementation followed a decade later.

1992 the two Redoutensäle completely burned out. Yet shortly after the fire was began with the reconstruction. The roof was extended and the small ball room could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.

From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.

1999 was began with the renovation of the Albertina. The for a study building, two exhibition halls and an underground storage enlarged museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.

In 2006, in the area of the boiler house yard were created additional rooms for the convention center.

(Source: Trenkler, Thomas: "The Vienna Hofburg", Vienna 2004)

www.burghauptmannschaft.at/php/detail.php?artnr=7103&...

A 12-meter antenna being relocated at the Chajnantor Plateau

Haskoning Delft Office

In 2025, Haskoning relocated to the former Mining Engineering Faculty on the campus of Delft University of Technology. 1,000 employees from The Hague and Rotterdam will find their new workplace here, as well as the Board of the company. Situated on the border between the city and the TU Delft campus, the new head office connects to Delft's ecosystem of knowledge, innovation, and technology. The national monument has been transformed into a contemporary, sustainable workplace – Paris-proof. The original courtyards have been transformed into bright atriums: the spatial heart of the building and anchor points in the daily dynamics. With this, Haskoning demonstrates the role heritage can play in the debate about the future of the built environment. The project was developed in co-creation between engineers and architects from Haskoning and Braaksma & Roos. Interior design by Fokkema & Partners.

The Mining Engineering Faculty, designed in 1912 by Johannes Vrijman, is characterized by a functional layout and technical soundness, resulting in a vibrant and eclectic Neo-Renaissance building. The focus is on the center of the main wing, where the main entrance was located. From the main entrance, corridors run around the two open spaces, which provide abundant natural light, good ventilation through the windows, and excellent orientation within the complex. Inside, the finishes of the teaching spaces and laboratories were kept simple. However, color research revealed decorative, colorful painted finishes and oak paneling.

To meet Haskoning's desire to create a modern, inspiring environment with ample work and meeting space for all employees, the two courtyards were roofed, transforming them into usable atriums. Due to the irregular shape of the roofs, the solution was a single, large, spacious canopy at the attic level, separate from the building, with light and a view of the walls and roofs. The existing structure offered many opportunities for incorporating a suitable workspace program. The old laboratories were designed as open workspaces, while private rooms served as quiet workspaces. Characteristic spaces, such as the lecture hall, have been preserved, restored, and put back into use. Initially, the building had an energy label G. After the renovation, it achieved an A++++ rating. "This was achieved with roof and floor insulation, vacuum glazing, and smart building services. The building is now Paris-proof with a maximum annual energy consumption of 70 kWh/m².

Kitchen II

Despite all of the recent 'SHUT THE HELL UP' modding I've done to it the quicksilver is still a bit too loud to keep in my bedroom so have swapped it around with the iMac G3 which is completely silent. got a perky little G3 in my room looking pretty and this ridiculous powerhouse sat in the living room. It's a great party piece with full screen cover flow turned on. Almost finished maxxing the system out too.

PowerPC 7448 Dual G4 Processors @ 1.81GHz

1.5GB PC133 MHz SD-RAM

ATI Radeon 9600 Pro 128MB

802.11g Wifi + Bluetooth 2.0 EDR

6 USB 2.0 Ports (2 USB 1.0 ports)

DL DVD/RW Superdrive

Harman Kardon Soundstick II - 2.1 Stereo Speakers

Mirai 22" Widescreen TFT Monitor 1680x1050

There are a few more upgrades to do including a better graphics card (hard to get decent mac AGP graphics cards though) and possibly faster wifi... adding more storage (probably external) ... maybe a SATA pci card...

Along Market Street.

Schönefeld, BER airport: This chained, fallen Icarus with a mouth-nose mask is displayed in a glass pavilion in the ground floor of the Main Terminal (Terminal 1)

Der Flughafen Berlin Brandenburg „Willy Brandt“ (IATA: BER, ICAO: EDDB; englisch Berlin Brandenburg Airport) ist ein Verkehrsflughafen in Schönefeld, südlich der Stadtgrenze Berlins. Er entstand durch Ausbau des vormaligen Flughafens Berlin-Schönefeld und wurde am 31. Oktober 2020 eröffnet. Der BER ersetzt den internationalen Flughafen Berlin-Tegel, der im November 2020 geschlossen werden soll.

Zum Eröffnungszeitpunkt hat der Flughafen eine theoretische Gesamtkapazität von 46 Millionen Passagieren pro Jahr. Der Bau des Flughafens Berlin Brandenburg, der am 5. September 2006 begann, war eines der größten Bauprojekte Deutschlands. Der Start des Flugbetriebs war anfangs für November 2011 geplant. Aufgrund fehlerhafter Bauplanung, mangelnder Bauaufsicht und umfangreicher technischer Mängel wurde der Eröffnungstermin insgesamt sieben Mal verschoben. Durch die Fehlplanungen und die explodierenden Kosten, zuletzt auf über sieben Milliarden Euro veranschlagt, wurde dieses Bauprojekt zum Sinnbild eines außer Kontrolle geratenen staatlichen Großprojektes. Im April 2020 konntne schließlich die Betriebssicherheit bescheinigt und die Nutzungsfreigabe erteilt werden, sodass der Flughafen am 31. Oktober 2020 eröffnen konnte.

Quelle: Wikipedia.de

Berlin Brandenburg Airport (German: Flughafen Berlin Brandenburg "Willy Brandt") (IATA: BER, ICAO: EDDB) is an international airport in Schönefeld, just south of the German capital Berlin in the state of Brandenburg. Named after former West Berlin mayor and West German chancellor Willy Brandt, it is located 18 kilometres (11 mi) south-east of the city centre. The new airport replaces nearby Schönefeld as well as Tegel and Tempelhof airports (with the latter already being closed in 2008) and becomes the single commercial airport serving Berlin and the surrounding State of Brandenburg, an area with a combined 6 million inhabitants. With projected annual passenger numbers of around 34 million, Berlin Brandenburg Airport is set to become the third busiest airport in Germany surpassing Düsseldorf Airport and making it one of the fifteen busiest in Europe.

The airport was originally planned to open in October 2011, five years after starting construction in 2006. However, the project encountered a series of successive delays due to poor construction planning, execution, management, and corruption. Berlin Brandenburg Airport finally received its operational licence in May 2020, and opened for commercial traffic on 31 October 2020.

Schönefeld's refurbished passenger facilities have been incorporated as Terminal 5 as of 25 October 2020 while all other airlines will gradually relocate from Tegel to Berlin Brandenburg Airport by 8 November 2020.

Source: en.wikipedia.org

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Use the right size boxes

Put heavy items, like books, in small boxes; light items, like linens and pillows, in bigger ones. (Large boxes packed with heavy items are a common complaint of professional movers. They not only make the job harder but also have a better chance of breaking.)

Put heavier items on the bottoms of boxes, lighter items on top

And if you’re loading the truck yourself, pack heavier boxes first, toward the front of the truck, for balance.

Don’t leave empty spaces in the boxes

Fill in gaps with proper shipping supplies. Movers often won’t move boxes that feel loosely packed or unbalanced.

Avoid mixing items from different rooms in the same box

It will make your packing quicker and your unpacking a lot easier, too.

Label each box with the room it’s destined for and a description of its contents

This will help you and your movers know where every box belongs in your new place. Numbering each box and keeping an inventory list in a small notebook is a good way to keep track of what you’ve packed―and to make sure you still have everything when you unpack.

Tape boxes well

Use a couple of pieces of tape to close the bottom and top seams, then use one of the movers’ techniques―making a couple of wraps all the way around the box’s top and bottom edges, where stress is concentrated.

If you’re moving expensive art, ask your mover about special crating

Never wrap oil paintings in regular paper; it will stick. For pictures framed behind glass, make an X with masking tape across the glass to strengthen it and to hold it together if it shatters. Then wrap the pictures in paper or bubble wrap and put them in a frame box, with a piece of cardboard between each framed piece for protection.

Bundle breakables

As you pack your dishes, put packing paper around each one, then wrap bundles of five or six together with more paper. Pack dishes on their sides, never flat. And use plenty of bunched-up paper as padding above and below. Cups and bowls can be placed inside one another, with paper in between, and wrapped three or four in a bundle. Pack them all in dish-barrel boxes.

Consider other items that will need special treatment

Vansant says his movers treat TVs like any other piece of furniture, wrapping them in quilted furniture pads. He points out, however, that plasma TVs require special wooden crates for shipping if you don’t have the original box and can be ruined if you lay them flat. If you’re packing yourself, double-box your TV, setting the box containing the TV into another box that you’ve padded with packing paper.

Fresh Drinking Water tanks are scattered across the desert, while Peabody Coal company drains the land of natural water sources. Many must drive several miles to the tanks to fill and haul water back to their homes.

Relocated to Sam Houston Park. Built in 1868 by a French immigrant who operated a lumber business.

Title: Washington Park: Rehabilitation and Relocation

Creator: Boston Redevelopment Authority

Date: 1965 October 14

Source: Boston Redevelopment Authority photographs, Collection #4010.001

File name: 4010_001_A274_002

Rights: In Copyright - Non commercial use permitted

Citation: Boston Redevelopment Authority photographs, Collection #4010.001, City of Boston Archives, Boston

The Rohwer War Relocation Center was a World War II Japanese American concentration camp located in the Delta region of rural southeastern Arkansas, in Desha County. It was in operation from September 18, 1942 to November 30, 1945, and held as many as 8,475 Japanese Americans forcibly evacuated from California. Among the inmates, the notation "朗和 (Rōwa)" was sometimes applied.

The Rohwer War Relocation Center Cemetery is located here. It was placed on the National Register of Historic Places in 1992, and was declared a National Historic Landmark quickly thereafter.

The Rohwer War Relocation Center site is now an Arkansas State University Heritage Site, and features a memorial, the camp cemetery, interpretive panels, and audio kiosks.

The Japanese American Internment Museum opened in the former Missouri Pacific Railroad Depot in the nearby town of McGehee in 2013. It serves as the history museum and unofficial visitor center for the Rohwer War Relocation Center. Exhibits include a film, oral histories, photographs and personal artifacts of the internees.

The dedication ceremony for the museum featured the actor, activist, and former camp incarceree George Takei giving a speech. His narration is also featured on a number of the audio displays.

Information from: en.wikipedia.org/wiki/Rohwer_War_Relocation_Center

Copyright ECB / Robert Metsch

Originally Weston's; Former Kmart & Hobby Lobby. Ulta Beauty and Old Navy both relocated here from the Shops at Ithaca Mall.

Ithaca, NY. June 2024.

If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.

Crews from Puget Sound Energy have started work to relocate utility lines before our contractor begins building a roundabout.